DRESSES FOR TALKIES.

Star (Christchurch), Volume XLIV, Issue 193, 15 August 1931, Page 10

DRESSES FOR TALKIES.

Nothing Considered too Good for Films.

Even as lately as ten years ago, drenres for the films were generally hired, with the idea that, being only needed for a day or two at most, strict economy must be observed. All this is now changed. Nothing is now considered too good for the films, and the demand for the right clothes has given a new impetus to dress designing, says a director. But it has its difficulties. One of the first that we have to contend with is the fact that a film which is “ shot ” one season will not be seen on the screen until three or six months I later. This mea*s that it is not enough to put the latest fashions into a film; the dresses must be in advance —a forecast of what is to come. This, to the uninitiated, should not be as difficult, or impossible as it may sound. Dress does not change, it evolves; and “fashion” is a cycle revolving on more or less given lines, which can, to some extent, be anticipated by those closely associated with it. As an instance, everyone knew that the flare which last season was at the hips must inevitably descend to the knees, where it now flourishes! Next season it will doubtless reach the ankle, and finally pass out altogether, leaving us with the unbroken “ directoire ” line, towards which we are heading. Then we shall begin all over again. Another difficulty is that for the “ talkies ” we are limited in the materials that we can use for the dresses. Taffetas or stiff silks of any kind are out of the question for a quiet scene, being apt to “ talk ” louder than the actress. Muslins may, and do, whisper, and even silk stockings have been known to murmur when least expected to. Colour Values. This being so, we are practically confined to the use of the softer materials, which is a great pity. But for the noise which they make, the crisp and cire silks w’ould be ideal for the films. Another serious handicap is, of coursef the absence of colour. Luckily we have colour-values to play with, and this in itself is an interesting study. Colour-values for the films used to be tested through blue glasses. A filtered yellow is now proved to be better for the purpose and by looking at your colour schemes through this you can see the exact result when photographed. Another point to remember is not to let the actress choose a dress lighter in tone than her complexion or the makeup she intends to use. /Otherwise she may appear on the screen lodking like a half caste. Surfaces, also, are tremendouslv important and effects can be gained by contrasts of dull and bright. As a rule the most effective textures for the films are the bright ones—shiny satin, metal tissues and velvets with a sheen. These catch the light and reflect it better than the dull surfaces. With patterned or figured materials one must be careful. The pattern must be a sound one and clearly defined or it will photograph as a blur. This applies also to checks and spots, i which, if used, should be distinct and j not too small, or the effect will be noth-

i Again, one colour in a pattern will 1 intensify when photographed, while an- | other will fade out altogether, thus j ruining the design. Finally, the importj ance of cut and fit cannot be exaggerated. Nothing escapes the camera. From every point of view the dress must present a oerfection of line demanded by a public that (being largely educated by the films in matters of dress) are becoming daily more and more critical. TAKING A FILM BATH. Elaborate Precautions Necessary. When a feminine film star takes a bath for tbe benefit of the all-seeing camera, it is quite an event on any motion picture lot. Bebe Daniels did such a scene for “ The Maltese Cross,” her new Warner Bros picture. The usual procedure on these interesting occasions was followed. First, the specially built bathroom set wa§ carefully boxed

off so that prying eyes could not see. The “ monitor room,” the glass cage occupied by the sound expert, ■was moved back about fifty feet from the set. Before the scene was taken, an extra girl sat in the empty bathtub, fully clothed, while electricians adjust-

ed the lights and cameramen adjusted their cameras. Property Man Fills Tub. When all was readv the property man filled the bathtub with water—and it had to be just the right temperature. Soap for suds, a body brush, a fancy washcloth and all the other trimmings were put within reach. Then Bebe Daniels came out of her near-by dressing room, clad in a bathrobe, and entered behind the walled-in set with her maid. There was the sound of splashing water, the maid came out with the bathrobe, the star said, “ All ready to shoot,” and they turned over the cameras, which means that the motors were started on them. The director, out of sight around a corner of the set, clicked a little tin gadget in his hand as the signal for the action, and the bath was under way. “ You have a hard time with your women,” the leading lady called to the leading man, Ricardo Cortez, who was sitting in a chair out of view of the cameras—and the bathtub. (This was a line of dialogue). “ Everything’s all right now, baby,” the leading man replied, then got up and walked quietly back to his newspaper at the side of the stage. More sounds of splashing. Scene Taken Second Time. “Do it again,” said the director, without stopping the camera. The leading man hurried back; the action was repeated. “ That’s good,” the director called, and the cameras stopped running. “ Alice,” called Bebe Daniels. The maid, bathrobe in hand, heavy turkish towels over her arm, hurried behind the barricade—and thus the bath scene was completed. When the scene was thrown on the screen only the head and shoulders of Bebe Daniels will be seen, and theatre patrons, as did the studio employees on the set. may speculate: “ T wonder if she wore a bathing suit! ”