Casper Daily Tribune Newspaper, January 17, 1917, Page 3

READY FOR SPRING SMART SPORTS SUITS ALREADY SEING PREPARED. Many Features and the Materials of Last Season Are Retained, Since They Could Not Well Be Improved On. Forerunners of spring are the smart little sports suits now being prepared, to be shown in the shops in a very few weeks and featured for southern wear during the winter. Silk jersey cloth will probably be just as popular during the coming season as it was during the two or three seasons past. No new material has been introdueed that could quite take its nlnce. One of the sterene Teatures of the coming season will be the vivid color effect luced. High shades will tremely popular, and odd color co tions will undoubtedly be seen. A modish little early spring sports sult Is shown in the sketch. It.1Is made of corn-colored jersey silk, with trimming of purple taffeta. Of cc this color blending or combination ms varied to suit the individual taste ind complexion, but purple and corn ‘olor have been approved by Dame Fashion; and at the southern resorts ‘ertainly apparel that is striking in jesign and coloring may be worn, The suit illustrated is simple in de- sign, the skirt being three yards wide, Sports Suit for Early Spring Wear. gathered in at the waistline and fin- ished with a belt of taffeta, continued a1) into strap ends which but belt of the coat in front, giv rative touch to che othe coat. Buttons and loops purple color fasten the cout at the neck. The upper collar may be of corn color and the lower one of purpie or vice wersa, according to choice. White and high-colored fiannels will be developed in early spr sports suits, and these will be trimmed with soutache braid, leather bands or em- broidered bands. to the deco- e plain rying the New Fashionable Shadow. It's a bothersome thing to keep changing, isn’t It? And y if you wish to be considered smart, you must throw a fashionable shadow. Now, to do that this season you must remove the hoops from your evening gown and let the full draperies just flare enough of themselves to keep a “slink- ing” or “directoire” look which your silhouette showed several years ago. In your afternoon gown, the sil- houette of straight lines predominates. No bouffancy here. But when it comes to the topcoat, yeu have some flare again—not too much, because topcoat materials are soft and cannot stand stiffly outright. If you indulge in furs you will find an added width to the shoulder Ine is the result, while the chin which disappeared last winter in the folds of the collar now peeps forth again to view a cold but admiring world. High Turbans of Fur. The high cylindrical turbans of fur or plush, where the crown curves up imperceptibly on the left side, are among the all-too-few becoming shapes of the season so far. One seen in a shop was of white plush and had an oblong metal buckle posed toward the right side of the front. Such a hat is meant to be worn down on the head— right down to the eyebrows. It is especially good to wear with those new high Spanish colffures that make the other hats stand too far up on the hatr. High Crowns of Jet. Enchanting little hats in the new mushroom shape have rather high crowns made entirely of jet sequins and brims of shirred black net—sever- al layers of the net shirred on light wires. The whole hat is light and in effect, for the jet crown is made of net also, with wafer-thin se- & CCASION Girt Will Find Work Case Described Here Useful as Well as of Much Value. A case of this shape ts very handy for carrying knitting or crochet, as well as other kinds of. work; the length renders it suitable for knitting pins or long hook. It is made trom linen of some rather dark color, such as brown, olive green or blue; it may be worked at edges with cross-stitch, a simple embroidery design, or just a Une of feather-stitch. The model from | which our sketch was taken was in brown linen worked with blue in a very simple cross-stitch pattern. The linen is cut 11 inches long and 10 inches wide; this plece is turned in all round with a narrow hem, then the Work Case. pattern is worked along the two 10- inch ends and one of the 11-inch. It is then turned round to form a cylin- der, the embroidery end wrapping # little over the plain end. Circles of | double linen with card between are | | then hemmed round and the outer one is worked with a single line of cross- | stitch; these e placed in ends of cyl inder and are joined from the plain end to top of cylinder, leaving the rest unjoined