Close Up (Oct 1920 - Aug 1923)

10 U n d e r tin BY THE MAN THIS SOUNDS REASONABLE A new kind of make-up powder, perhaps destined to simplify make-up and do away with the “flatness” common to close-ups, is being experimented with very successfully by Edward Martindel, now engaged in a leading role in “The Eleventh Hour,” a William Fox Production starring Shirley Mason. The same facing of grease is used as with the ordinary make-up, according to Martindel, but in lieu of the usual yellow or orange or pink powder, he is experimenting with a very light shade of green. Green, he declares, absorbs the glare of the powerful lights and retains the curves of the face to a remarkable degree on the screen. This effect is not possible with lighter make-up powders because they reflect, rather than absorb, the lights. It is much the same effect, Martindel says, as a house in the sunlight. If it is painted a glaring white, it blinds with its reflection. On the other hand, if it is tempered with cream and the glare is taken away, it absorbs, rather than reflects, the sunlight. Martindel is making use of the new make-up powder for scenes in “The Eleventh Hour.” His experiment with this powder will be given an ample opportunity to prove or disprove itself when the picture is completed. A CLOTHES STORY Viola Dana is wearing a costume in “Her Fatal Millions,” which is entirely different to anything the little Metro star has ever worn in all her picture experience. Instead of being" designed in an exclusive modiste shop as are most of Miss Dana’s clothes, this costume was made in a cheap Los Angeles tailor shop. It consists of a pair of black trousers, about ten sizes oversize, a pair of shoes in which Miss Dana could place both her feet if necessary, a swallow-tailed coat which reaches almost to the floor, a stiff bosomed shirt with a collar which Miss Dana can almost slip on over her head and a black derby hat. In this oversize masculine suit Miss Dana appears in several important episodes of “Her Fatal Millions,” which is a story by William Dudley Pellcy which William Beaudine is directing. e Magnify! CONVINCING OTHERS It stands to reason that when Allen Holubar selects a leading man to play opposite his famous wife, Dorothy Phillips, that MAN must be good, but it seems that Allen Holubar is not the only one MR. LEWIS DAYTON has convinced of his great histrionic ability, for one day, while visiting the United Studios where “The White Frontier” is being “Shot,” Jeanette Eller happened to ask a passing actor with a full growth of whiskers whether Lewis Dayton (who happened to be passing) was any good? “G-O-O-D?” replied the bewhiskered one, “why he’s so darn good that in time he’ll be the cause of American producers importing English actors for our American leading parts in pictures!” Miss Eller is now convinced, with many others, that Lewis Dayton is a great actor, and having seen him act, we agree with her as well as the wonderful compliment tendered one good artist to another. We notice, said Bert Lytell, that the girls are wearing “headache bands” instead of hats for evening wear. Probably taking a little for granted as it were. AUTHORS’ SERVICE BUREAU Manuscripts and Photoplays Typed and Revised. Reasonable Rates. Prompt Service. JANE HOLCOMB, 423 Grosse Bldg. ' ng Glass BEHIND ‘CLOSE-UP’ ALBERT AUSTIN SIGNED Albert Austin has been engaged to direct Bull Montana in the fifth Hunt Stromberf comedy for Metro release, which bears the working title of “Two Twins.” This will follow “Rob ’Em Good,” which Hunt Stromberg personally directetd and which has just been completed. Mr. Austin came to this country from England in the same vaudeville company with Charles Chaplin, with whom he has been associated for the past several years. He not only served as associate director with Chaplin on “The Kid” and many of his successes prior to that time, but also appeared in many of these comedies. He recently directed Jackie Coogan in “Trouble,” which was considered one of the most successful of the Coogan features. With the acquisition of Mr. Austin as director, the Bull Montana comedy staff now includes Dick Stevens, assistant director; Clyde Bruckman, “gag” specialist, and Irving Reis and Ted Reese at the cameras. AND WHY NOT? The recent announcement that Eric von Stroheim would begin his connection with Goldwyn by translating to the screen such a typically American story as “McTeague,” is particularly interesting in view of the fact that this director generally has been associated with productions with a strong Continental flavor. THEY KEEP HIM BAD Ernest Torrence, the particularly villainous villain of Goldwyn’s production of the $10,000 prize scenario, “Broken Chains,” was born in Edinburgh but his stage career has been mostly in this country. He used to act in musical comedy and dramas, but since his hit as the villain in “Tol’able David” screen producers won’t let him alone. He’s in great demand — but always as a villain. MAE MURRY TAKES VACATION Mae Murray has completed her work in “Jazzmania,” Robert Z. Leonard’s newest production for Metro in which she is starred, and has gone to San Francisco for a short vacation before starting her next picture.