Motion Picture Classic (Jul-Dec 1928)

Sri^mJk _ 8xpressii)e SUSS helpatyourvOork J^YES that help to win admiration and pop' ^ ularity are eyes shaded by lashes which give the pleasing effect of being long and dark and which thus accentuate the charm of one's expression. Just a brush stroke of harmless solid or waterproof liquid Maybelline and you get the desired effect instantly. Millions of girls and women in society and business know the beautifying power of MaybeUine. Solid or Waterproof Liquid Maybelline, Black or Brown. 75c at allToilet Goods Counters. Maybelline Co. , Chicago tyelash ^eautifier;^ FRECkLES this ugly mQsk^ There's no longer the sliglitest need of feeling ashamed of your freckles, as Othine — double strength — is guaranteed to remove these homely spots. Simply get an ounce of Othine from any drug or department store and apply a little of it night and morning and you should soon see that even the worst freckles have begun to disappear, while the lighter ones have vanished entirely. It is seldom that more than an ounce is needed to completely clear the skin and gain a beautiful complexion. Be sure to ask for double strength Othine, as this is sold under guarantee of money back if it fails to remove your freckles. OTHINE From Embalmy Days to Balmy {Continued from page 33) DOUBLE STRENGTH with Mack Sennett. Although not as a bathing beauty. His career to the present writing includes work well done for Fox, for Universal, for Hal Roach, Warner Brothers and First National. And, despite his length of service, his greatest triumphs are yet to come. Let's pick him up, as the scenarists say, in his home perched high -in "the hills of Hollywood. He stands before an immense window which reaches from /floor to ceiling and gazes down bn distant lights which twinkle like a lake of stars. An inspirational moment, one gathers. Then, turning toward us and regarding the wide, blazing hearth— the rare rugs inches deep — the man-sized lu.xury of the chairs — the elegant comfort of all the room, Richard Wallace grins from ear to ear and breathes a prayer he ineans : "Thank God for the movies!" He's positively fervent. And why not ? The cinema deity has repaid him well for the sacrifices offered at her shrine! He's very tall. And pretty skinny. An unusually large head appears yet more impressive because of a mop of tawny-tinted hair, wild as a woodland, and running off to side-burns, untrimmed as the lawn oi a deserted house. There is both depth and width of brow above oddly disconcerting eyes which flash from abstraction to keen intensity. He is possessed of much unrest ful nervous energy. His hands wander and usually find their way to the peace of his pockets. His speech is nervous, too. And very sudden. Words tumble over one another. His tongue isn't so. quick as his brain. Sometimes he expresses himself in pantomime. The more he talks, the more one not knowing his vocation would write him down a scribbler. Either a newspaper man or an author. And in the conversation it develops that after some directorial experience he preferred to write for the screen. But it seems that upon each occasion an emergency of some sort would arise where he would be coaxed into taking up the megaphone "just this once." And Wallace, an obliging cuss, couldn't refuse. Tough Assignments 'T'o Wallace was assigned the difficult * task of translating the personality of Will Rogers into celluloid. How well he luade out may be judged by "The Texas Steer." And when it is remembered that Rogers' charm lies principally in his spoken witticisms, the picture must be chalked up on the credit side of the Wallace ledger. The director tells interesting tales of this cowboy who quit the range — and the "Follies" — to make himself a national figure. Stories of the inevitable gumchewing (and isn't it remarkal)le that in these days of advertising stunts no chewing-gum maiuifacturer has made capital of Will's habit), stories of Rogers typewriting his daily newspaper column, no matter where the troupe might be on location ; stories of his modesty — regarding which there secius to be some doubt ; and a little human tale of how he one day was seated on the curb in Washington surrounded by a thousand kids, and suddenlx doffed his "ten-gallon" hat and handed it to the nearest one, saying, "Tom Mi.v ga\ e me this" — and how the chapeau w: s passed from hand to hand, up and doy n the block, before it finally rested again on its owner's head. Wallace has other yarns to spin — oil "Raggedy Rose" and Mabel Normand; of I Corinne Griffith and her biggest t)ox-office| success, "Syncopating Sue," of that monstrous money-maker, "McFadden's Flats,"] and his still more recent successes. Right! now in your neighborhood theater "Thel Butter-and-Kgg Alan" is playing. When they bought the story, no one stopped to think for an instant that it wasn't the best possible luovie material. But when there was time to consider, it came to light that | in the play many a complicated situation was cleaned up with a single spoken sentence. More and more, it looked like a I tough assignment. So they gave it to !| Richard Wallace. And he made it into a pi'.'ture. Wants Whimsical Story I SAW him directing this one. .\t work he's rather a revelation. 1 don't believe he ever uses his megaphone or one m those cute little directorial camp chaii s with his name neatly painted all over il. No, Wallace must literally have his hum' in the scene, hopping here and there, all over the set, showing the players what t.i do and how to do it. He has the thriciblessed power of concentration. When lu's intent on a piece of business, the niodn may fall or the sun stand still, but not for an instant will he be distracted from liis job. Like all great comedians or directors of comedies, he is always aware that an admixture of pathos in the proper .^pots makes the next laugh louder. In anal.\/ing the broad humor of "McFadden's Flats," he can prove conclusively that the biggest roars of merriment are not a little dependent upon touches which approach tearfulness. Wallace dislikes slap-stick and longs for a picture story which mingles whini>\ with its wit. It is his ambition to gel away from the obvious and inject the subtle character apparent in every great photoplay. With the type of material with which he has recently worked, this has been impossible. But one day he will get his opportunity and then he will demonstrate a depth of knowledge and of feeling and of understanding with which few credit him at present. Yes, he is married. And he is very iTiuch in love with his wife. I think siie's something of a mother to him as well as a sweetheart. He has a habit of turning to her for information when his irieniory faik — of consulting her on maii\ questions of varying importance. He rather miserai)le when she's away. Lost. sort of. In fact, when they recently visited New York, she left him for an instant in the Grand Central Station and he got losi. sure enough. She went calmly to the hotel and he showed up, safe and sound. Wallace is in his middle thirties. lli< wife is younger. If you ask him whellui they have ciiildren, his answer is that tlie\ haven't had time. It's been a busy and a changeful life thus far. Perhaps next year — or the one after. . . . .'\nd then maybe a homey little undertaking parlor down in Pasadena where so many people go to die. Don't mistake me. They pick Pasadena because it's so beautiful that residence there makes the change to Heaven seem less sudden. 84 I