Start Over

Broadway and Hollywood "Movies" (Jan - Nov 1933)

Record Details:

Something wrong or inaccurate about this page? Let us Know!

Thanks for helping us continually improve the quality of the Lantern search engine for all of our users! We have millions of scanned pages, so user reports are incredibly helpful for us to identify places where we can improve and update the metadata.

Please describe the issue below, and click "Submit" to send your comments to our team! If you'd prefer, you can also send us an email to mhdl@commarts.wisc.edu with your comments.




We use Optical Character Recognition (OCR) during our scanning and processing workflow to make the content of each page searchable. You can view the automatically generated text below as well as copy and paste individual pieces of text to quote in your own work.

Text recognition is never 100% accurate. Many parts of the scanned page may not be reflected in the OCR text output, including: images, page layout, certain fonts or handwriting.

24 BROADWAY AND SKIN DEEP By Nina Velsir Starring in Educational-Andy Clyde Comedies BEAUTY may be only skin deep, if we are to believe the old adage, but bear in mind that we have quite a few square feet of it, and our skin comes in two distinct layers. I may startle you by saying that beauty of face, form and complexion is even more important to the girl who is playing comedy “shorts,” or who is starting up the ladder as a “bit” player than it is to many stars whose pay envelope every month bears at least five figures. And for this reason: the girl who does comedies, — whether it be in those funny Educational-Andy Clyde humurous sketches, or with any of the reputable Hollywood producers who are turning out comedy shorts, — usually finds herself in a position where she must display more of her body, and in a much shorter space of time, than does the average star in the average full length feature picture, — even though that “six-reeler” may be a comedy. She is constantly asked to appear in bathing suits, in opera gowns, in decollette, in pajamas, in night gowns, gymnasium suits, abbreviated togs of all sorts, and not infrequently in her “unmentionables.” Throughout the plot of the picture there is no attempt to introduce vulgarity, indecency or anything which would call down the wrath of the censors. This more or less “undressing” of a comedy “short” star is done for two reasons: First, to offer the element of surprise. The comic “heavy” suddenly bursting into a bathroom where our leading lady may be in the tub, — or breaking into a stateroom just as milady is going to bed. These are not subjects of carnal attack; they constitute a branch of humor in which the element of embarrassment, — the feeling of suddenly being “lost” or “out of place” forms a situation which is laughable at the moment. No harm is ever intended, but these short, quick, “punchy” shots often do call for a liberal display of the star or featured player’s arms, calves, thighs and shoulders. The second reason is the element of beauty ; a beauty which is enhanced by comparison. The homely face of Andy Clyde, in his well known make-up of glasses and a huge moustache; the sad. bleary-eyed face of Buster Keaton; and a score of others, are but improved and “set-off,” so to speak, by close comparison with a pretty girl with a bright, youthful face and clear complexion. As a “stooge,” in a sense, she forms a contrasting combination which lends grotesqueness, humor or satire to any situations in which the two characters are jointly involved. Only skin deep, — yet this beauty proves a valuable asset to the film short. Show me a comedy which hasn’t made money and I’ll show you one which didn’t “click” simply because it lacked that form of contrast ; it lacked pretty girls. Particular attention should be paid to your make-up; if you lack the time, take some of the time away from cigarettes and devote it to the vanity in your bedroom or the make-up mirror in your stage dressing room. Young women who are best made up are those who sit down to prepare their faces. The assumption is that when you sit down to the task you give a few more minutes to it. You have the better mirror light to work by and you have more of the necessary “tools” to work with before you on the dressing table. There is no disputing that you go about the face beautifying work more leisurely and more thoroughly when you are seated for the job. The idea of performing the duty standing insinuates a brisk, business-like performance, and rather hurried one. This necessarily is the only method open to women during their business day, since our employers have not seen fit as yet to supply our wash rooms with finely appointed toilet tables. Take the problem, for example, of pimples and blackheads; these will sound the death knell' to any girl’s success on the silver screen if she permits them. A combination of good health habits and the outward care of the complexion will generally do much to free one from these facial blemishes. One must keep the entire body clean and must pay especial attention to keeping the face free from dirt. One should wash the face well every night, using cold cream to cleanse the skin before washing it. One’s diet plays an important part in the complexion. Green vegetables and fruits should be included in the daily diet to give one a properly balanced diet. Sunshine, exercise, sleep and rest Eire all contributing factors to maintaining a good complexion, which, as I said before, should be studied in front of the mirror while you are seated. The best application of an argument is to try out both sides and see for yourself which works best. See if in the morning, let’s say, before you leave home your face wouldn’t be better made up if you sat down to the job than to slap on the makeup just before you grab your hat and street car money. When seated you’ll be {.Continued on page 56)