Picture-Play Magazine (Mar-Aug 1926)

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30 Two Sorrowing An up-to-date bob and a red wig have transformed of the screen, into dashing women of the world. T WO patient, long-suffering wives of the have escaped their pigeon The picture above shows Florence Vidor in a former characteristically pathetic role. The oval and the picture below reveal her as she appears in the new, more sparkling phase, of her career. screen from holes. Florence Yidor and Irene Rich, both of them actresses accustomed to weeping, sorrowing roles, have undergone a striking change of type, with such success that they hope they may never again have to return to their former state of unhappiness. A very up-to-date bob has materially aided in the metamorphosis of Florence Vidor, but this has really been only an outward expression of a much more fundamental change. Something has happened to her actual personality during the past year. Long repressed, it has suddenly sparkled out into a lightness of spirit quite strange to the old Florence, but so delightful that the Paramount company have hastily seized upon it and put it to use. The result is that her career has swerved and is following altogether new paths. "The Trouble with Wives" was the first film to present her in a snappy role, and such was its success that the idea germinated of grooming her to grace the pedestal that might be left vacant if Gloria Swanson should make her threatened departure from Paramount. That company plans to make her the Lady Diana Manners of the American screen — sophisticated, refined, dignified, her every gesture one of poise and breeding but lightened by a delicate touch. In ''The Grand Duchess and the Waiter," this idea is definitely etched. A distinctly greater vitality also marks her interpretation, in "Sea Horses," of the high-spirited English girl who is married to an Italian, and whose drama is set in a small fishing village. k Following this colorful tale, gorgeous silks will be fashioned for her, novelties of the jeweler's art will embellish her beauty, and the new and sparkling side of her nature will probably be further emphasized with each succeeding picture. A red, bobbed wig was the means of Irene Rich's release. Ernst Lubitsch refuses to take credit for her transformation from the selfeffacing, pathetic wife to an enchantinsr temptress. The wig, he claims, is reL sponsible for the