New-York tribune. [volume], January 04, 1920, Page 4, Image 38

About New-York tribune. [volume] (New York [N.Y.]) 1866-1924

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' Intimate Info
Watching the Pictures I
With the Child Stars
Proves a Lot of Fun
We bad always wondered, Briggs
fashion, what a juvenile movie star
thought about when watching pictures.
A week ago we badnt the least idea,
bat now we have a fairly definite line
on their psychology, as we chaperoned
eight of them at a children's panto?
mime one day last week, and inciden?
tally bad the time of our young life.
The gathering of infant stars was
arranged by the management of the
Rivoli and Riaito theaters, who were
putting on a special children's per?
formance daily in the Sixty-third
Street Music Hall. The youngsters be?
long to the Famous Players, and they
found it grert fun attending a matin?e
together and looking on instead of per?
forming. Most of them knew each
other and shook hands with a solemn
and grown-up air. But they forgot to
be dignified when Fatty Arbuckle start?
ed throwing frankfurters around in a
picture, and they were just as thrilled
over the real live Santa Claus, who
went through a pretty pantomime, as
were the hundreds of youngsters in the
theater who don't know what it is to
wear make-up or be held in Mme. Pe
trova's arms or earn ridiculously big
salaries before knowing twelve times
twelve.
Bobble Clark tossed his golden curls,
Bobbie Clark
hitched up his pink satin Buster
Browns and cuddled up ingratiatingly
toward his interviewer. Bobbie, being
only five, naturally hadn't the least
idea what an interviewer was, but he Is
so used to performing that he just did
it anyway.. He is the fas'dinating child
who took a curtain call all by himself
in "Carnival," and is really quite an
old hand at making pictures. For in?
stance, he is the one funny person in
Clara Kimball Young's new picture,
"The Eyes of Youth." It is he who
eats the banana and sits in the dunce's
corner and otherwise misbehaves him?
self.
"Huh! Me1?" said Bobbie. "I don't
know what I done 'cept cry in one of
the pictures. Ask mamma. I want to
watch Fatty."
With a bored air he waved us aside,
and we subsided, thinking. the. inter?
view closed. But it started up quite
spontaneously again -when Bobbie
clutched us excitedly by the arm, gave
us a squeeze and burst out:
"l Jes' love Fatty better's any one.
Don't you? An' Charlie Chaplin's
funny feet. [Screams of laughter
from Bobbie at Fatty, who was still
-performing on the screen.] An' Mutt
and Jeff. -Specially Mutt and Jeff."
Tea, Bobbie, and Mary Pickford?
dont you love her?"
"New, she Isn't funny. I like the
funny ones."
l_>ls with emphasis and another
??raeeza. Next minute Bobbie was
jumping up and down like a Jack-in
the-box with excitement over the pic?
ture. We concluded that this chubby
infant star, at any rate, was still un?
spoiled, spontaneous and marvellously
good to look upon. He haa a four
year-old sister, Betty, just as lovely?
also a screen star.
Freddie Verdi watched develop?
ments on the screen with a sober and
critical air. Freddie is ten?a thought?
ful and studious little chap. He is
Mme. Petrova's prot?g? and has ap?
peared with her in a great many pic?
tures. Among other things he was in
"The Eternal -City," "TheA-aw of the
Land," "The Fear Market/' and is in
Vaudeville
PALACE?Grock, the French musical
clown, remains a second week at this
bouse. Leon Enrol, the international
comedian, remains for a third week
in "The Guest." A new importation
from London will make her d?but,
Ella Shields, a male impersonator.
Henri Scott, basso-baritone, will be
featured in a song recital. Cleve?
land Bronner will present a new
pictorial and musical feature built
around Ingrid-Solfeng, the Norwe
fian beauty. Joe Laurie jr. will do
is new version of "What Care I?"
Rockwell aad Fox will jest in "Two
Noble Nuts" and Loyal's Dogs will
display canine comedy.
RIVERSIDE-Irene Franklin will make
her first appearance at this house in
several months. Aleen Bronson and
company. George MacFarlane. Er?
nestine Myers and Paisley Noon, the
Swor Brothers, Toto, Sheila Terry
and company, the Nolans, the Mag
leys and the news pictorial will com?
plete the bill. %
COI_OJflAi---Groel_, the French must
eat clown* will coma to top the bill.
