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House, under the strong
lights of the stage, the green
and blue blend as soft, dark shadows.
"As Marguerite in 'Faust,' on the other
hand, my coloring is all in the tones of
pink and white and gold. To make the
natural blueness of my eyes carry away
across the footlights, I apply a very light
blue shading to my eyelids, and my lips,
instead of a vivid carmine, are a soft,
deep rose.
"As Tosca I am an auburn-haired
beauty, and I am careful to make the
most of the delicately brilliant tintings
that are requisite to accompany that
crowning glory.
"In the movies one is naturally restricted in accomplishing such a variety of color effects ; one must work on the principle of black-and-white. I use very little color make-up. On the contrary, any natural roses that one may possess are obliterated by a heavy, creamish paste, uniformly applied. Since red, as a color, photographs black, rouge on one's cheek would give the appearance of deep hollows on the screen. The powdered rouge, instead of being applied to one's cheeks, is worked in very carefully under one's eyebrows, for that is where the shadows are desired.
"But what one loses in color vividness on the screen one makes up in a hundred intimate expressions of the eyes, the mouth, the hands, expressions that can only be transmitted thru the camera and the strong and sometimes merciless light of the projecting machine. And this is what the motion picture actress must clearly and everlastingly hold in mind — that she is acting for an audience that is quick to detect any insincerity of feeling or any exaggeration in make-up. "The drooping mouth and the lifeless eyes which can be hidden under colorful make-up on the speaking stage, the faint lines that one gets around one's eyes from fatigue or dissipation — all these things are accentuated and magnified on the screen. "It may be that when the invention for projecting colored photography is perfected we will have the same opportunity of enhancing motion picture impressions as we have in opera, or on the dramatic stage. "Failing this colorful attribute, one must depend entirely on head-dress, costuming and facial expressiveness to look 'different' in movie roles that require that distinction. The way of arranging one's hair makes a great deal of difference. "The clever actress uses shoes, collars, combs, ear-rings and a hundred other little dress accessories to get the effect called for in the part. "In 'The Hell Cat,' for instance, the low-heeled shoes essential to the free, easy walking movement of the prairie girl, deducted several inches from my height. (Actually, I am not more than five-feet-five, but I sometimes achieve the illusion of tallness by "long-trained dresses.) To gain back the height lost by wearing low heels, I had the happy thought of wearing a tall, Spanish comb in my hair, which was perfectly in keeping with the character. "I wear no collars of any description, ever. I confess I am rather proud of my throat, strong and supple, as every singer's should be, and I give thanks as well to nature for the straightness of my back and shoulders, a horror of the (Continued on page 94)
Geraldine Farrar in he r famous picture version of "Carmen" and as "La Tosca" in the opera of that name
having