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FEBRUARY, 194%
modern screen
th pind aya
stories
T-GOT! MY MAING oscar cao ie 0S ne eae by Diana Lynn 24
THREE LOVES THAT THRILLED THE WORLD (Temple-Agar; Gable-Lombard; Grableé-James) ire cow seer) oc oar. aco a a ec ree by Hedda Hopper 28
“OH, BROTHER!” (Bing Crosby).......... SRE NS ees ae orem by Bob Crosby 30
PROBLEM CHILD (Esther Williams) .00..0000.0000.cccccccceteesceeeeveveeeeees by Bula Williams 32
SOMETHING NOT FOR THE BOYS (Jean Peters’ Pajama Party ) ; : by Reba and Bonnie Churchill 34
SHE DID IT BEFORE AND SHE CAN DO IT AGAIN! (Deanna Durbin) by Erskine Johnson 38
THE GIRL HE CAN'T FORGET (Cary Grant).....0.0.0.0c.0..:. by Sheilah Graham 40 LUCKY IN LOVE! (Jeanne Crain)... by Mary McSkimming 42 THE WOMAN NOBODY KNOWS (Jennifer Jones)..................0...... by Jack Wade 44 MEXICAN ESCAPADE (Rita Hayworth) .....000000.0000ccceeeeeeeee by Maxine Smith 46 HOUSE OF THE ONE-EYED GIRAFFE (Bob Hope))..............:.00:. by Viola Moore 48 SENTIMENTAL JOURNEY (Ingrid Bergman)..............0.-.:ccccceee by Earl Wilson 52 HOLLYWOOD'S CRUELEST HOAXES ....0.0000.0.0ccccceeettteeee by Carl Schroeder 54
IS IT TRUE WHAT THEY SAY ABOUT MONTY? (Montgomery Clift) by Cameron Shipp 58
features TOZOUR: READERS si ccccc uses titeestn sarsees tute fe coe otc tae au Sede at oat es ee Se 4 LOUELLA PARSONS’ GOOD NEWS. oo..c.....cccctcccccccccceeccceccccsceceeencecsesenencuesecnseceesserseerietess 6 EDITORIAL: “The Case for the People’ (Bob Mitchum ).... ead PICTURE OF THE MONTH: “The Snake Pit’ .......0.ccccccceececcsceseeceeeteereseuteteeeeteeeees 60 departments MOVIES RE VIEWS oie orn tee ene et eee by Christopher Kane 16 FASHION. 222530) JEN es navcieaie: Sart pane a its ce eee by Constance Bartel 65 »soveltvsasaaases oabaeeor eee ene 75 anaes stan 22/5 MUSIC:3] Sweetiand Hotes. ect ee by Leonard Feather 78 BEAUTY: “Don’t Sit on Your Hands! ooo... cece by Carole Carter 92 FAN FARE 94 THE BANS, ofc ae ee by Shirley Frohlich 115 ALSO SHOWING (Films Previously Reviewed ) 116
ON THE COVER: Esther Williams Color Portrait by Nikolas Muray
WADE H. NICHOLS, editor WILLIAM HARTLEY, managing editor TOM CARLILE, western manager
WILLIAM JEFFERS, story editor ROMA BURTON, western editor SHIRLEY FROHLICH, associate editor VIOLA MOORE, associate editor FLORENCE EPSTEIN, CaS Cci ote eaitcn BOB BEERMAN, staff photographer GLORIA LAMPERT, assistant editor
BERT PARRY, staff photographer
FERNANDO TEXIDOR, art director CHRISTOPHER KANE, movie reviewer
BILL WEINBERGER, art editor CONSTANCE BARTEL, fashion editor BEVERLY OTT, associate fan club director
MAXINE FIRESTONE, assistant fashion editor IRENE TURNER, research editor
POSTMASTER: Please send notice on Form 3578 and copies returned under Label Form\3579 to 261 Fifth Avenue, New York 16, New York
Vol. 38, No. 3, February, 1949. Copyright, 1949, the Dell Publishing Co., Inc., 261 Fifth Ave., New York. Published monthly. Printed in U. S. A. Published simultaneously in the Dominion of Canada. International copyright secured under the provisions of the Revised Convention for the Protection of Literary and Artistic Works. Office of publication at Washington and South Aves., Dunellen, N. J. Chicago Advertising office, 360 N. Michigan Ave., Chicago 1, Illinois. George T. Delacorte, Jr., President; Helen Meyer, Vice-Presid- dent; Albert P. Delacorte, Vice-President. Single copy price, 15¢ in U.S. and Canada. Subscriptions in U.S.A. and Canada $1.80 a year; elsewhere $2.80 a year. Entered as second class matter Sept. 18, 1930, at the post office Dunellen, N. J., under Act of March 3, 1879. The publishers accept no responsibility for the return of unsolicited material. Names of characters used in semi-fictional matter are fictitious. If the name of any living person is used it is purely a coincidence. Trademark No. 301778.
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a Winner of five Academy Awards, director John Ford who thrilled America with ‘ Stagecoach” and "Fort Apache” has directed another mem- orable picture!
Screen Play by LAURENCE STALLINGS and FRANK S. NUGENT « From the story by PETER B. KYNE
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IF BOB. CROSBY had known what he was getting into that first day he might have used his zweibach ration to buy back the birth certificate. Being alive was problem enough; being a kid brother was almost too much. First time he fell into the swimming hole it was Bing who pushed him. First time he snored it was big brother who cured him with a blow on the head. Bing had a twelve year advantage which he carefully preserved. It still hasn’t got away from him. For further proof of this read “Oh, Brother!” on page 30. Bob wrote it with a smile—and a snicker. You see, Bing may have the lettuce and the golf score—but Bob has a daughter. And how many Crosbys can make that statement ?
BOB HOPE, who is at least a friend of the clan, can make that statement twice. Linda and Nora are his girls’ names. Along with Tony and Kelly they make up the Hope brood. They all laugh at his jokes and sometimes they help write the script. For this devotion the two older kids get a dollar a week. The babies can’t count so they settle for love. There’s plenty to go around in the Hope house—as you will discover if you turn to page 48 of this issue.
MAYBE WE OUGHT to call this our Valentine edition. . . . We’re a pretty calloused crew, but once in a while something turns our stony hearts to water. Something, this month, is Hedda Hopper’s story, ‘““Three Loves That Thrilled the World.’ Remember the Gable-Lombard romance? Its sudden, tragic ending never blotted out the memory of their life together. . . . You’ve been reading about Shirley Temple in M. S. ever since she was knee-high. Now, on page 28, you can shed a tear with us for the little girl who grew up so soon—
. but so beautifully—and met John Agar. . . . Then there’s Betty Grable and
Harry James. They don’t say very much about their marriage—but Hedda does. It’s solid. It’s terrific. It’s ... well, see for yourself... .
TALKING ABOUT LOVE—and who isn’t? One of our editors has fallen. For three years she directed the fan club department with single-hearted devotion. For an equal number of years she graced MopERN SCREEN with her talented and lovely presence. Now, Shirley Frohlich, Associate Editor, is leaving us to marry a lawyer from Detroit. Daily commuters from that point to New York are practically unheard of—which is why Shirley is buying a one-way ticket. At any rate, she is Mr. Downes’ (the charmer’s) gain. We, on the other hand, were robbed, and can only sigh au revoir—with many tears and more best wishes. .. .
ie 4 .
wonderf
picture!
with REGINALD GARDINER ARI EEN WHELAN LUCILE WATSON - GENE LOCKHART - LLOYD GOUGH : ° PORTER HALL = RICHARD GAINES - TAYLOR HOLMES - CHILL WILLS
Directed by ROBERT B. SINCLAIR * Produced by FRED KOHLMAR * Screen Play by Jay Dratler « From a Story by William R. Lipman and Frederick Stephani
Danny Kaye's take-off on Kay Thompson, with Jack Benny, Jack Carson, Van John- Shirley Temple and John Agar were among those pres- son and George Burns as the Williams Brothers, was such a sensation at the Press ent at the Kay Thompson-Williams Bros. opening at the Photographers’ Ball last month, it was repeated at the Friar's Club Annual Dinner. Beverly Wilshire's Mayfair Room—a gala eve for all.
Mt
The lady herself—Kay Thompson—arrives at a party in her honor, with Jack Benny, Peter Lawford squired a new girl, Molly Dunn, to the Ben Gage and Esther Williams. The shindig, given by Arnold Kirkeby at his Kirkeby party, one of big events of the season. Host's show-place in Bel-Air, was attended by 300, who sat down to orchid-laden table. home was designed by the man who built Hoover Dam!
It's been a month of jivin’ jitters, if you ask
amusing—some sad—some sensational. But : if you believe in horoscopes, you must be- | } Rory Calhoun and his new wife, Lita Baron, caught Kay's routine, too. The lieve that the “sign” of utter confusion has act, called the most novel and funniest in years, originated in Hollywood been reigning over our town lately. To give a year ago, created a major stir. Recently, it's been on a nation-wide tour. you a rough idea:
Dan Dailey, usually a most sensible young man, gets his feelings hurt because his studio will not give him permission to appear in the
Friar’s Frolic show—and ups and disappears for three days. Even his wife did not know where he was.
I might never have received the “tip” that he was pouting it out in Texas if it hadn't been that a cook in a Seligman, Arizona, all- } night restaurant, was a movie fan and a i reader of my column. }
He called me long-distance to tell me that | he had been talking with Dan, who had k stopped for a cup of coffee in his nitery. j
“It was Dailey, all right,’ said William Os- deck—that’s my pal’s name. He was sure off Hollywood! When I told him I was a disappointed baritone with movie ambitions, it he said: ‘You're far better off where you are, \ in a restaurant washing dishes. Acting is a |
|
| me! Some of the Hollywood antics have been
thankless job.’ ”’
If his “mysterious disappearance” had not worried his wife so much, I would really have I to look on Dan’s antics as highly amusing. i Just another case of an actor getting ‘‘tired of j it all’ and thinking he is abused. Well, it happens to the best of ‘em. This boy comes y from a long line of troupers and you couldn't > ‘ ; : : ae Tee ge te drive him out of this business with a crowbar.
But all’s well that ends well, and Dan's |
| Among other guests at the party for Kay and her Williams boys were Mike { Romanoff, Iris Bynum, Clark Gable and Cesar Romero. Iris is now No. | on Gable's date list. The two were the most photographed couple there..
little delinquency ended with him right back where he belongs—hoofing and emoting in You're My Everything on the 20th Century- Fox lot.
