Photoplay (Jul - Dec 1936)

92 PHOTOPLAY MAGAZINE FOR DECEMBER, 1936 iife*»^S%«? COLORLESS— Pale, scraggly, scanty lashes — eyes seem small, expressionless. A definite need for proper eye make-up. CON SPICUO US-Ordinary mascara overloading the lashes in heavy, gummy blobs. Hardlooking and unattractive. CHARMING— Dark, luxuriant lashes, yet perfectly natural in appearance — with Maybelline. Eye make-up in good taste. ;i femdy^£mt Your eyes are your most important beauty feature — or they should be! Are you making the most of their possibilities by framing them properly with long, dark, lustrous lashes? You can do this best by applying just a few, simple brush strokes of harmless Maybelline, the eye make-up in good taste. No longer need you worry about having pale, unattractive lashes, nor fear that hard "made-up" look if you darken them — with Maybelline! ■A Maybelline is non-smarting, tear proof, and absolutely harmless. Cream-smoothness of texture — utter simplicity of application — tendency to curl the lashes into lovely, sweeping fringe — these are some of the wonderful qualities which make this the eyelash darkener supreme. ir You will adore the other delightful Maybelline Eye Beauty Aids, too! See with what ease you can form graceful, expressive eyebrows with the smooth-marking Maybelline Eyebrow Pencil. Try blending a soft, colorful shadow on your eyelids with the pure, creamy Maybelline Eye Shadow — it deepens and accentuates the color and sparkle of your eyi ir Maybelline Eye Beauty Aids are preferred by more than 10,000,000 discriminating women as the finest that money can buy — yel (hey are nominally priced at leading toilet goods counters everywhere. Generous introductory sizes of all Maybelline Eye Beauty Aids may be had at all 10c stores. Try them today — you'll be delighted! Maybelline's worldfamous, economical Solid Form Mascara, in the brilliant red and gold metal vanity — 75c. THIi WORLD'S LARGEST SELLING EYE BEAUTY AIDS scene with Brian Aherne, who is as tall as she is tiny. The story revolves around the Irish rebellion. He is the leader of the rebels; she is an Knglish girl, in love with him, who tries to bring peace between Ireland and England. In this scene — in a beautiful English living room — they are to say a tragic, passionate farewell. In their rehearsals, the difference in their height amuses both of them. Time after time, Brian leans over Merle as the scene begins, then bends to take her in his arms and kiss her; and time after time both laugh at the awkwardness of their attaining ardor when they are starting "miles apart." The problem finally is solved by having Merle stand on a board. Before the rehearsals and "takes" of this one scene are completed, Merle and Brian embrace and kiss forty times. A full afternoon's work. Also in this picture is David Xiven, who plays a young Englishman hopelessly in love with Merle. In real life his case is far from hopeless. This is not one of those publicity romances; it is the real thing. And there are rumors of a Christmas wedding in either England or Scotland. At M-G-M we discover that Garbo and Robert Taylor still are making "Camille" — still on a sound stage that is hermetically sealed against visitors. William Powell and Myrna Loy are in San Francisco on location for "After the Thin Man." Freddie Bartholomew, Spencer Tracy and Company are at Catalina on location for Kipling's "Captains Courageous." The Marx Brothers, mourning the tragic death of their producer and greatest friend, Irving Thalberg, have temporarily stopped all work on "A Day at the Races." Joan Crawford and Clark Gable are not starting "Parnell" for several days. Nelson Eddy and Jeanette MacDonald have temporarily finished "Maytime." That leaves the set of Eleanor Powell's "Born to Dance" as the lone M-G-M set to be seen at the moment. This million-dollar musical has been "covered" before — but we want to see the new addition to the cast. He is Reginald Gardner, who appeared with Eleanor in the Broadway show, "At Home Abroad," and stopped the show nightly with his antics. Eleanor told M-G-M about him. The set is a huge park, built entirely indoors against a photographic background of skyscrapers. The grass is real; so are the trees. On top of the back of a park bench perches James Stewart, in naval uniform and with his hair slicked down for practically the first time in any picture. In front of him stands Eleanor Powell, who can't keep her feet still even when she is relaxing. Up to them walks Gardner. dressed as a park policeman. With terse, silent command he bids Jimmy to take his night-stick. With sharp, silent insistence, he hands his cap to Eleanor. With a flourish, he takes a balloon out of a nearby ash can. breaks off' the stick near its tip. and raps the can with the stick as a symphony conductor would rap a music stand with a baton, to claim an orchestra's attention. He raises the stick, as if about to lead an imaginary orchestra — and out of thin air comes the first strain of a new Cole Porter tune. As it moves on from bar to bar. Gardner anticipates each note with extravagant gestures. I leanor and Jimmy have to register amazement Everybody else on the set. being behind the camera, can register amusement. Gardner gives a hilarious, burlesque of a wild-eyed, wild-haired conductor. He is a facial gymnast, an expert at a rapidly vanishing art. Pantomime is about the only thing you never are prepared to expect, these days, on a n set.