Keseoe Ails and company, Dugan and
Raymond, Dorothy Shoemsksr and
company, All man and Nally, Mar
Kret Young, Nelson and Cronin,
ek Hughes Duo, the Four Nelsons
and the news pictorial will round out
the bill. ______
EIGHTY . FIRST STREET ? Jamas
Thornton and William B. Friedland
ep-s ast-SkS-l eomedistta "The Girlies'
Club," sro heedllflers. Doris Kenyen
vtll be shows in ? pieturisation ot
Lest? Joseph Vance's novel "The
-Mud?os--*
m
'"The Copperhead," which is not yet
released.
"The most interesting thing I did in
pictures was die," confessed Freddie.
"Just in ray little bed, you know. I
didn't have to be killed or anything
like that. I don't want to be a movie
star. I'm going to be a doctor. You
can make more money that way."
We didn't like to disagree with any
one so youthful, so we encouraged the
somewhat bashful Freddie to tell us
more about himself and we learned
that he is studying hard and that
Mme. Petrova dresses him and that
he dines with her at the Plaza and
other interesting places, and that he
thinks her the most wonderful star
on the screen. He swims, rides,
dances, sings and drives an auto;
(It seems those infants have very
decided preferences and they know
quite dreadful secrets of which the
groat public is darkly ignorant?things
about wigs and false mustaches and
unsuspected double chins. Indeed, we
wondered if it was proper for a news?
paper woman to listen to all the dress?
ing room scandal.)
We must confess to a weakness for
naughty little boys, and one of the
things we had liked about "Anne of
Green Gables" v was the bit of Pie
fam'ly that so' misbehaved itself in
school and made things hot for Anne.
So we were quite thrilled when Bandy
haired, freckled Russell Hewitt was
introduced to us As that "awful Pie
boy."
"So they didnt have to paint on
your freckles after all," we murmured
admiringly, as we scanned Russell's
peppered countenance.
"I should say not," replied the young
imp. "Never had more fun in my life
than the Pie part. Before that I was
a minister's son in pictures and goody
good things like that, but me for the
naughty parts. They're ever so much
easier to play."
"He has plenty of practice," put in
his mother. "He always was a hand?
ful at home. He knows wf at it is to be
the naughty boy in the family, all
right." '
Mrs. Hewitt is the proud mother of
?ix infant movie stars, three boys and
three girls. Only two could be Bpared
to come to the pantomime, as the other
"our were busy at the studio. Vivian,
i plump, fair-haired, pretty little thing,
:ame along with Russell.
Marion Stewart, a five-year-old, who
has had ample experience, both on the
stage and screen, was too busy crying
over the pictures to be seriously inter?
viewed. She was the only dark-haired
one among the girl stars, and tibe) has
taken the baby part with all kinds of
distinguished people. But in spite of the
fact that she knows the inside of the
machinery and spends most of her
young life watching pictures being
made, she is unable to get away from
the realism of things. She wept copi?
ously over Mary Pickford in "Hearts
Adrift." Marion's chief ambition in
life is to be an acrobat.
Not all the children who are suc?
cessful in movies want to be shining
stars in the future. Dorian and Rus?
sell Anderson,- eight and ten years old,
are handsome brothers, who are more
anxious'to be naval officers than movie
stars. They are already disillusioned,
after playing boy parts in some of the
biggest pictures recently produced.
rhey will'figure in "Dr. Jekyll and Mr.
Hyde," Btarring John Barrymore, when
it is released.
So will Sarah Stevens, the oldest of
he stars who attended the pantomime,
she is a lovely girl with fair curls,
jlue eyes and delicately molded fea
;ures. She is proud of the fact that
*he has shared Marguerite Clark's
lressing room.
"It's rather strange ' how I started
in the movies," said Sarah. "I was
claying on the street with my sleigh
me winter day when Francis Bushman
?vas having moving pictures taken in
;he neighborhood. His dog ran toward
ne and I played with it. He noticed
no and told my mother that I had the
makings of a screen star. We didn't
:hink anything of it at the time, but
some one who was interested in movies
took a flashlight of me without my
knowledge one day and soon after that
1 was engaged for the screen. I love
:he work and hope to be another Mary
Pickford some day. I am said to be
like her."
