Picture Show (Nov 1919-Apr 1920)

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Buy a piece to-day, and you will find you have never tasted anything so uniquely delicious. Better still, buy two pieces and make or cement a friendship! " My Queen " consists of Creamy Nougat (made in the CLARNICO way, which just makes all the difference) covered in CLARNICO Chocolate— the Chocolate with the capital "C." All CLARNICO Sweets are of the same high level of excellence — the name is your guarantee. HAIR ON THE FACE Instantly and c-omTiletclr vanishes with EJECTHAIR.th. Testified Cure lor this hideou* afflictionS i in p It, Sate, and — Sn red Professional Guarantee Given — Sent in plain cover for 7d. Send now 7d. stamps to — Manageress, EJECTHAIR CO. (Dept. 8). 682,Holloway Rd.,London,N.19. DlADElVf hd:Rplace» WAX is a new form of skin food the oidinai v greasy face so largely used. Ifsof creating a smooth and e Delightfully sootb ng, it which carry its tonic pr< the true beantv lies— refi cello. It hi logs hack the youthful colour to the n /A cheeks which women so much desire. PKICK £.jKi All Robartes' products are guaranteed. Money leadily refunded in case of dissatisfaction. Of all Chemists', Perfumers and Stores, or a HiBt supply forwaidid direct on receipt of leinittance. Write for the " Dlnkie " Book, post free from— ROBARTES, Ltd. (London A Paris), Dept. 22A, Dyers Buildings, Holborn Bars, London. h.thert the skin, texture— silkv to the ton lickly alHiorbed by the pc ies to the undeiskin— wh ating tli ASTER (gl ^3 ropply'on Monthly Pay m §§i §§? 2§s *■»•'■■ gg gg Trench Coal i, Wal . gg gg SZ5 Jewellery, *c„»t 6/-,! J«3 S§? "" ,,,l,lv i"" Payments Rings! 10/-, and 20 post VI i it, i.' ' Terms, MasterB, % 3 Ltd., 94, Hope Stores. RYE * MAKING BRITISH PHOTO-PLAYS. No. l.-A Stroll Round the Studio. EVERYOXE who sees a modern film knows it to bo a wonderful piece of work. It represents the combination of many activities welded together into a perfect whole, that carries not only entertainment to those who see the film, but also a great many points of interest for all men and women. From the time when some bright, brain imagines a story that will make a good film and proceeds to work out that story on paper to the moment when the finished product is seen in a picture theatre, there are a vast number of separate but important things to happen, and in a big producing concern, such as the London Film Company, all those important things happen in the same spot. In other words, a modern fUm studio is self-supporting. Electrical installation, scene building, ' properties," developing and printing of negatives and positives, everything is done inside the hive of industry that is described by the general term of studio. The supplying of any ono " set ** — which is the technical description of any background put together for a scene to be plajcd in — means work for several different troops of people. In the illustration we give here you will see the producer, in this case Fred Paul, and his company, standing by while the finishing touches are given to a room in which a scene is to be ployed. Building and Painting the Scenery. IN the first place the carpenters have had the building of the scenery, and very solid it needs to be, for while the trembling of a canvas wall on the stage is bad enough, in a film it would spell utter ruin, so that carpentering for films very often means very fine wood and plaster work, and not canvas at all. Then the next step is the painting, and on this point every director and every scenepainter has his own pet theories ; but in the majority of cases varying tones of grey and brown are used with very heavy brush work. Stencilling is, of course, of great value in designs, but often lately it has been found that real wallpaper, for instance, gives a better effect than the stencilled design in more general use for the stage. The Question of Furnishing. NJEXT comes the bringing from the great [\ store of furniture the particular pieces needed : and that store may be called upon at any moment to furnish a perfect Jacobean drawing-room, a hall in a Norman castle, or a peasant's cottage in the most distant corner of the world. The head of each department has bis " plot " handed to hirn long before the film is staited, and every detail of the production is the responsibility of one particular man or woman, working with a largo staff under tliem. The scene set and the furniture placed, all according to pre-arranged scheme, next come soft furnishings — carpets -and rugs of a correct type, curtains and draperies, cushions, and lastly, ornaments. Real Meals are Laid. IF the scene is a part of the story that requires # meal, there is a table to be laid withexactl.v the right crockery and linen, whether it be in the country cottage or a house in Mayfair. Food is to be supplied — real food, for the earner* makes any imitation of this a ghastly mockery : and flowers for table decoration supplied and arranged by someone specially skilled in this, .particular art ; and in this connection there is ono thing to be borne in mind always, and that is that dead white can never be used with good effect for a screen picture. If you walk on to a set where there is an elaborate dinner table, you will find linen and china a soft dull yellow — never white. A man in evening dress has his big expanse of shirt front — whether up-to-date and finely tucked for the hero, or stiff as a board for aristocratic father — of the same yellow tint as the table furnishings. This is to prevent that terror of all photography, whether for stills or film.' halation. In some eases "a blue tone is of even more use than the yellow, as, for instance, in stone work or marble statuary : this L generally to be found a light Wedgwood blue. Built to ,be Destroyed. A STRAIGHT set, such as the Tudor hall, and. ante-< hamber of which we show part in our illustration, is a fairly easy task for the floor manager of a well -equipped film studio ; but far more difficult problems have sometimes to be faced. And when I say that the problems must bo faced, I mean that any setting demanded must be supplied. Quite recently, in. the huge studio at St. Margarets, a complete Japanese village was built. Every detail was correct — hotels, shops, private houses, paving — everything was exact to the design supplied, and everything was built, painted, or manufactured in the studio works— even the characteristic curly Eastern tiling of the roofs. It took ten days to build and was used for three hours. fV glimpse of the London Film Studio during working hours. Here you see FRANK CADMAN at the camera. FRED PAUL, producer, talking to him. SIDNEY FOLKER, his assistant, looking through the focussing glass. CYRIL PERCIVAL, < the leading man, on the table.