The Picture Show Annual (1928)

Picture Show Annual 117 makes her look curiously like beautiful, much-regretted Gaby Deslys, Isabel Jeans scans a morning paper—whilst Ivor dies, or nearly dies, for love of her, a few feet away. Soon Isabel Jeans will move on to the newly built " set waiting for the next " shot " in " Downhill." Ivor will get up from the floor, straighten his tie, brush back his thick, black hair with a careless hand, and perchance light another cigarette. A fine cuirassier is strolling across the studio at Crickle- wood. " How do you like me in a sardine-box ? " Jameson Thomas asks amiably. He is one who has a never-failing supply of jokes. Lilian Hall-Davis, quiet, demure, comes along. In ' Roses of Picardy " her hair is covered with a French peasant's lawn cap ; and a plain blue, close-fitting dress shows off her pretty figure. Her little face is pale as a lily, for she prefers light make-up. Dark rims add to the lustre of her sparkling eyes ; and her lips are red, but not too red, for she knows much about the secrets of powder aqd paint. There is a suspicion of fog in the studio, which means waiting about, but Maurice Elvey appears on the scene. " Come along, you two," he calls out, " and see how you look ! " This is always a welcome invitation to a star. The trio enter the little theatre that is attached to every studio, and part of the picture is run through in the rough, so that the director may see how his production is shaping. The stars watch breathlessly. Compliments fly round—or an impatient grumble breaks the silence. " Oh, don't I look terrible ! " No true artiste ever sees himself as he wishes to be, for he is always striving after the unattainable. Filming "Madame Pompadour ' at the wonderful Elstree studios. Spare Time Occupations at the Studio. Flora le Breton has a passion for gramophones. When she came over to England she left one behind at Holly- wood, but another amused her in the Piccadilly studios between " shots. ' Carlyle Blackwell has a flair for the antique, a passion shared with Rex Ingram, whose villa, built in the grounds of the famous studios at Nice, is filled with artistic treasures. In Carlyle Blackwells den in the Piccadilly studios there is pewter and oak, primrose walls, and black rafters. No wonder that he finds it a pleasant resting-place ! Betty Balfour is so keen on production that she often looks on," even when she is not taking part in the par- ticular " shot." Gladys Jennings—tall, stately—is a born mimic. In the most gorgeous period costume she will " take off " a phase of life whilst waiting for her " shot " that will convulse her fellow-workers with mirth. Mane Ault loves to tell a story—it is always an interest- ing one, too—of things she has done and seen. She has not only a genius for character work, but she has a remark- able knowledge of make-up. Many a young artiste is indebted to her kindly advice on this most important subject sandwiched in between " shots." Dorothy Gish is a delicious chatterbox, bubbling over with high spirits and infectious good humour. She favours a plain beige dressing-gown in the studio, and prefers to wear her lovely golden hair down when she is " waiting." She believes in relaxing, and no day is complete without the juice of three oranges! Like Betty Balfour, she is never tired of watching production with all the eagerness of a child. But when the time comes to make-up she is absolutely merciless with herself ; this is the secret of her power. There is plenty of fun behind the scenes. A little flirtation, a little music, a little laughter, and much hard work make up the atmosphere of movie life. The " crowd " is not dull, either. There is plenty to see, plenty to dazzle the eyes. Stars are not " stand-offish," as is sometimes supposed. They have meals in the same restaurant attached to the building. They are all intensely keen on the same thing—the suc- cess of the picture. There is no boredom, but terrific enthusiasm, for this new, fascinating art — the art of the film, which is only on the threshold of an amazing future. It is still in its infancy—the greatest medium for good or bad in the world—because it captures the heart of the million.