:55:00
how to bring out the features
that she had naturally.
:55:03
When he saw that she had done her
own make-up-incorrectly, by his lights -
:55:07
he would berate her.
"You didn't do what I told you!"
:55:10
"You bring the brush over like this!
And make the lip line do that!" he'd say.
:55:15
And of course, says Susanna,
he was always right.
:55:18
Miss Foster remembers that her on-set
make-up man for Phantom was Bill Ely.
:55:35
Jack said that he had
worked with Lon Chaney on the side
:55:38
at Universal in the early days, that
that was how he got his start in make-up.
:55:42
Unfortunately, this is a closed door that
we will probably never get to look behind.
:55:47
By 1927 Pierce had done
the astonishing monkey-man make-up
:55:51
for Raoul Walsh's Fox circus melodrama
The Monkey Talks,
:55:55
and he had prepared
Conrad Veidt's maniacal fixed grin
:55:59
for The Man Who Laughs at Universal,
:56:01
a film intended for Lon Chaney, for which
Chaney had already designed a make-up
:56:06
before he walked off the production.
:56:08
The make-up was salvaged for the smiling
vampire in MGM's London After Midnight.
:56:13
Press from the mid-1930s notes
that Pierce had been working with Chaney
:56:17
on a "special secret make-up"
at the time of Chaney's death in 1930.
:56:23
The truth may never be known,
but Miss Foster says
:56:26
"Jack Pierce thought the world of
Lon Chaney and learned much from him."
:56:38
The phantom's disfigurement
in the original story
:56:41
has almost always discomfited
writers adapting the tale.
:56:44
Leroux had Erique born disfigured.
:56:47
So horrified was his mother
that she'd thrown him his first mask
:56:50
and refused to kiss him.
:56:52
In the earliest script
for the Chaney film,
:56:54
scenarist Elliott Clawson wrote
a back story set in Persia,
:56:58
where Erique was punished for political
crimes by being lashed to an anthill