for the work to go in. Three loops are worked at edge of the end | that overlaps and fasten to buttons sewed below, PROPER TREATMENT OF HAIR | Thorough Cleansing After Exposure to Dust Is of Prime !tmportance— Don’t Wash It Too Often. | | ‘To begin with, a thorough cleansing | jof the hair is the first thing after a | jrailroad or motor trip. For this it is | well to begin the night before the shampoo, if possible, and rub either | olive oil or petroleum derivative jelly theroughly into the.scalp. This will | soften the scalp and any dust or dan | druff lodged on it. Any favorite soap | | or shampoo preparation which does not | contain free alkali may be chosen for ihe shampoo, but whatever is used should be thoroughly rinsed out before drying the hair. If possible, the dry- | ing process should be done in the sun, rubbing the scalp gently upward with a | rotary motion, and brushing the hair with a clean, rather stiff brush. | | }¥ the hair is split at the ends, it will be well to clip it or have it clipped. For tie next month it may be well to | keep at the rubbing of oi! into the scalp and shampooing each week, although | under ordinary circumstances it is not wise to wash the hair oftener than once in three or four weeks. PAY HIGH PRICES FOR FURS Women Desiring Popular Garmenta Find They Have to Open Their Purses to Get Them. Wholesale dealers in furs who sell | retail the manufactured prod- | ucts say that the prices in the raw | goods have gone up to such an extent that they cun now sell pleces made up | earlier in the season for less than they wouid charge for the skins alone at the pr nt time, says the New York Times. Fox, although it has be ular for the inst four years, is reigning favorite in furs, the only thing coming in all colors and appealing to all classes of people—there being, how- ever, all classes of fox. Ermine, the dress fur, is strong, usually made tall- less, or with a bunch of the tails as an ornament. Muskrat, or Hudson seal, is strongest In coats and goes well for general purposes. There is ne prejudice against ft as an imitation these days. Real seal has comparative- } then to the other, as if to say: ly little sale. It is expensive to hold, needing frequent repairs, and a gar- ment cannot be remade for less than $100. New-Old Stitches Used on Gowns. Because of the vogue for stitchery of all kinds on gowns, suits and coats, a number of the old-time stitches have been revived — and with success, too, For instance, a cross-stitch Is being employed for some very stunnifig ef- fects resembling filet lace patterns with plain backgrounds. A revival of quilting has found its way even to the outside of garments, particularly evening wraps. Instead of the quilted diamonds associated with lining, otd-fashioned designs are fndi- cated; with the running quilting stitch. Chenille and wool embroideries are employed for unusual Hungarian pat- terns for some very stupning borders. Angora wool embroidery on chiffon Is carrying hand stitchery to almost dizzy artistic heights. Not New, but a Little Different. The French silk and velvet corsage flowers which have been used for a couple of seasons, done up in miniature bandboxes, have returned in the same or even Gaintier boxes with ribbons bunched at the sides, and there is # difference in the flowers. The heart fof each tinted rose or orchid holds + tiny vanity case all its appoint. ments. _ DADDY'S EVENING KQEAIRY TALE by MARY GRAHAM BONNER GOAT'S PRANKS. “The Goat I am going to tell you about,” said Daddy, “was twenty-five years old. You might think things to do. He was always thinking of something to do! Something that would cause quite a little trouble, but not so much as to make Bill Unpopular. For his »od Qualities were so much greater and more numerous than his Bad ones. | “He was very good with the Children, and if he was taking around the litt t n which they had attached to him : : the aid of a Harness, he would never think of any Pranks, but would be as good as good could “He Behr better th any Pony could have Behaved. He was patient and would take the Children for lor Rides, and when their Friends cam to them, he would take their Friends for long Rides, too. sut one day his Maste bacco for his Pipe on the of his House. “*Ah,’ said Bill, ‘there is for m He thought of it as Stuff, because he “ft the To- didn’t quite know whether it was to | Kat or Drink or Smoke! “He res didn't care much what he Ate. In t, be would Eat anything that was given him, and a great deal that was not! “He went up to the Porch and sniffed at the Tobacco. It seemed to him he knew what it was, and yet he wasn't quite sure, Well, he would try it! “He emptied the Tin of and Ate it all up! Just as he Swallowing the last piece his Master e along. “The Goat gave a low sound as though to s ‘Good-morning, Mas- ter. Fine day! hanging from the Goat's or Beard, was a piece of the Tob: So his Master knew what had been happening. “‘Oh, Naughty Bill,’ he said. “Bill put his head to one side, and ‘What- n Goate ever do you mean by that?’ “Well,” said his Master, good old Goat, and even if you did Eat up the Tobacco for my Pipe, I think you're pretty nice to the Chil- dren.’ And he patted the Goat before he walked away. “*There,’ He Eating what was in that Tin. s probably glad to be rid of it. Iam y good about Eating up what some won't touch!’ ‘The Goat started to go off, saw inside the door a Pole with Paper didn’t mind Flowers, “‘How good that would T: thought Bill. The door was a little Open and he shoved it farther and went Inside. The Master's little Gir was going to have a Party, and she had arranged a Tiny Pole with Flowers | made of Paper dropping from it. In each Flower was a little Present for “Oh, Naughty Bill,” She Cried. every Child who was coming to the Party. And there were also Flowers around the Floor—all made of Paper. “The Goat began to eat the Flowers on the Floor—he hadn't noticed the ones on the Pole with the Presents— so busy had he been with the others. “But just at that moment, he caught the most Delicious Swrll! ‘Fresh cake and Cookies and isread!’ he said. “For sure enough, Bread had been Baked for Sandwiches, and Cake and Cookies for the Party. The Tins had been left to Cool on a low Table in the Pantry. “Bill Walked right in. ‘How Nice of everyone to leave me alone and give me such a Feast!’ ‘he thought. “He put his Front Paws upon the Table and began to Eat, but the Mas- ter’s Little Girl came rushing in. “‘Oh, Naughty, Naughty Bill!’ she erled. ‘You have Eaten my Flowers, and now you're Eating my Party Food!’ “Bill looked very much Surprised, and the Master's Little Girl went on talking: ‘You can eat up this old Newspaper if you want to! I know that’s one thing you won't like!’ But didn't the Goat Eat the Newspaper, too! It was certainly a day of a party for him. But when he Behaved so nicely when the Children all came, and took them for Rides all the afternoon without a sign of Complaint, the Mas ter and his Little Girl said: ‘After all. old Bill is so Nice we don’t mind his faults!” . THE CASPER DAILY TRIBUNE that a | mat that old would never be naughty, and would never think of Mischievous | Sut such was not the case with BUL. | back Porch | something | I would like to try that stuff!’ | Tobacco, | was | ‘You're a! said the Goat to himself. | | ‘Of course, I'm Nice. He) but he} The film producing maker tells how he screen comedies. UNDREDS of of people all over the world dally lnugh = at moving picture come- dies,” sald Mack Sennett, S king of the film funmak- ers, “but how many ever pause to think of the brains and work that go Into the making of one Inugh?” It would be a revelation to who never have considered the source thousands those of their fun to watch the maker of a certain brand of well-known comedies Ss, in action. Hat down almost to his e shirtsleeves rolled above his elbo' and perspiration pouring from his face, | he rushes about the studio, the per- sonification of dynamic, untiring ener- gy. hographer, to whom he is saying re- peatedly, “Make a note of this, make a note of that; I want to change it.” His brow ts gnarled in concentration as he shouts orders. “Don't make that expression of dis. may quite so pronour i, Miss Nor- } mand,” or “Exaggerate that gesture of mock deference u little more, please, | Mr. Arbuckle.” In short, he bandies his company as a musician does his | notes, blending their actions into whut } on the screen will be a symphony of laughter, “Comedy” the miracle man of mer- riment told a writer for the New York At his side there is always a ste- ; Sun between the rehearsal of two scenes, “Is the hardest thing In the world to ‘get over’ successfully, and film laugh plays are twice as hard to make as those of the stuge. In the first place, the movie director is hand!