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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
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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.
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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.
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