Just then ?Sarah got her eue to go
?n the stage and give a speech. After
a pretty little recitation she grew con?
fiding and said to her youthful
audience:
"Now children, If yon want to be
icreen stars yon must be very, v?ry
patient and wait for a long time. It
?n't be done all in a day. But if you
?rill turn round and look at the fast
two rows in the theater you will see
some real little movie stars who have
:ome here for the matin?e."
Then the lights went on and hun?
dreds of pairs of curious eyes were fo?
cused in our direction. It was the one
time in our life that we were mis?
taken for a movie star,' so we took
what enjoyment we could from the re?
flected glory of our distinguished, if
diminutive, party. Our air of self
assurance was all shot to pieces, how?
ever, when Bobby gave our arm another
violent squeeze and whispered in a
loud voice:
"Oh, ki? I stay 'n seo Fatty Arbuokl?
again?" 1. R,
At the Rivoli
Norrna Tahuadge in "She Love?
mnd Um9*
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MAR6ARET
LAANRENCe
Barry Baxter Has Learned
Many Things Since He Came
To America 4 Months Ago
"Aren't your stars wonderful over
herel I declare there is nothing like
it in England. They are so young and
they are so beautiful 1 I haven't had
a chance to see as many of them as I
should like,, because I'm ?b busy myself,
but I went to seo Fay Bainter in 'East
Is West' and I think she gives one of
the best performances I ever saw. She
fascinated me, and when I left the
theater I looked up and saw her name
in electric lights, and I felt how richly
she deserved it, and yet how unusual
to win such recognition from the pub?
lic while one is so young."
This is Barry Baxter talking, and we
Her Reoitol fs To-night
Roshanara at the Greenwich Vil?
lage Theater
wish it were possible to reproduce his
delightful English accent, nut it isn't.
To hear that, one must go to the Cri?
terion Theater, where Mr. Baxter (he
is already known as Billy) is playing
with Laurette'Taylor in '*One Night in
Rome."
He is the ons whom "I/Enigme"
reproves for his levity, telling him that
he had no understanding, though how
she' could say that in face of the proofs
furnished in the second act is beyond
our own understanding.
In this act he appears as Nero and
plays the violin, clad as was Nero, sup?
posedly. When we commented on this
most becoming and tasty costume he
said: "Ycb. and I was nearly arrested
in some town near here where wo
opened. They thought my costume was
Improper and they made me wear some?
thing underneath. All I could find
Brooklyn Theaters
CRESCENT?Lew Fields and his com?
pany, presenting tho musical farce,
"A Lonely Romeo," will begin an
engagement Monday. It ran for six
months at the Shubert and Casino
theaters, New York.
MAJESTIC?George Broadhurst will i
present his own dramatic version of !
"The Crimson Alibi," based on tho !
novel by Octavus Roy Cohen, after;
a run of six months at tho B?oad
hurst Theater, New York. Tho same i
cast will be seen, including Harrison
Hunter, William H. Thompson, Robert i
Kelly Gcorgo Graham, Robert Bar- '
rett, Robert Vaughn, Roy La Rue,
Gardner James, W. R. Lemuels, Bcr,- i
tha Mann, Edna James, Inda Palmer, '
Mary Foy and Catherine Cozzens.
MONTAUK-- Cohan _. Harris's jolly
musical comedy "Going Up," which
was seen at the Montauk last season
following a long run at the Liberty
Theater, Manhattan, returns there
for an engagement of a week. The
cast has Raymond Brown in the lead?
ing comedy r?le, that of tho Aviator;
Norma Brown, Loretta Marks, Mario
Villani, Douglas R. Dumbrill, George
Fredericks and Roy Purviance.
ORPHEUM?The female impersonator,
Bothwell Browne, late star of "Yan?
kee Doodle in Berlin," will bring his
Bathing Beauties. Miss Juliet; Vio
tor Moore A Co; Frank Hurst; Ben
Bernie; George Austin Moore; Jo- ?
seph H. Bernard A Co.; Vera Sabina;
Johnson, Baker & Johnson, and the!
(news pictorial will complete the bill.;
BU8HWICK?Pat Rooney and Marion!
