Evening Star Newspaper, April 21, 1940, Page 92

12 INDIGESTION Sensational Relief from Indigestion md One Dose Proves It 17 the first dose of this pleasant-tasting little ; the fi and most Radio, motion picture. stage and night club engagements keep exotic Gertrude Niesen so busy she has little time for primpi ‘et she is constantly asked: 'lfow do you keep your complexion so clear and smooth?”" Evening in Paris Face Powder is her answer, because it stavs on. stavs clear, stavs smooth. Try it for a perfectly groomed com- plexion. There are rouge and lipstick to harmonize. Face Powder. 21.00. Rouge or Lipstick, 55¢. become softer and smoother! Ivory is gentle, pure, white! It’s the same soap so many doc- tors advise for babieg. Such a “SHE’S WASHING DISHES WITH IVORY— AND HER HANDS—UMM! SMOOTH!”" Look at your hands. Are they red and rough from using strong soap? Cheer up—they’re not hopeless. Just try washing dishes with pure Ivory Soap. Try it two weeks. Watch! See your hands THIS WEEK MAGAZINE PUTTING YOURSELF A CROSS ¢« ¢ Syt Biythe To seem beautiful you must handle your body with poise and style, says this great expert This is the opinion of one of Broad- way'’s foremost dramatic coaches. She is Frances Robinson-Duff, who has numbered among her pupils such stars as Helen Hayes, Katharine Hepburn, Ina Claire, Miriam Hopkins and Mary Garden. Fill your space of air, she says. ““There are so many cubic feet of air that are yours for the taking. If you don’t stand to your full height, you never fill the space that rightfully be- longs to you.” Such prompting enables the small Helen Hayes to achieve sometimes a stage impression of regal height. To give the impression of a vital personality, says Miss Robinson-Duff, you must have great physical vigor, or fool your public into believing you have. A great actress, however, de- pends upon genuine vigor. Katharine Hepburn, according to her teacher, slams her car door, rings the door bell, | pulls off her coat, and goes into a les- son in what seems to be one motion. Miss Hepburn keeps her vitality re- fuelled by means of daily exercise on ice skates or on the tennis court. Walk a Line As FOR the studied graces, free your shoulders. An actress registers her au- | thority and poise on the stage with flexible shoulders. You can make yours | more fluent with exercise. They hang ! to the bone structure of your body !!_ at only one point — the collar bone, | and the way to thaw out their frozen poses is to loosen the tight muscles that hold them. Nothing gives you a better desxgn in space than an authoritative walk. Actresses work as hard to acquire this as to learn to get their voices and lines across. Ina Claire, whose walk has been described as ‘‘poetry in itself’ i always insists that she had to work for | it.She “‘walks a line,”” as all'Robinson- ! Duff pupils do, but this does not mean like a tight-rope OISE, style and authority are essentials of successful acting. Since all the world is a stage — drawing room, office, street, public rostrum or home — the same qualities will help any woman to put herself across. wears Evening in Paris Face Powder because it * STAYS ON * STAYS CLEAR * STAYS SMOOTH’R foot leading foot, MUMMY'S 60T RID OF THOSE OL’ DISHPAN HANDS! protection for sensitive skin! While you save hands, you're being thrifty, too! Actually, us- ing Ivory for dishwashing costs less than 1¢ a day—even less than the granulated soap you use on washday! Be a regular Ivory user—for smooth hands. Just ask for ‘‘Large-Size” Ivory. TRADEMARK WFA. (). €. PAT, OFF, @ PROCTER & GAMBLE SMOOTHER HANDS FOR LESS THAN 1¢ A DAY! IVORY SOAP 9944%00% PURE walker. It means keeping the feet per- fectly parallel on either side of a line and swinging the weight evenly from hip to hip. With your feet in parallel columns like this, your hips fall into line. But if you toe out, they sway. If you toe in, the hip-line widens. To put rhythm in your walk, keep the beat on the ball of the front foot, and measure your strides. Properly, the Robinson-Duff, knees are uncrossed and one foot is slightly ahead of the other. The back foot can then push you up and down with the minimum of effort and the maximum of grace. Feet spread apart is what she calls a “*spread base.”” Avoid it. Knees may be crossed without violating any propriety, but Miss Robinson-Duff insists that crossed knees deprive you of a firm base. Keep your spine straight, but not rigid. Twisting the body or readjusting your position frequently are as futile P LR Vandamm There is bodily vigor behind Katharine Hepburn's grace stride should be one and a half times the length of your foot. Look to your heels. 