Exhibitors Herald (1927)

50 STUDIO SECTION OF December 31, 1927 Leo Meehan Productions just completed are Gene Stratton-Porter’s “FRECKLES” and Temple Bailey’s current best seller “WALLFLOWERS” P.S. : I am going to take a couple of weeks off and go to New York, after making seven straight for F B O release. Do you blame me? Happy New Year! LEO MEEHAN. Dorothy Yost F. B. O. Now adapting “The Little Yellow House” CHARLES LAMONT DIRECTOR OF “Big Boy” Comedies Lupino Lane Comedies Dorothy Devore Comedies Tuxedo Comedies Mermaid Comedies FOR EDUCATIONAL Dressing for the Classics — and Ree Who Knows How By D. M. There are few departments in the motion picture industry that necessitate a greater recourse to the imagination, more creative ability or a broader knowledge of human psychology, than that presided over by the costume creator. He must in addition have a fair working knowledge of history, the classics, poetry and the sartorial records of the world in its various stages of development. Max Ree, costume director for First National Pictures, is one of the most expert in his chosen field. He combines his essential knowledge of costume with the other requisites and has a background of experience in art and theatrical circles. * * * Ree, who was born in Denmark, is a graduate of the Copenhagen Royal University. He designed the costumes for some of Max Reinhardt’s greatest European successes and it was through Reinhardt that he came to New York, where he remained for several years. While there he created some of the artistic and daring costumes for the Greenwich Village Follies, Irving Berlin’s Music Box Revue, the Ritz Revue and others. In addition he contributed cover designs to a number of magazines. While he directs the costume designing for all the First National Pictures at the Westcoast Studios, he has of late had two productions that have given ample opportunity to exemplify his true genius in this direction. These were widely different in character, one being the George Fitzmaurice production, "Rose of the Golden West,” and the other, “The Private Life of Helen of Troy,” directed by Alexander Korda and featuring Maria Corda, Lewis Stone and Ricardo Cortez. The first of these, in which Mary Astor and Gilbert Roland played the featured roles, is a story laid in the early history of California, at the time of its advent to the Union. The MexicanSpanish influence of course predominated the picture. The gowns worn by Miss Astor were authentic, as were those of the other players. * * * Yet, in using the term “authentic” it is done with the understanding that certain modifications are almost always necessary. An exact type of the original modes of some bygone period would frequently be too extreme in some particular to find favor in the present day, might seem grotesque and decidedly unbeautiful. It is essential to satisfy the eye of the spectator. Therefore, the costume director must know just how far he can follow the original design, just where he must deviate in some respect to maintain symmetry and grace. We have only to glance back in the history of our own land a few years to note how queer and often-times unbecoming were some of the gowns affected by the sartorially elect! Take the 1890’s with the quaint hats and gowns that today seem positively grotesque! In a picture of that period, say, the heroine must retain the sympathy of the audience if it be a serious film. She must not appear ludicrous. Therefore certain modifications are nec