“I
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LOUELLA PARSONS' GOOD NEWS
The second surprise of the month was when one of his old girl friends actually gave Clark Gable the cold shoulder and the go-by. I never thought I'd live to see the day.
The daring blonde who iced a shoulder in the direction of “The King” is Virginia Grey, once a big moment in Gable’s romantic life. Perhaps she grew tired of being referred to as “the girl Gable always goes back to”— because here is what happened:
Clark saw Virginia getting out of her car before a store in the Valley and rushed up to shake hands. The lady looked right through him!
But Gable apparently is not taking it too much to heart. The lady in his life at present is Iris Bynum. They have been doing the night clubs together and she is a fun girl who makes him laugh.
Virginia, I might add, has also found an- other romance. She is being seen everywhere with Richard Quine, ex-husband of Susan Peters—and they appear very happy in one another's company. -
* * *
Robert Walker continues to be the sad story of the Hollywood month. I have criticised him in the past for his remarks about the press, for the break-up of his marriage to lovely little Barbara Ford, and for not pulling himself together.
But, with many others, I am now beginning to know that Walker is a sick boy—not one to be railed against. There was nothing funny in his arrest on a ‘“‘drunk-and-disorderly” charge while in the company of Pat Dane.
The things he said—the flippant attitude he assumed—should be forgotten because he was not himself. He is not himself.
I happen to know his studio is going to give him every opportunity to snap out of the nervous state he is in. Right now he is
Judy Garland and her sister Jimmie were talking over old times, when snapped at the studio. She'll be starred with Gene Kelly, Frank Sinatra and Betty Garrett in Lovely To Look At, remake of Roberta.
undergoing the “rest” treatment. But official patience is being sorely tried—and before anyone else can help him, Walker must make
up his mind to help himself. * * *
The final screwy situation is the marital status of the Errol Flynns.
I just talked with Nora and she tells me: “I love Errol very much—I'm still madly in love with him. But he has been ill and seemed to want to be by himself. It got to the point where life under the same roof be- came difficult for us. But when he comes back from his European trip—who knows? Everything may be all right again.”
Meanwhile, Errol kept saying right up to the time of his departure he wanted Nora to go to Europe with him—wanted her to come home—and even sent her a key to their house just in case she had lost hers. But in spite of these interesting high-jinxes he certainly doesn't look to me like aq man carrying a torch. Anyway, it doesn’t show on him.
Nora is easily one of the best-looking gals in town and is having a fine time at parties dancing with most of the eligible bachelors with the gaiety of a deb with a full date-book.
At the Kay Thompson opening at the Beverly
' Wilshire (more about that gala shindig anon )
she was a sensation in her pale blue, back- less evening gown, with her fair skin and red hair.
Peter Lawford danced every dance he could get with her when other smitten gents weren't cutting in.
* * *
Now for that brilliant “first night’ of the incomparable Kay Thompson and the four Williams Brothers. This act would “draw” in a wigwam—but believe me that swanky new Mayfair Room at the Beverly Wilshire is no tent!
I wish the people who claim the movie
FATHER VS. The Same Wo
Lovely Phyllis Calvert Do post-war morals allow this titian-haired beauty to accept a man’s kisses while her lips still quiver with those of his only son?
Sensational Wanda Hendrix
“Tonight | saw my best friend in the arms of my brother, the woman to whom my father has given his love!”
“You might at least have the grace not to make love to her
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Take your own true love fo see
A Paramount Picture Starring
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LOUELLA PARSONS’ GOOD NEWS
L
stars are dodging night spots could have seen the turn-out for Kay. Such stay-at-homes as the Ronald Colmans and the Fred Astaires were at ringside seats and apparently having the times of their lives.
When the above-mentioned Nora Eddington Flynn whirled by, Ronnie Colman leaned over to me and whispered, “Who is that per- fectly beautiful girl?’ Just goes to show you —not all movie people know each other.
A duet attracting attention were Merle Oberon and Greg Bautzer—but don't get too excited about that. Both Merle and Greg were the guests of the Jennings Langs and I still say the head girl in his life is Joan Crawford. She was not there because her doctor has ordered her to rest after she suf- fered a spell of nervous exhaustion.
Clark Gable with his current heart, Iris Bynum, was laughing and laughing at the witty things she said to him. That girl cer- tainly knows how to keep a date amused— that’s one way to get ‘em, girls.
The Jack Bennys, Gracie Allen and George Burns, The Charles Vidors, Claudette Col- bert and Dr. Pressman, the Bill Goetzes and the Van Johnsons were all at one big table— a field day for the photogs.
Oh, just about everybody was there. L. B. Mayer visited friends at different tables and
June Allyson and Dick Powell step out regularly these days, and finally squelched separation rumors by being seen everywhere together. Dick is a probable co-star for Claudette Colbert in Love Is Big Business.
Roy Rogers, with Bill Boyd and Gabby Hayes, organized gigantic Western show which was held November 28th at Olympic Auditorium. Proceeds will establish museum for relics of greatest movie cowboys.
eS
I also saw the Dick Powells, the Johnny Greens, Ann Miller, Spike Jones, Shirley Temple with John Agar and the Rod Camerons.
Ginger Rogers looked ‘orfully” pretty in a black-and-white print—a really beautiful dress. And there was a time when people used to say Ginger didn’t know how to dress! She and Jackie Briggs were with the Arthur Freeds and their table was next to that of Bebe Daniels, Wynn Rocamora, Mervyn Le Roy and yours truly.
* * =
And speaking of Kay Thompson—I could think only of the song “I Dreamt I Dwelt in Marble Halls,’ when I walked into the lavish, flower-decked home of Mr. and Mrs. Arnold Kirkeby for the party they gave in honor of Kay. This house—which Kirkeby, who is a wealthy hotel magnate, bought from a man named Atkinson—is fabulous. After spending three million dollars on it, Atkinson and his wife separated. It is probably the most lux- urious house in America—and I am not ex- cepting the homes of the millionaires in the East. J
Three hundred guests were invited for dinner and sat at tables decked with orchids. Gardenia hung trees gave the effect of a movie setting, and not a real party.
Curiously enough, there were very few of
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Man under blanket and behind feathers is Bing himself. The Groaner was named Chief Thundervoice by Squamish Tribe in Vancouver.
the younger set present. I saw Peter Law- ford by himself. Clark Gable and Iris Bynum were at a table together, with Anita Colby several miles away at another table. The Jean Hersholts, old friends of the Kirkebys, were early arrivals. Diana Lynn was there with the man of her heart, John Lindsay. She is such a happy girl these days that it’s a pleasure to look at her.
I couldn't possibly see all the people who were there, it was such a crowd. But it must have seemed like a Cinderella story come true to Kay Thompson, who started as Judy Garland’s coach and friend at M-G-M. Everybody is delighted over Kay's success, as it hasn't changed her one bit.
It was very funny when Kay got up to
‘sing at her opening—we all thought it was
Danny Kaye. He had given such a good imi-
tation of her at the Photographers Ball. * * *
I rounded up the men this month and asked them what they particularly did not like in femme habits and traits—and came up with some interesting tips. (Next month—I'll ask the girls.) But read and heed:
Alan Ladd: ‘Sue's girl friends who get her on the telephone just as I walk in the door at night and keep yacking for an hour or so.”
Guy Madison: “Girls who keep pulling at their skirts—or grabbing at their shoulders, continually pulling up straps. These con- tinual-motion girls give me the jeebies.”
Farley Granger: “A date who continually talks about the date she had the night before along the lines of ‘I said to him and he said to me.’
Cesar Romero: “Those ‘cute’ kids who spray you with a little whiff of their perfume, or borrow your handkerchief when their lip- stick smears, or fix your tie. But the worst of all—losing half their makeup on your lapels when dancing.”
Burt Lancaster: “Loud and conspicuous laughers. The ‘Ha-Ha’ guffawers in cafés or drawing rooms make the shivers go down my spine.”
Peter Lawford: “The girl you take to a cocktail party—and then never see for the rest of the evening because she’s off huddling
LOUELLA PARSONS’
>
GOOD NEWS :
Pat O'Brien, a guest on MODERN SCREEN's radio show, Movie Matinée, tries a Boy With Green Hair wig on the m.c., Red Benson.
with her girl pals or trying to promote some other guy.” (Pete! Could that happen to you? ) ©
* * *
Judy Garland’s mother telephoned to say that all those stories that Judy started as a baby to earn money to carry her family along are ridiculous. Judy’s father was a prosperous theater-owner in Grand Rapids and she told me that whenever Judy did ap- pear in vaudeville as a child, it was in one of her father’s theaters.
“I get so burned up,” Mrs. Garland said, “when people say, that Judy has had to sup- port the family since she was in her cradle. She had a perfectly normal and happy child- hood.” ;
* * *
These bachelors certainly know how to give - parties. Cesar Romero decided to “house- warm” the new apartment he has built for himself over the garage of the home he built
* for his parents, and it was also a welcome to
his sister-in-law and his brother, Ed.
The whole town turned out, for Cesar is ex- tremely popular.
I particularly noticed Mrs. Gary Cooper, dressed to the teeth at cocktail time, in an evening gown.
I stopped to talk to Loretta Young and Rosa- lind Russell—those two gay gals who had been an eyeful at the Photographers Ball when they dressed exactly alike as the Toni Twins. Those two pals may be dignified ladies on the screen, but they sure have their fun in private life. I’m so fond of both of them. I went on to dinner with them, their husbands and Johnny Miles, young Warner actor.
After the party, Claudette Colbert and the Jack Bennys decided they wanted Chinese food, so they went off looking for a chow mein parlor.
Reginald Gardiner, who has been entertain- ing his 81-year-old mother, brought her to Cesar's fun party. Reggie said that because of the waterfront strike, his mother had to sail back to England after being only a week in Hollywood. At 81, she made the trip on a Dutch freighter which took her over 30 days!
Bebe Daniels and Ben Lyon, who have left
When the Bride brings
along her
three kids.. aad
the Groom’s_ , Ye
Lo.
ex-fiancee plays chaperone
with RITA JOHNSON - HATTIE McDANIEL- CHILL WILLS - screenplay by DANE LUSSIER
Based on the novel by Homer Croy - Directed by CLAUDE BINYON - Produced by JOHN BECK and Z. WAYNE GRIFFIN
MPAAPT ALICE TLIAT ATLIED DON’T MISS THAT OTHER
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ernalionad.
