Movie Classic (Sep 1936-Feb 1937)

very artistic temperament but a thick and heavy accent as well — so thick and heavy that at first we had some trouble in understanding him. He must have everything "pair-feet !" So instead of trusting his assistants, he himself started "placing" the extra people ; three people must stand here, so ! Four more must sit there, so ! With all that care and thought it took plenty of time to place 500 extras. Hours were spent doing this, in fact the whole morning ! Finally, everybody was in position and everything just right to suit the artistic temperament of Mr. Boleslawsky ! Then into the center of it all were placed two of the principal actors who were supposed to be fighting a duel. When a certain word was called by Boleslawsky the actors were to follow directions at once and start fencing, the cameras were to grind and the extras to close in and show intense interest. Unfortunately the word chosen by Mr. Boleslawsky to start the duel was "Lunge" — for when it issued from his lips as "Lonch" every one of the 500 extras dashed from his place to — the lunch wagons ! I have a strange feeling that what he called us in Russian wasn't very nice ! OCCASIONALLY a director rides and harries a member of his cast in order to get what he wants out of a scene. If the plaA'er is important, sparks begin to fly. I was once on a set with Barbara Stanwyck when the director started in — "No, no, Barbara ! That's not at all what I want!" On and on it went — and Barbara was tiring under the strain of so much rehearsing. Finally one of the scenes called for a hurried entrance, followed by a highly dramatic speech. At the first rehearsal the director said, "Oh please ! Put some umph into it — this is supposed to be dramatic I" The second rehearsal was stopped by the direc tor yelling, "Try it again ! And put some uiitph into it !" Again it was gone through (beautifully, this time) and the director cried, "That's it ! That's got some umph ! Now we'll 'take' it !" Lights were set, everything was ready and the director yelled, "Action!" At that the red-headed star made her entrance to the middle of the set ; she cast one baleful glance at the director and, with all the drama in the world, cried, "Umph!" And walked off the set ! It isn't always amusing, however. Tragedies happen — even to movie stars ! There was one day on a set I shall never forget. One of the principal roles was being played by a newcomer from Broadway. She had one very important scene which the director was anxious to "shoot" that day and as six o'clock neared everybody was working like mad to finish. At last the camera was set and lights were adjusted. Just as they were ready to shoot, an assistant director handed the girl a telegram which had just been delivered. She read it, put it in her pocket and walked onto the set. Then she proceeded to give the grandest performance I've ever witnessed. She went through her scene without a hitch and when she reached the part where she was to burst into tears she did it so realistically that we were all close to weeping. Never, we said, had we seen such acting. When the scene was over and the director called, "Cut !" even the crew burst into applause. To our surprise the girl paid no attention, but continued to sit at the table, sobbing as though her heart would break. The director went over to her and said, "My dear, it's all over ! You were magnificent !" For reply the girl put her hand in her pocket and brought out the telegram which she passed over to the director. It told her that in New York her small son had been killed that morning in an automobile accident. ON top of that news she'd had the courage and the will power to go through her scene — but once the bars were down and the tears had started, it was simply more than she could control. That, my friends, is known as "intestinal fortitude !" Of course, the different stars have different ways of reacting to the situation and it's always interesting to watch. I gape and "tin-ear" like anything when a star is on the set — but when they repair to their dressing-rooms, I needs must take my gaping and tin-earring some place else. So I watch the camera being set up ; I hear an electrician yell something about a "Lupe" — that's a very hot light named after Lupe Velez ! And then there are always the other extras ! Pointed out to me, among the extra ranks, is a faded blonde whose only bid for fame is that she once had a date with Vanentino ! In back of me are two extras talking. One just returned from London. Upon inquiry all he can seem to remember about a seven months' sojournis that the "pubs" closed at eleven and,' gosh, the fog ! In front of me two girls are talking. One is going to change her name. She likes Dolores but she's going to take Joan — it's so "society !" Really, you meet the most interesting people! As for me, sometimes I get discouraged and wonder if it's worth it. At a time like that I feel like Baby Leroy, who, upon being asked by Shirley Temple how old he was replied, "Three years old ! And what have I got to shozv for it?" WINX Balanced Colors Colors either blend or clash. In make-up, this j means "naturalness" or that | harsh/'made-up" look. All / WINX colors blend 3 ways. / 1. With complexion. 2. With | eyes. 3. With each other. \ For example, WINX Brown Mascara blends with WINX Brown Eye Shadow or Eyebrow Pencil. Likewise, its tonal values are so balanced as to make it complementary to all other WINX colors. Thus, WINX gives you the secret of naturalness in eye beauty make-up. QjujJL ]^jexxwtLjfij2Ayy^ Movie Classic for October, 1036 79