Screenland (Nov 1934-Apr 1935)

for December 1934 My advice is to let your nose be your guide. Test and sniff and try. But never try more than two on one shopping tour as your nose will tire and refuse to aid you. One perfume will repel you at once and the chances are very great that it is no soulmate of yours. Instinctively you know. Another perfume you like at first whiff, like an attractive personality at first meeting, but dislike cordially on further acquaintance. That one is not for you either. But keep trying. Perfume manufacturers are helping you do this very thing. In most stores you will find sample bottles open for you to use. It is worth trial and patience. For some day when you are out seeing your favorite movie star in a new picture, with "him," you will notice that he is more than ordinarily attentive. "What heavenly perfume !" he will exclaim even as Roger. "What is it? Somehow it is so LIKE you." And that, young lady, is success! "I'm Sorry!" Continued from page 21 real lines and deliver the right cue to the next speaker. Sometimes the comedian finishes a long and wholly foolish speech before anyone realizes he is out of hand and "off the record." Many players swear when they fumble their lines. One of the most dignified of the imported English actresses always snaps her fingers and says "Dem it f" when she misses a line. The mild profanity will do the microphone no damage, but the snap of the fingers, if very close to the sensitive mechanism, sometimes gives the sound mixer, in his secluded booth, the impression that the lady has committed hari-kari in chagrin over her error. Dolores Del Rio is more careful than the average player in the memorizing of her lines. Because of her slight accent, she rehearses them over and over until she knows them letter perfect, long before she is called upon to read them before the camera. When she misses, as she does occasionally, she stands still in position and repeats the lines over several times. Her sincere "I'm sorry" is enough to melt the heart of the stoniest director. The mild-mannered Leslie Howard has recently developed a habit of emphasizing his impatience with himself when he slips on a speech, by throwing whatever he holds in his hands, high into the air. During the making of one sequence in "British Agent," a few months ago, he threw his hat, which he was carrying, into the_ stage rafters several times, during the filming of one particularly difficult scene with Kay Francis. After that the property man on the set always had a duplicate hat on hand for Howard, so that when he threw one away, the scene could be repeated without waiting for the return of that particular head piece. Actors like Pat O'Brien and Lee Tracy, who generally speak their lines in doublequick time, naturally stumble more often than do more deliberate actors. Mechanics of speech make this natural, and directors count on a certain percentage of slips while they read their lines. Pat swings his arms angrily when his tongue gets twisted, and sometimes kicks the furniture. Before he does this, however, he manages to say, "I'm sorry." Ruby Keeler gasps in wide-eyed surprise when she finds she has mis-cued and always says : "Oh, I missed it ! I'm so sorry." Little has been told outside of the sound stages, of Will Rogers' reactions to mistakes in lines, his own or those of his fellow players, but it is well-known that he ad-libs inveterately and he is one of the few stars of Hollywood who is permitted to deviate from the written script almost as he pleases. If Paul Muni fails to correct his error on the second "take" he walks off the set and disappears for several minutes into the seclusion of his dressing-room. When the third try fails, he generally insists that the scene be skipped for the rest of the day and filmed again another time, while he goes on to another, unrelated sequence of the picture. Players who work with Zasu Pitts have learned that she doubles up those fluttery hands of hers into fists, after she has missed a line, and pummels the chest of the nearest fellow player. Edward G. Robinson studies his lines carefully and seldom fails to deliver them letter perfect. When he does he is often not convinced he was wrong and has to be shown. Then he says, gruffly, "Sorry," and returns to work. John Barrymore improvises amazing and startling soliloquies about totally unrelated subjects when he "blows" a cue and nobody can stop him until he has exhausted his temper in oral fireworks. Warner Baxter sometimes follows his lost cue without an apparent pause. "However, dear friends, including our very competent director," he will say, in a serious tone, "that is all I know of these lines." Then he will grin and add the inevitable, "I'm sorry." • Mitchell and Durant cover their frequent lapses of memory by redoubling their rough treatment of each other. It is frequently successful and in their case, the scene is not always re-filmed. Working with the rubber-faced comic, Hugh Herbert, Irene Dunne had some difficulty during the early sequences of "Sweet Adeline," in keeping a straight face. "I'm sorry," she repeated time after time, "but 1 can't look at Mr. Herbert and play straight." Eventually she managed it, however. Occasionally it is the director rather than the star who makes a show of temperament when lines are muddled. Those who work with Marlene Dietrich and Director Von Sternberg say this condition exists on their sets. Miss Dietrich remains calm. Von Sternberg does the exploding. Long experience in stage productions in which he was allowed to improvise both lines and situations makes it doubly difficult for Al Jolson to keep in harness on a motion picture set. He is noted for never telling a story the same way twice and he seldom reads lines alike two times in succession. He gets mad at himself and everybody else when he is told he must repeat them letter perfect in each "take" but he does it finally. All former stage players seem to have more difficulty in memorizing lines exactly than do those who have never played on the stage. There is a certain amount of leeway allowed a stage actor. He can change his lines slightly and it does not matter so long as he eventually comes back with the proper cue for the next speaker. But in pictures the. speech must be delivered in exactly the same way several times, once in a "close-up," once in a "long shot," and sometimes at other distances from the camera. Only one of these recorded speeches will be used eventually, 95 Would You Like f To Possess A YOUTHFUL SLENDER FIGURE Like Beautiful Arline Judge's? 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