Photoplay (Jan-Jun 1953)

P SOAP Now at lowest price! Cashmere Bouquet Soap Adorns your skin with the fragrance men looel Only one soap gives your skin this And Cashmere Bouquet is proved extra mild . . . leaves your skin softer, fresher, younger looking! Now Cashmere Bouquet Soa]> — with the lingering, irresistible ‘’Iragranee men love” — is ])rove(l hv test to he e.vt/Y/ mi/d too! Yes, so amazinglv /iii/d that its gentle latlier is iileal for (ill types of skin — dry, oily, or normal! And daily cleansing with Cashmere Bouquet helps bring out the flower-fresh softness, the delicate smcjothness, the exciting loveliness you long for! Use Cashmere Boinpiet Soap regularly . . . for the finest complexion care . . . for a fragrant invitation to romance! Change of Face (Covtivned from page 59) they were gleefully saying to eaeh other. “But if she is another Jean Harlow,” said one executive, ‘‘we should make her look like Jean Harlow.” So they called in a make-up man who compared photographs of the two girls. “Is this what you want?” he asked, pointing to the Harlow high, thin, arched brow. “Or this?” pointing to the now-passe bowed lips. “We . . . 11,” hesitated the executives, ■‘not exactly. It’s a shame to destroy Marilyn’s natural loveliness, isn’t it?” ■‘A shame? It’s criminal,” exclaimed the make-up man. “You don’t wear last year’s dress, and you don’t wear last year’s face. There’ve been some changes made!” How did these changes come about? The Motion Picture Make-up Artists and Hair Stylists, that all-important group who work with the world's most glamorous w'omen, say that there are several basic reasons. “Today’s young stars,” said Karl Herlinger, “have more naturally beautiful faces, and it hurts us to cover up that beauty. But in the Twenties, the whole secret of appeal was supposed to be an oval face. If a star didn’t have one, no matter how lovely she was, we made one! Believe me, for the square-jawed gals this wasn’t easy. It took pounds of putty and powder to landscape those faces.” The recent trend of pictures about the Twenties raised this very point. Lovely Debbie Reynolds of “Singin’ in the Rain” and cute Piper Laurie of ‘‘Has Anybody Seen My Gal?” were scheduled to get the full make-up treatment. This called for circles of rouge on the cheeks, mascarabeaded eyes, heavy-straight brows and cupid-bow lips. Poor kids! They gave them the works for the tests. But one look — and everybody immediately agreed that they could hardly see the girls for the paint, let alone their natural beauty! So the makeup men started all over. Their goal — to achieve the effect and save the face! But there was a time when even the make-up man knew little about saving face. Facial composition and contour were not in his vocabulary. But glamour was, and Theda Bara had it. “Make her sultry,” was the order. And the make-up men went all out. You recall the straight, menacing brow, heavy mascara and beaded lashes. But you’ll also recall what the results of these were. Two black burning holes in Theda’s face and — no eyes! So the brows began to go up ... up .. . and pretty soon they went off entirely. They were then penciled back in, arched in a curve and towering. The extreme fads of the Thirties followed the temperament of the Twenties. A natural outgrowth of this 23-skidoo era of look-alike make-up was the need for individualization. Hollywood immediately set the trend for trade-marks. ‘‘Joan Crawford’s own brand,” recalls William Tuttle of M-G-M, “was the exaggerated lipline. If only the millions of women who attempted to copy it had realized how it started! For Miss Crawford’s famous mouth was an outgrowth of her characterization of Sadie Thompson in ‘Rain.’ And we all know who Sadie Thompson is. In striving for a daring effect Joan emerged with the generous mouth. It evoked so much comment she kept it — and so did her millions of fans!” “But Joan Crawford,” says Paramount’s Harry Ray, ‘‘was equally responsible for bringing back the natural eyebrow line. This was in the Thirties when the brow had reached its peak — high-archrd and pencil-thin. I had seen Joan on the screen and wondered why she looked so different. 74