Motion Picture Magazine (Aug 1928-Jan 1929)

asy RemoveSummer Blemishes <^^ Tan, freckles, muddy complexions and coarse, wind roughened skins are passe for Fall and Winter social activities. Correct this condition now. Wipe out your summer blemishes and in their place give to your skin a pure, soft, pearly appearance of alluring beauty. Let GOURAUD'S CREAMS * 'Beauty's Master Touch" prove to you the value of ' ' Corrective Beautifying." In a moment's time it renders a bewitching appearance to your complexion that cannot be duplicated by any Powder, Cream or Lotion. Its effective astringent and antiseptic action discourages blemishes, wrinkles and flabbiness. The weak points of your appearance are yielding to its corrective properties as you enjoy the immediate effect of a new beauty to your skin and complexion. Gouraud's Oriental Cream is ready to add years of youth to your appearance. Try it today. Made in White, Flesh and Rachel, Send 10c. for Trial Size E. R. Riche If this scene is typical of Bebe Daniels' new picture, "Hot News," it looks as if it'll be one of those breeches-buoy-and-girl romances It For the Itless (Continued from page 65) velvets, in chiffons and regal brocades, lies a courageous road worth traveling for a couple of paragraphs. When the Nebraska boy grew older, his sketches and his dreams crystallized. He knew what he wanted to do. He wanted to make plain women less plain. He wanted to make beautiful women more beautiful. He wanted to give "Itless" women "It." A laudable desire. He wrote to Flo Ziegfeld and told him what he could do. Flo declined the offer, with thanks. He wrote to Lucille, in New York. Lucille had a woman's instinct and sent an acceptance plus a salary offer of fifteen dollars a week. Howard Greer departed for New York with a package of sketches. He worked for Lucille, rising steadily until the outbreak of the war. Then he entrained for France and spent eighteen months with the Machine Gun Company of the 307th Regiment. He was twice wounded and demobilized in France. After the demobilizing, Howard Greer remained in France. Out of the blood and brimstone of the battlefields his dreams of beauty reasserted themselves. He went into the homes of French peasants, making himself welcome by his sketches of their homes, their children, themselves. But he had an ulterior motive. He wanted to learn at the source something new by way of color and line, background and form. From a nation's peasants does one learn a nation's aristocrats. From the peasantry of France, Howard Greer went to the Paris of France. He worked in the French ateliers of Lucille and of Paul Poiret. He opened a studio of his own and through Elinor Glyn, the sister of Lucille, he met Cecile Sorel, Gaby Delys, the Guitrys and other notables of the mondaine. His fame spread and the women of Paris went forth greered for action. When the sack of the Paris fashionables was well begun, the Nebraska farm boy turned his thought to the women of his own land. There was where his work must be. He returned to New York, designed for the Greenwich Village Follies, for Nora Bayes, Irene Castle and other celebrities of the stage and of the dim Park Avenue drawingrooms. Then Hollywood beckoned. In Hollywood were congregated the world's Dreams of Fair Women. In Hollywood there was no one to raise the magician's hand and cover them with petals of lace and 'broideries of silk. To Hollywood traveled Howard Greer, an evangelist of fine feathers. He worked for a time on the Famous Players lot designing for the Lasky Loreleis. And all the while he had, in his mind's eye, a vision of Howard Greer, Incorporated. The dream has become a reality. And now, when the ladies of Hollywood go shopping, they go to Greer's. They loll on couches fit for the ladies of long ago Versailles. Tea is served them in pink Sevres china by soft-footed servitors. There are cigarettes within reach on tables of cream and ivory wood, in putty-colored boxes monogrammed in green H. G's. Soft music plays. On the stage, drifting through the salons and about the sun-lit patio, parade the mannequins, Babette, Aiai and Gladys. GOWNS HAVE INDIVIDUAL NAMES IET us suppose that Norma Talmadge is -J "shopping," if one may employ so mundane a term for so epicurean an experience. All right. Aiai appears wearing a creation of silver metal cloth banded with black and white fox. Its name will be " Indiscretion." For all of the gowns are named. They are individualities. They live.' Or it may be a sheath of embroidered silver metal cloth christened "Baccarat." Or a tucked Bois de Rose georgette over a raisin lace slip, the name thereof "Guillotine." It may be a mere little sports frock consisting of a spotted velvet skirt. Metal cloth and spotted velvet coat titled "The Vortex." 84