Bent in "Rings of Smoke," by Edgar
Allan Woolf; Franklyn Ardell A Co.;
Captain Gruber an<f Mile. Adelina;
the Lovenberg Sisters and Sime
Neary; Cahill nnd Romaine; Friacoe;
Permaine and Shelly; Chong and
Rosis Moey, and the news pictorial
will be on the bill.
1
were horrible, apricot-colored tights,
but I had to wear those, and Greta
Kemble Cooper had to have chiffon
trouserettes added to her c&stume. I
say, you are modest over here, aren't
you!"
"Not so terribly. But in certain
areas they have purity waves. Person?
ally, we th^nk that any one who adds
to your costume spoils the effect and
deprives .the public"?we- hesitated.
How we longed to say "of an eyeful,"
because we knew that Mr. Baxter
couldn't possibly know what it meant
and would probably be so surprised at
the peculiar phraseology of American
journalists. But we refrained and said
instead something equally original.
"How do you like America?"
"It is the most wonderful country I
ever have been in. Such cordiality,
such enthusiasm I never have seen, and
managers are so nice and the public is
?50 kind and the critics"
"Were they kind, too?"
"Most of them were, and I expected
nothing at all. Out of the twelve
notices which I read nine of them were
favorable. And your Tribune pleased
me most of all because it is my paper."
"Have the audiences been kind, too?
"Oh, yesl They are not afraid to
show their appreciation, are they?
How they do applaud when they like
a thing. That is another delightful
i-hing about you Americans. And tell
me something. Is that how people
over here get to be stars? Is it the
verdict of the people?"
"Well, mostly?yes," we answered.
"Of course, in some cases it is?some?
thing different. But if the public likes
you well enough you stand a pretty
good chance of becoming a star."
"And that makes one so ready to
work hard, doesn't it? You know
in England they keep right on worship?
ing the old favorites and do not ask for
new ones. They aro really unwilling
to accept them. I am sure Ellen Terry
could return to the stage any time
and be received with open arms. I
want to stay in America always, I
think."
"In spite of prohibition?"
"Yes, even if one must have a pre?
scription to have a drink?"
"Oh, you've learned considerable
since you came here, haven't you?"
"Indeed, I've been here four months."
"And did you come over to play 'One
Night in Rome"?
"No, I came over to play in 'Too j
Many Husbands,' but"?he hesitated?
"well, anyway, I didn't. And I spent !
my time seeing New York until I >
opened with Miss Taylor. So you see
I've had a ehance to learn something
of Americans if not of America. I
know the meaning of"?and here Mr.
Baxter said something so astounding
that it even made us gasp. He evi?
dently did not know the meaning of
it. But ho continued glibly "and I
know the meaning of 'punk.' You see
I'm making a picture down at the Vita
liraph with Earl Williams. We have
to do a lot of ridi.ig in it; and Wil?
liams told me he was a 'punk' rider."
"And when you saw him ride you
found out what the word meant?"
Barry Baxter said "Oh, no!" But
wo have seen Mr. Williams ride. H. U.
In "Abraham Lincoln"
Caricatura by Mush.
Albert Phillips a? Gen. Grant
list to the Camera Man!
He Knows the Real Inside
Of the Making of Movies
No one ever thinks of the man who.
makes the motion pictures. Yet the
camera man knows more about them
than any one else concerned in the
technical end of the work, and he is a
tyrant in his own way. Constant ob?
servation has taught him things about
stars that they are unconscious of
themselves.
Roy P. Overbaugh, who is Billie
Burke's camera man, has this to say
on why beauty does not always make
good on the screen:
"The factors that constitute beauty
are coloring, expression, animation,
proportion and contour. The motion
He's a Goldwyn Star
Johnny Jones as Edgar
pi otore camera eannot reproduce eolor
ing. On the-other hand, contour, beau?
tiful lines and features are faithfully
reproduced. The camera lies blatantly
when it come to photographing color.
A girl with a beautiful complexion,
clear blue eyes and auburn hair might
be a beauty in real life, but when
photographed might seem to have a
rather muddy complexion, black hair
and indefinite eyes. Make-up, of course,
is the usual method to make the skin
appear smooth on the screen, but it
cannet be compared with the beauty ;
of a pink and whffce complexion as seen
by the eye. Auburn hair can be made <
to appear blond by keeping an ab?
normal amount of light on it. i
"The still portrait photographer can
Neighborhood Theaters
SHUBER T-RIVTERA?William A.
