Local 706 - The Artisan

Spring 2016

Issue link: https://digital.copcomm.com/i/685980

Contents of this Issue

Navigation

Page 25 of 39

Tell us what you think show us your photos Foundations Powders Contouring Highlighting Concealer Blush Watch us on Youtube Like us from the make-up room. Although Cecil Holland was the "Daddy of All Make-up Artists" and Lon Chaney "The Man of a Thousand Faces," Gemora was "The Master." The first make-up effects artist, he formulated cosmetics, sculpted, molded appliances and made masks. Actresses flocked to Charlie as they knew he could bring out their beautiful best. Marlene Dietrich, Elizabeth Taylor and Barbara Stanwyck were fans. Barbara's ground- breaking age make-up for 1942's The Great Man's Lady was created by Gemora and was his proudest achievement in make-up. He would later formulate a non-staining artificial blood for Stanwyck's film California (1947), saving the studio's wardrobe department thousands of dollars each year as the phony blood could be washed clean. With the collapse of the studio system, the 1950s kept Gemora busy on television. He worked on Paramount's television station KTLA and Hal Roach television produc- tions. He created aliens for 1953's The War of the Worlds and I Married a Monster from Outer Space (1957), a giant robot for The Colossus of New York (1958) and the head hunter from The Four Skulls of Jonathan Drake (1959). An iconic figure and a true pioneer in the field of make- up artistry, Gemora's generosity and creativity shall forever be embedded in the history of the craft. The documentary, Charlie Gemora: Uncredited, is now avail- able at Vimeo.com. • at Dawn (1936). For MGM's The Good Earth, Jack Dawn developed gelatin-based appliances he called facial inlays, the same technique was used to create Asian eyelids for Akim, but they kept melting under the hot lights. Gemora was a known problem solver and managed to formulate new appliances from lightweight and non-melting sponge rubber. It was at this time that rubber technician Gordon Bau moved from Paramount's prop-making department and apprenticed with Gemora. Every Paramount specialty make-up assignment, any trick make-up, went to Gemora first. Paramount even gave him his own workspace separate

Articles in this issue

Links on this page

Archives of this issue

view archives of Local 706 - The Artisan - Spring 2016