Evidence from art historian Angus Trumble leads the smile-hunter to the first specimens on proto-pin-ups called cartes-de-visite, invented in France in the 1850s, which traded in and on the charms of female performers, actresses and other demi-mondaines. As their models were selling sex more or less directly, they ignored, indeed played on, the era’s belief that an open mouth, especially a female one revealing teeth, was vulgar and obscene; their smiles were meant as come-ons.The article goes on to say that good dentistry helped too, and picks 1920 as the date after which smiling became common.
Professional beauties - high society lookers who posed on classier cards from the 1870s for renown not money - kept their mouths shut, as did real people; scan the 3,000 plus mug-shots in Roger Vaughn’s collection from long-exposure portraits of the 1850s to snaps of the 1930s, and a camera smile is rarely visible before the 1920s.
What introduced and popularised it was the movies. A canine-baring smile isn’t that frequent in life; how many people over the age of seven have you seen smile today? Adults may exhibit a version of it as a sign of welcome, or a marker of embarrassment and humility, but otherwise it’s a spontaneous response to a pleasurable stimulus (an "instantaneous chemical reaction in the brain," Trumble explains). While a smile lasts, it naturally animates and illumines a face; film directors, who quickly made enormous faces into the landscape of early cinema, encouraged enactment of a smile. Smiles touched audiences directly; they were defenceless against teeth. Movie laughter looked like a spasm before the arrival of sound (when Doug Fairbanks cracks his sides with silent haw-haws in The Thief of Baghdad, he’s risible himself), but a smile was the perfect emotion for a close-up; eyes and teeth "took" the light best that way, reflecting the latest electric arcs; they made a reciprocity of radiance.[...]
Movie stars transposed their onscreen faces to still publicity photographs too, which were commonly reproduced from about 1912 on in the novel picture newspapers and magazines. It’s rewarding to compare these with contemporary portraits of leading theatre performers. There are far more smiles among kinematograph folk: they aggregate to a reiterated statement that the good life was no longer calm, dignified and unworried as expressed in portraits before and after the invention of the photograph, but happy - happy literally meaning "to show the joy of good luck" . The enviable life was now an animated state of grace conveyed in a continual smile. Advertisers soon abridged this proposition, so that purchase of a product promised to release immediately the to-be-envied smile of the girls in the ads. (In a quick count of smiles, editorial and advertising, in publications on my desk, there are still three times as many girning women as men. And men now regard a smile as a female expression they can demand or cajole - "Give us a smile, then, love".)
posted by rolypolyman at 9:56 AM on August 27, 2005