Brady will present "The Man Who
Came Back," by Jules Eckert Good?
man from the story by John Fleming
Wilson. In th# cast will be Adda
Gleason, James Seeley, Horace Coop?
er, Lillian Booth. Norah Spraguo,
Harry Davies, Richard Clarke, Allan
Atwell and Irving Southard.
COLUMBIA*?"The Girls of the U. S. A."
is the title of tho two-act burlesquo.
It was written by Loney Haskell,
with music by Nat Osborae. In the
east are Lew Hilton, Ernest Mack.
John Bohlman, William P. Murphy,
Roy Peck, Teresa Adams, Tenny Hil?
ton and Babe Lavetta.
"Belgium" by Burton Holmes
Belgium has been selected by Bur
ion Holmes as tho first country to be
.isited by him and his fellow travelers
In the series of travelogues which he
jegins. hero next week. Ills momtion
pictures and colored views will make
;his ? substitute for a personal visit
to this country, tho first victim of
?sr's horrors. Brussels, Antwerp,
Bruges, Ghent, Ostende, Zeebrugge
ifpres, Dixmude, Leige, Dinant?somo
into.uched and others mere stone piles
-?all these and also the famous battlo
lelds will be visited with Mr. Holmejh
?ho will give "Belgium**-at Carnegie
?tall next Sunday evening and Monday
tfternoon
work wonders by retouching, but on
the screen, make-up must accomplish
the same end. There are particular
lighting effects that show each person
to the best advantage. Poor lighting
by the camera man or bad laboratory
work will make even the most beau?
tiful appear positively ugly on the
screen. In determining whether a per?
son will screen well it is always neces?
sary to analyze individual beauty. If
the contour and features are good and
the eyes are not too light, from a
photographic standpoint they are at
least screen possibilities."
Says John S. Stumar, Dorothy Dal
ton's camera man: "A beautiful girl
may have a small, narrow face, but she
will not necessarily photograph as
beautiful. A round face photographs
better than a thin onet A girl with
high cheek bones may be beautiful on
the stage or street, but she will not
photogi'aph well unless the lights are
properly played on her features.
"A girl who is beautiful on the stage
or street may not photograph well if
she does not know the art of make-up.
It has-frequently taken the celebrated
screen beauties as long as a year and
a half to get the desired results. It
is frequently possible for a girl who
possesses physical defects to make her?
self quite beautiful on the screen by
the skillful use of make-up."
F. M. Doan, who looks after Lionel
Barrymore's camera interests on the
screen, answers the question "Why
Beauty Doesn't Always Make Good on
the Screen" in this fashion:
"A girl who is pretty is so conscious
of her charms that when she gets be?
fore the camera she is self-conscious
and blurs the very qualities that make
her beautiful. A girl may be declared
beautiful on the stage and street and
possess small, delicate features, but it
is a fact that heavy features photo?
graph best. A pretty girl who is with?
out brains won't look her best in the
movies, for the camera never lies. Take
the best stars in the business?those
with enduring reputations?and you'll
discover they have the rare combina?
tion of beauty and brains."
William A. Reinhart, who did some
camera work on "Anne of Green Ga?
bles," says:
"A woman who is past the bloom of
youth and is beginning to get lined
may keep up the illusion of fresh young
beauty on the stage -but never on the
screen. The audience in a theater sees
an actress at a distance of about twenty
feet away even ?f seated in the first
row. But in a close-up on the screen
she is shown only four feet away and
is magnified many times. The camera
is penetrating and probes beneath the
mask of make-up, so that the lines of
age cannot be hid."
Here are some of the things the
picture-taking men agree their cameras
won't do for them:
Photograph colors.
Render scenes so that people in the
foreground stand out boldly in relief
;rrom the background.
Make fast-moving objects appear
ilow and vice versa.
Make one scene blend with another.
Make people appear to float in the
lir or on beams of light.
Make a normal-sized person appear
iither as a midget or a giant.
Photograph a person so that he will
ippear as a ghost or spirit.
Make inanimate objects move.
