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SCREENLAND
87
C[Fake Make-up Schools— from page 28.
Mrs. Polio's makeup school — across the street from the agency office.
Another make-up teacher, R. B. Wilcox, got entangled with the law over a 60-year-old woman's charge that he obtained $600 from her to finance a company that was to star her and her son and daughter.
One result of the recent State drive on the schools and agencies is apparent in the classified advertising they now use.
The ads are the same as before with the exception that some qualifying statement is contained in each:
•'This is not an employment agency. We have no jobs to sell you, if you want to buy a job do not waste your time and ours."
"We are not selling positions in pictures. Not an agency."
"No agency or school. No fees."
Slump No Drawback.
But you may be certain that the proprietors of these schools and "production companies" are making no effort to discourage the screenstruck. In spite of the "tight'' conditions in the studios; with about 200 extras making a living, perhaps 1,000 getting occasional jobs, out of 5,000 tried and tested "regulars;" and with the established" agencies accepting no new registrations, the make-up schools are going merrily on.
Boys and girls, men and women who should know better, all ages and all types are shelling out their $15 or $20 or $25 for a complete course in makeup."
What They Get.
What do they get for their money? Let's see.
They get a card to a theatrical photographer, requesting the courtesy of "professional rates." The photographer's professional rates for movie school students are from 50 to 100 percent higher than charged to professional drop-in trade from the studios. The increase is split between the photographer and the makeup school.
They get a "shopping list" calling for about $5 worth of make-up. A typical list is: Nose putty, large stick No. 3 grease paint, No. 9 powder, box of wax, medium rough dry, lip rouge, whitening, No. 16 paint, powder puff, mirror, crepe hair, two towels, comb and makeup box.
Teaching the Class.
THE motley assemblage of perhaps a dozen, comprising the "class," crowds around the little deal tables of the "class room," with sickly electric lights in their faces. They remove coats and collars, as per instructor's orders ; tuck a towel about the neck.
Then the supercilious instructor, an art
ist's smock his uniform of authority, seizes a piece of make-up and smears it vigorously on the face of the nearest pupil.
"See? Now the rest of you do it — an' get it on smooth, see?"
Then he takes a bit of brown paint on his hand and softens it, applies it to the upper eyelid of another novice.
"Everybody do that!" he commands.
Then he takes up a "liner" and runs it across the eyebrows. The class follows suit.
Then the powder puff, dusted with pink powder. The instructor jabs it in the face of the nearest victim, putting a punch behind it that he might have learned in the boxing ring. "Do that, now," he says.
Everyone does, and the instructor glances up and down the line of apprentice "actors."
"Awright. Now take it off with the cold cream."
They do. That's all. That's the lesson.
The next lesson is the same thing over again.
And the next, the same.
School Not Needed.
A, ny readers desirous of learning makeO. up can save $20 by buying the makeup essentials at the nearest drug store and practicing on themselves in front of the bathroom mirror to their heart's content.
Or if you feel the need of more complete instruction, go down to the public library and look over the books on amateur theatricals. Most of them give you as complete information, and it costs nothing — unless you want to buy the book.
When the course is complete, and the student is a full-fledged make-up artist — as per movie school standards — she may have a screen test. It costs $25. For the additional $25, about 25 feet of film is received. Its actual value is, maybe, 10 cents a foot. And say $2.50 for five minutes work of the cameraman, and developing and printing. Actual cost, $5. Price to student, $25. Net profit to school, $20.
But as long as there's movie-mad maidens and screenstruck sheiks, the movie schools will flourish. It's a profitable graft. Some of the schools will even teach you by mail, in case you haven't railroad fare to Los Angeles.
The pity of it all is its uselessness.
If you actually got a studio job, you'd find many an obliging companion to show you how to put on the simple make-up without tuition charge. Some directors won't have, for mob scenes or extra work, their extras made up at all.
"If you get a job." But there's some 5,000 old-timers — experienced extra folk — in the employment line in front of you. And there aren't any jobs.
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380 Cottage Street Rochester, N. Y.
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Editor's Note : — Next month the second of these "fakes" will be exposed, namely, the 'casting directories," which purport to furnish pictures of their clients for selection by directors. Screen-land feels that the pitiless light of publicity turned on these concerns wiil sa\v many thousands of dollars and anguished hearts to the readers of this magazine. — M. Z.
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6 MAIDEN LANE NEW YORK