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About Omaha daily bee. (Omaha [Neb.]) 187?-1922 | View Entire Issue (Jan. 18, 1920)
t , i til 8 D THE OMAHA SUNDAY BEE: JANUARY 18, 1920. Every Woman Seeks Beauty, But of Different Kinds Many Varieties of Beauty Are Portrayed in the Pro- .' duction of "Everywoman " Which Is to Be Pre sented at the Rialto This Week With a Fine Cast. . "Beauty is more than skin deep," says Violet Heming. "Beauty is food or bad, just as you want to make it, says cfbe Daniels, baby vam pire de luxe. Beauty is of the soul, says Wanda Hawley, wondrous fair. Beautyl Every woman seeks it! Yet in her" heart every woman has her own ideal of what beauty real ly is. Here are pictured a number of . beautiful young 'women. Their beauty has helped to win them fame end fortune on the screen, and on the stage.A But why should Bebe' Daniels, a beauty to be sure, be se lected to portray the role of "Vice" in the lavish Paramount-Artcraft photo-production of "Everywoman" and Margaret Loomis be selected for the beautiful role of "Modesty?" And why should pretty Violet Hom ing be selected to portray "Every woman" while Wanda Hawley por trays "Beauty," and Mildred Rear don of the blonde prettiness plays "Conscience?" Why should one beauty be wicked and the others modest and sedate? Is beauty, after all, more than skin deep? "It is, indeed, more than skin deep," says Violet Heming, whose portrayal of the character "Every woman nas already won tor ner loud praise from the critics and from prominent women who think she portrays their sex's ideals with inti mate understanding. "Beauty is a subtle, changing thing. I have seen girls I thought very beautiful in their cheap, worn clothes, and I have seen girls with features and figures an artist might rave over, who, to me, were anything but beautiful. Beauty of features must be enhanced by a look in the eyes, a reflection of heart and soul, to make the woman really beautiful." Cast as Vampire. But up speaks Miss Bebe Daniels, t she who makes such an adorable ' coquette with the wicked eye and in viting walk; "Beauty? I doi't know what it is about me, but directors are forever casting me for vampish parts. . I don't know why. I once measured my features, according to scientific rules, with those of a girl who was always playing roles of the sweet, good heroine. My features corresponded exactly with her in al most every respect. Yet she was the modest, retiring violet, while I seem doomed to bloom only as a scarlet, audacious rosebud. In 'Every woman I would have liked to have piayed just 'Youth' because I am young, you know but, no siree, George H. Melford, the director, in sisted that I must be 'Vice.' How do I make up for such a part? That is hard to tell. So far as a particular form of beauty I don't think the coquette has any. A girl may be a coquette without beauty, for that matter. It is the look in the eye: droop of the shoulder; the walk; the subtle something that can turn beauty into a thing purely physical." Now let's ask one who should be an authority on beauty, for she was chosen to portray Beauty in tv erywoman" Wanda Hawley. Full of Vigor. "When I was given this role my first thought was not of whether or not my features were regular enough to typify beauty or whether or not my figure was right or my smile youthful enough," explains Miss Hawley. "I first thought that to be 'beauty' I must be happy," healthy and full of vigor. I shut out the ugly distressing thoughts and tried to be happy and contented with my lot for being in 'Everywoman was an honor, Ithought. Beauty, I be lieve, is more than a perfect pair of eyelashes, more than pearly teeth and perfect nose. Beauty of the soul must be included to make beauty all the word implies." Beauty of Youth. And here is another beauty and she typifies "Youth." It is Clara Horton who is one of the screen's most notable beauties. ' She believes in dimples 1 Real ones not the kind you paint on or squeeze into placel "The dimple." says Miss Hor ton, "is the constant reminder of your youth. Dimples usually do not live long. Time stamps them out So, girls, cherish your dimples. They are a great aid to that beauty which is good, I don't recall a bad, naughty beauty with a dimple in cheek or chin, do you?" We don't "Conscience' has her idea of beauty, too. She is Mildred Rear- Sennett Traces Rapid Ijevelopment of Comedy By MACK SENNETT. (Prsdacers at Panmoant-MMk SesDeft ( CmediM.) WITH the coming of the year 1920 dawns a new era for the motion picture comedy, an era which we firmly believe will bring the comedy production up to the same standard as a multiple reel dra matic feature. .Worthy comedies will receive the same billing as dramatic features have received in the past, and at the same time will constitute the body of the program. I, In the early days of motion pic tures, comedies were used as fillers. L Dramas were the big thing and while they were giving entertainment value, the public wanted . a little change. Instead of having their emo tions continually pulled and hauled over the fiery coals, they wanted to laugh $hey wanted to see the hu morous side of life. We predicted then that the time would come when a comedy 'production