Photoplay (Jul-Dec 1938)

tues; also, in the dramatization of some of the old fairy tales and in stories of everyday life the world over. Our children should not be allowed to believe, however, that there are not other qualities in human nature: hate, greed, fear, dishonesty, malice and cruelty, these should all walk across the stage with the consequences which they may bring in daily life. Facing the realities is good even for the very young. Love of country may be inculcated through the movies as well as in many other ways. Children actually seeing fine episodes in their history and in contemporary happenings which illustrate the qualities of character which we wish them to acquire will get a point of view without listening to a sermon. Children should realize what a government in any country may do that is wrong and that patriotism consists in holding to the highest standards in public questions as one would in private life. Countries, like people, deteriorate under indifference and lack of attention from their citizens, and this can be well shown in the movies. IF THE movies undertake to be a factor along the above lines, they will become a strong educational and characterbuilding force, but primarily they will always remain, I hope, a form of enter tainment, and, as such, they fill an important place. I hope they will not take the place of the real theater, for anyone who appreciates and understands what the dramatic art really means will always feel the greater power and force of a personality as projected by a great actor or actress across the footlights. The movies, however, will bring knowledge and pleasure daily into the lives of many hundreds of thousands who can rarely see a finished professional dramatic production. As a purveyor of entertainment alone, the responsibility of the movie producer is heavy because his audience is vast, and so I want to say my last word on the question of creating good taste. The highly cultured people of the world are those who have good taste. There is, of course, a certain kind of robust fun, even vulgarity, which is not contrary to good taste, but some things in literature and the arts have always presaged decadence. Those things must be kept from the drama if we are to promote good taste. Here is the great challenge to the movie producer of the future — will movies be an instrument in the development of good taste and are we growing up to be a nation with artistic knowledge and appreciation? A Queen Comes Back (Continued jrom page 22) packed chests full of samples, styles, delicate originals and reproductions and sent them off to Hollywood. Meanwhile, Ed Willis, M-G-M's property chief, scoured France and Austria, raking together $100,000 worth of antiques of that decorative day. Aubusson carpets, Beauvais tapestries, Sevres porcelains, ormolu clocks. Copies of the noted portraits and rococo furnishings of the Louis' — Quinze and Seize. In a tiny cabinetmaker's show he unearthed a delicate little chair with the initials "MA." carved on the back. All these went across the sea to Hollywood and from each tiny scrap of authentic relic a comprehensive restoration grew, as cabinetmakers fashioned furnishings for a whole palace and Cedric Gibbons designed sets. IN all this Norma Shearer had no part. She made no demands and no suggestions about her part, the script, the cast — anything. Much of the extensive work took place, of course, while she was devoting herself to a year with her children, before she even contemplated returning to pictures. But even when she had decided to go back she refrained from interfering with any production plans, even though she, more than anyone else in Hollywood, knew the intimate plans Irving Thalberg carried in his head when he died. It was a supreme piece of tact. Because when Thalberg died he left Norma Shearer the largest single stockholder in Metro-Goldwyn-Mayer. She was literally the queen of the lot. A great many people expected her to run the show as she wanted it. But no one heard from her; no one saw her. Except the gateman. Long before anyone at the studio knew about it, or the newspapers guessed it, Norma Shearer started slipping in quietly in her car. Only late workers noticed the light that burned of evenings in her studio quarters. But none guessed she was there in the gown that weighed fifty-two pounds with its steel hoops, walking, turning, bowing, dancing, sitting down — to make her movements perfectly natural and graceful in the cumbersome habit. Only those who had worked with Norma Shearer before could have suspected the enthusiasm with which she was attacking every problem of her part as Marie Antoinette. It was as if she were hungry for the hardest work. As if she wanted to make up for someone who couldn't be there. She stood for three months, long hours every day, fitting and refitting the forty or so gowns Adrian had designed for the picture. She hurried from there to Albertina Rasch for tedious and tiring lessons in all the intricate court dances of the Bourbons. Then she practiced them by herself. A special white make-up which would give her the delicate alabaster beauty of the French aristocrats meant long hours with Jack Dawn and the testing camera. She read and reread Zweig's biography until the pages frayed. She sought out every technical advisor available in Hollywood on the manners and customs of the period. She tutored herself in a hundred diverse things. uO all of this was behind Norma Shearer the day she entered the great stage and smiled through the tears of a hundred mixed emotions. Yet there was a tense, strained air for a long time about the set of "Marie Antoinette." Norma was nervous. The cast walked around on tiptoes. The atmosphere was electric — charged with something about to happen. There were several reasons. One was that Norma's confidence in herself was by now strained to the breaking point. (Luckily the first rushes were exceptionally fine and reassured her. ) Another was that Tyrone Power, who was to play the main love interest with Norma, had never been loaned out from his studio before. With no other dressing rooms available, they had put Ty in "Ladies' Row" at M-G-M, in between Myrna Loy and Joan Crawford and flanked by Jeanette MacDonald — and it bothered him. Too, Tyrone and Norma had never met until now. But they had from "stem to stern" in this lovely *B.V. D. Dual-Control Suit! PREPARE, lady, to accent every lovely line —to smooth those dangerous curves! For B. V. D. has designed the most flattering swim suits that ever went to sea. Artfully, their fabrics sculpture your figure — their contour devices enhance your charm. Note the silhouetting sorcery that is yours in this maillot of "*Sea Satin by B. V. D."... Dual Control of the bustline makes you sculptor of your own silhouette. For the bust is raised and slenderized— the "evening gown" back is held to its lovely line — by straps that slip through rings in front and tie at the waist in back. High and Shirred— it's the bustline of perfect flattery. Well-tapered fullness is gathered into center tucks with a flowing ease that holds allure for every figure. Another B.V. D. triumph of swim suit cut! The Sea Hone is the sign of aquatic beauty, of sculptured lines and exclusive features created for your comfort and good looks. Look for this emblem on the smartest swim suit fashions for 1938! Figure problems disappear, fondest hopes come true, as you slip into a B. V. D. swim suit designed to bring out your own best lines. To B. V. D. go the honors for such torso magic —for such sparkling colors and beautiful patterns. And to you goes the admiration of every eye on the beach! (Back view) For suntanning siestas, and a lovely, even coat of tan, you simply untie the waistline bow of these clever "dual control" straps and arrange them in halter fashion. Mi » *Ret. U.S. Pat. OS. The B. (Front view) Beneath the gay floral print of this B.V. D. maillot, there's a tailored lining cut for lasting fit and comfort. All B.V. D. maillots are fully lined— skirted suits lined through the bust. Maillot, $7.95. Corporation, Empire State Building, New York City 85