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14
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Stellar
Supports
From the knee down; some new aspects of your favourite stars.
Can any of my well-informed and sophisticated readers tell me what disgraceful quality there is about the human leg likely to cause a blush to burn upon the cheeks of the young?
When I suggested the subject of this article to the Editor of PICTUREGOER he looked faintly troubled. " You'll have to write it with discretion," he told me. " Personally," he added, with tha» sublime sacrifice of self so characteristic of Editors, " I don't mind zuhat you say about the stars' extremities, but some of our readers are of tender years."
I suppose there is a mysterious something about, legs that warrants this remark — I really can't say. All I know is that some legs are fat and some thin, some bandy and some bow, some good to look upon and others the very reverse.
Right : A bit of Betty Compson Woman to Woman."
Left : Cecile Evans whose shapely understandings carry 100,000 dollars insurance.
NOVEMBER 1924
There was a time when a film star's legs seemed no different to me than the legs of any ordinary person. They were just that part of the human mechanism necessary to enable one to move about. Very inconvenient to do without, of course, but negligible from a dramatic point of view. Recently, however, I have changed my mind. Legs, I find, loom large in the Hollywood chronicle of fame. Shapely ones
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Above . The from Los the way of shoes and
latest in stockings, garters.
Right : Margaret Livingstone, a new star Zi.-ho shakes a leg with the best in"The Follies Girl."
Mack
Sennctt
girls arc
always shapely.
Gladys Tennyson
(above) is a very fine sample.
are rated high. Those of Julia Faye, supposed to be amongst the loveliest in Hollywood, have doubled for many a star whose own extremities would not bear the cruel exposure of a close-up. Mack Sennett has had those of Cecile Evans insured for 100,000 dollars, which is the highest valuation put on any pair of legs in Hollywood.
Dut it is not only from this — shall I say artistic? — point of view that the legs of the famous are to be considered. They have a dramatic value that is unmistakeable when one studies them upon the silver sheet. It is customary to call a man an " actor to his fingertips." Why not " an actor to the tips of his toes?"
Think for a moment of Lillian Gish. Perhaps you have always been to engrossed with those fluttering hands of hers and the wistful, tearful smile to pay much attention to the rest of her. The next time you see her in a film keep your eyes on her feet ! They're worth watching, for she can express more of human emotion with them than many another actress does with her whole body. Watch them subside from little, half -unconscious skips of joy into a state of quiet expectancy. Frightened they can be on occasion — hesitant, uncertain. Terror is as easily