Photoplay (Jul - Dec 1921)

Photoplay Magazine — Advertising Section ioi She Laughed 'Til She Cried! (Continued from page 27) But she does not act upon impulse — this daughter of a new era and a new art . Now, of course, it is perfectly true that there are no two things in the world so closely allied as laughter and tears. If you laugh long enough you will eventually cry. If you poke a baby in the ribs he will laugh. If you poke harder, he will weep. Marie Prevost has spent the three years of her picture existence in comedy. From the screen she has twinkled merrily through the mazes of slap-stick, delighting with her charming self and decorating very extensively the entertainment provided by her producer. She has been a gay and giddy little figure on the silversheet. She has worn her bathing suit more than well. Undoubtedly she has the real comedy instinct. She has managed the difficult feat of being funny without looking funny. I believe she likewise has the insf'net for pathos. I am convinced that she possesses that rare and wonderful combination of talents that can make you laugh with a lump in your throat and smile with tears on your cheeks. It is a dramatic gift that has risen to its heights in Laurette Taylor and Charles Spencer Chaplin. If she has it, she can take the earth in her small hand and juggle it about almost any way she pleases. "I cry easily, "she said half-shamedly. "If anything happens to babies, or little animals, or old people, it makes the tears come to my eyes, even if it isn't very serious. And — it's strange — but little things, hurts, humiliations, baby tears, always seem to affect me most." (And, you see, that is the instinct for pathos as differentiated from tragedy, as I take it.) She is French-Canadian, with a dash — a very big dash — of Irish. I am sure that much of her talent — or genius if she proves it such — comes from her sorrowing, laughing, hot-headed ancestors. Her hair is blue black, and has a big soft wave. Her eyes are a sparkling gray-blue, sometimes all blue, sometimes all gray, sometimes even a bit green, and their expression is very, very merry. Her skin is white, instead of creamy, and her mouth is little and red and quite pathetic itself. She uses her hands when she talks with the abandon of a Frenchwoman. She has a freedom from self-consciousness that is a heritage from the French side, I'm sure. She lives with her mother and sister, who is younger than she is and also in pictures. "I am glad — glad to be out of comedy," she said as she told me that she had followed in the footsteps of such famous predecessors as Betty Compson, Mary Thurman and Gloria Swanson and left the slap-stick for more serious form of entertainment and drama, "but just the same I wouldn't take a million dollars for the training I had. It gives you sureness and technique that nothing else on earth can give you. "But I don't like comedy. I never read it and seldom go to see a comedy. I'd like best to do light drama — or comedy-drama with a bit of heart interest." Personally, since Miss Taylor has refused to immortalize her own divine portrayal of Peg, I should like to see Marie Prevost as a screen "Peg o' my Heart." And I have an idea that's just the sort of thing that within the next five years will land her along side her former companions in comedy who have reached stardom with their more serious efforts. Let No Corn spoil one happy hour ANY corn ache nowadays is ^~\ unfair to yourself. You can stop it by a touch. You can end the whole corn in short order. The way is Blue-jay — either liquid or plaster. One moment applies it, the next moment forgets it. The pain stops. Then the corn soon loosens and comes out. Blue-jay has done that to not less than 20 million corns. Plaster I tdoesitin the right, the gentle, the scientific way. Harsh treatments are unnecessary now. It is vouched for by this great laboratory, famous the world over. 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