Screenland (May-Oct 1936)

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Bathing eyes twice a day with an eye lotion is one of beauty's most profitable rites. And do get the habit of using eye cream — over the lids and just under, where "crowsfeet" get their start. Cream over your eyelids' gives a moist, dewey appearance that's becoming to everyone. It's a foundation for eye-shadow, if you use it, and a sure way of avoiding the aftereffects of Summer "squints." Hair, too, needs protection against the sun. The soapless shampoos that are so popular now will help a lot to keep your hair from being dried out by too much sun-baking, and they'll put it in excellent his head hanging sheepishly from his shoulders, his long nose twitching, his hands fumbling with his hat. The reaction in the dark, little projection room was immediate and amazing. "Who's that guy?" demanded a visiting cutter who had seen no part of the picture before. "That's an actor named Herbert, explained the cutter who had worked on the film. "Watch him walk away with the picture." Hugh proceeded to do just that, excellent though the other performances were and in spite of the comparatively few lines he had to say. "Where have I seen him before ?" asked another. "He used to be a writer here on the lot. Wrote 'Lights of New York' with Murray Roth." "Well," said the visiting cutter, that guy's really funny." Herbert signed a long-term contract with the studio immediately after the completion of "Goodbye Again." Even so no one at his studio knew just how good he was. He played small roles in two or three feature pictures and one or two shorts and was then called in to be told that he would^work next in the picture "Convention City." In due time Herbert reported to Director Archie Mayo to talk over his role in the picture. "Are you in this?" asked Mayo. Hugh said he had been told he was. Together they looked through the script to find his lines. There were just three of them — and two of those were exactly alike. He threw the script away, as he always does, and reported for work as called. The use he made of this forlorn opportunity to be funny on the screen is one of Hollywood's favorite anecdotes now. He just stood around— but how he stood! Words in the mouths of the other players were powerless against him. Almost unwillingly the camera seemed to follow Herbert, recording for posterity the comic adventures of a convention-attender attending the wrong convention. Most comedians are serious-minded chaps at heart. Herbert is different. He is just as funny to talk to over a lunch-table as he is to watch on the screen. He is the butt of most of his own jokes and he has the rarest of gifts among actors, an ability to listen as enthusiastically as he talks. The very players from whom he loots many of his best remembered scenes, are j his closest friends. Perhaps the most fre| quent victims of the "Herbert look" — that | muddled expression which registers with condition for your Fall permanent wave. Salt water is a potent enemy to hair beauty and should be washed out immediately. From out Hollywood way comes the Martinique turban, a trick device to protect hair from the hot California sun and at the same time keep it "set" and ready to be combed into elaborate coiffures for pictures or for evening formality. This turban is actually a 'kerchief rolled to make a widow's peak in front and Martinique points, ("rather suggestive of incipient "ears"), at the sides. The hair is kept pinned up under it. These turbans are becoming little things, in every color imaginable. They're worn for active sports and shopping, and they even put in an appearance at cocktail parties now and then. an audience more than any spoken line — have been Joan Blondell and Glenda Farrell. Both these young women are scene stealers of no mean ability themselves but they recognize Herbert as the toughest competition in pictures. Less able comediennes might refuse to work with Herbert. Joan and Glenda are always threatening to desert him but their threats don't ring true. The three of them are good friends off the set and friendly enemies during the making of a picture. "How can we work with him?" demands Joan of a perspiring director. "He makes faces toward the camera while we read our lines." "He just says what he darned pleases and leaves us up in the air for cues !" wails Glenda. "It's too bad," mumbles Herbert. "Shame I can't remember lines." "You don't try," declares Joan. "Nobody," snaps Glenda, "can be as foolish as you look!" Reviewers, columnists, and commentators have stretched the English language all out of shape trying to describe Hugh Herbert's face. They call it a "horse face," a "mush mug," a feather-bed face." or a "potato pan." Herbert refuses to be insulted. It is his face, and that face is his fortune because it has a dollar and cents value in any theatre in the world. It is an effective weapon to use against other players in his pictures. Scenarists on the Warner lot — and on other lots where he sometimes works on loan — have long since learned to leave space in their story-telling for either additional dialogue or spur-of-the-moment pantomime by Herbert. Perhaps if Shakespeare were writing today he would do the same thing. But he didn't, and the stoutest-hearted actor in the world — and Hugh Flerbert is not that — would hesitate to ad lib the lines of that master dramatist. As a result Hugh probably worked harder for Max Reinhardt in "A Midsummer Night's Dream," in which he played the role of "Snout," than he ever has before or since in pictures. He had few lines to speak and he was used to that ; but those few lines had to be delivered letter-perfect, and he had had no previous experience in a situation of that kind. As usual he lost his script the first day. He got three or four others during production and lost them in short order. The lines he finally read into the finished production, however, were Shakespeare's, not Herbert's. Only once did he completely forget himself long enough to inject an ad lib into Picture Stealer Number One Continued from page 58