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Advertising Section
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DEALERS INVITED
" Ga-Ga" Bodil
Continued from page 49
She is happiest when portraying a range of years. "From thirty to sixty. I start out looking like myself, then I think more wrinkles on as we progress." Lack of continuity in shooting doesn't bother Bodil at all, her make-up being only a matter of thought.
For a strange thing about her art is that she uses no character make-up. The light grease paint, powder, lipstick and eye pencil which suffice for the ingenues, and for Bodil, are carried any old way, in her purse, up her sleeve, perhaps. Occasionally, when the star requires a certain lighting, she uses a darker powder ; but no lines are drawn on her face.
"It is all the eyes and the mouth. You watch. In a dramatic closeup, do you notice the whole face? No. I dress her and do her hair right, then I think hard as she would, and it goes into the eyes and changes the expression of the mouth."
Even a Hersholtor a Jannings resorts to the. make-up kit in changing nationality. Yet Bodil, merely by thought reflection, supplemented by costume, bearing and gestures, has portrayed German, French, American, Jewish, Irish, Swiss, Swedish, Dutch, and American-Western women.
Seldom is she recognized on the street. Her friendliness invites remarks from everybody, colored porter to limousine-and-poodle dowager. She loves to find out adroitly what they think of that actress, Bodil Rosing, and later relates, merrily, their opinions of herself.
Flouting the custom of former stage Thespians, she admits that the movies have taught her in four years most of her knowledge of acting.
"Pantomime, quick thought, suggestion. You wait. Already they send for Bodil to come back to the stage. Not yet, but some day. When I go, I will use much of my movie technique."
Her most important roles have been in "It Must Be Love," "Whe'el of Chance," "Ladies of the Mob," "The Fleet's In," "The Return of
Peter Grimm," "Eternal Love," and the memorable "Sunrise."
Her fan mail is a great pride and joy. She pulls a fan letter from her purse, watching for your reactions with keen, blue eyes, and beams. "Now, isn't that sweet?"
Following her training at the royal dramatic school, in Copenhagen, she enjoyed success on the stage in the Scandinavian countries married at sixteen, later came to America, and retired. Idleness, however, irked. Domestic duties and the care of Tove, born in Denmark when Bodil was seventeen, and the two younger children, seemed to require so little of her energies. Rather, she had so much vitality that other interests must be added.
Though* Bodil's voice, as she recounts her history is blithe, gray days have put patches on the bright pattern which she has made of her life. There was the time, ten years ago, when she resumed her career. Leaving the two younger children with relatives, she and Tove braved New York.
Her chummy smile penetrated an agent's indifference, and she found herself on the road. Tove, then thirteen, languidly representing herself as several years older, also got theatrical work. At fifteen, she was one of Elsie Janis' "Gang," and later ornamented the "Follies."
"Tea for Three" took Bodil out again, and eventually she joined Tove, who had married Monte, and they persuaded her to stay and try the movies. Two years of bits and small roles culminated in "Sunrise," success, a home, and her dream of owning a quaint cafe.
" 'Bodil's Pancake House,' yes ? Like 'Hansel and Gretel,' remember? Inside, I shall be the old witch !" In a second's flicker, she makes evil pinpoints of her eyes, changes the contours of her mouth, and shows you how she would look. The venture would be interesting, and popular.
For those adjectives apply to everything that Bodil does.
ENNUI
Though picture plots grow stale and thin. Though weird and wild types may creep in, Though screen scribes soar in fancy's flight
No fans will e'er see this: The villain wed a heroine, A hero with a double chin, Subtitles without one "That Night,"
The end without a kiss!
Helen Joyce.