Universal Weekly (1920, 1923-27)

THE MOVING PICTURE WEEKLY 33 Star and Director Have Made Two Notable Productions J70R the past few months there has been a notable association in Universal City — Carmel Myers and Rollin Sturgeon. When Carmel returned to the coast fresh from her musical comedy honors in New York City “In Folly’s Trail,” a society drama of an unusual order was provided for her as her first starring vehicle. And Rollin Sturgeon was commissioned to undertake all the details of the direction. Carmel did her share all r'ight in that picture— she was a HIT, and Rollin never forgot one single detail. Some of the sets were almost unbelievably exquisite and particular ones were sorted out by the critics and given especial mention. The revelry scenes were among the most successful scenes ever devised by a moving picture director. The combination of Rollin Sturgeon and Carmel Myers plus a society drama was such a success that the former was again selected to direct the scintillating young actress in her second production, “The Gilded Dream,” also dealing with the high and gay life of the smart set. And again there has resulted a production which is charm in itself, which is flawless in every detail, which is harmonious, spontaneous and constantly interesting, and in which the star has every opportunity to display her en chanting personality and talents. A new note in interior architect ture and decoration has been struck in the settings in “The Gilded Dream.” Sturgeon had the competent co-operation of Harry Weston, an architect of original ideas, much of whose professional career was %pent in Buenos Ayres and other South American capitals. The settings represent the mansion of Geraldine De Forrest, a member of the ultra-Bohemian set, who plays the leading feminine role opposite Carmel Myers in the picture. About eighteen different apai-tments in the De Forrest home are shown on the ground floor to the bedrooms and boudoirs on the upper floors. Weston imbibed many of the modern Spanish motifs which he uses in these settings from his long residence in the South American cities. The settings are exquisite indeed, and as far as they are concerned, “The Gilded Dream” will hold its own with “In Folly’s Trail.” It is to be hoped that the future will bring an occasional renewal of the association of Carmel Myers and Rolling Sturgeon, for that combination has been productive of real achievement in “In Folly’s Trail” and “The Gilded Dream,” two of the most entertaining modern society dramas the year has offered to the public. Rollin Sturgeon teaching Corniel Myers how to he truly domestic in a scene from “In Folly's Trail." Sbe Has Beauty And Knows How To Keep It £ARMEL MYERS, Universal’s youthful star, who recently completed “The Gilded Dream” under Rollin Sturgeon’s direction, possesses a skin of velvet softness and finest texture. She recently was asked by an interviewer to tell the secret of her perfect complexion and quite disappointed the listener when she failed to tell her of lotions, creams and other beautifiers. “The best beautifier in the world,” Miss Carmel announced, “is hot water and soap, followed by a rinsing in cold water. I got that beauty hint from my mother when I was a wee kiddie, and I have followed it rigorously ever since. I do this the first thing in the morning, and then again when I take my make-up off after the day at the studio. I have the water just as hot as I can stand it, and follow with a rinsing in icy cold water. That’s one hint. And the other is: Keep away from powder and cosmetics. There is nothing more injurious to the skin, and if beauty is only skin deep, the skin is very important. I have to use make-up for the camera, of course, but I take very particular care to get every grain and particle of it out of my skin afterwards. “I find it far easier to keep my skin fit while I’m working in motion pictures than I did on the stage in New York. It’s so confining, theatre work. I had to exercise regularly and take long walks. But here I get enough exercise just going to and from Universal City; and s° much of the work is outdoors — or at least in the big airy stages — that it’s quite wonderful.”