14
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LOUELLA PARSONS' GOOD NEWS
after he
to make their home in England again, were surrounded by a host of friends regretting their departure from Hollywood.
Anne Baxter joined the party late—she’s very interested in politics and had been making a speech.
Maybelle Webb came without her son, Clifton, and was soon the center of attraction. I teased her because she passed on to me the news that Mrs. Ed Gardner was expecting a baby. She meant, I am sure, Mrs. Reginald
Gardiner. * * *
Personal Opinions: Paulette Goddard is not exactly my favorite screen personality—but I must say she knows how to make a good impression and get favorable publicity for herself. She created a lot of good-will in Mexico City and shared honors with the Presi- dent’s wife at a recent national charity event. .. . I’m sorry to say I cannot say the same complimentary things about another star—a girl I like very much—who was in Mexico at the same time. All I can say about her trip is, she should have “stood” at home! . . . Whichever way you happen to feel about the Robert Mitchum case, you must give him credit for his behavior recently. He has been very much out of the spotlight, and when he and Mrs. Mitchum do venture out for dinner they sit very inconspicuously in the background. I have noticed that many actors who did not know Mitchum particularly well before his trouble, frequently go up and speak to him and his wife. . . . Judy Garland is rapidly becoming the most popular ‘‘guest”’ on top radio programs. Her personality comes through beautifully—which is not true of all big movie stars. . . . Jennifer Jones and David Selznick will be married in Europe— or I miss my guess. . . . James Mason is definitely trying to “soften up.” I believe he is sincerely sorry for the way he popped off about Hollywood before he ever came here. He and his wife have become close friends with the Glenn Fords and J think he would like to meet more people and be invited to in-
teresting parties. * * a
It may interest Lew Ayres—and you—to know that he was just about head man in my Mopern SCREEN fan mail this month. His per- formance in Johnny Belinda created a lot of
‘i 4 \
Patricia Kathryn Johnston, born October 7, here makes her camera debut. Kathryn and Johnnie were reported reconciled cancelled his
road tour and returned home.
interest and many fans are asking about him again.
Yes, I believe that his romance with Jane Wyman is serious. At one time, I think, they may even have been planning marriage when her divorce from Ronnie Reagan is final. How- ever, now I am not so sure they are.
There is a girl who operates an art store in Hollywood who has been a close friend of his for a long time, and it is no secret that they still have dates.
Frankly, I’m not going to try to out-guess Lew on his possible matrimonial plans. He's the strong, like-to-be-alone type who may
never marry again. * * *
First, Deanna Durbin telephoned me the exciting news that she is going to Europe to make a picture for the great Italian director, Alexandrini—and then she dropped by my house to give me more details.
I am so glad to see Deanna looking happy —
and bubbling and herself again. Let's face it—the last two years have not been good for her. Her career- at Universal-International, the studio where she was once queen-bee, hit an unexplainable snag and that can't be laid to "temperament’’ on her part, either. She's been a good girl for a long time—but some- times it just happens that the right story can't be found for a star. (Editor's Note: For the story of Deanna’s career troubles, see page 38.)
“I feel like the turning point in my bad luck has come,” Deanna told me, her eyes spar- kling. She looked so chic in a smart black street dress with one of those close-fitting hats with a jeweled buckle.
“Alexandrini is the director who made the wonderful Italian picture Furia,” Deanna went on, “and I am so excited over making a movie for him. I'll play an American girl studying for opera in Rome, so I won't have to worry too much about speaking the language. Naturally, I understand and speak it a little from studying music.”
As for her private life—I think Deanna is no longer undecided. It is my opinion that she will soon sue for divorce from Felix Jackson—probably before she goes away in
January. * * *
That's all for now. See you next month!
Mims, miaur on the wall... is my hat it ef thom ll ?
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ivision. Lever Brothers Comnanv.
16
Dee Dee Dillwood (Joan ponraie persuades Marvin Payne (Jimmy Stewart) and his partner Bullets (Eddie Albert) to take her from New York to California on their cargo plane—along with a chimpanzee.
f
So they all set out for California on the plane. All kinds of complica- tions ensue, including a forced landing, a mix-up with an embezzler,
the loss of the plane and, natch, the dawning of a fine romance.
MOVIE
REVIEWS hy Cath Lt
You see, she's fleeing the guy she's just married. In New York, she'd escaped her bridal suite and then had- talked Marvin into letting her spend the night in fis quarters.
YOU. GOTTA STAY HAPPY
You'd know the Saturday Evening Post ran this first, even if nobody told you. It stands right up for home and mother, and it explains that money can't make a body content. Jimmy Stewart, a serious-minded veteran, and his pal, Eddie Albert, a veteran with hardly any mind whatever, have a two-plane airline when we meet them. They carry freight—not passengers—until the day they get stuck with Joan Fontaine. She's a very rich girl who's been talked into marrying a very rich boy (Willard Parker) but whose heart isn’t in it. After the ceremony—or at least after she and her new husband reach their hotel room—Joan starts running. She runs into Jimmy’s room, he thinks she’s -in terrible trouble, and lets her stay overnight, and the next day she fasttalks herself into a hitch to California on the Stewart-Albert plane. Nobody knows she’s rich, which makes it okay for a manly soul like Jimmy to fall in love with her.
’ Before the trip is over, the plane has several
more passengers—all illegal, since a freight plane has no passenger permit—including an obnoxious honey-mooning Southern couple (Marcy McGuire and Arthur Walsh), and a sorrowful embezzler (Porter Hall). In the freight department, there’s a chimpanzee, and a dead body. It’s a remarkable trip, all right. The plane’s forced down in Oklahoma, on the farm of Percy Kilbride, the truth about everyone aboard is made known, the em- bezzler starts home to give back the money, and Jimmy turns on Joan with loathing. ("A fella wants to support his own wife...” ). He
. hates her right up until the day she buys him
a Constellation (airplane) and then love conquers all. You could be crude and insist that love won't buy any constellations, but the picture's still pretty cute. Except for that honey-mooning baby-talking young couple. They made me sick.—Univ.
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VERY other month you will receive the
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I have checked below: L] Queen’s Physician L Light in the Sky
L] Asylum for the Queen [] The Golden Hawk
With these books will come my first issue of the free descriptive folder called ‘‘The Bulletin” telling about the two new forthcoming one- dollar bargain book selections and several addi- tional bargains which are offered at $1.00* each to members only.
I have the privilege of notifying you in advance if I do not wish either of the following months’ selec- tions and whether or not I wish to purchase any of the other bargains at the Special Club price of $1.00 each. The purchase of books is entirely voluntary on my part. I do not have to accept a book every month —only six during each year that I remain a member. I pay nothing except $1.00 for each selection received plus a few cents shipping cost.
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JOAN OF ARC
In New York City, a whole theatre was re-built to house this movie, and press agents went around claiming it was the event of the century. Maybe it is. At any rate, there aren't two and a half hours of comparable pageantry anywhere this side of Cecil De Mille. The Joan of Arc story, told against beautiful Technicolored backgrounds, played out by a huge cast, and complete with exciting music, is bound to impress you. The story is basically Maxwell Anderson’s Joan of Lor- raine, adapted for the screen. Joan (Ingrid Bergman), a@ young peasant girl, is told by heavenly voices that God has chosen her for a tremendous task. She is to lead the armies of France to victory, even though England now occupies most of that stricken country, and the prospect of the tide’s turn- ing seems remote. Joan is also informed that she must crown the Dauphin (Jose Ferrer ) King of France, despite the fact that the playboy-heir to the throne doesn’t seem to be the best candidate for such high office. Nat- urally, Joan runs into trouble with officials, but gradually, people come to believe in her, they speak of an old prediction which tells how France will be saved by a maid from Lor- rdine, and in the end Joan goes off to lead
get ‘em for you. Remember,
THE NUMBERS |,
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The Girl He Can’t Forget (Cary
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FREE SUBSCRIPTIONS!
We love Ava Gardner twelve months a year, but March is our month to have her on the cover of MODERN SCREEN. We're really more interested in the people you love, though, and that's why we're offering a three-month subscription to the lucky first 500 who send back the questionnaire below. Just tell us whom you'd like to see between the covers of MODERN SCREEN, and by golly, we'll try and March, April,
QUESTIONNAIRE
What stories and features. did you enjoy most in our FEBRUARY issue? 2, and 3 AT THE RIGHT OF YOUR Ist, 2nd, and 3rd CHOICES.
What 3 FEMALE stars would you like to read about in future issues? List them,
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her soldiers to triumph. As you probably re- member, she’s eventually betrayed by the very king she’s worked to have crowned. He signs a truce with the English, refusing to allow Joan to finish the work she’s begun (the work of driving the invaders from French soil) and when she’s captured in an enemy ambush, he even refuses to ransom her. A French bishop (Francis Sullivan) in the pay of England, wishing to destroy Joan as a symbol (he knows how the French people idolize her) brings her to trial as a heretic, and she’s burned at the stake, in due course. Miss Bergman does well with Joan; you have the feeling that she’s very young, and ter- tibly afraid to die, and because of these things her pain, and her faith, are particu- larly moving. All the acting in the picture is good, and as far as I’m concerned, J. Carrol Naish, John Emery and George Colouris can take extra bows.—RKO
WHEN MY BABY SMILES AT ME
Bert Lahr brought the corny old play called Burlesque back to Broadway a couple of years ago, and nobody who saw him do it there (or on tour) will ever forget it. He made the baggy-pants, easy-going, hard- drinking character of Skid Johnson his own.
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When My Baby Smiles At Me: Burlesque comic Dan Dailey needs wife Betty Grable's help.
