The Matrimonial bed (Warner Bros.) (1930)

H “THE MATRIMONIAL BED” — A W arner Bros. and Vitaphone Production } f RIAL “BED 1-Col. Ad—Style L—Cut or Mat (Current) Latest Paris Frocks In French Farce Paris seems determined to bring about a complete change in feminine fashions this season and Hollywood is worried. The comparative stability of styles in woman’s clothes in the past has been an unmixed blessing to the wardrode departments of Hollywood’s studios and to producers generally. No financial consideration enters into this blessing for every picture is dressed anew whether styles change or go on forever. But the comparatively slight change in styles enables a designer to dress the -qvomen of a picture authentically in “ne clothes of a few years ago when >~Sestory demands it, without giving “®e audience a laugh that might spoil a dramatic sequence. In “The Matrimonial Bed,’ the Warner Bros. picture, now at the Sa ieee Rate Theatre, imported Paris gowns are worn, (Short Feature) TALKING SCREEN ONE PLACE WHERE FIGURES DO LIE Consult the Figures in Warner Bros. and Vitaphone French Farce, Now at “Figures can and do lie—espec lially on the motion picture screen. It is the camera that makes them lie and it is a source of trouble and discomfort to women players who have a tendency to put on a flesh and have to struggle against a sweet tooth.” It is a film star noted for her figure—a figure perfect in its slenderness without sacrificing feminine curves—who speaks: lLilyan Tashman, a featured player in “The Matrimonial Bed,’ one of Warner Bros. first Vitaphone pictures for the new season which has just been completed at the Hollywood studios by Director Michael Curtiz. Miss Tashman owes her first stage opportunities to her figure—she was one of the Ziegfield ‘Follies’ beauties some years ago. It was partly responsible for: her early screen engagements, but she soon showed such histrionic talent that she was advanced to leading roles. But she has never neglected her figure which is as trim and dazzling as when she was in the “Follies.” “The camera,” continues Miss Tashman, “has a tendency to make a woman look stouter on the screen than she is in reality. That’s the reason why some contracts with feminine stars and leading women provide that they must keep their weight under a certain figure. It’s a clause that leads to much trouble and -agonizing—to eighteen day diets and sometimes to operations to prevent the unwelcome avoirdupois from accumulating. “But figures must be kept slender. Otherwise the actresses find themselves relegated from leading roles to character and comedy parts. A fat heroine is an anomaly on the screen where girth leads to mirth. That is why ‘girth control,’ as Irvin Cobb called it, must be practised by screen actresses at the cost of half starving themselves and much agony of spirit. Unwelcome flesh is an enemy to be fought off at all haz ards. Avoirdupois on stage and He Couldn't Remember in Which Boudoir He Belonged! < ' WARNER BROS Qe Rear see Ne present Theatre screen is an engenderer of mirth an comedy, and nothing is more deadly than for a screen heroine to arouse mirth in a romantic, dramatic or tragic moment. “Then, too, the screen is a harbinger of the new styles in feminine wearing apparel—and styles are de signed for the slender woman, never for the stout. A glance at any of the fashion magazines establishes that fact at once. A producer would never allow a stout woman to introduce the coming Paris fashions in a new picture. The slender figure must be maintained, and because figures can and do lie on the screen through the camera’s mendacity the ee ae actress must ever be on r guard against i iti Pens Ae eh creeping ambition (Short Feature) How Lilyan Tashman Retains the Beauty Which Women Envy Miss Lilyan Tashman who appears in Warner Bros. latest Vitaphone production, “The Matrimonial Bed,” now at the © Theatre, says: “Natural blonde or golden brown hair is go lovely that it is heartbreaking to watch it darken as a woman grows older, Resorting to a bleach ig unsatisfactory, therefore it is wise fo rthe golden haired girl to take measaures to pospone the darkening process for many years. A camomile tea rince each time the hair is shampooed is effective, This will bring out all the lovely lights in the hair and preserve the natural color. “Prepare the tea just before the shampoo so that it will be ready for the rinsing. Use one teaspoonful |of tea to a quart of hot water and let it brew just as you would ordinary tea. When the hair is thoroughly washed and rinsed, pour the camomile tea over it as the final rinsing. “Of course, blondes must keep their hair and _ sealp scrupulously clen. In most cases, the weekly shampoo is a necessity. | The Schoolgirl Complexion | “Despite the fact that many beauty experts claim it is injurious to the complexion, I do not think it is possible to have lovely, fresh skin without the use of soap and water. Cleansing with creams or oils exclusively is probably necessary for the person with an extremely dry skin, but this condition also requires medical care, I am sure. “For the normal skin, a soap and water face bath, followed by “an icy rince, is a stimulating tonic. Once a day is sufficient for this treatment. Use a very mild soap with warm, not hot water. Finish by dashing cold water on the face, (a piece of ice in the water if it is not cold enough) or making a cold mask of the cloth, pressing it to conform with the facial contour and holding it thato way for a few seconds. “After the complexion bath, a gentle massage with a light, rich cream will prevent dryness and leave the skin soft and youthful. The best time to cleanse the face in this manner is just before retiring. In the morning a cold water splashing will suffice. During the day, whenever it is necessarv. clean the face with a thin cleansing cream—the kind that melts as it touches the skin, carrying the dirt away without strenuous rubbing.” WARNER BROS. present THE Women looked at him and said, “What a man!” But his wives didn’t mean what his sweethearts did! MATRIMONIAL self Elysees. sets of children, he faced enough trouble to make him want to go to sleep again and never wake up. Here’s the last word, the last syllable and the last letter in spicy entertainment. Believe it or not, Rip Van Winkle was a.Frenchman! a blank from 1925 to 1930. Then he came to in Paris and found him His mind was the sheik of the Champs With two wives and two with LILYAN TASHMAN, James Glea Florence Eldridge, Beryl Mercer and a great cast. Two Column Ad—Style N—Cut or Mat (Short Feature) LADIES OF PARIS INTRIGUE WRITERS AND PLAYWRIGHTS No other city can show such an array of witty, glittering,, glamorous, sensuous, beautiful and always entrancing ladies as the city on the Seine. It is hard to draw the line between those who actually lived and those who have their being only in the imagination of the artist. Here are but a few. You know them all. Camille, Sappho, LaTosca, Cosette, Fantine, De Stael, Du Barry, Thenardier, Marie Antoinette, Ninon de Lenelos, Madame de Maintenon, George Sand, Fedora, Bernhardt, Rachel, Josephine, Joan, Madame Sans Gene, Roxanne, Mimi, Manon. And now from the deft pens of two Parisians M. Yves Mirande and M. Andre Mouezy-Eon—the uproarious farce, adapted for the screen by Harvey Thew and presented by Warner Bros. under the title of “The Matrimonial Bed.” Here are more entrancing ladies— (Current) Laugh Off the Blues At *“‘Matrimonial Bed” More laughs to the minute are recorded at the Theatre in the Warner Bros. and Vitaphone French faree, “The Matrimonial Bed,” than in any previous engagement of the year, declares Manager Marianne, Sylvaine, Corinne, Juliette—in a strange story of a husband who loses his memory and returns after five years absence to find his wife remarried. It is a hypnotist who restores his memory, at which he claims his first wife, and completely forgets his later wife and their two sets of twins. Michael Curtiz directs and the east includes Lilyan Tashman, Florence Eldridge, James Gleason, Beryl Mercer, Frank Fay, Marion Byron, Vivian Oakland, Arthur Edmund Carewe and James Bradbury, Sr. 1-Col. Ad—Style O—Cut or Mat