Screenland (Nov 1942-Apr 1943)

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hasn't had enough problems to beleaguer him, he will begin to worry about the insignificance of his place in the cosmos and, thus, won't sleep anyway. Madame Boyer realizes that while a certain vague fatigue in his eyes is beneficial to him in his role of the great lover (makes the women feel it's his soul and not his liver that's upset), too much of it is likely to result in his being offered the role of The Phantom Of The Opera, or something ghastly like that. To avoid such a contingency, she, so to speak, handles the worry throttle, tending it with rare judgment and efficiency. Unfortunately, she is not in a position, to follow him onto the set, or into his studio bungalow, and it is there that he now contrives most of his worrying. He has an able assistant in this department in Director Jules Duvivier of "Flesh And Fantasy." Both are slightly tetched on the matter of details and the smaller a point is, the more it seems to worry them. They have been known to spend hours brooding the various angles of a thirty second' shot that in all probability will end up in a flash of the back of Miss Barbara Stanwyck's neck. Incidentally, Miss Stanwyck is the i>nly person on the "Flesh And Fantasy" set capable of routing them out of their gloom. A brash and rollicking female, she has a quality of forthrightness that apparently overcomes most of Boyer's inhibitions. In fact, she had scarcely made her appearance on the set before she shocked everyone present, including M. Duvivier, by addressing Boyer as "Chuck." Boyer was seen to waver under that first blast and to pass a slightly palsied hand over his famous eyes, but he rallied gamely and has since accepted Miss Stanwyck's eccentricities with signs of amused pleasure. Miss Stanwyck continues to employ the salty dimunitive, but her charming gall has not become epidemic. The remainder of the company, with the exception of M. Duvivier, still address the great lover as Mr. Boyer. Duvivier sticks to the formal, Gallic "Sharks." The betting odds are rather one-sided that "Chuck" will not become a vogue in Hollywood. It is not the intent of this piece to brand Boyer as a forbidding personality. On the contrary, he is a most pleasant man. He talks freely and has a habit of smiling slyly while talking. He regards all wit with interest and some with apparent amusement, but he is not a raconteur, preferring to discuss matters out of which he may be able to derive some volatile fuel for worrying purposes. "My friend," he says, when asked what a woman should have to captivate men, "I would be presumptuous to talk of such things. I am not an authority on women. The man who says he is is either crazy or soon will be. Virtues in some women arc appalling in others. What may be fascinating in one might be repulsive in another, although I refuse to say that I have ever seen a repulsive woman (try to corner a citoyen like THAT). Beauty captivates sometimes, intelligence at others, but if I should have to make a flat statement, I'd say that intelligence is the more desirable quotient. That works with simpletons and wise men alike, whereas mere beauty is restricted to the first category." Boyer's sincerity in his production venture is rather inspiring. He is convinced that a man who could accept his destiny as that of a great lover lacks character. Although he realizes that his tremendous fascination for women (on the screen only, he insists) has made him a rich man, he longs to be remembered as a producer, not a sedu — well, a charmer. "There is much to be done in pictures," he says, "and I want to have a part in doing it. I'm not certain that I have found the medium I'm looking for in the episodic pattern, such as 'Flesh And Fantasy,' but I believe it's a step in the right direction. I feel that the medium is definitely more elastic than the conventional form and can result in broadening both viewpoint and presentation." Now and then Madame Boyer tears him from his worrying long enough for a fortnight at Tahoe. He also has taken up golf in a sort of defensive way, but plays only on those days when no female foot is permitted to profane the greensward. His amazing gifts of concentration have made him highly efficient at the Scotch game and many of Hollywood's more widely publicized linksmen have trudged home in the gloaming, after a round with him, dazedly considering their chances of touching the studio for a quid to carry them over until the next pay day. His formality on the set is apocryphal, but it stems from a highly developed sense of the rights of others to privacy and not from a superiority complex, which would be as foreign to him as a crease in his pantaloons. It is amusing to hear him address as Miss Garbo, Miss Colbert, or Miss Fontaine a beautiful woman who, but a few seconds before, had been acting as his accomplice in raising the fire hazard on the premises. Even Madame Boyer has never been heard to call him anything, in public, but "Charles." Chuck, indeed! listen, Boys — " and Girls! Continued from page 55 Tust knowing how, gives you that self-confidence which is such an important element. We mentioned the beauty angle a moment ago. This is a beauty secret that has become justly famous, and no secret any more. If you haven't tried it, it is high time vou did. "You lie down with your body in a straight line, your heels about forty-five degrees higher than your head. It is a wonderful way to relax, a very mild form of standing on your head, and it pinks your cheeks up in a very natural and pleasant way. When you apply your beauty preparations and then relax in the beauty angle, you get extra value from the creams. This is because of the increased circulation of blood in your face and throat. There seems to be good medical authority in support of the value of the beauty angle. Notice, too, that when you are lying in this position the pull on your facial muscles is "up" not "down." This is a welcome change. This is also why it is so valuable to lie down in the beauty angle when giving yourself a mask treatment. It helps the mask to give the muscles an extra "lift." "Wait a minute,'' I hear you say. "What is there in this for me? I don't have time to go to a beauty salon and take a course like the one Mary Lou took !" One of the nicest things about all this is that there is hardly a thing in the course you cannot do right in your own home, with guidance. Over fifty thousand other American women have proved it by using the DuBarrv Home Success Course to direct them. 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