Motion Picture Classic (Jul-Dec 1930)

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.

Now? Ziegfeld Describes The Ideal Beauty of 1931 mouthed gentlemen, who yell out ot the corner of the mouth, did not get their model from Ziegfeld, the • greatest revue artist of them all. It was over in a j quiet corner of the "Whoopee" set that he told me of these new beauty standards, which will be utilized in the castmg of the new "Follies," and will set the pace for femimne charm the world over — because Ziegfeld thinks so! Beauty and the Beast BEAUTY," he began on his favorite and most quoted subject, "is as subject to change without notice as fashions in clothes. Each day and age brings its own requirements. Since I have been in the show Famous Ziegfeld choices: above, Louise Brooks, once a Follies girl, now film-famous; lower left, Claire Luce, ex-Ziegfeld star, now a talkie star; center, Sally Eilers, his idea of the 1931 girl IS no tune with our rora business, I have seen various types come and go. First, the buxom lasses of the ' Florodora ' period — the Lillian Russell type of beauty. Next, the tall, thin girl of the Irene Castle style. Then the chestless flapper. Each of these represented — almost personified — the day and age in which she reigned. "And how brief that reign is! "The flapper of five years ago is as out of date as the old 'Florodora girl.' With her short skirts and her pert cuteness, she was typical of the after-war speed of living. She onger in present times. "Instead, the modern beauty has come to take her place. And she in turn will be superseded by another type — just what, we do not know. But let the future take care of itself. W e have with us this new girl in keeping with life as it is lived to-day. "She is taller than the flapper's five feet of cuteness, by four or five inches. And she weighs tully ten pounds more. About one hundred and twentyfive pounds would be ideal. She is of medium, rather than decided, coloring. Naturalness is the code-word of the hour, and as we Americans are neither Nordic nor Latin, our perfect national type is a combination of the two. It is not particularly important whether she is more to the blonde, or to the brunette in type. They are equally attractive in the beauty scale, though I have always favored the blonde, myself. However, that is merely a personal opinion. What is one man's peach is another's lemon . . . The Height of Beauty " I .^XTREME youth IS no longer a necessary attribute l^j to beauty, as it was in the flapper's reign. At seventeen or eighteen, beauty is merely in bud — a promise. At twenty-five, according to our present standards of living, it is at its height. The bud has blossomed, and the marks of age are a good five years in the future. "But this modern beauty has a test to meet, of which her sisters of the past were free. Of her are demanded {Continued 07i page pj) 27 Bull