Screenland (May-Oct 1938)

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Don't take chances with your health ... get rid of that dangerous fat! BE ALLURING! ACT NOW! Reduce those hips, thighs, waist and other over-fat parts of your body this new, safe way NOW! Send coupon today for $1 bottle of 90 THINTABS to — lie slim or no cost! MONEY B THINTAB 853 7th Ave. Company , New York. 1 THINTAB Company, Dept. SU 1 853 7th Ave., New York City ! Gentlemen: I enclose cost, or will pay postman cost J plus postage on delivery, for which please send. ■ □ I bottle THINTABS (90 Tablets) $' I □ 4 bottles THINTABS (special offer) $3 I If I am not satisfied you will refund my money. I I I Name I J Address ! I City State I No Canadian Orders The Ups and Downs of Hair Continued from page 77 lock of a child's hair. Brush this hair forward and curl the ends. The way you curl it will give you a variety of arrangements. You may want to curl that hair under, giving a tailored pompadour effect. This is good for a high forehead. Or you may brush loose curls' up, just above the forehead, in the old Lily Langtry manner. The first looks trim; the second, frou-frou but nice. Ann Sheridan, pictured, has another version. An hour before a date, Ann dampens this front hair with a light wave lotion or warm water, separates it into small strands, makes a pin curl by twisting several times about her fingers, pins down very flat and tight. Meanwhile, she bathes and dresses. When dry, she combs out in loose top curls. Pin curls have always been popular with the younger stars. Time and again, I've seen them busy in dressingrooms pinning in these little curls, later to have a soft, lovely effect. You can make them anywhere on your head if you have the patience. The modified upward trend is becoming to the mature face, especially with forehead curls. If the back hair is swirled, the ends a soft halo of curls, circling upward toward the front, half covering the ears, the effect is" generally smart and youthful. The mature face should never wear hair too low or too full at the sides. This line seems to accent age. Tone, texture, and sheen are still the measuring rods for hair beauty, and they lead us right back to good hair care. There are too many good hair products today to excuse any of us from anything but lovely hair. Modern shampoos come in many forms', for dry or oily hair. Many good rinses, or ingredients combined in the shampoos, add a glint of sunshine and sheen-without in the least altering natural color. Blondes keep blonde in sane ways. The straw blonde is going, the platinum gone. Hollywood helped this by putting the natural or ash blonde on the screen. Hollywood gives plenty of hair helps, good styles and good hair, with the sole aim of making and keeping its stars alluring. "Do stars have beautiful hair? What about Carole Lombard's?" Many ask these questions. Yes, they do. Stars must, or they wouldn't photograph well. Carole's hair is all you hope, and more — a blonde that is really blonde. Discounting the best in the way of hairdressers, the stars depend upon the simple means available to us. A good shampoo, soap or soapless base, according to needs and personal preference. A corrective tonic when hair misbehaves, becomes too oily, dry or scalp annoyances set in. A brightening, softening rinse for more sheen and a glint more of color. Hot oil treatments before and after permanents — and most certainly after an outdoor summer. And — emphasis on brushing, for beauty lies that way. If you'd really brush and make it a daily habit, most hair worries would disappear. Real brushing, vigorous, sweeping, with a clean brush, gives a beauty that nothing else can touch. The stars know this and every one is a brusher. Join the brush brigade. Take sensible care of your hair. Experiment with new hair-dos, but never sacrifice your face to a coiffure merely because it is new and smart. Instead, make the coiffure fit you. For hair still is, as it was in the beginning and ever will be, your very own crowning glory ! Style hint from pretty Jacqueline Wells — hat of chartreuse balcu bound around with a magenta chenille veil. Freddie, the Candid Kid Continued from page 69 showed him how to start the engine, and so on. He was so excited he didn't know what to do. 'Oh, Cissie, do get in and let me show you all the gadgets !' he tried. I got in; they slammed the door, and we were off ! "I scarcely breathed until we came down again. But I don't like flying. Of course, once up, Freddie had to go again. I go with him. If we die, we die together. Nowadays, Freddie is at the controls part of the time, while I sit, stiff with terror behind him. He says : 'Cissie pretends to be afraid but whenever I look back, there she is, enjoying herself!'" By this time, we had opened an envelope full of newly printed Leica snaps fresh from the Bartholomew film, but blown to 4 by 5. "The best of those are the ones I took on the battleship," contributed Freddie, edging into the discussion, "but they aren't as good as they might have been. I should have arranged things so that the sailors were silhouetted against the sunlit water, in the wigwagging shots. Then they might have been worth enlarging. "Look at this one, when the white boat is against the dark water. That wouldn't be so bad, only it isn't framed right. Same with the little boats bobbing about below the ship. I shouldn't have had the umbrella top in it. Maybe something that suggests a battleship could have been included to show I was shooting down. "I like the composition in this shot of the bell on the U.S.S. Pennsylvania — that's the ship we were on — but I don't know that it adds anything to have the man's head down there in the corner. To tell the truth, I didn't happen to see him when I took it. This one of the three cannon isn't too bad. "I don't use filters. And I haven't a light meter yet. I may get a meter in time, but I believe you can rely on gadgets too much, and so never really learn your trade. A man with a bad foot has to leave off his stick some time, or he'll never walk. There may be some advantage to filters, but I'm not far enough along yet to bother with them. I want to know what I'm doing about focus and framing and composition first. "Here's a picture of the little plane Reginald Denny gave me, set out in front of our house. It's a poor shot, because there's no contrast and the plane isn't the 96 SCREENLAND