Motion Picture Classic (May 1921 - Dec 1927)

CLASSIC DONT LOOK LIKE A PAINTING! USE a powder that is individual in color and quality and prove that beauty is yours. We recommend this powder to you! You — who love the beautiful ! One shade — the peach bloom — has proved unequalled in day attire, evening dress and before the camera. Extract From MOTION ‘PICTURE MAGAZINE I have tried about every powder on the market and have done considerable experimenting on myself and on others. There is no denying that there are several very fine powders on the market, but I felt that none just suited me, and so I determined to make one that did. You see. In the first place, I had some very peculiar ideas about the complexion and was very hard to please. I am very particular about tints and staying qualities, and I want a powder that does not look like powder, that will not blow off in the first gust of wind, that is not too heavy nor too light, that will not injure the complexion, and that will not change color when it becomes moist from perspiration or from the natural oil that comes thru the pores of the skin. I also like a pleasant aroma to my powder, and one that lingers. After experimenting with powdered starch, French chalk, magnesia carbonate, powdered orris root, rice powder, precipitated chalk, zinc oxide, and other chemicals, and after consulting authorities as to the effects of each of these on the skin, I finally settled on a formula that has been tried out under all conditions and that suits me to a nicety. And, most important of all, perhaps, this powder when finally perfected had the remarkable quality of being equally good for the street, for evening dress and for motion picture make-up. I use the same powder before the camera for exteriors and interiors, and for daily use in real life. So do many of my friends, and they all tell me that they will use no other so long as they can get mine. As to the tint, it is a mixture of many colors. I learned from an artist years ago that there are no solid flat colors in nature. Look carefully at anything you choose and you will see every color of the rainbow in it. Take a square inch of sky, for instance, and examine it closely and you will find every color there. Just so with the face. Any portrait painter will tell you that he uses nearly every color when painting flesh. Nothing is white — not even snow, because it reflects every color that is around it. White face powder is absurd. Whit© is not a color. The general tone of my powder is something like that of a ripe peach, and 1 therefore call it “Corliss Palmer Peach Bloom Powder." Wonderful as to its even texture, lovely in its fragrance, and unusual in its sticking quality. Be natural — use the shade ct powder to blend with the flesh color of nature. Corliss Palmer Powder Price One Dollar the Box A written description is useless — a trial proves the truth! Remember that we have the exclusive selling rights to Corliss Palmer Powder. Send a dollar bill or one-cent or two-cent stamps and we will mail you a box of this exquisite powder. WILTON CHEMICAL CO. BROOKLYN, N. Y. Cut out and mail today WILTON CHEMICAL CO. BROOKLYN, N. Y. For the enclosed One Dollar please send me a box of CORLISS PALMER POWDER. N ame Street City and State c 1 Famous Toscas ( Continued from page 74) round out a strong cast. The critics, as usual, were divided on the musical merits of the work, but the public was less undecided, and it passed into the repertory and proved a nev.er failing attraction. With regard to the Bufifalo performance, it was, I believe, an attempt by Mr. H. W. Savage to fight the question of copyright. As a matter of record it is worth mentioning that the performers in the up-state city included Adelaide Norwood as Tosca, Joseph Sheehan as Cavaradossi, and W. Goff as Scarpia, three somewhat undistinguished singers, whose names today are all but forgotten. Since its first performance at the Metropolitan twenty-one years ago, “La Tosca” has been played more frequently there than any other of Puccini’s operas, except “Butterfly” and “Boheme,” while it figures regularly in the repertory of the Chicago Opera and several traveling companies. Among the most noteworthy Toscas since Ternina have been Emma Eames, Emmy Destinn, Olive Fremstadt, Frances Alda, Lina Cavalieri, Claudia Muzio, Rosa Raisa, Geraldine Farrar, and finally Marie Jeritza. It may fairly be said that by far the most popular, if not the best, of these is Geraldine Farrar. Others, notably Emma Eames and Emmy Destinn, may have sung the role with greater beauty of voice, but none has become so completely identified with the part as Miss Farrar. And, if one were called upon to single out the least satisfactory of the Toscas known to American audiences, one would unhesitatingly say Jeritza, who last season acted the part rather worse than she sang it, and who physically bears little resemblance to a Roman singer, for hers is a Teutonic blondeness and physical robustness, and it is not unjust to say that she almost vulgarizes the part. No better exponent of Tosca physically can be imagined than the lovely Lina Cavalieri, who was the veritable Roman singer in nationality and appearance as well as in temperament. With her marvelous ivory-white complexion, her hair black as the raven’s wing, her large lustrous eyes, her perfectly patrician features, and her stately but svelte figure and carriage, none ever looked the part more perfectly. Alas! that she could not sing the music with equal charm, for, truth to tell, the incomparably beautiful Lina had, like certain birds of exquisite plumage, rather harsh notes. But one can never forget her superb appearance when she was at the apogee of her beauty. Running her close in classic beauty is America’s own Emma Eames, who sang the part exquisitely but acted it coldly. It would ill become a contributor to Classic to omit the eminent actress who portrayed Tosca on the screen — Pauline Frederick. On a previous occasion I have disclaimed the role of cinema critic, ( Continued on page 80) (Seventy-eight)