Word: camera
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Dates: during 1940-1949
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...camera showed Mlle. Mala, a pretty actress named Irene Champlin and a Rubinstein operator named Nicky. "I am ready for the new look in make-up," Irene announced. But before going to work on the skin Mlle. Mala gave Irene a "person-alysis" (standard Rubinstein treatment). "If you want to be a good actress," she said, "concentrate on it. Without hard work we just achieve nothing." Delivered of this thought, Mlle. Mala told Nicky to "oval out [Irene's] jaws . . . utilize the cheekbones . . . bring more personality to the eyes . . . give the lips a little bit more luscious look...
...troubled waters, the picture is about as exciting as a plate of boiled haddock. Yet the story's very quietness is rather pleasant. All the outdoor shots were made in Maine, and are much better than average to look at; but for some strange reason the crisp camera work is steeped in sepia so rich that the whole world looks like strong tea. There is competent character acting by Anne Revere, Ed Begley and Cesar Romero...
Whiskers & Lipstick. Whatever self-consciousness TV induced may have had a good effect on public manners. Only one drunk was spotted by the camera. Oratory, for the most part, was less protracted than usual. Radio, said Alf Landon, had trimmed convention speeches down by two-thirds; he looked for television to cut it down another third...
Moving the heavy equipment to the right places in a hurry was the biggest problem. The next biggest was whiskers. Every dark-bearded man who appeared before the camera without makeup, no matter how clean-shaven, looked hirsute. After the first few telecasts of lined, lipless ladies and black-bristled men, there was a rush for makeup. Governor Dewey did an expert job dabbing the finishing touches on his own pancake base for interviews. In his acceptance speech, without makeup, he looked a little like a baby-faced Lincoln. A Charles of the Ritz cosmetician touched up the wives...
...shows were dull, slow and halting; but technicians and performers learned at least three valuable lessons: 1) that TV programs, like any other good show, must be blueprinted and paced off in advance; 2) that lighting and make-up are a long way from perfection; 3) that the camera, like any other good reporter, must hustle to get a story...