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116
ANITA PACE . . . M G-M STAR
Like the Screen Stars...
Have YOUR MAKE-UP
In Color Warmony
Accept This Priceless Gift . . . Your Complexion Analysis and Make -Up Color Harmony Chart . . . From Maxi Factor, Hollywood's Make -Up Genius. See Coupon Below!
C OR the stars of Hollywood, Max Factor, Filmland's Make-Up *• Genius, created a new kind of make-up for every day and evening use. A make-up ensemble . . . powder, rouge, lipstick and other essentials . . . blended in color harmony. Cosmetics in lifelike color tones to harmonize with every variation of complexion coloring in blonde, brunette and redhead.
Based on a Famous Discover/
In millions of feet of film ... in hundreds of feature pictures, you, yourself, have seen the magic of make-up by Max Factor. You have seen the beauty magic of his famous discovery . . . cosmetic color harmony. Under the blazing Kleig lights, Max Factor discovered the secret . . . make-up to enhance beauty must be in color harmony.
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MAX FACTOR'S SOCIETY MAKE-UP,
"Cosmetics of the Stars HOLLYWOOD
BESSIE LOVE
M-G-M Star and Max Factor, Filmland's Make-Up Get
MAIL FOR YOUR COMPLEXION ANALYSIS^
Mr. Max Factor — Max Factor Studios, Hollywood, Calif. 4-8-14 Dear Sir: Send me a copy of your 48-page book, "The New Art of Society Makf-Vp"; personal complexion analysis; and make-up color harmony chart, I enclose 10 cents to cover cost of postage and handling.
COMPLEXION
COLOR OF EYES
LIPS
Light
Moist
Fair
COLOR OF LASHES
Dry
Medium
SKIN
Ruddy
COLOR OF HAIR
Oily
Dark
Dry
Sallow
AGE 1
Normal
Olive
Answer with check mark
Name
.Address
City and State _
SCREENLAND
WHAT KEEPS THE TALKIES TALKING?
Continued from page 65
system. Which even anticipates how a re' mote theater shall be reached in time of trouble. Thus, when the Baltimore office of the Western Electric installed equipment in the New Theater at Easton, Maryland, it was foreseen that the airplanes would be .the solution to that particular job in an emergency. Out on a tip of the Eastern Shore, Easton is 300 miles from Baltimore by land or water, but only forty miles by air. Arrangements were made to have a plane ready at all times. Six months went by and everything was peaches down on the Eastern Shore. But that theme song ended abruptly one afternoon. ERPI took the emergency in its stride, every move plotted, like a platoon of West Pointers doing squads right.
In midwinter, up in North Dakota, the ERPI men mush on like Nanook of the North. And in some places they wade through more mud than the book censors. Just so you and the boy friend can keep the big date at the pet theater.
Of course, the emergency call is the most spectacular performance of Western Electric men in the field. Yet every day in the course of routine, they are fighting dramatic battles with sound problems and freak acoustical properties in theaters.
We play everything by ear in our pic ture theaters now, but naturally, most theaters were built before Al Jolson's sound waves from "The Jazz, Singer" and "The Singin' Fool" inundated them. Some theaters can be hitched to sound without kicking, but many of them buck, squeal and snort until tamed.
For instance, sound travels at the rate of — well, anyhow, it .travels. Ever hear an echo? That's sound on a return trip. In a talkie theater, when sound travels, it goes places and does things. It likes walls, so when it comes out of the horns behind the screen, it makes a bee line for~all walls. Then what? If it's a hard wall it bounces back. The harder the wall the harder sound bounces back.
This rubber ball business gives what ERPI and I call reverberation. Now, like paprika, a little reverberation goes a long way. We do a lot of our talking in rooms so our ear is used to a certain amount of reverberation — there being walls, ceilings, chairs and things in most rooms for sound to do its bouncing act on. In other words, if our ear didn't get its normal reverbera' tion ration, whatever it heard -wouldn't sound natural.
You get the idea immediately. Western Electric and ERPI have to leave just enough hardness in the theater walls, so that sound can bounce sufficiently for your ear to feel right at home. And what do the engineers do when they find theaters with too hard walls — you know — the skin sound loves to touch — too much? They drape 'em. They hang draperies around the walls, just enough to humor ■ sound in the bouncing game it learned in kindergarten — and to please your ear.
And the nice part of it is that Western Electric has figured out mathematically the sound absorption qualities of various drape materials. So that they can tell how much sound a square foot of a given material can blot up.
And after that can the engineers go back to their office, put their feet up on the desk and play executives? Not at all. The battle has just begun.
Some theater walls are soft and must be
stiffened up. Here again mathematics enter the picture. Then, too, there are all kinds of tricky alcoves, pieces of statuary, and bits of bric-a-brac about which sound loves to play hide and seek. Accompanying this brainstorm is a picture of part of the interior of Loew's Granada Theater in Cleveland. It is a good example of the many surfaces with which sound likes to keep a rendezvous. Within a small space there is a statue of Bacchante, the lady of the grapes, a couple of winged lions, a flock of vases, eighteen different kinds of wrought iron, concrete, stucco, numerous alcoves, and a young forest.
Just imagine the fun sound would have bouncing from Bacchante to the lions, rustling through the leaves, and back to Bacchante again. But Western Electric knows that all play and no work makes sound a dull boy. So, as you can see, they drape the wall on the right, and give sound just enough power so that when it arrives in Bacchante's garden it gives her just a nice, soft caress.
It may not surprise the girls to learn that sound has a greater affinity for them than for the boys. A theater full of women make a better talkie audience than a theater full of men. Yep, sound loves the ladies. The engineers call it 'better sound absorption qualities.' Which means that sound can do his stuff better when the ladies, God bless 'em, are present. Richard Dix sounds better, and so does Paul Whiteman's. orchestra.
Happily, a full theater makes a better show than an empty house. The owner of your favorite theater shakes hands with Western Electric on that.
Around the clock, as the theater fills and empties, the operator up in the projection booth is kept advised by 'phone, or buzzer, just how the house is filling up, and in what parts. He regulates the volume of sound accordingly. All of the controls are under his thumb — figuratively speaking — for he needs about ten thumbs at all times. The wires run from his booth around the walls or across the ceiling back stage to the screen. Right behind the screen are the horns. These loud speakers are behind the screen and nowhere else in the house. They are so placed to keep the illusion of the voice coming from the screen. If you saw Bill Haines' lips move on the screen and heard his voice from somewhere in the balcony, you'd say it was another Bill Haines trick. But if Ruth Chatterton did it, you wouldn't care for it.
Also, they have now discovered that an even better effect is gained if the horns are placed behind the upper half of the screen. So that when Joan Crawford talks, you don't hear her voice coming from somewhere down around her ankles. Of course, Joan's legs talk but, well, you get what I mean.
All kinds of electrical interlopers try to crash the gate when a talkie show is on. Can't blame them if Nancy Carroll is on the screen, but still they don't belong and they throw a monkey wrench into the machinery. For instance, a theater in Washington, D. C, was playing "Such Men Are Dangerous" recently. Suddenly, for no reason at all, a low moaning negro spiritual was heard coming from the screen. It was like a ghost song, giving a weird background to the dialogue. It did not belong in the picture and its phantom quality created an uneasy atmosphere in the theater. Especially among the negroes