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THE SIGN OF THE BOSS 181 ing beauty/' Some women are "delightful to look upon but, well, don't make very much of an impression. On the other hand we see a girl come along whose nose tips up, whose mouth is too large—and in a moment she is surrounded by admirers. What is the reason? Charm. She has warmth and vibrance of personality. People look at a cool, statuesque beauty much as they would admire the statue of Venus; but they love the girl of vivid interest, sparkling eyes and instant emotional reactions," He contended that most of the so-called beauties in Holly- wood look alike. "It's mass production. They all have the same hairdress, the same make-up. They don't look alike when they arrive here, but Hollywood pours them into a mold and stamps them like coins." He saw a beauty-isn't-everything parallel between choosing a wife and casting an actress. "You bring home a round-eyed, vapid little creature, and when the first ecstasy of marital bliss is over you wonder why she doesn't say something. You look for a sign of intelligence and none is forthcoming. You walk into the clear cold night air and you say to yourself, "What have I gotten myself into? Maybe Mama was right!' Pictures today demand more than a pretty face, but I am afraid too many film- goers choose beauty instead of brains. They choose a rounded figure that can't enunciate a line and reject a flat chest capable of a brilliant performance." He said he chose leading women who had the ability to create the illusion of beauty. "Sarah Bemhardt and Duse axe examples of what I mean by this. Neither was a beauty. Bern- hardt, all her life, was scrawny, and her features were anything but classic. But to the day of her death—a poor, crippled old woman with a wooden leg and with her wrinkled face rouged and powdered—she could come on the stage and by the alchemy of her talent and charm produce the illusion of a young and beautiful Camille. This power is far more precious than real