Picture Play Magazine (Sep 1921 - Feb 1922)

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W« have been in the photographic business over 16 yrs. Write now* CENTRAL CAMERA CO. Dept. 399 124 S. Wabash Av. Chicago Write the Words for a Song We write the music, copyright and print professional copies which are distributed to over 200 performers and theatres and submitted to 80 publishers for outright sale. Our Chief of Staff wrote the GREATEST BALLAD SUCCESS OF ALL TIME. MilUons of copies of his songs have been sold. Bell Studios, 1490 Broadway, Dept. 702, New York YOU HAVE A BEAUTIFUL FACE BUT YOUR NOSE? IN THIS DAY and AGE attention to your appearance is an absolute necessity if you expect to make the most out of life. Not only should you wish to appear as attractive as possible, for your own selfJ satisfaction, which is alone well worth your efforts, but you will find the | world in general judging you greatly, if not wholly, by your "looks,"! therefore it pays to "look your best" at all times. Permit no one to see | you looking otherwise; it will injure your welfare! 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Chicago; 120 W.42nd St., NewYork Seed me roar Dew catalo£r illustrated in color with detafls of Warlltzer Complete Outfits, &ee triai and easy payment otiec. = NatM * Address ■ / Masical Instrnroent fn which J I am especially Interested. • Stat0 i The Art of Mabel Continued from page 83 nitely decided to be technical and make extensive use of the word "artistic," I was alive to the excellence and fascination of the BaUin backgrounds, and I was prepared to be enthusiastic. And I was. But my feet are of clay. My enthusiasm centered on "the art of Mabel Ballin's eyes." Her eyes remind you how painfully inadequate are your own and all the other eyes you have ever seen. She makes you realize that your friends have eyes, but only after a fashion. And they are not "limpid pools" or "wells of softness." They suggest nothing so untrained. They are sophisticated and artful, and she does the right things with them at the right time. They are quite heady, and I should think Wyndham Standing would forget his lines. All of Hugo Ballin's best effects in lighting and tones are really amateurish compared to the effect Mabel creates when she artfully looks at you artlessly and droops her eyelids ever so' slightly. She can do all sorts of tricks with her eyes. Not that she is the least bit obvious or flirtatious or frivolous with them, but she is generous. Her eyes suggest everything in the world and in their depths one may discover all of the feminine wisdom of the ages. I suggest that mothers with marriageable daughters send them to study Mabel's eyes before inviting Freddie Astorbilt up for dinner. Her eyes are really an education, and a study of them would benefit a girl much more than a course at Vassar. I might add that I was completely charmed by Mrs. Ballin after I discovered that she was aware of her eyes. I have no use for the listless beauty that doesn't recognize itself. I find a woman in a Tappe hat at the Ritz infinitely more engaging than Hannah in a hayfield. When I recovered from the first suffusion of Mabel's introductory glance I heard her saying: "Wasn't it funny?" I forced an eyebrow up under my bangs in interrogatory fashion. "Why, the balcony scene," she explained. "It's supposed to be funny. You see the people in a little mining town are giving tableaux which are supposed to be quite crude. Wasn't it funny?" she repeated a bit fearfully. _ I tried my hardest to see something funny in Mabel Ballin and Wyndham as Romeo and Juliet. If they had both used the balcony for