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JUNE 1922
TH & PICTUREGOE-R
19
Left : Marion Davies. Above: Ethel Clayton in " The Sins of Rozanne."
To adapt an ancient philosophy, the " lilies " of the kinema both " toil and spin," and Solomon in all his glory was most certainly not arrayed such as these ! Beauty on the screen to-day is gilded with greater splendour, and at a more prodigal cost, than has probably ever been the case in the history of the entertainment i world. The stage in its most extravagant phases has been far outstripped by the kinema. Producers at the moment are revelling in an orgy of financial lavishness. They have found that an unsparing hand, where the costuming of a film is concerned, has a large bearing on the success of a picture and the popularisation of a " star."
Also the camera demands realism in screen raiment. The relentless eye of the lens cannot be deceived. It cruelly reflects the shoddy and imitation in dress. But it will bring out the attractiveness of luxurious furs and the allurements of expensive silks and satins.
It is casting no aspersions on the talent of Mae Murray to suggest that her success as the butterfly of the screen is to a large extent due to her gorgeous clothes. This f air-In ired star's dazzling succession of silks and laces in which she flickers across the screen cost in the vicinity of ten thousand a year. Mae Murray is one of the greatest screen spendthrifts. Through her extravagant costumes, she seeks to express her persenality as a luxurious woman of the world. In collaboration with Bob Leonard, her husband producer, she designs most of her screen costumes, although many of her dresses of delicate, sensuous impressionism that she wore in Peacock Alley and Fascination were procured from Paris. In The Gilded Lily, Mae Murray spent hours working out the design of her costume in the famous bubble dance, when she emerges from a nine-foot basket of gilded wood surrounded bv balloons of four yards in circumference.