of high qual ity would take its place as a feature regardless of its length. . lt was i new profession, this mak ing of motion pictures. We were s all feeling our way in those days, but I felt certain that the comedy of human interest, of the natural and i unforced laagh, had its place on the screen as on the stage, for in life laughter is mixed with heart-throbs, and is not the stage and the screen' the mirror of lifer "Oh, anything will do for a com edy," was the distributer's valuation of a real gold nugget idea, in the early days, if he had only known it. And thus was born a false, arbitrary idea, the filler valuation for come dies which we are glad to say is now being rapidly demolished. Then the war came along in 1914, the most serious fact the world has ever experienced. Conservative dis tributers and exhibitors agreed that something was needed to offset he gloom, and the comedy films were waiting for the job which was at hand. Exhibitors began to preview comedies with careful consideration. But even before the war the de mand from exhibitors for comedy productions had slowly grown to such proportions that producers were kept busy grinding them out. - For instance, at our Los Angeles sinaio, wmcn covers ou acres, wcJ had aa many as 20 companies at work at one time and we literally made swarms of comedies. We have - outdoor stages, a great indoor stu-1 dio, where 20 companies can work at one time, revelving stages, acres ' .'of open land, where we can stage I everything from the burning of San i Francisco to a street scene in China- j town. j With all these facilities at hand and the demand from exhibitors growing, we felt that the time had j come to turn out not mere comedies j but comedy productions. We have i gradually reduced the number of our i companies until we have but six at ' woric Instead of making a picture ev- j try two werks, we now take months, j ad we spend more time and money, ! we use every possible studio fa lsity in making the comedy feature, than is utilized on many multiple reel dramatic films. We usually "take on an average of 20,000 feet of most ex pensively produced film for each pic ture, although no limit is set Then by working-it over in the projection room, we finally have as a finished product to send out to the exhibitor 2,000 fest of human interest, packed full of action. That this new type of what we might call two-reel super-comedy is I being appreciated is shown by the manner in which exhibitors have, during the past eight months, quickly recognized the new product and have featured and are more and more fea turing as principal picture of their program, two-reel comedy produc tions such as "L'ncle Tom Without the Cabin." "East Lynne With Varia- . 11.' , . . . nuns, aaiome against enan- tiple-reel pictures, with record-breaking box office results. Thus the comedy film has at last corae into its own. Exhibitors are learning that there may be as much thought and expense crowded into a two-reel comedy as in a five-reel dramatic picture. The future will undoubtedly bring a great development of comedv oro- ductions due to the open market, the healthy condition of the industry, Flattery's Voice Is Sweet safe & Ja I h N sjw dsl 1 SM? "B 1 - ' 'Sr y u - 4 J w New Year Blizzard to Order While California Sun Shone It takes a great deal to baffle a motion j icture director, but when George II. Melford, who directed the filming of Walter Browne's stage success, "Everywoman," for the Famous Players-Lasky corporation, found that he must produce a New Year's eve blizzard in the middle of August aftd in southern California.. at that, he felt for a short time, that he had met his Waterloo. When you see "Evervwoman" at the Rialto theater, you will won der how Melford solved his oroh- j lem, for the storm scene is one of the most famous incidents in "Everywoman" which is saying a lot, because the picture is full of Startling scenes. A brief conversation with the studio ' technical force, convinced Mr. Melford that, next to nature it- j self, they were the best of weather I makers, so he smilingly went ahead with his plans. What he accom plished was so realistic that, though the night on which he took the win j try scenes was a torrid one, the i thousand extra players, who ap I peared as New York revelers, turned i up their coat collars and shivered. Mr. Melford first built a complete reproduction of several blocks of New York streets in which he in cluded a church; a large restaurant, a Salvation army headquarters and many other buildings. ihevSiae- walks and streets were piled nigh with salt, and powdered asbestos simulating heaps of snow. At vari ous points in the set airplane motors, with their propellers turning at 1,600 revolutions a minute were placed, sending forth blasts more powerful than any ever created by nature. Powdered asbestos dropped from above into these gales, swirled and twisjed with chilling realism. With manufactured Nature at her Wintry worst, Mr. Melford t'irned loose his flock of players, and his fleet of storm-stained taxicabs. The results, as shown in the completed picture, was startling. The actors did not act. The moment the pro pellor breezes struck them and th flying flakes of asbestos