The New Movie Magazine (Jan-Sep 1935)

FOUND ! I EASY WAY TO PREVENT UNDER ARM Here is something that will make your job of keeping sweet just twice as easy. It's a new kind of deodorant. No need to spread it on or rub it in with the fingers. No need to dig into a jar. No waiting for it to dry, and you can use it right after shaving. This new deodorant is the size and shape of a lipstick — applied as easily as a lipstick. A few touches to the armpits and you are protected against odor for the day. Its name? Perstik. And because it is the size and shape of a lipstick, it is easy to keep in your purse for use during the day or evening. If you have ever — even for a single moment — suspected the presence of under-arm odor when you are away from your boudoir, you will appreciate having a Perstik with you in your purse at all times. Department stores and druggists throughout the world feature Perstik. 50c. Or send 10c for trial size to "Perstik, 465 Fifth Avenue, New York City." Pjuidilk. THE ORIGINAL "LIPSTICK" DEODORANT Why the Stars Can't Stay Married (Continued from page 16) born that way and they cannot, for the life of them, be anything different. Therefore, also, since they pretend love so much while at work, they also pretend love after they get home. Indeed, steeped in pretense as much as they are, most actors almost lose the ability of determining whether the feelings they themselves experience — those that are their very own — are true or false. Small wonder, then, that so many love unions in the acting profession end upon the rocks. If you are continually pretending love, if you are forever acting it instead of feeling it, how can you ever be sure that the love you experience for anyone is of the genuine, hotblooded, human variety or a pasteboard imitation of the real thing? ACTORS are what science calls "introverts." An introvert is a person who turns his emotional stream inward instead of outward. Such an individual is imaginative, given to phantasy; sometimes he is unduly elated, then again unreasonably depressed. Always is such a person impractical, seldom is he or she good at business details. The introvert gets more fun out of playing with his own thoughts, all by himself, than out of contacting with the world outside — with reality. All artists present such introvert characteristics. And being moody, more or less shut-in and impractical, all artists are mighty hard to live with. It must be remembered, also, that actors, as a whole, are clannish and that they soon lose contact with the outside world. It is surprising, for instance, how frequently they are disinterested in world affairs, politics, current events and the like. The result of this clannishness is, however, that they too frequently marry other actors, other persons too much like themselves. It is inevitable that such similar natures, especially similar natures that are rather unique, should clash. The average actor would undoubtedly do better if married to someone who is as different from his own nature as day and night. The feminine screen star should marry a hard-boiled, unemotional business man or a strong, practical, unimaginative boiler-maker. The male screen star should marry a woman who is not stage struck, who wants to be a cook and a mother, and who knows how to hide away the dollars in the savings bank. To be sure, not all actors, whether male or female, are unstable. There are a few who stay married and seem to be as happy as other folks. Lionel Barrymore is a case in point, so is Fredric March and Harold Lloyd. These screen celebrities are, nevertheless, the exceptions that prove the rule. WE must not forget, too, that the actor's job is a mighty hard one. Studio work is nerve-racking in the extreme. Again and again is the same scene "shot" until it is perfect. Pretending to be somebody else takes it out of one more than being oneself. Nor do the hot, glaring lights and the hush-hush that must be observed for the best sound effects help the nerves. Thus, when the actor gets home he or she is more or less "all in." Irritability is likely to reveal itself at the slightest provocation, if not anger, ^j0SBm*^> "Every bride knows a secret that every girl should /earn... she knows how to charm," an exquisite bride confided. "My beauty rules are different. I would never dream of making up without first putting on a few drops of perfume. Instantly its fragrance makes me a new person . . .joyous . . . confident . . . alive! Only then am I sure that my cosmetics will make me look the way I want to look." What a marvellous method of make-up ! You really won't believe what wonderful results it will have until you try it yourself with Blue Waltz Perfume. Almost as though you were touched with a magic wand, this exquisite perfume makes you feel different . . . lovelier . . . more glamorous. The very lines of your face seem to change . . . become softer and more alluring! Now you are ready to apply Blue Waltz Lipstick and Blue Waltz Face Powder. You may be sure they will blend perfectly with your natural beauty which Blue Waltz Perfume has awakened. See how warm and luscious your lips look. Notice what fine, fresh, smooth tone this luxurious powder gives your skin. And if you cannot believe your own eyes, the admiring eyes of others will tell you the truth ! You are really unfair to your beauty. . . and to your natural yearning for romance ... if you don't buy Blue Waltz Perfume and Cosmetics today. For your protection they are "certified to be pure". Sample sizes only 10 1 each at your 5 and 10 i store. Blue Waltz Perfume, Face Powder, Lipstick, Talcum Powder, Cold Cream, Brilliant me, Toilet Water „^«« H»«iii* Mr Blue UUdLta PERFUME AND COSMETICS O FIFTH AVENUE • NEW YORK harsh words and possibly violence. To be sure, all this is as dynamite for domestic bliss. The sensitiveness of the actor should likewise be stressed in this connection. It is his work again that makes him so. After all, the actor must possess a finely attuned and high-strung nervous system if he is to respond to the changing feelings that his various roles demand of him. An actor or actress must be a fine musical instrument, as it were, to be good, with the strings all taut in order to catch the every subtlety of feeling. But of what advantage is such a nervous mechanism when the maid fails to put in an appearance, Junior has broken a neighbor's window, or some other thing somehow goes wrong. AT the slightest sign of hostility from ■^* from any source, animate or inanimate, the actor will flare up like a skyrocket. Oversensitiveness will at once overwhelm his reasoning, his judgment and his peace of mind. Indeed, this one trait alone is responsible for many of the Hollywood divorces. As far as the males are concerned, actors usually do not make specially satisfactory lovers in reality, despite the ability shown on the screen. This is because — and their general introvert tendencies are responsible — they are not aggressive enough, nor do they possess the spirit of the conqueror where love is concerned. Too much adoration is bestowed upon the masculine screen stars by their multitudinous and admiring fans. That is, too much adoration for their own good. After all, why should a man bother when millions of women behold him in flattering and heroic parts on the screen while thousands of others write such worshipful letters? Is it any wonder such stars become conceited? A conceited man isn't much of a lover. He doesn't feel that it is necessary to make love; he rather expects the woman to pursue him. Which, of course, is all wrong. A woman wants a man to conquer her, overwhelm her with his affection, break down her resistance with which she fortifies herself in order to feel the thrill of surrender. Surely if a man makes a poor lover he is not likely to hold a woman long, marriage or no marriage. Lastly, the frequency of divorce in the film colony is somewhat motivated, at least by suggestibility. Have you ever noticed how you tend to repeat an act that you hear has been performed several times — in other words, how you tend to imitate others? If it were not for the suggestibility streak in all of us there would be no such thing as styles, social customs, travel and the like. And just as you feel a stronger desire to marry, let us say — assuming you, my dear reader, are not married — when your best friend or two or three of your friends have married, so also do the movie people feel a stronger urge to separate or be divorced when all around them, in their own intimate circle, so many "split-ups" are taking place. Indeed, suggestibility can be so strong, even without our consciously realizing it, that we may be impelled to do things even without actually desiring so to do. Why the stars find it so difficult to tell whether they are in love or not, after which they seem to find it even more difficult to hold on to their love, presents many interesting angles. These and their psychological explanation should prove of practical value not only to the actors themselves, but to us as well who are not in the movie field. In the last analysis, the actor folk are human the same as we. What is true of them — that is, what is true of the motivations that make them the way they are — likewise is true of us all! 42 The New Movie Magazine, June, 1935