Picture-Play Magazine (Mar-Aug 1926)

60 s£S™by Vera's buoyant personality was cramped by the luxury of De Mille' s ballrooms, so he is starring her now as a factory girl, in "Sunny Side Up." The picture below shows her made up for her role in that. IN all her wildest visions, Cinderella never dreamed of having a grand time in a pickle factory. To the myriad Cinderellas whom the glamorous movies have made into beauties sumptuously clad, the gorgeous De Mille ballrooms represent the last word in attainment. Unmindful of the fact that oftentimes they do not belong in these surroundings, forgetful that each rising sun brings forward new contestants for the glass slipper, they dance until there comes a bleak day when their little slippers are taken off to adorn the feet of their successors, and they have no other shoes ready to step into. Not one of them, until now, has ever of her own free will discarded the glass slipper. But Vera Reynolds tried it on, decided that it fitted, even though it was a little tight, wore it for a while, and then, rebelling at its pain, kicked it off. This is, in a way, the story of a Cin Cinderella Kicks Off Vera Reynolds, realizing that she roles in which Cecil De Mille first the impish type of characterization By Myrtle derella who didn't jell. Forced into a mold, regardless of her fitness for it, she has been sensible enough to ease herself out of it with determination and tact. Some years ago, Vera Reynolds was a chubby little Los Angeles schoolgirl, whose afternoons and Saturdays were spent playing ball in the vacant lots adjacent to the movie studios. One fortunate day, the ball went over a high fence and Vera clambered after it. Somebody saw the roly-poly little girl and put her into the movies. For a time, she played in comedies. Her dresses were lengthened and her curls were done up, in an effort to make her look very dignified and grownuppish. Her quaintness and her impish pranks proved to be a happy combination for the hilarity of the short-reelers. With the influx of flapper roles, her natural vivacity was given elastic play in clothes and settings more suitable to her youth. This Cinderella was discovered hy the prince, Cecil De Mille, in "Prodigal Daughters," and the glass slippers were forthwith ordered, together with silks and jewels, for her debut's adornment. Hailed as a successor to those sartorial parade leaders, Swanson, Joy, ct at., she tried valiantly to accustom herself to the ballroom in which she felt so ill at ease, pretending not to notice the pain of the little glass slipper that squeezed too tightly. I watched her, at that time, with sadness tugging at my heart, for I liked Vera and I had been most enthusiastic over her pertness and charm in Gloria Swanson's "Prodigal Daughters," proclaiming that a new individuality had come to the movies. I regretted that her buoyant personality should now be so snuffed out beneath layers of velvet and ropes of pearls. I could sense the vitality behind the repressions that were hedging her in. Not long ago, I saw her again, and I chirruped gayly in response to the happy call from Cinderella, for I saw that she was now freed of her slipper. In a pickle factory, if you please, rioted a little gamin girl, with a song on her lips and a joyous dance a-whirling her restless, happy feet. Shod were those feet in sloppy big shoes, comfy indeed, but oh, dear me, not even second cousins to the delicate glass slipper.