NORMA SHEARER

Manawatu Standard, Volume LIV, Issue 293, 8 November 1934, Page 11

NORMA SHEARER

A CHARMING MISS OF 1843,

GOWNS FEATURE OF “RIPTIDE.”

Four hundred and 6ixty-four yards of material were needed for eight gowns in 1843! Three hundred and ninety-nine yards of material equal thirty-four gowns in the year 1934! These are the interesting figures obtained from the wardrobe department of the Metro-Goldwyn-Mayer studio concerning the respective gowns worn by Norma Shearer in her last starring production, “Riptide,” as compared to those she wears in her new starring feature, “The Barretts of . Wimpole Street.” In “Riptide,” Miss Shearer’s wardrobe consisted of thirty-four gowns of ultra-modern type designed by Adrian. These included coats, suits, formal and informal costumes. The clothes averaged just a fraction more than eleven yards to an outfit.

Changing costumes thirty-four times as Lady Mary Rexford, however, wasn’t as much of a strain as changing eight times as Elizabeth Barrett — considering the fact that each separate costume for this character averages fifty-eight yards, and Forty yards of that amount were made into petticoats ! Each change of costume has its own special set of petticoats and Miss Shearer, Maureen O’Sullivan and other feminine members of the cast have to wear these outfits. Hundreds of yards of organdie were used by the wardrobe department in fashioning these various sets of skirts. All of the various gowns worn by Miss Shearer and Miss O’Sullivan in “The Barretts of Wimpole Street” are attractive reproductions of the styles of 1843. The tight bodice, full skirt models reflect the romance of the time and their hows and flounces and highnecked yokes prove charmingly feminine.

Those who are inclined to think of the fashions of this period as outdated, however, need onlv to look at some advance drawings for clothes to discover their error. Sleeves, in particular, are adopting the 1843 puff and flair toward the lower arm. Attention to the unique and unusual in necklines is also pronounced and some of the smartest new suite feature the extremely high neck with nleated edging about the throat—exactly duplicating a creation worn by Norma Shea.rer. The same thing holds true of hats. The “pin-wheel” model, for example, which is being worn at the present time with such favour may he found in exact pattern in the wordrnbe of Elizabeth Barrett. In short it would seem that the fashion pendulum is rapidly swinging backward —and it won’t bo long before, the three hundred and ninety-nine yards that created thirty-four gowns for “Riptide,” in 1934, will onlv be sufficient- for four costumes in 19381

A DETERMINED YOUNG LADY. In an interview given to Mr William Penny, Miss Shearer said : “Had I known what troubles and hardships I would have to. endure I would never have tried to get into pictures.” As events turned out, however, it. would have been “folly to be wise” in this particular case. Her numerous admirers have been waiting patiently for the advent of “Riptide,” in which Miss Shearer is co-starred with Herbert Marshall and Robert Montgomery. What career she might have chosen is a moot question. The fact remains that even at the • age of sixteen the star w-as a very determined young

lady. With her mother and sister 6he made a trip from her native Canada to make good in pictures. By 1929 she had won the Motion Picture Academy Award for the best performance by a screen actress during that year. The picture was “The Divorcee.” Incidentally, all three of the stars for the picture version of Rudolf Besier’s famous play have been prize winners. March won the award for his work in “Dr. Jekyll and Mr Hyde,” and Laughton for his work in “The Private Life of Henry the Eight.”