enveloped them, they forgot the Ci'ifornia summer' as they struggled befor- th; camera. They were actually fating a blizzard a raging tempest born of ingenuity and mechanism. don, the pretty girl with Gloria Swansqn in "Male and Female" re cently. Miss Reardon takes issue with her sister-beauties. She says that beauty can be made sweet and good or naughty and bad with the proper use of pencil, brush and rouge box. "The curve of the mouth, the droop of the lashes, the lifting of an eyebrow may be made to spell any mood or thought one desires," says Miss Reardon. "I do not be lieve in any woman neglecting to use artificial aids when she knows that to do so would enhance her appearance. There is no crime in the powder box or lipstick." So taking everybody s views and trying to draw a consensus of opin ion, we have a majority of beauties favoring the beautv that is eood. The "bad beauty" is in the minority. Every woman seeks beauty but most of them want the beautv that would qualify them to typify "Con science ratner tnan vice; louth rather than "Knowledge." How does your kind of beautv compare with those pictured here? Beauty Is Keynote Of Women and Theme Through 'Everywoman Beauty is the keynote of "Every woman." The beauty of investi ture, of gowns, of women, of theme and of action.- . - . , ; S - 6 utaigucu Willi longer runs and the demand of the an ev tn th fanciful u. r,. exhibitor for fewer and better pro- the striking. While there are mo ductions. ments renuircd hv th the plot, when the sordid must be presented by way of contrast, in the main the picture is a kaleidoscope of wondrous charm and color. The great banquet scene wherein Wealth entertains Everywoman and her companions as well as his own satelites, contains a table in the form of a dollar mark. In one of the circles of the "S" is a swimming pool; in the other a dance floor, while the company in gorgeous rai ment are seated about the curves of the figure During the sumptuous feast diving girls plunge into the water while lovely dancers trip the light fantastic on the tiny stage. v The court of King Love introduces the fashions of Louis XV. Herein the characters appear as courtiers and ladies of the court and lovely Everywoman in a magnificent gown meets him whom she takes for Love before a throne that is in itself a creation of unusual beauty. The gowns worn in the picture were creations of Clare West of the Lasky costuming department, while the bathing and chorus suits were designed by George Hopkins. , All are advance models, exquisitely de signed end composed of the richest fabrics obtainable. They form z veritable fashion show and many change are afforded both the principals and the extra people the latter reaching into the many hundreds. The production, as directed "by George H. Melford, marks an epoch in the artistry and the beauty of screen entertainment, for not alone is the picture physically beautiful, but the story itself possesses a charm and compelling power that is inescapable. Hi llMHi!!: 1 bt; f ' T'tl ' - - t -'sfl mm mm Aw---- '1.5 4VS$!f ' ii '-JxM j.? :wjii 1 fi jOT m. n inlif J Jij doah." over and above longer, mul- Lis, Youth The Most Sought for Attribute of Everywoman is not expressed in the woman of today who spends years of her life in the trials and drudgery of household tasks. Nor loes she even retain her youth a few short years when once fettered to these trials. AH too soon Youth departs an undisput-1 able victory for Drudgery a complete surrender for Youth. . Everywoman of Today can retain Youth. The modern electrical household appli ances of the age give hours of respite from this drudgery. . PARAMOUNT TODAY in the modern "youth staying home" stands the 1900 Cataract - Electric Washer Constructed for the small wash as well as the large one. Suitable for washing of fancy laces to heavy linens in any number. To see this "youth stayer" on display at E. B. Williams "drives dull care away." ' Step in today or have demonstrator call. Sold exclusively by 312 South 18th St Tyler 1011. A small down, payment puts this in your tome 'Balance on our "PAINLESS PAYMENT PLAN" ME Last Year One af Great Prosperity. Says Thos. Ince By THOMAS H. INCE. THE outstanding fact of the clos ing year is that it has been one of unexampled pros perity in the motion picture in dustry. More money has been taken in throughout the coun try, production has been vastly in creased, and the demand for pic tures has. been unprecedented. There are many factors that ex plain this condition of affairs; re lief from the strain of the war, high wages and the partial reopening of the foreign markets. The output of the producers sets a new record, and I am convinced that, so far as Paramount-Artcraft is concerned, a high level of excellence has been maintained. To deal particularly with the pro ductions in which I was personally interested I think I mav claim that the pictures made at mv new studios, opened in the first month of the year, maintained the established reputa tion of Dorothy Dalton, Enid Ben nett and Charles Ray. One ev&nt of the year has afforded me special satisfaction, the instan taneous success of my two new stars, Douglas MacLean and Doris May, in their first starring