- capped because it impossible for him to use two of the great elements is of comedy upon which the stage direc- tor largely depends—the voice of his players and the funny nes. What use would Harry Lauder’s infectious laugh or Oscar Wilde's brilliant epl- grams be to me? I have to juggle with action whére the pluywright juggles | with words. Then to make a cor | successful, you must have a climax eve minute. I always niust be bulld- ing up, making each climax funnier than the last, and the last funniest of all, If a film play Is too funny at the beginning, it kills the latter part. “The ure three things that make @ picture comedy successful. About one-half dey ds vpon the scenario. | write all my own scenarios, because I find it almost impossible to buy good jones. The man who can write one comic scenario a week for me that ts up to our standard can make out his jown checks. The rest depends upon the actors and the director. The dl- rector’s part is the selection of the proper cast—and that is very impor- | tant—the working out with Infinite care of the proper detalls regarding Scenery, costuines and action and the handling of each scene so that when | It is shown it will appear that every turn of the actor's hand, every widen- ing or narrowing of his eyes, every | breath he draws, is absolutely sponta- | | | neous. “From the point of view of the actor, | too,” continued the creator of canned mirth as he warmed to the subject that fills his every thought, “comedy ts the hardest kind of acting to do well. ‘To begin with, the comedian has to ring the bell every time. Either he makes his audience inugh or he falls flat. A serious picture play done only Indif- ferently well may ‘get by,’ but there is no such thing as half-way success for the movie comedian. “And let me take this opportunity to suy right here to those people who are forever referring contemptuously to ‘slapstick’ comedy, that to do so- called ‘low comedy’ successfully 1s, in my opinion, the highest accomplish- ment possible to the histrionic artist. “Burlesque ts taking a serious char- acter and tipping the scales of his ac- tions just enough to make him appear laughable, dropping him by an exag- gerated gesture or a facial expression from the sublime to the ridiculous. To burlesque a character the actor must first be able to play that part ‘straight’ before he can attempt a tray- esty on it. Before a man can ‘kid’ with notes and chords he must be a good musician. To turn out good satire a writer first must be able to write serious stuff. That’s just the way it is with the actor who tries burlesque. “One of the attributes tliat a film comedian needs particularly is cour- age. He must be an acrobat or at least an athlete. Any man who can be a successful comedian on the screen would be sure to succeed on the stage, but the rule does not necessarily work the other way. The film comedian eeeeeease>@>o@>@er™~OO0OOO>OOOO>OO>O> >> | Both Hungry. Weary Willie—No bloomin’ good! 1 told her the tale, an’ said, “I’m ‘un- gry. mum, I'm werry ‘ungry!” Tired Tim—And what came to it? Weary Willie—She says, “An so’s my dawg!” A Question. “I see where some of the coal ex- perts are advising people not to buy great quantities of coal at a time.” “Is that advice economy or sar- casa?” they will let you write your own figures on the pay a“ One famous laugh- It’s hard work companies say composes his dares not depend too mucn on a hu- tmorous makeup or queer clothes. If he appears on the screen wearing ludl- crous costumes it is just as if he wore on his shirt front a placard reading, ‘I'm funny. Watch me. If he fails to live up to his clothes, the Lord hélp him! He must get a laugh with every gesture, must back up those clothes or he goes fint and the audience be- gins to ask, ‘Who is this guy trying to act funny, anyway? He's painful.’ For that reason I don’t like to rely on funny mnake-ups. I'd rather have an actor who can be funny in a dress suit. vera! actors have made great reputations as comedians simply be- cause they were unusual specimens of humanity, because they were remark- ably fat or remarkably tall, because they had some very pronounced pecul- larity of features or because of grent ability as facial contortionists. These men are born and cannot be made. “Many of our future star comedians of the silent drama will be recruited from the Europeans, I be Con- tinentals ‘are by nature very expressive, They talk with their arms, ey and whole faces. This Is true especially of the members of the volatile Latin races, who cannot mention a spade without making a gesture as if they were about to dig a hole, cannot keep the sparkle out of their eyes when they tell a joke. “The screen has many advantages over the stnge,” said Mr. Sennett, his