The New Movie Magazine (Dec 1929-May 1930)

FIRST AIDS to BEAUTY By ANN BOYD BECAUSE the movies, in a thousand pictures, continually emphasize the most important features in fashion and beauty culture, it is best in an article of this kind to illustrate with examples which you may find on the screen. As you know, before the stars and featured players are selected for any production, considerable attention is given to their appearance. It is to the advantage of a producer to obtain from his players, not only their best acting ability, but to emphasize their most attractive personal qualities. Sometimes, in fact, this stress on beauty is almost overdone, but the public seldom complains on this score because it is accustomed to looking to the screen not only for story entertainment but also for beauty hints, fashion tips and lessons in interior decoration. When an actress, for instance, is cast for an important role in a picture she is usually given a preliminary costume and make-up test. Even the stars who have been before the camera for a long time make these tests because every new character requires some slight change in facial make-up, a more drastic change in head-dress and, naturally, a completely new set of costumes. All these differences in the physical requirements of a role must first be tested before the camera to make sure that they register well. Then the intelligent director carefully studies the facial angles of the members of his cast. Because the success of a director depends on the attractive way he presents his players, he wants to make the feminine members of the cast look as beautiful as possible. He is, after all, an artist and he wants to achieve balance, harmony and charm in his picture. THE experienced actress has learned, by long study of her camera possibilities, what are her best angles, what idiosyncrasies of dress and make-up she must avoid and what physical qualities she must stress. The newcomer to the screen must learn these points from her director or cameraman — or else by hard experience. Now you, even though you are a non-professional, can give yourself a screen test. Let us see how the process works. Take the case of Jeanette MacDonald who plays opposite Maurice Chevalier in "The Love Parade." Miss MacDonald is quite tall for a screen actress and this is not always an asset. But Ernst Lubitsch, her director, cleverly made the most of her height. All through the picture you will find that Mr. Lubitsch has stressed the fact that Miss MacDonald has a beautifully graceful walk. Miss MacDonald walks miles through the most elaborate settings. Her grace of movement gives life and vivacity to a score of scenes. If you have seen Miss Helen Morgan on the stage or in the talkies, you probably have noticed her fine, eloquent hands. Miss Morgan knows that her hands are just as important as her voice. They give her an impression of fragileness and daintiness and helplessness that is most appealing. Even though she is not particularly fragile, she creates the illusion by her hands. {Continued on page 111) Jeanette MacDonald demonstrated the correct way to sit. Lower left, cross the ankles, if you will, but never the knees. Relax against the back of the chair but do not slump. A restful posture may be achieved by placing the feet together, as at the lower right, with the shoulders touching the back of the chair. 102