vehicle, "Twenty three and a Half Hours Leave," from Mary Roberts Rinehart's story. The satisfaction was greater as, in a measure, I had staked my reputation for gauging the popular feeling in this new offering. " i The play had .its first showing at the Rialto in New York before a sophisticated Broadway audience. The next morning I felt like a prophet, somewhat surprised at the accuracy of my forecast. New York received my offering with acclama tion and the young stars walked straight into the hearts of a mirth loving public. I have planned a series of pictures for these young artists, keeping the light, unrestrained comedy motive predominant. I have already com pleted three pictures on these lines and have never felt the slightest doubt as to their cumulative success. "What's Your Husband Doing?" and "Mary's Ankle" are ready for release, and I am busy at work on an original comedy which will carry a ripple of laughter through the film world. In strong contrast to these com edies, I have launched Hobart Bos worth in a tense drama sounding a deep, tragic note in a specially pre pared version of Oouverneur Mor- In this pro- "Everywoman" Prologue. By Lawrence Grant. Who shall know the workings of a woman's heart? Who shall fathom the dreams of a young girl as she first looks out on life, "Standing with reluctant feet, Where the brook and river meet, Womanhood and Childhood fleet." Sinn ufarta fnrifioA hv nil tVi hrrflt Attribute- Youth Beauty Modesty Truth and Good Conscience; j, but near her are Ambition and Pride beckoning her on; j Passion with pleasant exterior; Vice in attractive form: ' wealth ready to smooth all patns; wnue L.ove, compas sion and Devotion seem but dull company. Everywoman must chose which of, these shall be her Companions. . Beauty cannot flirt with Dissipation, nor abide with Passion; Youth cannot sport with Vice; Truth will be estranged by Ambition ; and Conscience be stilled by Pride. Only Infinite Love Perfect Devotion Divine Cqm passion will cleave through all vicissitudes, ready in the hour of direst need to rally round her, when Nobody cares. Everywoman meets these characters daily. They bear ordinary normal names,, but she knows to which group each belongs, whether they are a force for Good or for Evil, whether they should enter the inner cir cle of her Friends, or be passed by and forgotten. Will she pursue Ambition? ' Consort with Vanity and Pride? Indulge in Dissipation and Vice? . Or, in the path of Simple Standards and quiet Modest Wava ho enntont tn livA hpr lit Tn ComnanionshiD with Womanly Virtues, believing that if she pursue Truth alone, then Love, which she so earnestly aesires, wm De ner sure Reward? duction I have used the sea and sub marines in a series of pictures which, I believe, will prove one of the screen senfations of the year. A wealth of technical knowledge has been used in the filming of this story and I believe certain phases of sub marine warfare have never been so accurately portrayed. Outside of these contributions I have offered an elaborate special production dealing with the labor upheaval prevalent in all parts of the civilized world. This is entitled "Dangerous Hours" and is a visu alization of modern conditions by C. Gardner Sullivan. Incidentally, it serves to introduce Lloyd Hughes, a young actor of such dramatic insight that I have added his name to the list of my screen celebrities in the belief that, in future productions, he will win a firm position in the esteem of my patrons. - If I again appear as a prophet it is to foretell a year that will be mem orable in the annals of picture his tory as one of high endeavor on our part in an effort to retain the good will of our audiences. It is our unique privilege to be the pictorial recorders of the thoughts and im pulses of our time and to bring chefr and enlightenment to all peoples and all nationalities. Life Size Figures of Actresses In Display Window of Orkin Bros. Considerable interest is being" manifested in the unique window display of Orkin Bros, store. The display consists of two life ize fig ures of Violet Heming and Clara Horton, who play the characters of "Youth" and "Everywoman" in the great cirjema production, "Every woman," which will be shown at the Rialto theater all this week. The gowns worn in this produc tion are a feature that will interest feminine Omaha. Orkin Bros, are showing several models of the exact gowns worn in this picture. J. L. Orkin and the department buyers are now in New York. Mr. Orkin reports that business condi tions never looked brighter for 1920 and has instructed his buyers to buy accordingly. The Fancy of Everywoman The fancy of Everywoman inclines toward luxury and comfort and to. this in the' case of a motor car she musfadd absence of mechanical trouble. ,: , The Oldsmobile Coupe represents everything that Everywoman de sires in a motor car Beauty, power, comfort and luxury. Every little detail has been furnished. The Oldsmdbile of today truly represents the carriage of a discriminating woman. t . Time payments can be arranged as an accommodation. Nebraska 920 Locust St., Des Moines, la Chas. A. Tucker, Gen. Mgr. Company 2555 Farnam St., Omaha, Neb. y fin 1W """" 1 8 . VJ 1 an - i UJ