For this reason, Dan Dailey was handed a particularly tough assignment when Fox cast him as Skid in the movie version of Bur- lesque. Dailey doesn't suffer too much by comparison, and you can’t say more than that of any man. Story’s about a burlesque comic married to a burlesque queen (in this case, Betty Grable) and working in a traveling burlesque troupe headed by a fel- low called Lefty (Jimmy Gleason). The comic’s talents are big-time, and when pro- ducer Sam Harris offers him a Broadway job, he heads for New York, after promising the little woman he'll lay off the bottle and ignore the blondes. Well, he’s strong on resolution, but New York is full of speakeasys and beauti- ful women, and by the time wifey’s free to leave the tank show and come join husband, husband’s managed to cut a rug or two. Wife gets mad, and departs to marry a wealthy rancher. Husband starts down the Wife comes back and saves him. It isn’t much, yet it manages to be enough. Bert Lahr’s disintegrating Skid was a more pathetic figure than Dailey’s (Dailey seems a little young and healthy to break your heart over) but on every other count, the movie tops the play. Betty Grable’s good as the faithful, grieving wife; June Havoc and Jack Oakie are more than good as a couple of burlesque performers, Richard Arlen plays Betty's wealthy rancher, and there's lots of
road to ruin.
singing and dancing and Prohibition atmos- phere.—20th-Fox
YELLOW SKY
Gregory Peck leads a band of men who've been so successfully uprooted by the Civil War they aren't ready to put their guns away, once the North-South struggle is over. Robbery seems easier than working. More exciting, too. The gang (including Richard Widmark, John Russell, Robert Arthur, Charles Kemper, Henry Morgan and Bob Adler—or, rather, Dude,” “Lengthy,” “Bull Run,” ‘“Wal- tus,’ “Half Pint,” and “Jed’’) holds up its first bank, and then heads across the burn- ing Arizona desert. Suicidal, but what else can they do? The U. S. Cavalry is waiting for them if they turn back. Some days
Yellow Sky: realize Gregory Peck is really on her side.
Anne Baxter doesn't seem to
later, crazy with thirst, they arrive at the ghost town of Yellow Sky. There's water there. There's also a girl (Anne Baxter) and her old Grandpa (James Barton) in the other- Anne’s so hostile the gang figures something interesting’s going on, and sure enough, snooping reveals that Anne and Gramps have gold! $100,000 worth! They discovered it, they dug for it, they have it hidden. The gang's all for killing them, and dividing the loot, but Peck makes a deal. They'll split 50-50, half for his boys, ‘half for the rightful ownérs. The owners’ lives to be thrown in as a bonus. The noise begins when Widmark announces to Peck that he and the other fellows don’t see any reason for kicking back to Anne and Grampa. Peck holds out for honor (among thieves, at that) and nearly gets himself shot to bits. He battles his whole former entourage, and emerges triumphant, rich, and married to Anne. She makes him go give back the money from the first bank he robbed, and there’s the picture, tied up as pretty as you please. It’s so Western—plenty of drawling, walking bow-legged and shooting from the hip—and Fox thinks it’s as terrific as The Ox-Bow Incident. 20th-Fox
wise empty community.
ever
Podner, it ain’t.—
EVERY GIRL SHOULD BE MARRIED
It is the contention of salesgirl Anabel Sims (Betsy Drake) that women have it terrible. Can they go up to a fellow and say, ‘‘What big brown eyes you have, what are you doing Saturday night?” No. That's what. No. They have to sit around and wait for some shmoe to ask them, and they never get the Shmoe they want. Anabel’s out to change things. She’s got her cap set for Dr. Madison Brown (Cary Grant), a baby specialist, and she chases around to his club, his barber shop, his gymnasium, his office, collecting information about him. What he likes to eat . . . what his favorite flowers are. . . how many girl friends he’s had, and why none of them hooked him. Naturally, the doctor becomes aware of Anabel in due time; he can't help himself. He thinks she’s an amusing—and irritating—kid, and he tells
Queaters a problem?
Not for NG...
lim a safety-first girl with Mum
Smart girl, not to let lovely snug-fitting wool become is a trap for underarm odor. You stay nice to be near iY because your charm stays safe with Mum!
Even in winter, there’s a heat wave under your arms. Odor can form without any noticeable moisture. And remember—a bath only washes away past perspiration, but Mum guards against future underarm odor.
Mum Mum Mum
safer for charm
safer for skin
safer for clothes
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Product of Bristol-Myers
Mum checks perspiration odor, protects your daintiness all day or all evening.
Because Mum contains no harsh or irri- tating ingredients. Snow-white Mum is gentle—harmless to skin.
No damaging ingredients in Mum to rot or discolor fine fabrics. Economical Mum doesn’t dry out in the jar. Quick, easy to use, even after you’re dressed.
Every Girl Should Be Married: Cary Grant finally succumbs to tactics of Betsy Drake.
her so. Anabel attempts to make him jealous by pretending that Roger Sanford (Franchot Tone) who owns the department store where she works, wants to marry her. Cary asks why she doesn’t leap at the chance, which isn't the exact effect she’s working for. San- ford, incidentally, turns out to be a terrible wolf, and he’s only too pleased to pretend he loves Anabel, until she clouts him over the head with a shovel, after he gets over- friendly. Anabel gets her man, in the end, though her tactics are purely harrowing, and anybody but kind old Cary Grant would have called the cops on her. Cary’s wonderful in this picture—charming’s still the word; as for Betsy Drake, she romps through her scenes terribly wide-eyed and eager-voiced, and the characterization of Anabel comes If you think that sort of girl you'll love Miss Drake; otherwise, she can get on your Diana Lynn’s excellent as Anabel’s fellow salesgirl and close friend, and Eddie Albert has a small chore which he works out more than smoothly.—RKO
close to caricature. is cute, nerves.
SO DEAR TO MY HEART
So Dear To My Heart is sweet, and simple, and everything that’s good. If you’ve got a quiet hour or so, and you feel like being charmed, here's the ticket. The story’s concerned with a small boy named Jimmy Kincaid (Bobby Driscoll) who lives on a farm in Indiana with his grandmother (Beulah Bondi ). he settles for a tiny black lamb which has been pushed aside by its mother. Jerry brings the lamb up, bottle-feeding it, making a pet of it. Together, the boy and the lamb run in the woods, and when Danny (that’s
He longs to own a race horse, but
the lamb) gets into trouble (he’s always breaking through screen doors), Jerry almost bursts making excuses for him. Jerry wants to earn enough money so he can take Danny to the County Fair, and win a blue ribbon, and he works toward this goal feverishly. Of such small, bright threads the picture is woven. There’s a frightening scene where Jerry and his friend Tildy (Luana Patten)
wander off into the deep forest, searching
22 for a bee tree; there’s a nostalgic scene where
Granny and Uncle Hiram (Burl Ives) sing folk songs in front of the fire; there are funny scenes, and tender scenes, and here and there a Walt Disney cartoon sequence. The cartoon sequences are both cunning and very moral, designed to influence children along righteous paths. They feature songs called, "It's Whatcha Do With Whatcha Got,’ and “Stick-To-It-Ivity,'" which gives you some idea. Whether you were a country kid or a city kid, you'll enjoy this one-—RKO
LET’S LIVE A LITTLE
Robert Cummings, playing a young adver- tising executive named Duke Crawford, is lousy with troubles. The kind of troubles other guys wish they had. It seems that beautiful women simply can’t resist him. Take Michele Bennett (Anna Sten) the beauty- preparations queen. Her creams and salves are worth a million dollars a year to Duke’s agency, but she won't sign a contract unless he marries her. As-far as Duke’s concerned, Michele’s charms have grown a trifle faded, but she’s still got the power to drive him crazy, so to speak. He begs his boss to be given a job where he can deal with a man. The head of the agency, a kind old char- acter, sends Duke to see a psychiatrist, a Dr. Loring. This doctor’s written a book, and Duke's to plan the publicity campaign. Yeah, you guessed it; the doc turns out to be Hedy Lamarr. Now there’s double trouble. Dr. Loring’s as irresistible to men as Duke is vice versa. He elects to be her patient. She cures him of his complex (he hears bells ringing where there are no bells) by kiss- ing him in the moonlight. Cures him!—she practically electrocutes him. But when he discovers she’s just using him as a guinea Pig, he decides to marry Michele Bennett. A million dollars is better than none, as the saying goes. Now—will Hedy realize she’s in love with Duke in time to stop the wedding? Will Duke sock that Dr. Field (Robert Shayne ) who's been chasing Hedy? Will the adver- tising agency go bankrupt? You'll find out. Over the years, Robert Cummings has de- veloped from an animated stick of wood into a most charming and accomplished actor, Hedy’s lovely as ever, and the laughs are numerous.—Univ.
Let's Live A Little: Robert Cummings gets to be a patient of psychiatrist Hedy Lamarr.
THE LUCKY STIFF
It's possible that all murder mysteries are this confused, and I just don’t see enough of them. Anyhow, I doff my hat—heck, I doff my whole head—to The Lucky Stiff. It had me so mixed up I’m still not sure who done it. Who done what? Why, the four murders. A shady operator named Childers (Charles Meredith), who owns the . Casino Club, gets rubbed out first. Then the man that was hired to eliminate Childers, a thug known as Malloy, is shot when he’s preparing to tell who hired him—but that’s enough of that. There are about six plots running wild here. Claire (Dorothy Lamour), with whom lawyer John J. Malone (Brian Donlevy) is enchanted. Every night, he goes to the Casino Club where she’s appearing, and he sits and moons at her. What he doesn’t know is that she’s the girl friend of Childers (the first corpse, if you remember) though she really loves Britt (Warner Anderson ), Childers’ right-hand man.
One concerns a singer, Anna Marie St.
To make everything adorable, Britt loves —
Mrs. Childers, and she cares for him too. Incidentally, since nobody (but the district attorney and Malone) knows about Malloy (the thug who really killed Childers) the gen- eral public and all the newspapers believe that Anna Marie went to the electric chair for killing Childers, and every time she ap- pears, people run away screaming about ghosts. Fortunately, the louse who's behind all the murdering, is also behind the “‘pro- tection racket” in town, and since that’s what Malone’s out to break up when we first meet him, he kills two birds with one stone. Everything else in the picture’s already been killed. The most pleasing feature of The Lucky Stiff is Claire Trevor's playing of Malone's faithful secretary. She does a really wonderful job. “Cute,” I regret, is the word for it. I wish there were a better one.—U.A.
THE KISSING BANDIT Here’s Frank Sinatra as Ricardo, a boy from Boston (that’s the United States) who travels all the way to California (that’s still a possession of the Spanish crown) in order to join his late father’s old partner, Chico. Chico’s been having bad times as an inn- (Continued on page 116)
The Kissing Bandit: Frank Sinatra thinks he has to be bold and reckless, but he's shy.
