Screenland (Jan–Jun 1948)

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FREE! 25 Beauty Secrets Used by Movie Stars and Famous Models enclosed with order. SONGWRITERS [Send your songs or poems today. Music written for your words without charge. Records, copies, copyright furnished. We have helped many new writers find their first success. Let us try to help you. HOLLYWOOD TUNESMITHS 11537 No. Vine St..0ept M-3(, Hollywood 28, Cal. ADVANCE ROYALTY AMBROSIA The Liquid Facial Cleanser Removes Dirt . . . Leaves No Grease in Pores. At Department, Drug and Ten Cent Stores. Women Are What They Wear Continued from page 41 "To the women suddenly victimized by the necessity to drop hems, pad hips, de-pad shoulders and tighten waistlines, I would say, 'Beware of exaggeration. Easy does it. Drop your hemline first. Get used to that. When you are used to it, the bustle, and so on. Because if you, exaggerate suddenly, you are apt to be self-conscious. Furthermore the New Look, so-called, is like any other 'look' or trend of fashion — it depends entirely on the individual. A star with whom I have worked has, for instance, ugly feet. Strangely enough, she should wear short skirts — long skirts point the feet. These personal considerations are much more important than Fashion. Or, most emphatically, they should be." You damn, and there is no milder word for it, the square shoulder pads. You say, "Since I do not believe there is anything validly new about the New Look, I do not repel it at all. On the contrary since, with shoulder pads going, which is the one novelty in the New Look, I am its partisan. I am glad to see the square Hollywood pads going, as they are. Shoulder pads have nothing whatsoever to do with the female figure. Something borrowed from a footballer, isn't it so? And very unesthetic since they shorten the line, the lovely line, and the longer the lovelier, of a woman's neck. To argue that, if shoulder pads make the neck line shorter, they also make the hips look smaller is something you must take up," you laughed and said, "with Joan Crawford. "Designing is not, you see, a mere matter of a bow here, a bow there. Much more serious than that," you added, seriously, "much more serious. A very good designer should know, not only the measurements and the physical type of the woman for whom he is designing, but her character as well. Paulette and I, for instance — not having met until we started work on 'An Ideal Husband,' had tete-a-tetes, many of them, and they were the blue-prints for the gowns Paulette wears in the picture. "For 'An Ideal Husband' I designed, in all, about 140 costumes, which included gowns for guests in the ballroom as well as those for the name players. Of the hundred or more girls sent to me, I selected about forty and soon had added forty friends to my list of familiars. As a result when Sir Alex Korda, who produced the picture, said, 'Give me a little group' for this or that special sequence, I was able to select for him women who had some histrionic ability. "Dressing the character, dressing the personality is," you said, summing up, "all a part of the art of living — and each and every style, or mode, or Look, or fashion, call it what you will, just a different way, I repeat, of starting The Chase!" Goddess with a Grin Continued from page 21 get humored a little by her studio maid with a second breakfast of toast and coffee, then she's turned over to the Makeup Department for a rather thorough coating of panchro — not only does the famous face get a working over but also the equally famous gams come in for their share of touching up — up to and slightly above the knees. Thus far, the time consumed in Rita's day would be equivalent to the amount spent in listening to twelve fifteen-minute soap operas. And she hasn't even started working yet! The best thing that can be said about this three-hour prelude to work is that at least she's been sitting down. "The Loves of Carmen," Rita's current picture, is the realization of a lifelong dream. "With Ingrid Bergman it was Joan of Arc, but with me it's always been Carmen, ever since I was big enough to know about the Spanish fpmme fatale," says Rita, with a look of satisfaction that comes only from the fulfilment of a long-cherished ambition Originally it was planned to film all the outdoor scenes in the ruggedly beautiful terrain around Lone Pine, California. October was the month which usually was most ideal for outdoor locations. The company just got nicely settled at the Lone Pine Inn when the weather turned cold. "These long Gypsy skirts," Rita said, "came in very handy to hide the long underwear I wore." But unfortunately, the longies didn't have sleeves and on account of Carmen's off-shoulder peasant blouses much of the Hayworth chest was exposed to the elements, thereby giving the Lone Pine Hospital one of its most glamorous patients. When Rita's case of bronchitis was more or less cured, the weather turned even colder and snow came down in big beautiful hunks. It would have been fine for skiing, but they weren't up there for winter sports, so they turned around and came back to' the studio, built some fine, rugged and realistic rocks on a sound stage, and the show went on. There was some compensation — Rita was able to shed her long underwear. And she could go home nights — around 8:30 p.m. she could. At the end of an eight or nine hour day on the set she does a two-hour or so stretch in the projection room watching the rushes from the previous day's work. Besides being the star of the picture, Rita is also financially interested. This is the first picture under her own Beckworth Productions banner and, obviously, she is eager to know how si j's doing. Usually home by nine at night, she's had a sixteen-hour day, which should be enough to put her in the "Poor Kid" 50 SCREENLAND