Screenland (May-Oct 1930)

126 SCREENLAND fVeckles Vanish-' Tells How to Rid Your Complexion of These U&ly, Rusty-Thrown Spots If you freckle easily, yet find these blemishes hard to remove, read what thousands of women do to fade out every last freckle and gain a clear, beautiful complexion. They use Othine and no longer dread the summer sun and winds. You, too, will find that after a few nights' use of this dainty white cream, even the worst freckles have begun to disappear, while the lighter ones have vanished entirely. It is seldom that more than an ounce of Othine is needed to clear the skin of these ugly blotches. Be sure to ask at any drug or department store for Othine — double strength. It's always sold with guarantee of money back if it does not remove even the worst freckles and give you a lovely, milk-white complexion. OTHINE DOUBLE STRENGTH t ComerKburTicturesrAibuni where 70a can keep them safe and eDjoy them always. 5 E^i^el Styles j j^wrt Corners'fcolc : ere 00 sale at Photo Supply and Album counters everywhere. They are the only Quick, Easy, Artistic, No Facte, No Fold way to mount Kodak Prints. A dime brinea 100 and Samples to try. Write ENGEL MFG. CO. Buys fOO Dept.30-K 4711 N. Clark St., Chicago $60 TO $150 A WEEK Be a Motion Picture Projectionist Big demand now for motion picture projectionists— in theatres, schools, industrial motion pictures or for spare-time entertainmentsl You can quickly qualify. Free Book gives details about opportunities awaiting you as: ( ) Motion Picture Cameraman or ( ) Projectionist ( ) "Still" Photographer or ( ) Photofinisher. Send for it NOWI 1 ^BS^Bk NEW YORK INSTITUTE OF £^B«m PHOTOGRAPHY fe^SB »' 1 Dept. S-S34, 10 W. 33rd St. ■T New Y< ■BP7 f» FAMOUS FIGURES — Continued from page 34 instead of the iron but just as constricting. Not satisfied with this, a busk is usually inserted in front of the bodice from neck to stomach. These busks were no doubt uncomfortable, but ladies in those days might be eased by the tender sentiments carved on them. Busks, in the Elizabethan days, of whalebone or wood were carved by the ladies' admirers and covered with hearts and flowers and the initials of the recipient and the donor. The busk down the front of the dress assured a rigid and perpendicular expression to the body if not the face. The French Revolution is another period much dramatized in books, theater and film. In 1793 the feminine world discarded underwear. This does not sound exactly new to us, considering our own sheer tendencies. The French, however, do things more thoroughly and, at this time, a chemise seems to be the chief garment of the royal wardrobes. Public appearance by many genteel women so clad in much less than the members of the Folies Bergere now wear, caused a riot. Eight ounces of clothing was considered a modest maximum. Cold cream, powder and rouge weigh that much these days, not to mention our scanties. Think of the 13 inch waist line, the large panniers which emphasized hip lines, the full bosoms of the Victorian era, and compare these lines with the standard of commercial measurement that is registered in Washington, D. C, as the proportions of the average figure. Size 14 has a bust of 32, waist of 27, hips of 35 inches; size 16 has a bust of 34, waist of 28, hips of 37 inches; size 18 has a bust of 36, waist of 30, and hip measurement of 39! Not so long ago "a perfect 36" was considered the ideal figure. 34 is now fast supplanting it in popular opinion. There are a few stars who have faced the costume question and solved it to their own historical advantage. Corinne Griffith made a charming picture as Lady Hamilton in "The Divine Lady." Had she been absolutely authentically dressed she would have worn a whalebone corset six inches high of twenty whalebones similar to the one Lady Hamilton ordered from Paris from the famous Lacroix, the corsetiere, who charged the exorbitant price of 20 louis d'or for his masterpiece. Norma Talmadge as Du Barry reveals shoulders and low neck in the style of Louise XV. Had she been authentically dressed she would have worn a very tightly laced corset which comes to a point over the stomach. The slim waistline pushed flesh upward toward her bosom and downward to the hips. The pannier skirt made the hips larger and the open neck was made to expose as much of the bosom as possible or practical. Joan Bennett felt the delights of wearing the bustle styles in "Disraeli." Her costumes were authentically correct and very charming. In this period so much more 'dress' was put on, and so little taken off, that the modern figure could be well shaped into the silhouette if padded and bustled. Marion Davies charmed thousands in "Yolanda" and "Beverly of Graustark" and "The Florodora Girl." Joan Crawford in "Great Day," Ann Harding in "The Girl of the Golden West" offer costume pictures that show how styles have changed, not to mention waistlines. There has always been a great hubbub about waistlines and corsets. In the nineties, doctors got their greybeards together and wrote treatises on the evils of tight lacing and its injury to the liver. Societies were founded to do away with the wasp waist. Corsets, according to an Illinois law promulgated, but never passed, "could be had only on a medical certificate." Bootlegging one's figure seemed to be in the nearfuture for that state. A great deal has been said of the gay nineties and the hour glass styles. Figures were camouflaged by 'false fronts' and the straight line corset. Figures are easily curbed and curved, providing the proper means are employed. An outstanding figure, fashionable through many decades, was the beautiful Lily Langtry, the Jersey Lily. Her fame was made in curves, but she lived to straighten them to the long lines of the Gibson Girl and then to flatten her chest and adapt her waist to the boyish figure. A photograph taken shortly before her death shows the beautiful Lily Langtry just as smartly dressed in the clothes of 1929 as the skirt and waist styles of 1900. The change in silhouette is not, however, brought about in a minute. What one does with whalebone cannot be done with elastic and vice versa. Figures today have a subtleness that is persuaded by the softest, firmest of materials. Rubber corsets, bones that are resilient, nets, satins, and firm materials are used to give 1930 proportions. These garments in the years to come will join the other figure molding devices and become museum pieces. After the Gibson Girl, came the boyish form, and now what? Today, the making of styles rests not with royal queens but with those far more powerful queens in Hollywood who have the world at their feet. Every century will have its famous figures. But for the sake of the future films it is to be hoped that Hollywood will not devise a Medici corset, an Elizabethan ruff, or a whalebone monstrosity. If history must repeat itself it should be done in good form! THE STAGE IN REVUE — Continued from page 122 and psychic states can be impressed on our consciousness by means of close-ups, intelligent acting and talented direction, all of which this great talkie has. Never before have the minds of fictitious characters been laid bare with so breath-taking a reality. A talkie like "Journey's End' revives the hypnotic state of our minds when we were children and were deep in a tale of adventure or a fairy story. Another talkie that I liked was Arliss in "Disraeli." I also liked this better than the stage play, making allowance for metallic voices and the absence of the living human being. But, then, Arliss is in a class by himself — unmatchable. I strolled into the Little Picture House on East 50th Street one evening to see Maurice Chevalier in "Innocents of Paris." This is a cosy little place that selects its talkies for a discriminating set of patrons. I can see very well why all the women have gone talkie after seeing and hearing Maurice. II a le It! He is certainly a fascinating fellow, and it is worth the price of admission to hear him sing Valentino. No, the talkies can never hurt the real drama. And although I am now sneaking into the talkies — hoping Mencken and my other highbrow friends will not see me — and enjoying some of them, they could not for a moment wean me from the legitimate stage. On the contrary!