Lucien Littlefield — What’s Behind the Grease Paint (1921) 🇺🇸

If beauty is only skin deep, then character must be considerably deeper. And yet character can be applied from a make-up kit, if the actor is skilled in that art.

by Lucien Littlefield

But facial make-up is only one division of three that goes to make up the illusion of characterization, for physical and mental make-up must also be considered.

Almost any pretty young thing can be an ingénue, but it takes a skillful actor indeed to be a murderous pirate one day and a pious clergyman the next.

Life for me is just one application of grease paint after another. I never know how I will have to emerge next.

The basic principle of facial make-up is that of high and low lights. Certain colors, under the lights, register as shadows or sunken places in the skin, and other colors produce the opposite illusion, giving a convex or outstanding effect. The former effect is termed a low light and the latter, a high light. This principle is applied in making up wrinkles, sunken cheeks, lines, scars, sagging skin, overhanging eyebrows, etc. In making a wrinkle, a line is made of color producing a low light. This line is then edged on one side with a high light color, which accentuates the depth of the low light. Red and brown are the best low light colors and light, white or light blue are the best for high lights. Significant of the value of this principle, is the fact that many actresses whose screen beauty would be impaired by a double chin, are able to stay before the camera, thanks to the magic power of a little streak of red across the second chin, which under the lights, throws the invisible mantle over chin number two.

After the character actor has his face all ready, and has altered his wardrobe to conform with his character, he must then look to his physical make-up. Physical make-up is the assumption, by the actor, of every characteristic, every movement of the hands or arms or limbs; every mannerism true to the particular type. If the character is an awkward one. the actor must be awkward; if the character is bow legged, the actor must not forget for a moment to stand with his legs bowed during every scene in which he appears in the picture, but if the character is graceful and flowery the actor must be just as graceful. I could cite many instances of various roles in which such considerations were a most important part of my characterization. One example was the role of “Parenthesis,” the homely, freckled, ungainly, awkward, bow-legged, bashful cowpuncher in “The Round Up.” Another role, very much the contrary to that one, was the part of an Italian poet in a previous Paramount picture.

And now comes the mental make-up, which, in my opinion, is just as important as either the facial or physical classifications. By mental make-up is meant the mental state of the actor, before and during the time he plays his part. It is most necessary that he be, in thought as well as in physical action and appearance, the character he portrays. It might even be said, without undue exaggeration, that in this correct mental interpretation of the character, lies the keynote of a correct physical and facial make-up. Once I can feel the part I am to play, when I have gotten my mind into that condition of thought where I dwell, mentally, within the very consciousness of the character, then the rest comes natural and easy.

It would be difficult, however, to make a reality out of an imaginary character or mentality, so I have in mind an actual model for nearly every character I portray. I never fail to observe carefully any odd or striking character whom I see on the street or outside of my studio work. I have a mental list stored up from which I draw when in need of inspiration for some role. When I see an unusual character, I watch his actions, engage him in conversation if possible, observe his gestures, his mannerisms, his outstanding features, even his thoughts and views and philosophy of life, and then store him up for future reference.

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• Lucien Littlefield, as he is in every day life
• As a mechanic, a minister, and a bookkeeper.

Collection: Pantomime Magazine, September 1921