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23
Diana Lynn and 30-year-old architect John Lindsay, shortly before their marriage.
/ Diana Lynn became Mrs. John Lindsay on | December 18th. When you read this, she and | | Johnny will have just returned from their | | honeymoon in Bermuda.—THE Epirors. @ Everything was fine. I had a career, a per- | fectly swell apartment, and excellent*health. I ) was a very contented girl—and one of the things I wasn’t at all interested in was marriage in a | vine-covered cottage. Well, that was last spring. Now, much to
my surprise, I find myself looking for a house, iI | a church to be married in, and the time to have | a final fitting on my wedding gown. I The great change began one warm June eve- 1 e ning. Stu and Angie Martin, my date—a casual
one—and some other friends were at the Mo- ; cambo. After a while, we decided to go to Stu and Angie’s to finish the evening.
Enter John Lindsay—whom up to then I’d
5 is I'd been sitting ? never met. He'd been working late and, as
pretty all my. life—with- he’d done many times before, he happened | to stop by Stu and Angie’s.
out aman. But Naturally, I thought he was awfully attrac- tive. (Who can blame me?)
after all, what could any Then, two months later—on August 17th,
to be exact—Teddy Stauffer, whom I’d met in Mexico, took me to a party at L’Aiglon. I was wearing a plaster cast clear up to here on my arm. Id broken it while I was at La Jolla meant—everything! appearing in a play. (Had I fractured myself = going all-out for my Art? Not exactly—I’d slipped in the bathroom!) It was my first pub- lic appearance after the (Continued on page 85)
man mean to me?
Mr. Lindsay, I soon discovered,
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the case for the people
Dear Robert Mitchum:
Just about the time this issue of MopERN SCREEN will appear, your trial on narcotics charges is scheduled to begin. No matter what the trial’s outcome may be, there’s one thing about your case that should make you and every American feel mighty proud.
That thing is the great, good heart the American public has once again shown it possesses.
When you were arrested, charged with the possession of marijuana, it seemed to many that your career was hopelessly smashed, no matter how innocent you might eventually be proved to be. Even you, in your first confusion and despair over the damaging appearances, were reported to have said, ‘““This is the bitter end.”
But the pessimists and grave-diggers had reckoned without the simple, garden-variety kindness of people everywhere in this good land. You, the studios, the magazines, newspapers
-and radio stations were swamped with expressions of good-will
which said, in effect: “All right, maybe the guy has made a personal mistake. We'll see. And if he zs found guilty, he'll pay the penalty. So why kick a man when he’s down? He’s still a darned good actor and we still want to see him on the screen.” :
The greatest glory of the tradition in which America was founded is its tolerant concern with every man and woman as an individual, entitled to fair play and a “break.” The expression of that concern in your case, Bob Mitchum, is a clear and valid proof that the national tradition is still tremendously strong and alive.
Maybe Americans are overly sentimental. Maybe it’s best to be cold and cynical in a world that so often seems _ ruled by brutal selfishness and double-dealing. But—maybe not.
This turbulent globe would be in a desperate mess indeed if the American people didn’t have their strong streak of “sentimentality.” Tyranny would long ago have been firmly in the saddle everywhere.
Sentimentality? There’s a far better word for it—a golden word that, in its true, Biblical meaning, is.the keynote of all our moral values.
That word is Charity.
Lo Daan
EDITOR
Shirley could have. had her choice of foreign titles, playboys or millionaires. But all she wanted was love—and found it in John Agar.
t
™ Once I happened to ask a friend of
mine named Irving Berlin, what the secret was for writing hit tunes. 5 “Tt’s really very simple, Hedda,” he smiled.
““Tt’s just saying the same old story, ‘I love you,’
over and over again to new music.” I’ve always thought you could say pretty much the same thing about the movies. The year-in, year-out fundamental stuff of Hollywood make-believe is love, love, love. And—as where does it not?-—the same potent force prevails in movieland’s off-screen life. Yes, indeed! There are plenty of times I can think of when “I love you” wasn’t just a line in a shooting script. So, as Valentine’s Day approaches, let me tell you what I know about three great loves, .all made in Hollywood, that thrilled the world—and still thrill it.
One is the love of a Hollywood king for his queen; :
another’s the story-book romance of a ‘golden-haired movie princess for her prince charming; and the other
is just a quiet, deep passion quite as plain as John loves Mary.
Among my romantic souvenirs, the love stories of Clark Gable and Carole Lombard, of Shirley Temple and
her handsome John Agar, and of Betty Grable’
and her head man, Harry James, rate just as highly for real romance as do those big league love affairs of Beatrice and Dante, of Heloise and Abelard and— yep—of Wally and Edward.
Shirley Temple has had the world, and ou ireta) Hollywood, at her feet all her life. Even as a mere moppet, Shirley accepted all this adulation and affection heaped on her curly head without losing it—or her heart, either. And that heart was (Continued on page 111)
Hedda Hypper
These are
the love stories of
three Hollywood couples— the stories of
er deep and
quiet passions
which no earthly thing
could ever mar...
Te of the most ene) Se are SRE plain peo- The marriage of Carole Lombard and Clark Gable was per- ple in Hollywood are Betty Grable and Harry James. Betty fect till its sudden tragic ending. Gable and the woman says simply, Harry and | couldn't live without each other now. he loved were as vital a pair as could be found anywhere.
When I was a kid, he treated
me rough. Now I’m a big boy, and he
doesn’t treat me at all. But strangely enough, I like the guy—even if this does sound
like flattery—which it is.
Bing rehearsing With me and my band—which can't compete with his—his
has 37 pieces and four
acres of Trotter.
“aca %
m@ I first met Bing Crosby when I was one day old.
At the time, I was the one with the receding hair line. Furthermore, I was asleep at the time, my handsome head on my mother’s ‘shoulder, looking for all the world like a blessed event. There has been some question about that in family circles, but Bing was highly interested in me at the time.
Mother says there was a strange light in his eyes when he came into the room. He looked at her intensely and demanded, “What is it?”
“Just what you wanted,’ Kate ees replied gently, “a boy!”
“Auh!” Bing exclaimed. “Tt had better be!”
Then he walked out of the room, slamming the door behind him.
The significance of this moment was something that was to dawn on me later.
It seems that for 12 long years Bing
had been the baby of the family. Only the baby of a family can understand that statement. Now J was the patsy—and if
I’d known what that meant I might have used my zweibach ration to buy back the birth certificate.
It’s not that I have anything against Bing, or vice-versa. It’s just that the life of the baby brother in any family most of the time is just plain hell.
We lived in a big brown frame house.
The oldest children had their choice of bedrooms. That left Bing with the sleeping porch when there were no more bedrooms. It also stuck him with me. When I could get
along without diapers they moved me out to the sleeping porch. I thought that was fine.
He thought it was awful.
Weekdays he had to teach me how to tie my shoe laces. Sundays he saw to it that I genuflected properly at Mass. At night when I’d wake up and stagger around in my sleep headed for the bathroom he had to make sure I wasn’t going to fall downstairs. Thinking it over, I can hardly blame him for assuming these duties with all the gracious charm of a hungry bear.
He snored. So did I. When I was awake and he was snoring, there was nothing I could do about it. When he was awake and I was snoring I got hit in the head with a pillow. Tiny Tim never had it so bad.
I was too small to be kicked around much, there being 12 years difference in our ages. So I was an ever-present nuisance, spending all of my time trying to get into the act. I was bright, though. I found out soon enough that if I didn’t get to the table on time, that gang (Continued on page 103)
By BULA WILLIAMS
eR TON i.
My Esther was like any other girl. “Mommy, the boys didn't dance with me." "The girls don't like me.” ... There was no problem
we didn't solve
around the kitchen table.
Esther Williams at 13. She still seeks advice from her mother, who helped her so with teen-age problems. Below: With her parents and relatives at a recent birthday party.
Shore 2)
Smcaiae
, Wes
Bula Williams says: “My combined life’s work, major interest, hobby and profession has been young people’s problems.” A staff-member of The American Institute of Family Relations as a counsellor and lecturer, she has earned her qualifications through the first-hand experience of raising five children of her own. This modest, down-to-earth account of how, with humor and understanding, she helped her daughter Esther over the rough spots of growing up will, we feel, strike an instant chord with millions of readers.
—TuHE EpiTors @ The minute I saw Esther’s face I knew something was wrong. A cloud shadowed the usual sunshine of her smile; she was too quiet when she came in the house. Esther was in junior high school then and about 14. She’d just returned from a holiday to the mountains with a crowd of her boy and girl friends.
“Hello, honey,” I greeted her.
“Have a good time?”
“No, Mommie,” she blurted. “I had a miserable time.”
I wasn’t surprised. -Her expression had telegraphed that news. ‘‘Well, what’s the matter?”
“Qh,” said Esther in a hurt and baffled voice “the boys didn’t dance with me. And the girls were snippy. Nobody liked me. They left me out in the cold. . . . Mommie, what’s the matter with me?”
“Not much,” I told her. “But we’ve got a problem on our hands, haven’t we? Let’s see what we’re going to do about it... .”
So many people who see Esther Williams’ smiling, sunny face on the screen write me and say, “How lucky you are, Mrs. Williams, to have a girl so obviously ‘happy and well-adjusted.
What a blessing to have had no problems with your delightful daughter.”
No problems? We had them practically every day in our home, where Esther grew up. Every child is a problem child. (And I had five children.) Life, it’s been said, is just one darned thing after another, which is to say just one problem on the heels of the one before. Problems are the fibres of life itself and solving them is living.
Esther’s problem at that point was friends—and that’s a pretty important problem at 14. She needed help. We sat down at the kitchen table to talk. Our problem was not to be grieved and gloomed over—it was to be solved. And as usual, the minute we delved into (Continued on page 77)
ee —
hing for the boys
Recipe: Take six gabby gals and rapidly add food
Warm well before a fire and beat with pillows. That’s the way
Jean Peters cooks up
/ a slumber party.
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: yc. Smee wa oa : Fs No female party is complete without comparing lipstick and nailpolish After polishing off hot dogs, gang turned to home-made popcorn,
jobs. Reba and Bonnie watched with amazement as Kathy used a marshmallows and candied apples. (See the simple recipes for
new shade on each toe. "So | can tell them apart," she averred. all these delectables in our Fan Fare department on page 94.) t
ite a CERES aerate eReTRET
Jean Peters and Colleen Townsend, with her hair in rag curlers,
@ The night was cool. The pajamas flashy. The gossip sparkling. The hostess Jean Peters. Perfect ingredients for a slumber party.
