In the postwar era, two preeminent makeup artists would surface at the fledgling NBC TV network: Dick Smith in New York and John Chambers in Los Angeles. In 1945, Dick Smith brought his perfected experiments with various makeup formulas to dozens of TV specials, soon serving as the New Yorkbased station’s first department head of makeup. In the late 1960s, moving from TV to film, Smith created his unforgettable old-age makeups for “Little Big Man,” “The Godfather” and “The Exorcist,” developing the makeup technique of creating overlapping facial appliances for his actors, now a standard in the industry. He also created an old vampire makeup character called Barnabus Collins with actor Jonathan Frid in the TV show and film, “Dark Shadows,” a groundbreaker for both age and horror makeup.

Notably, “The Exorcist” also featured the first use of what Smith came to call “special makeup
effects,” where an actor’s face or body changed on camera without the addition of optical effects. Linda Blair’s rotating head, bulging neck and demonic configurations were all products of Smith’s groundbreaking merger of makeup and special effects, and “The Exorcist” spawned a horde of makeu p - oriented horror films, artists and fan organizations. Blair’s appearance in the film
became an icon, and in the 1970s waves of fans began writing letters of appreciation to Dick Smith wanting to get into the makeup effects business.

As a result, not only did Smith set standards with his makeup résumé, he also served as a mentor
to a procession of young newcomers who would eventually make their own marks in the field.
While residing on the East Coast, Smith kept up longstanding correspondence with two Los Angelesbased teenaged fans of his work, often shown in a select few publications, Famous Monsters of Filmland among them. Craig Reardon, whose credits went on to include “E.T.,” “Poltergeist,” and “Dreamscape,” first connected with Smith in 1967, followed soon by Rick Baker. “I think that Dick was always waiting to share his enthusiasm for makeup and the things that he had learned about it into the ears of a receptive person,” Reardon reflected. Noting Dick’s contributions to his career, Baker concurred. “It was Dick’s work more than anybody that
inspired me to get into makeup,” he said. “He set the standards that we all strive for, and his openness with formulas and techniques has really made makeup what it is today.”

Dick Smith continued his active makeup work into the 1980s with films such as “Altered States” and “Amadeus” before retiring from on-set makeup application in 1987. However, he still works from his East Coast base, serving as a mentor to many new makeup artists through his professional makeup course. His legacy is equally strong as an innovator and spiritual father for the makeup effects industry.

About the Author
Scott Essman has been writing about makeup and movie craftsmanship since 1995. As part of his company, Visionary Cinema, Essman has also created memorable tributes to makeup history, including special events to honor Dick Smith, John Chambers, and Jack Pierce. In 1998, his tribute to the makeup for “The Wizard of Oz” was celebrated on Hollywood Boulevard at the historic Mann’s Chinese Theater. In 2000, Essman published his first book, “Freelance Writing for Hollywood,” and that same year, he published a 48-page special magazine about the work of Universal Studios’ makeup legend, Jack Pierce. In 2001, he was joined with Universal to nominate Pierce for a star on Hollywood Boulevard’s Walk of Fame.

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