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for November 1936
will intensify the color and brilliancy and beauty of the eyes. The idea may be fairly new in personal beauty. But it goes away back to the 18th Century in art, when the French painter Chardin discovered that there are many colors in shadows besides brown and applied this knowledge to his masterpieces.
Eye shadow should never be smeared over your entire eyelid simply as a blotch of color. It should form a natural shading determined by the contour of your face. Never begin it close to your nose, but start about the middle of the eyeball and blend it up from the edge of the eyelid, more lightly toward the eyebrow and out on the temple. If your beauty budget allows you more than one eye shadow, have the first a neutral shade like mauve or carnelian and apply this all the way to the eyebrow and out on the temple. Then use your more colorful shade just over the outer half of each eyelid.
It's really great fun to experiment with eye make-up to find out just the shades
and combination that will do the most for you when you're wearing different colors. If you've always had a passion for art but never settled down to expressing it, try your skill with your own face as the canvas and your eyes the center of the picture.
Actually, your eyes are the determining factor for all the make-up you use, as a very wise cosmetic manufacturer realized when he brought out matched make-up keyed to the eyes as an easy method for those in doubt to select flattering, harmonizing shades for their own individual coloring. This manufacturer tested make-up on many hundreds of women and found that invariably the color of the eyes was the key to all make-up shades — powder, rouge, and lipstick as well as eye shadow and mascara. So — if you haven't a natural flair for harmonizing make-up nor the time and patience to do your own experimenting, all you have to know is the color of your eyes to choose a make-up ensemble that's both becoming to you and in perfect harmony.
Here's Hollywood
Continued from page 65
IT'S a saxophone at the Hugh Herberts'. I The pickle-puss comedian had it delivered at darkest midnight, so that the neighbors wouldn't start complaining before he got in a few choice notes.
THE way it looks right now, things might become quite serious between Anita Louise and Bob Abbot, wealthy Bostonian. When Anita was passing through New York, she insisted that Bob accompany her to all the affairs given in her honor. Now Bob is in Hollywood and is constantly seen at Anita's side. Originally he came for a short visit, but is planning on lining up a movie executive job.
THE boys who take those publicity shots are calling her "Norma Shearer, trouper." Out on the golf links, Norma was doing a fashion layout on what the welldressed sportswoman should wear. Most actresses would have insisted on being driven back to the club house, where they could change their clothes in comfort. Norma, realizing the boys had dozens of pictures to get, insisted on making her changes right in the back of the studio location car.
THAT cigarette case and lighter Barbara I Stanwyck gave to Robert Taylor on his birthday are almost too beautiful to use. They are made of platinum and ebony. In the center of each are the letters R. T. done in rubies.
GUESS who really has gone Garbo on us in a big way? It's none other than our own party-loving Carole Lombard, who hasn't been seen out publicly in many a day. What's more, Carole doesn't want one single word printed about her romance with Clark Gable. Her close friends say it is still going cn and much more serious than Carole wants the world to believe. And it was only yesterday that wild horses couldn't have kept Carole home for an evening. It must be love.
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POOR Bob Young's happiness was pretty short-lived. It's been several years since Bob has been in a class A picture on his own home lot. So he was pretty thrilled when he learned he was to play opposite Joan Crawford and Clark Gable in "Love On the Run." Joan was happy that Bob was to be in the picture ; so was the supervisor and the casting director. Just when things were about to get under way. Director Woody Van Dyke stepped in and told Bob that he felt the role would do him more harm than good, because he was the wrong type. Bob still knew he could do it, but Van had his own ideas and there was nothing left for Bob to do, but be disappointed.
AT A Mexican party given by Margo, k whose star is rising in Hollywood, all the guests were called on to perform. Margo sang a plaintive Mexican love song. Francis Lederer surprised everyone by pulling a harmonica out of his pocket and playing a Czecho-Slovakian folk song. Afterwards he sang it without the music When they called on John Beal, he rose to the occasion, by making a speech. "I'm unprepared," said John, "had I known I was going to be called on, I would have brought along my pipe organ."
ON A RECENT trip to Europe, Fred A taire had such a limited stay, he didn't have time to write to his friends back in Hollywood. Before sailing home he sent each one a cable. Instead of signing his own name, Fred used the name of "Boj angles." (Bo jangles of Harlem is the very special number in the current Astaire Rogers film.)
THOSE who witnessed Lily Pons' return to the R-K-0 lot, report it was an exhibition worthy of a grand opera star. Lily stood up on the back seat of an open car and threw kisses. When she saw the electricians and prop men, who had worked on her last picture, she cried out their names. It was all quite gay and Lily carried it off in her usual charming way. Best part of it all, she is thrilled to be back making movies again.
ON ACCOUNT of their doing a picture together, M-G-M would have you believe there is definitely something between Eleanor Powell and Jimmy Stewart. When (Continued on mi.rttpage)
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