Photoplay (Jan-Jun 1920)

92 Photoplay Magazine — Advertising Section June is the Bride's Month by long tradition. What care she bestows on her trousseau — her gown, her veil, her shoes, her hair ! But after all, it is the ungloved hand with its ring finger that is the most important. See her, as she stands like a queen, to receive the homage of her friends! It is the new-ringed hand their eyes rest upon ! Not only for this "day of days" but for every day, the use of HYGLO Manicure Preparations will make the hands beautiful. The HYGLO Complete Manicure CJutfit costs only $1.50 It contains full size packages of HYGLO Cuticle Remover and Nail Bleach. HYGLO Nail Polish in cake form, HYGLO Nail Polish Paste (Pink), HYGLO Nail White, with a flexible nail file, emery board, orange stick and cotton. These and other HYGLO preparations, including riauges powders, lip stick and mascarine, may be had separately at 25c, 35c, 50c and 65c each. Trial samples of HYGLO Cuticle Removerand Nail Bleach, and HYGLO Nail Powder, emery board, orange stick and cotton will be sent you on receipt of 10c in coin. GRAFBROS.,Inc. (Est. 1813) 127 WEST 24th STREET NEW YORK Harold F. Ritchie&Co.,Inc. Sel/itii^ Agents 171 Madison Avenue, New York, and 10 McCaul Street, Toronto, Can. This Ouirn $1.50 The Stage and the Screen I Albert Parker knows some things about both. By BETTY SHANNON i WOULD you be too upset if you learned that David Wark Griffith did not make the first "close-up" after all? It appears that the "close-up"' and the 'fade-in" and the "fade-out" and the "cutback" and those two flighty sisters "iris in" and "iris out" have not been, and are not now being, true to the motion pictures by any means, .^s a matter of fact, most of them — under other names, or v\'ithout names at all — were jazzing about with the stage before they ever met the screen. And all the while we've been saying, "O yes indeed, yes indeed, Griffith invented the 'close-up' and introduced it in 'The Adventures of Dolly" in 1008," we've been wrong. It may be that the first "close-up" known to history came into being on the walls of some vanished Egyptian city. Perhaps some Cleobara Patra, wanting to give the populace a treat, permitted herself to be gossiped about in hieroglyphics, and posed while the press agent chiseled out the "close-up" in a good, big likeness. Albert Parker cannot remember that far back, but he can tell you about the "great close-up of 180Q," which appeared nine years ahead of the adventurous Dolly. Only it wasn't called a "close-up." That name had not been invented then. "It was in 'Sherlock Holmes' with William Gillette," says Mr. Parker, peermg back into his memory files. Mr. Parker was • an actor before he became a motion picture director, and he has always noticed things like that. "At the beginning of each act, the curtain went up in the darkness on an unlighted stage which gradually brightened. At the end of each act, the stage lights dimmed again and the curtain rang down in the dark. The house remained dark for several seconds before the lights were turned on again. What would you call these lighting effects but 'fade-ins' and 'fade-outs'? "Then— as the stage lights went out on the last act, the spot light was left on at its full intensity. It was directed at the heads of William Gillette and his leading woman, framing their faces, which were close together, in a circle of light, while their bodies were blotted out in the shadow that gradually enveloped the stage. Now I ask you, what was that but a 'close-up'? "Though the faces of these two people were not actually enlarged or brought up closer to the audience, as they would have been in a screen 'close-up,' nevertheless, by fading out the background full of objects to distract the eye, and focusing the light and attention on their faces, the stage director gained the same intensifying effect that the motion picture director seeks in picture 'close-ups.' "Playgoers who saw Richard Bennett in Every .aiirertisement in PHOTOPLAY, M.\.0.\ZINE i5 giuiriinteed.