Jean has a sense of humor like an electric shock. It always startles you. Surround her with her girlfriends from 20th Century-Fox, like Betty Lynn, Colleen Townsend,
Vanessa. Brown and Kathleen Hughes—well, anything can.
happen and, as the old line has it, usually does.
We had heard rumors. There was that other time Jean had hostessed a pajama party...
She was attending Ohio State. It was one of those crisp fall days—just made for football. The leaves were turning burnt-gold and small gusts of wind would bring them shiv- ering down to the sidewalk.
Jean and some of her dorm sisters were coming back to Baker Hall from the game. “This,” she declared snapping a dry leaf under her foot, ‘‘is the ideal time to huddle before a fire and have a slumber party.”
munched on jelly apples and had a long talk (mostly about men).
By the time they’d reached the hall, Jean had convincea the others. All except one girl. She never joined in on such undignified fun. And certainly couldn’t be bothered that night, since she had a date.
Jean sat on the bed watching her get ready. Then an interesting idea suddenly popped into her head. What would happen to that dull, dignified creature if... ?
There was no use Jean’s just sitting there when she knew she was going to do it anyhow.
The girl was a little late for her date. Two hours in fact. Seems someone had pushed her, fully clothed, into the shower.
But that had been three years, a 20th Century contract, and two pictures ago. Jean, we reminded ourselves, must have changed since then. .
However, we hadn’t reckoned with Betty, Colleen, Vanessa and Kathy. Although these girls have different back- grounds—one lived in Vienna, (Continued on next page)
Slumber party guests did their own cooking. Colleen blackened marshmallows and Vanessa
OS ee
Girls gathered on living room floor to watch Betty Lynn's fortune-telling exploits. She predicted great careers and stardom for all, after first finding
served up her frankfurters well-done-to-a-crisp. out that Jean already had earned a good role in 12 O’Clock High.
(Continued from page 35) another toured the wartime CBI circuit, while the others came to Hollywood via Broad- way or college—they all, we soon learned, share an identical urge. Behind those cherubic faces smolder the sardonic brains of practical jokers.
The evening began quietly enough at Jean’s Westwood home. We were all in the den preparing a picnic-fashion snack. Vanessa and Kathy brought in the food from the kitchen. Betty did her utmost to get a blaze going in the fireplace, while Jean spread a tablecloth on the floor.
You'd never find another tablecloth like it. It’s strictly a Peters original. “I only like to sew dramatic things,” Jean confessed. We noted the red flannel spread edged in leopard skin—and nodded in rather dazed agreement.
Then Jean told us about something else she’d designed— a white brocade evening gown with a train. It was elegant. She wore it to the opening of the Opera. Only trouble was, she hadn’t decided to make it until two days before opening night.
“My eyes were so tired from stitching I couldn’t even
see the singers. I hope they couldn’t see me either, because the basting started to unravel after intermission—and not only that, the train of my gown soon resembled the fore- court of Grauman’s Chinese—dotted with footprints. That little number certainly wasn’t anything to have worn in that mob scene. If I’m going to design things, I do wish I wouldn’t always do it on the spur of the moment.” “That’s the way I do things too,” volunteered Coke Townsend, who by this time was decorating the wienies with cheese and bacon. “I won’t sew anything for months,
‘then I'll see an exciting design—and out comes the Singer
and some material I’ve been Saving.”
By this time Betty triumphantly had the fire crackling and Kathy was filling the plates with potato salad. There was a lazy-Susan revolving tray in the center of the room, just an arm’s reach away from everyone, laden with pickles and olives and nuts and marshmallows.
We took turns roasting the hot dogs and popping the pop- corn. Vanessa was exiled to the corner when she charcoaled the corn and set the popper on fire. (Continued on page 74)
ied them all in down.
refused to hit the sack. Pillow later
This attack took place when Colleen burst and bur
s
Vanessa
and hair-brushing chores. king her screen debut in Road House.
is ma
Is tripled up on tooth-
so gir The Fan) discussed decoration of her new hill-top home, "The Eagle
‘UUHWNEREE Deny SETTEAY
Peak,” with Betty and Kathy, who
Time for bed, (soon in
she did it before and
HE CAN
DO ITAGAIN! ee
m A _thirteen-year-old girl with soft brown hair and blue eyes lifted up her voice and, with confident ease, sang one of the most difficult of operatic arias. As she finished, the Hollywood celebrities at the old Trocadero rocked the chandeliers with applause. And almost before the echoes had stopped vibrating, a producer had signed the little girl—Deanna Durbin—to a contract with M-G-M. Six months later they dropped her option. In those six months the girl with the clear, lovely voice appeared in “one short subject with a promising youngster named Judy Garland. -Then they let her go. They didn’t believe she had a future. That was 13 years ago. Since then, Deanna Durbin has gained international fame, has twice been married: and has become a mother. With her voice matured into a really glorious instrument of song; with her acting ability developed into wide range and depth; with great physical beauty, charm, and the driving ambition of the true artist, Deanna Durbin should be twice the success she was when she was half her present age. And yet—Deanna Durbin’s screen career is swiftly fading. It’s a crime—and a totally unnecessary crime— that this should have come to pass. And I believe with all my heart that she can come back to the top again, in exactly the way she reached it before. Let’s go back and see just how that crime occurred. You've heard Deanna sing many times. And each song she sang gave you a thrill. But you couldn’t have known the true significance of each of those songs to the girl who sang them. You couldn’t have known the story behind them, the happiness, the heartache, the thrill or disappointment shadowing each melody or set of lyrics. No, you couldn’t have known, because Deanna showed to the world only the things she wanted the world to see. Locked inside her were the things that ate her heart out or made it almost burst with joy. Those are the things (Continued on page 87)
what happened
to Deanna?
euly yoobordy
Newspapers and magazines told of Deanna’s fabulous rise to fame, praising her for
her one-woman contribution to the
success of Universal.
NICE GIRL—“One of the screen’s most interesting stories of the year and a Picture that’s guaranteed to please all.” \
—Oklahoma City theater manager in-
Motion Picture Herald, April 1941
IT's A DATE—“Once again we scored heavily with Deanna, as has been the case with several of her other pictures. All of her pictures are so refreshing, it is difficult for one to fail to enjoy them.” —WN. J. theater manager, Motion : Picture Herald, Jan. 1941 ... and later “Each of Deanna’s pictures meant another mnillion in the thirsty tills of old Universal.” —N.Y. Sunday Mirror, Nov. 7, 1943
“Before she was 16 her pictures were solely responsible for pulling a major studio, Universal, out of the ‘red’ and - into the pink of success.”
—N. Y. Journal-American, Nov. 3, 1946 :
“Deanna Durbin, Top Salaried Woman, Draws $310,738.”
_ —headline, N.Y. World Telegram, Jan. 8, 1947
it Tidy...
Theater managers and critics complain about Durbin pictures. They still like
Deanna, but protest poor material, weak casting, dullness
SOMETHING IN THE WIND—“It is one of the dullest, most boring screen plays to come out of Hollywood .
—N. Y. Herald-Tribune, Aug. 1947
. . . Used on midweek to fair business. Miss Durbin has lost much of her popularity, but she still has a great voice.”
—California theater manager in Motion Picture Herald, Feb. 1948
. . . We certainly took a beating on this feature .. . Durbin is a dead duck as far as we are concerned.” —Canadian theater manager in-Motion Picture Herald, Nov. 1948
UP IN CENTRAL PARK—. dullest shows on record . Picture is utterly without charm, a stiff and static bore.”
‘—N. Y. Herald-Tribune, May, 1948
... they just do not go for Deanna as they did years ago... .” —Vermont theater manager Motion Picture Herald, Nov. 1948
. one of the
She was always blonde and beautiful— that girl of Cary's dreams—she was Virginia; she was Barbara; she
was Betty . . . but now she's
th Ctr. girl he can't forget
Cary was still an unestablished actor in '32 when he married Virginia Cherrill. Tem- peramental differences separated them.
| At one time, Phyllis Brooks seemed to be Cary had little in common with his ex-wife Barbara Grant's sole interest, but Phyllis invited Hutton. She hated Hollywood; he loved it. She en- publicity so Cary stepped out of her life. joyed Society; he disliked it. Divorce followed.
@ Cary Grant has been in love with the same girl all his life. She is beautiful, blonde, tall and slender. Not always, but usually her name begins with a B. She is Betsy Drake, Betty Hensel, Barbara Hutton, Phyllis Brooks and Virginia Cherrill.
Sometimes Cary marries this girl he loves. But whether he marries her or not, the history of each romance is
always the same: It lasts a long time, it ends in disillusion- -
ment—and he never forgets her.
Will his present passion for Betsy Drake be just another repetition of the old pattern, or will she prove the answer to Cary’s desperate prayer for a permanent mate?
To play prophet with Cary’s very cautious heart, we have to break down Cary the man, Cary the lover, and the women he has loved and why.
To start at the end. Miss Drake, blonde, tall and willowy, is 24 years old. Cary is 44. She is younger than any of his former dream girls. But they have been inseparable almost from the moment when Merle Oberon introduced them to each other on the Queen Elizabeth bound for New York in the summer of 1947. From the beginning, Betsy has known how to handle Cary. She is simple, with no chi-chi about her at all. Her best attribute, as far as Cary is concerned, is that she knows how to be pleasantly discreet to inquiring reporters. Several women have lost Mr. Grant because they thought they had him hooked, and said so.
_ Phyllis Brooks, for example. The blonde beauty, who for many months had seemed to be Cary’s main interest,
Latest and possibly the most permanent of Cary's loves is Betsy Drake. The two have been almost in- separable since their first meeting in ‘47.
decided to tell a waiting world that she was engaged to him. She was so sure of him, she ordered some lovely antique furniture for the home she believed they would shortly share together. Came the dawn!* Cary, embar- rassed by the publicity, begged to be excused. And found himself stuck with bills for furniture for the home he now wouldn’t need.
Miss Drake, even when she was with Cary in Palm Springs and Germany and London with no other excuse for being there except that she loved Cary, always looked pleasantly blank when asked, “Are you getting married?”’ All she’d say was “That’s something we haven’t discussed.”