active mind skipping to another phase of the many-sided subject he loves to discuss from any angle. “For one thing, on a ten by fifteen foot moving picture screen it is possible for ey- ery person ig the thenter to see the expression of an actor's face more clearly than It can be seen by those sitting In the back of a regular play- house. “In a close-up picture you can show all the minutest details, the quiver of an actor’s eyelash or the faintest curl of his lip. Look at this picture of Ray- mond Hitchcock and the dancer for example. In the film a close-up ple- ture of Mr. Hitchcock's face is shown, He turns slowly toward the audience— and winks! It brought a roar of laugh- ter everywhere the film was shown. Just a wink! But every movie fan in the house could see his eyelash move and catch the expression in his eye as clearly as if Mr. Hitchcock was sitting In a chair beside him. You could not get that effect to the gallery gods, or even to the people in the back orchestra chairs, if Hitchcock himself was on the stage of a regular thenter. “A little while ago I saw a novel ex- periment in the way of moving pic- tures. Just at one of the funniest cll- maxes In a good comedy the manage- ment had the operator stop his ma- chine, the lights were flashed up, and é Sphinxes. “Do you believe a woman can keep a secret?” “Well,” replied Senator Sorghum, “a great many were very successful in not sernae on how they were going to vote.’ Clear Over. Bacon—I see a prencher out West delivered a sermon from an airplane. What do you think of that? Egbert—Why, I think the sermon ‘was over the people’s heads. there on the stage were the very actors who had made the pieture continuing in person the action that was being shown on the screen, Surprise ts ene of the most essential elements of com- edy, but it fell flat. Why? Because tn the close-up full faces that were being shown on the screen the audience could see clearly the subtle shades of facial expression that were getting the langh, while on the stage in perm son thelr faces were merely a white blur to all but those in the frome seats, pe . “Another advantage of the moyhemy over the stage for comedy purposes is that the picture-maker does net have to resort to artificial or mechanical tricks. To be funny, a scene mut be snatural, the actor must seem re laxed and unconsclous of his nudlence, If the movie director wants to show an «absent-minded butterfly hunter walking Into a waterfall, he shows real waterfall with a real sylvan back- ground. He doesn't have to use @ painted drop and a stream of water that flows evenly from.a pipe. He uses no props, no matter how many different scenes he may want to show in a single comec Mr. Sennett believes enthusiastically in the movies, “There must be some thing wonderful,” he says, “about the business that can develop in half @ generation into the third largest try in the country.” And this ‘na has a genius for packing five In 4 into a situation where only one inugh grew before feels that making people happy, besides ‘being a lucrative oceme pation, is a serious mission.) “We keep our fingers on the pulse of the world,” he told the writer sa berly. “Only the other day I received a report from one of my agents t| Paris. He wrote me that whem the wounded soldiers come back the firat thing they ask Is, ‘Where can we get a laugh; where can we see a tunmy play; where can we see a funny moy- ing picture?’ I myself have received letters from towns behind the battle lines of Europe, expressing gratitude for a laugh of which I ras the father, and I tell you they have made my heart expand. “People sometimes ask me what screen comedians are lke outside the studio, whether there’s any truth in the myth that those whose business it is to make others laugh are usually gloomy individuals themselves. As far as I've observed, film comedians are Ike other people, only perhaps the large salaries they receive make ft easy for them to laugh tn and out of the studio.” And with a triply hearty laugh the director-scenario-writer-actor Macklyp Sennett bounded out of his chair te plunge energetically into the rehearsal of © scene that will soon te make millions IIOP ORAS AR Pard enaronemrananona oly e " Lucky. Briggs—It has been my that at every public dinner there’s al- Cae one speaker who bores every. Griggs—My! How 1 Sym ic. : “Has Bliggins a sympathetic ture?” Q “In a way. He 1s honestly sorry for his feliows because so few of them know as much as he does,” a 3 r A ) o§ ‘ 3 f wee — ren kaso eee