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the GREASE PAINT WAY because they all play their part, and no two faces are alike. The lines on your face when you laugh, frown, raise your eyebrows, screw up your eyes, and so on, are the basic ones. And on these the make-up man paints his picture of old age. Sometimes he has just to make his subject age normally— more often than not, however, he has definite restrictions imposed by the character the actor or actress is playing. For instance, the make up of a man aged by debauchery or disease would be entirely different from the make-up needed for the same man who had lived a normal healthy life and aged naturally. But the make-up man can do only a limited part in creating the illusion of old age. It’s the actors and actresses who have to finish it and on whom its ultimate success depends. Where the make-up man leaves off they begin. And though they have in reality to suggest just one thing, if their character roles take them past middle age, it's such a subtle and complicated process that there are few who really make a complete success of it. That thing is loss of power. And it’s something that spreads throughout the entire body, manifesting itself in innumerable ways—movement, poise, voice, sight. Players may appear old, but to act as if they were old, is not easy. * f. A ■ Here's lovely Barbara Stan- wyck■ Can you imagine her at the ripe old age of 102 P The make-up man on “ The Great Man’s Lady ” had to. The upper picture shows her about half-way through the years. On the left is Nils Asther, who returned to the screen after a long absence. Formerly a popular romantic hero, he is seen above in the character role of the middle-aged musician in “ Mary Names the Day. Left: Orson Welles, the brilliant young stage actor who made a startling film debut in “ Citizen Kane.” " Here's Orson Welle s—a s Kane when he was middle- aged. The film took us to his death as an old Im' ^ Charles Laughton in “ It h Started with Eve.” Charles Laughton is still in his early thirties—but those who saw “ It Started with Eve ” will remember him as the lovable old re- probate who started the film on his death-bed, smoked smuggled cigars in the sick room, and danced with Deanna Durbin.