Unless she plays her cards wrong at the twelfth hour, it .
looks very much as if Miss Drake will be the third Mrs. Cary Grant—indeed, she may already have achieved that status by the time you read this story.
The good-hearted Cary is happiest when helping begin- ners make good in Hollywood. He was positively radiant while boosting beginner Betsy to the top of the Hollywood working world as his co-star in Every Girl Should Be Mar- ried. In this picture Betsy plays a girl who wages a success- ful campaign to win Cary for a husband. Her strategy isn’t half as clever, and is a thousand times more obvious than what happened in real life. Because in real life, Betsy wasn’t even sure she wanted to marry Cary. And for a man of his cautious disposition, where females are con- cerned, that attitude was the best come-on of all.
This is how Betsy bagged the gentleman who many con- sider to be the most attractive male (Continued on page 98)
Betty Hensel cut short her serious-look- ing romance with Cary when he seemed to be falling for his leading lady.
Family portrait on the - Brinkmans’ third anniversary. Jr.'s almost two; baby's coming.
Three years? It might
have been yesterday .. . Jeanne and Paul
and the marriage VOWS . . Three years?
It might have been forever— the way their love :
goes on...
BY MARY McSKIMMING
Kvel
A year ago in MODERN SCREEN—in January, 1948— we published “Anniversary Story,’ by Jeanne Crain. In it, Jeanne looked back on her first two years as Mrs. Paul Brinkman. And now, on the occasion of Jeanne’s and Paul’s third anniversary, we herewith bring you right up to date on what surely must be one of the happiest marriages ever made in heaven.—THE EDITORS.
m@ They stood together in the crowd before the big, gaily-lighted toyshop window, its seams almost bursting with the activity of its Christmas clowns and gnomes and dancing bears.
She was so pretty, even for Hollywood—and yet she could have been a girl looking in a Christmas window in Sioux City or Duluth or Kokomo. The woolly greatcoat made her look tiny and its warm purple brought out the smouldering lights in her auburn
hair, banded with a soft lavender scarf that got lost somewhere
in the curls. He stood close behind her, with one arm protectingly around her shoulder. “Look, Paul!” she exclaimed, pointing to the big white tree with its thousands of -tiny white candles, “The angel on the top—isn’t she beautiful?” “T’ll say she is,” he (Continued on page 109)
ree ee
saintly role in Song of Bernadette made Jennifer a great star, led the public to imagine her as Gn angelic girl in real life, too.
s
sultry, fiery half-breed in Duel in the Sun was so convincing that the legend of her true personality was given a new twist.
sensitive, warm, delicately-shaded per- formance in Portrait of Jennie (with Joe Cot- ten). will gain her fresh plaudits—and myths .. .
Hollywood still
puzzles over Jenniter Jones.
Is she an ice-cream angel, a Madam X, a | é fragile flower—or | someone entirely different, someone nobody knows? \" By JACK WADE Woman nobody knows | il m Not long ago, a friend of Jennifer Jones’ |
dropped in for a visit and thought she missed something somewhere in the house. Pretty soon she ' knew what. She’d been all through the place and yet hadn’t spied the gold “Oscar” Jennifer won for her first starring picture, The Song of Bernadette. She asked her where it was.
“I don’t know,” said Jennifer.
The friend almost keeled over. “You don’t know where it 7s?” she repeated in amazement. =
“Your greatest trophy? Your most precious possession?”
“No,” said Jennifer weakly. “But it must be somewhere around. It'll turn up,” she promised.
Before she left, the friend had another request. She s asked Jennifer for a picture to take home to. her little girl. Again she got a dismayed, apologetic look and a disappointing reply.
“J—I haven’t any,” she said. “I’m sorry.”
“Vou mean you're a screen star and you haven’t a picture of yourself in the house?”
“No,” confessed Jennifer. “But,” she brightened, “I'll get you one at the studio.” (Continued on page 82)
This is the letter that
threw Mexican reporters off the trail. the press waited at the : Del Prado, Rita and the Ali Khan checked into another hotel.
While
RITA HAYWORTH
October 27, 1948
Antonio Perez Manager
Hotel Nel Prado Mexico, D. F. Mexico
Dear Mr. Perez:
This is in confirm-tion of a phone call I
made to vour hotel this morning, sskinz thet you reserve one suite (sitting room end be@roon) and two additional sinrles, These are to be held in Miss Hayvworth's name, and we shall arrive in Mexico City Monday morning,
November lat. We resnactfully reoauest that
this matter be kent confidential. é
Will you also raserve for Miss three tickets for the next corrida - sombra, and near the barrera, i guess. ith meny thanks to you,
Sincerely,
Secretary
459 N. Doheny Drive Beverly Hills, Calif.
exican
It was one titanic
battle of wits lee
Rita Hayworth
and Prince Ali Khan engaged in that : all-out struggle for privacy against the
ingenious Mexican press!
BY MAXINE SMITH
escapade
The spectacular story of Rita Hayworth and Prince Ali Khan began some months ago in France and was first reported im detail in MOvERN SCREEN’s ,December, 1948, issue. Con- tinuing its eye-witness reports, MS now adds another chapter covering incidents in Mexico. As this issue went to press, Rita and Ali had junketed briefly to Cuba and were en route to Hollywood—and perhaps to new adventures——THE EpIrTors.
@ Mexico Ciry—A heavy blue haze and “an air of expectancy” hung over Mexico City’s Municipal Airport. It was just before nine on a Monday morning early in November. A horde. of reporters and photographers, anxiously licking their pencils and counting their flash bulbs, awaited the arrival of the Pan American World Airways plane from Los Angeles.
A few minutes later the big silver transport dropped through the overhang, disturbing the haze and churning the air of
expectancy to a pitch of hysteria as the gentlemen of the press,
roaring hoarsely and holding hats, charged toward their quarry.
The rolling stairway was pushed through the mob as the plane snorted to a halt. The door was opened—and Rita Hayworth, looking perfectly exhausted, stepped out. Dozens
of camera bulbs flashed . . . and flashed again . . . and again. ~
But—but where was the chief object of this lens-hunting? Where was Prince Ali Khan, reported to have been coming to Mexico with Rita? Obviously, none of the men near her could be the Prince, son of the world’s richest man, the Aga Khan of India. There wasn’t a turban in sight as the passengers made their way to the main building to go through the routines of immigration and customs inspection.
The officials, recognizing the celebrated Hollywood super- star, gallantly called her name first, and swiftly put her through the procedures. ;
“Ah,” thought the press cunningly, “xow we'll soon know which one is the Prince—surely his name will be called next.”
But the crafty fellows were disappointed. As Rita waited outside the large customs enclosure, nervously lighting ciga- rettes, passenger after passenger entered the barrier—and still the Prince was not called.
Finally Rita, impatient at the delay, beckoned to one of the oficiales and, in her fluent Spanish, asked a favor. Could a gentleman refuse her? At once Prince Ali Khan was called. The reporters at last got a good, identifying look at the Prince. But it was only a look. For, outside the barrier, they were
_ too far away to ask questions..
Not, as it turned out, that it would have done them any good to have been right at Ali’s elbow throughout the inspection. When it was over and Rita and the Prince strode rapidly to their waiting limousine, the reporters, running after them, received nothing but silence. As the pair drove off, the frus- trated newsmen had scored a zero.
. To its bitter fury, the press was destined to wind up with exactly that score. In a titanic battle of wits—and occasionally of more direct weapons—the famous (Continued on page 95)
After evading newsmen for days, Rita consented to a | ! press conference. It was a flop, for Rita showed up without Ali Khan, ignored all “personal'' questions,
ié~ Bs
B,
Rita and Ali were photographed separately upon their arrival in Havana from Mexico City. Throughout the vacation jaunt, the pair refused to pose together. | ia ee : | mech aa
=
In the living room, lined with book-shelves, the children are allowed to rummage through bound copies of Bob's radio programs. Note tiny tot's chair set up for the evening's television show.
£ SEN The ase 3 ; east F : The Hope house abounds in cozy spots, like the combination bar
and billiard room. Above, with Dolores as an audience, Bob struggles to beat son Tony. Hope's trophies decorate the walls.
48
™@ The Bob Hope home is a house where children are
regarded as all-important. You know this as soon as
you enter the driveway. On the high white gates, a sign reads CHILDREN AT Pray. (Beneath it ther ’s one which says belligerently, poG aT LARGE. This added thought is not to scare the tradesmen—it’s merely to warn them to look carefully so they won’t run over the lazy hound who is usually asleep in the very center of the driveway.) And reposing casually on an upstairs window-sill will be, like as not, baby Kelly’s one-eyed toy giraffe.
The house is a white brick-and-wood “California Colonial.” It nestles in a scene of peace and beauty among giant walnut and pepper trees. Its bow windows gaze across rolling lawns—lawns that are strewn pleas- antly with children’s painted swings, playpens, and merry-go-round.
And that’s the way the house is on the inside, too.
A stately Georgian staircase looks down benignly upon the small boy who is racing a red truck across the gleaming floor. Tony Hope, aged eight, gives the truck a mighty push, and shouts to his sister in the living-room.
“Catch it, Linda! I’m sending you something.”
A little girl with silver bands on her teeth, and flying blonde hair, crouches on her knees, and reaches out to catch the truck as it whizzes by. Carefully, she re- moves a small house plant and sends the truck back across the hall.. Dolores Hope puts down her knitting, and watches as her daughter replaces the plant on the coffee table. If she caught her breath when her precious plant went zipping down the hall, Linda would never know. Though Dolores Joves her collection of fine china and delicate antiques, there is no “hands off” sign in the Hope home.
-Eight years ago, the Hope estate was an abandoned walnut grove. At that time Bob and Dolores lived in a small house in North Hollywood with their baby, Linda. The successful young comedian and his gentle, dark-haired wife often took long walks down the country lanes, bordered with hibiscus and flaming olean- ders. As they walked, they planned their future and shared their dreams about (Continued on page 51)
iouse of the:
one-eyed giraffe
Tony, Linda, Kelly, Dolores, Nora and Bob in “'the nook," favorite family gathering ptace.
The kids
come first in the
Bob Hopes’ fun-filled home . . . painted swings and pepper trees
to climb and lots of room
for growing...
BY VIOLA MOORE
ce used to " b's an ideal father.
Two-year-old Nora
House of the one-eyed giraffe
The star of The Pale- face finds built-in shelves and drawers are handy for quick packing jobs.