1{ they are too high, they perch. you forward, force you to push with your knees, and up- set the line of gravity. Most actresses wear sensibly-heeled shoes for working and walking, as a precaution against bad carriage and swollen ankles. Never let uneven lifts on your shoes throw you off balance. Mary Garden used to line up her slippers on a mantel every few days, says Miss Robinson-Duff, to see if one sliver of leather was missing. “I had to work too hard for my car- riage to sacrifice it with worn-down heels,”” Miss Garden explained. The position of your feet, whether you are sitting or standing, indicates what the fundamental attitude of your body is. When an actress wants to strike an attitude of cordial expect- ancy, she puts her weight on the ball of her front foot, and bends the back knee. When she assumes a thinking pose, she reverses the position. To express defiance, she stands with knees straight and her weight on the toes of both feet. Heels hugged together in- dicate moral weakness. When you sit properly, says Miss gestures as overworking the hands. Hands — they are actors in them- selves — perform their roles most tell- ingly when they act quietly and force- fully. An actress can use hers to explode vital energy with one dynamic gesture, when she wants to substitute pantomime for speech. Less forceful gestures will be used to augment or clarify thought. In ordinary conversa- tion, if your speech is clear, there is no need to use your hands. When they are doing nothing, rest them in your lap with sides down. Roving palms express questionable taste. Palms held open, as though waiting for a bon bon to be dropped into them, give the appearance of either extreme youth or old age. Beauty on the Ground Floor This leaflet gives exercises to strengthen your feet, and home- treatments and beauty aids for them. To get it, send a three-cent stamp (to cover the cost of mailing) with a request to Sylvia Blythe, Service De- partment, This Week Magazine, in care of this newspaper. DO SONS LIKE THEIR FATHERS? Continved from page nine Perhaps he had the desire for his son’s rectitude too much at heart. Perhaps he was overstrict. Or, equally per- haps, he was overindulgent. The average father is naturally eager for his son’s good. Yet his cor- rection arouses a spirit of resentment that a mother’s protests do not. The youth may laugh off her admonitions; he is often angered by those of his father. To my mind one of the most poig- nant scenes in modern fiction is in Howard Spring’s novel “My Son, My Son!’ in which the small lad, whom the mother is whipping, turns in rage upon the father who reproves her harshly for her severity. “‘Don’t,” he screamed hysterically . He snuggled closer to her, croon- ing like a dove. ‘Mummy! Dear, dear mummy! "’ Says the father: “‘I shook my head as though to clear it of illusions and went back to my room.” In many cases the mother upholds her husband’s authority. In spite of which the son still loves her better than he does his father. **There may be a subtle reason for this,”” a friend says. “The primitive male felt that the female was his property; that he was the one who should support her and protect her. As he approaches manhood, this age- old instinct toward the female he loves best asserts itself, and, sub- consciously, he resents the other male who is closer to her than he himself.”’ Is that farfetched? I wonder! 1 once heard a thoughtful man make a statement that surprised me by its honesty. *“I do not think,”’ he said, ‘‘that the average son loves his father. I never loved my father.” ‘“Yet,”” his wife declared, ‘‘he was a good and delightful man.” “I admit that,” the fifty-year-old (Continved on page 14) 4-21-40