In "The Midnight Whirl"
Margaret Morris ?
m
Make-Believel
James Montgomery, I
Playwright, Values
Criticism Highly
Interviewing James Montgomery is
a tough Job. The difficulty is two?
fold. For cine thing, whereas Mr. Mont?
gomery wears the aspect of a simple
soul?he is a youngish, fairish man,
with a slender face and figure and
very blue eyes?he is really a highly
complex personality and chock full of
the most disconcerting paradoxes. And,
what is still worse from the inter?
viewer's point of view, he is that most
exasperating and rare phenomenon?a
really and truly modest man.
Just how an author who fou more
than two years has been raking in big
royalties from both sides of the At?
lantic, and who has moreover for the
last eight weeks been "turning 'em
away" from several musical comedies
?just how such a young man man
'ages, under such circumstances, to
keep all his native modesty intact, is
neither here no* there. The fact
is that the creator of "Irene" is the
most reticent dramatist in Broadway
when it comes to talking about him?
self, and tho most elusive when he
hears that he is wanted for that pur?
pose.
And 80? encountering him the other
day at tho Vanderbilt Theater, appar?
ently by accident but really by care
, fully planned scheming, the visitor,
knowing his prejudices, started things
with a casual and altogether perfunc
i tory remark about dramatic criticism
I and dramatie critics. But Montgomery
didn't take it as perfunctory at all.
' His Irish blue eyes lighted, his slight,
! neatly-built figure straightened invol
' untarily, just as if he were a little
boy to whom one had spoken the magic
words "sugar plums." _
"I wish youM say, for me, that I
value criticism very highly," he said.
"And I also wish you'd say"- PeJe
there was a slight hesitation, as if he
didn't know whether to voiture a sec?
ond request so quickly QnVvJie heels of
the first?"I?I?wish you'd also say
that I believe it is worth while for any
dramatist to give a respectful ear to
his critics **
"How about the vitriolic reviewers?"
"Yes, they, too, are important," came
the quick reply. "As a matter of fact,
I the most Instructive lessons are fre
, quently to be learned from the most
savage and the most unjust, reviews,
unless, of course, they have been in?
spired by personal animosity, whieh is
so rare as to be negligible. The crit?
ic's job is pretty much like that of a
dentist. If he does his work well and
to the best good of his patient?be the
latter dramatist or actor?he has got
to hurt him occasionally and sometimes
hurt him cruelly. The gentle critic
is not more dangerous to the ultimate
welfare of the stage than are the \teri
ous 'Painless Perkinses' and 'Painless
Potters' to the dentition of that por?
tion of the public attracted by their
seductive window signs. 'Killing the
nerve' of a tooth is a painful opera?
tion, but frequently there is no avoid?
ing it if one's tooth is to be filled and
saved, and so, too, is "killing the nerve'
in a dramatist or an actor. I know,
because I have suffered both opera?
tions."
Here Montgomery blushed, evidently
perturbed by the sudden realization
that he had been talking about any?
thing so intimate as a tooth. Now
seemed the time to spring the real
question in the interviewer's mind, the
subject which was the raison d'etre
for his visit.
"How did you come to do 'Irene'?"
"But I didn't," he protested, with a
whimsical little smile and a very seri?
ous shaking <of his head. "It's a tri?
angular affair, and I am only one of
the sides of the triangle. There's Joe
McCarthy, you know. Well, he wrote
the lyrics. And there's Harry Tierney.
He wrote the music. And there's Ed?
ward Royce, who staged the produc?
tion, and, most important of all, there's
Edith Day, who has created the title
r?le. You see, I'Ve really done very
little."
But the interviewer couldn't see it
that way at all, and now, feeling a
little surer of his ground, he proceeded
to exercise some of the prerogatives
of his own craft, and by a cautious
process of induction and deduction
managed to extract the following in?
formation about James Montgomery
and his glorified shop girl from Ninth
Avenue.
As for Montgomery, for twelve years
before he began-to write plays he was
an actor, his first appearance on the
stage being as a member of the Castle
Square stock company in his native
city of Boston, where he had just
graduated from high school. From
Points to Remember
In 'Making Up' to Play
In Drama for the Screen
Here are some points to remember
in screen make-up, as outlined by the
camera men:
Pink, brown, yellow and white make?
ups photograph identically, if they are
of the same relative shades.
An extremely yellow make-up photo?
graphs black.
Persons with gold teeth should :
whiten them, as they photograph black, j
The eyes should only be slightly
darkened.
