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SEPTEMBER 1925
Pictures and Picturepoer
17
Another time the lights were not right. Another tunc the polished floor wanted re mopping, and the studio-hands, who seemed more than usually dense, persistently and perseveringly ignored the centre bit, bang in the camera's eye! Then Betty discovered a speck floor i>olish on one ankle and called a halt wnilst she dabbed a little make-up upon it.
r which the director declared
that the floor polish had blackened the
s of her feet .nd that this might
show when she leapt in the air during
her dance.
Then the burning question arose should Betty wash her feet or not?
She didn't.
Finally, after over two hours' weary *■ work the scene was finished, and Betty and I retired to her dressing room. Her maid had taken a clay off with " severe indigestion."
" Whenever it's a roasting day like this." said Betty, with a smile, " she has an attack of ' severe indigestion,' and I have to wait on myself. In America they have a relative die or something like that on very hot days. Every country has its own excuses!"
She has a delightful sense of humour and a very ready wit. She told me funny stories whilst she was getting into her ordinary clothes, and
Below: "Agar" visits the grave of her husband.
1 think Helen Mar must havr bl<
the day when Betty bccaim a m star. 1 saw 'In thousand
pounds' worth of Reville costumes bought in London for Jacob's Well,
ami very, \ciy wonderful tiny
I noticed that, like all the smart
Parisiennes we -aw in tin Bois, Betty Blythe affects extremel} simple,
though rich, black attire for Mrect wear. Also that her hats are all tiny, immensely chic, and adorned with cunning little veils that come just over the eyes.
" It's the part of my life--' Agar,' " confided Hetty to me when she bade me an revoir. She will be at theft/* of a c a f i dancer at Haifa is hectic in 'J acob' s Well."
A scene taken at me Jewish cemetery, Jerusalem. London Coliseum this month and you will be able to see her in those won derful gowns of hers, and hear her sing and tell stories.
And, when the conductor raises his baton, and the house is all hushed waiting for the first note, you'll agree with me, I think, that Du Maurier's " Trilby " is a living, human person after all.
The vision' of "Agar," a clever bit of "double exposure work" by Rene Guissart (camera-man)