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THE MAN MAKING UP FOR THE SCREEN By RAYMOND HATTON Famous Character Actor BUILDING screen characters is not, as is the view of many motion picture players and laymen, largely a matter of facial make-up. Make-up, of course, plays an important part in all stage and screen work, and a thorough understanding of the art of make-up is essential to all who have ambitions to make a name through the medium of photodrama. In a general way, I shall endeavor to explain the func- tion of grease paints. But, first, I shall try to correct the error most common to screen aspirants: that make-up and characterization are one and the same thing. No character in stage or screen history has been or ever will be a great character because of the make-up that has been a part of the roles he has played. Make-up is but a part of screen characterization, and, at the most, a rela- tively small and inconsequential part. Make-up—the make-up that counts—the make-up that makes one's characterizations into living, breathing people— is below the surface. Characters that have lived for you when you first saw them, the characters that will always live in your memory, are the imaginative creations of an artist's soul. The make-up that you associate with them has the same importance as the final coat of paint on an automobile. Lon Chancy in "Outside of the Law" was the most Chinese-like Chinaman of the screen that I have ever seen. His understanding of his role and his sincere feeling for it resulted in a characterization that approached the per- fection for which all of us are striving. Richard Barthel- mess, on the other hand, in "Broken Blossoms," was equally convincing, and, because of the nature of his part, rhore impressive but with less suggestion of the Orient in his surface make-up. Perhaps, as I have heard many players 19