Any one having eyes that protrude j
should put some darkening on the lid
to get a deep-set appearance, or they j
will seem to be pop-eyed.
Rouge photographs black, but when
used carefully it makes an actress's
face seem thinner.
Brown lines are used to indicate age.
If a splash of rouge is used to con?
ceal a hump on the nose, a hard black
.pot is left. The same thing is true in
trying to disguise a double chin.
On the Btage you can make the lines j
_f a mouth that naturally turns down
ero up by using black pencil. This can't
be done convincingly on the screen.
Rougo should never be put in the j
nostrils for screen work, as it is for '
the stage.
Eyelashes should not be beaded heav
ily. Only a touch of mascaro should j
l)e used, or the effect,is artificial.
Only a touch of green or black should ]
be put around the eyes.
Pink powder is best for screen use.
Light yellow is tricky, because if too
much is put on it seema to darken the !
skin.
Movie make-up consists of the fol-1
lowing: A foundation of grease paint,
generally lighter in color than that
used on the stage. Then a thick layer
. f powdor, light pink preferred. Only
the smallest amount of rouge should
be put on the lips. The line of the eye?
brow should be lightly penciled, with a
ittle bit of mascaro on the lashes. Some
brown, black or green should be pot
.n the upper lid and shaded down with
grease paint, to give a soft effect.
That Red-Headed Chorus Girl
Marie Sewell, the little red-haired
.horus girt who attracted so much at?
tention at the opening performance of
here he went to a similar job with ??.
Alcazar stock company in San ?%
cisco, and thence to the Spooner ufei
company, of Brooklyn. Finally, he*?iot
his first and only Broadway engu?.
ment, which was in "The ForKl
Hunter." Then he started o#t t?T
a playwright. So much dramatic a?
terial had been accruing in his systt?
that he had to get rid of it semenes;.
so he proceeded to turn out in qnU
succession three productions that w??
to bripg him immediate recognitjo,
first in this country and later in U?.
don, where "Ready Money" played ? I
year at the New Theater, "Nothrju I
But the Truth" two years at the ??^? !
and "Going Up" two years at ft,
Gaiety, and still holding the traanlf
of that famous playhouse. ;
As for his latest success, ? JaaN
Montgomery confesses:
That he created the character of ffo
shop girl Cinderella as a challen?^
those people who had begun -to whiaij.
that he would never be able to irjjk
anything but men's parts.
That Irene O'Dare has a counterpart
in real life.
That she formerly worked in en
basement of a big New York depim
ment store.
That the dramatist met her thin
some two years ago when he wai ne
James Montgomery
gotiating the purchase of a portable
oil stove.
That she chewed gum vigorously and
was as pretty as a picture?so pretty,
in fact, that while waiting for. hit
change on that occasion he tried to
engage her in conversation by inquir?
ing in his most polite and brotherly
manner as to the distance of her abode
from the scene of her arduous and ill
paid labors.
That the young woman rewarded Mm
with a withering "once over" and *
curt "What's that to you'
That James Montgomery left that
department store a "made" man.
had arrived. His next play would b*
about a girl?a pretty, gum-chewing
shop girl with a clean heart and
sharp t?ngue?a girl whom he had
overheard somebody behind tne coun?
ter call "Irene."
That James Montgomery has ofte?
since tried to find that girl, who had
meanwhile left her job when he re?
turned a week later.
That Ke made a fruitless search for '
her in every department store in New
York and in half a hundred boarding
houses. <
That he would still like to find bir,
because he considers that he owes h?
not only a debt of gratitude, but ?
substantial percentage of his royalti?
from the musical comedy in which M
has enshrined her memory.
For James Montgomery is a grateful
and conscientious author as well M ?
modest one.
--r=ac
"Miss Millions" at the Punch and Jsdf
Theatre, is English and a younger ste?
ter of Cissie Sewell, who plays in the
same production, and who danced ?
"The Girl Behind the Gun" with Don?
ald Brain. Marie made her d?butas'?
entertainer of ' English soldiers'??
was for several months 0:1 the fA"*?
lines in France. She also appeared ?t
the Folies Berg?re in Paris and at th*
Palace and Gaiety theaters in London
in musical- productions.
Tn "Mv Lady Friends"
__. *
> . - *.'