(Continued from page 48) Linda. A dozen times they walked past the sloping lot with the walnut trees, then one day Dolores said: “Let’s go in.”
Hand-in-hand, like children entering a secret garden, the Hopes pushed open-the creaking wooden gate, and went in. Immediately, they fell in love with the towering trees, and the feeling of peace and seclusion. They wandered all over the three acres, and as they started to leave, Dolores stum- bled against an old well, almost hidden by moss and weeds.
“There must have been a house here at one time,” she said, excitedly. “Bob—there should be a house -here now! What a lovely place to bring up children! So much ground. So many trees to climb.” In her mind’s eye Dolores could see Linda a few years hence, her blonde hair flying as she clung to: the ropes of her swing, and pointed toward the tree-tops with her tiny feet.
The Hopes sat down on the edge of the over-grown well, and began to talk about their future home. Bob took a green twig, and began to scratch a design on the damp earth. “Now, here’s where we could put the house... .” And Dolores, her cheeks flushed, her Irish blue eyes two. torches of excitement, added, “We'll leave that pepper tree right where it is, even if we build the house around it.”
They bought the lot and, shortly after, architect Bob Finkelstein got to work and drew up plans for the rambling structure that now houses Mr. and Mrs. Hope and their brood of four. Out of those plans has grown the house you see today.
As you drive up to the house, and park opposite the flower- bordered entrance, the front door is opened by Tony—for
this is the maid’s day off—and a moment later you’re stand-
ing by the high-backed settee in the hall, looking directly into the spacious living-room. Sunlight and clear colors are reflected in the hunting-print draperies that frame the bow windows, and are picked up in the Grandma Moses landscape on the opposite wall. You are likely to exclaim with delight over a majolica lamp in tones of blue—and then notice baby Kelly’s red celluloid duck peering behind it. As you sit on the deep, print-covered couch, you’re likely to rise in nervous haste. (Continued on page 91)
The Pennsylvania Dutch breakfast room, a riot of colors, was converted from a butler's pantry. Cupboard (left) is hand- painted in rich reds and blues. The kids love to lunch here.
Got e Le het ip ae. 2 Dining room walls are green and cream. Host and hostess chairs give real comfort! When the Hopes dine en famille
_ ‘G
The backyard is a pleasant place at the close of day. On the flagstone patio, Bob catches up with the day's events, listening to each child in turn—or to all of them at once!
SENTIMENTAL JOURNEY...
her in Paris, Ingrid
ly Fonl Lo Lo PU thought; in
famous New York columnist
Sweden, they'd jeer. But this journey that
| began with fear ended
in happy tears.
SCREEN JOAN VISITS THE TOWER OF ROUEN, in France, where the real Joan was imprisoned and from which
she was later taken to her fiery death. Ingrid was deeply moved by her visit to this historic shrine. Right: A prison scene from Joan of Arc, in which Joan prays for deliverance from her tormentors.
One of Ingrid’s favorite directors is Alfred Hitchcock (above). She went to England to appear in Hitchcock's Under Capricorn.
™@ Ingrid Bergman has solemnly confessed to me that a few months ago she was shaking in her famous flat-heeled shoes. “JT was scared to death when I went to visit France
because they’d written me nasty open letters telling me
they didn’t want me to play Joan of Arc,’ the Sweet Swede told me. “And I also was afraid to go back home to Sweden. I hadn’t been back for nine years. They were pretty. mad at me there for trying to become an American citizen. I read things in the Swedish papers about that and I thought, ‘Oh, oh, they’re sharpening-their knives.’ ” :
It’s hard to imagine the tall, red-cheeked, competent Ingrid being trembly about anything. But it became thoroughly believable now as I sat with her in her 36th floor suite at the Hampshire House in New York City. She had the windows open, and the icy blasts of winter came through, chillmg me but thrilling her. Yes, Ingrid certainly left me cold; not from her personality, but from her open window.
I had arrived punctually at 11 a.m. to see her. In seven years, I’d interviewed her seven times. Going to this one,
2
I recalled the first, back in 1940, when she had cagily out- maneuvered my photographer who was trying, at my sug- gestion, to get her to pose for some “leg art.”
“No-0-0-0,”’ she had said, charmingly but firmly. “I want my face to be the most important!”
Who could say this hasn’t worked? Strong men around my Broadway beat have whispered to me when their Beau- tiful Wives weren’t listening that they believe she has more sex appeal than anybody else on the screen—and without the lifted skirt. (Remember that, girls!)
I remembered an interview in 1944, also, when she told me she roamed the streets and went to theaters in New York unrecognized. Her face wasn’t yet well known. Sailors tried to pick her up, just like any other girl.
“Why didn’t the French want you to play Joan of Arc,” I asked her now.
“T could understand their feelings,” ‘she said. “Joan was French and Catholic. I was Swedish and Lutheran. And the movie was to be made in (Continued on page 105)
J
‘
53
54
Joan Crawford, mother of four adopted children (here with Christine) was once
the victim of a cruel adop- tion hoax.
~ Flowers were tossed into. Hedy Lamarr's car during a war bond tour—bits of. glass were hid- dén in one bouquet.
When he was a child star; there were absurd rumors that Mickey Rooney was a midget. They said the same of
Shirley Temple!
7 Spreading vicious rumors . . . writing threatening letters
even making cowardly personal attacks . the hoaxers
work relentlessly as they seek to make the stars their victims.
BY CARL SCHROEDER
m@ Hedy Lamarr had never had such a day in her life. She was on a war bond tour, and the people in New Jersey had welcomed her like a queen. If ever she appreciated her adopted land it was now as an official car in which she rode pushed slowly through the mob of workers at a war factory, just outside of Trenton, New Jersey. As the lane of human bodies opened ahead, the car inched its way toward the speaker’s platform that had been erected in the factory yard. “Roll your window down, Hedy,” someone shouted. : Automatically, she obeyed the suggestion. Someone tossed in a bouquet of flowers. She smiled and waved. She saw a dark, swarthy man, standing with another huge bouquet of roses. He grinned at her and threw his tribute. It struck Hedy squarely in the face. She winced in pain and in an instant a trickle of blood streamed from a cut near her forehead. With a cry, she covered her face and the man beside her indignantly examined the flowers—red roses in which were tightly wrapped bits of glass and stones. Moments later, tears in her eyes, she took the microphone before the thousands who had welcomed her. She told what had happened, and an angry murmur swept over the vast audience. Hedy Lamarr broke a bond selling record that day—the day her career might have been seriously harmed. — She wasn’t badly hurt physically. But inwardly, she was agonized by the . cruel, unexpected event—and she will never again face a huge audience without considerable protection. What was this thing that happened? The dictionary describes it as a “hoax— a deception (Continued on page 57)
a = -a wD = fe) Dm od > oO ao) Lu c ° AD ) ie +~ ie) <=: == 2 ° £ =) SS a a) {e) TES o Qa c a) > o o c ie} o Pag o aS =
hoaxes
ild tales of stars' ‘'disabilit
inven
1S
lest
crue
| A favorite pastime of hoaxers
| |
| | |
|
hollywood's cruelest hoaxes
Ida Lupino and her husband Collier Young narrowly avoided serious injury one day as a bullet, fired from t an unknown gun, came crashing through their window. |
| ist a SP ay eee]
While Gene was in the air force, Ina Mae
‘Vic Mature and his mother were the Home of Loretta Young and husband Tom Lewis.was intended victims of a crank who wrote recently robbed of thousands of dollars worth of jewelry. Autry, was awakened one day by a caller who
that she was the mother of Vic's child. | The crime was executed by "servants" of former owners. swore he had just tdeniified Gene's body.
Hooxers capitalize on-the fact that rumors spread like Van Johnson was forced to call the police wild-fire. Even Clark Gable's best friend once believed when pestered by a youth hanging ee the him to be dead, because it was repeated, so ‘often. house who insisted that Van had sent for him.
v Hawn ae cee
Crosby would have more lives than a cat, if hoaxes were true. At least once a year there
are reports from ‘'eye-witnesses’ to his death. ~
for mockery or mischief.” And why had it happened? Either to. discredit
Hedy’s efforts or merely for sadistic reasons that only a psychiatrist could ~
explain. The truth was never discovered through investigation because the
man could not be found, but there were rumors of talk about “that foreigner .
who tries to tell us Americans what to do.”
In any event, extra precautions were immediately taken thereafter to prevent similar occurrences with other stars. |
But no amount of protection will ever keep Hollywood favorites from
the cruel scheming of the hoax artist, a vicious breed of human being who
strikes without warning. Sometimes he is caught; more often he escapes to perpetrate once again a foul attack. j
Consider the mysterious thing that happened to the Gene Autrys. In 1944, Gene was in the service—somewhere in Texas, his wife Ina Mae believed. As it would the wife of any: other flier in the service, the sound of a telephone ringing at three in the morning was oeouen to strike a-note of alarm in her heart.
Sleepily, one morning just before dawn, Ina Mae answered the telephone’s frightening summons. The head of .a Los Angeles news service bureau talked to her in anxious, consoling tone.
“Y’m sorry to tell you this, Mrs. Autry,” he said, “but . -we’ve just had a report that Gene was killed an hour ago in an automobile accident just outside Sedalia, Missouri.”
Stunned, Mrs. Autry hung up the phone. In a matter of hours an airplane carried her to the little town. Here she entered a morgue to view the remains.
The man was not Gene Autry!
Imagine, if -you can, the horror of the news. Then imagine what sort of human being would bother to perpetrate such a hoax. It was not “just an
accident,” or the telephoning of an unconfirmed news item by an inexperienced
reporter. No, Gene had been definitely identified by a man who swore he knew him personally. Where was he?’ Who was he? Nobody knew, or knew the purpose of his cruel plot.
In this case there could be no hope of extracting money from the Autrys.
After the first hysteria was over, both Gene and his wife agreed that someone ~
who fancied himself an enemy had done this thing. And who could hate the popular movie cowboy?
Well, a number of people.
Tt might have been such a man as another hoax artist who once encountered Gene in Madison Square Garden. “You fancy cowboy in the white hat!” he sneered. “Why don’t you go out and really ride a bronc instead of parading around for ten minutes. Huh, I’ve got a moon to knock that beautiful: sombrero off your head—and kick your teeth in.’
Gene stood the tirade for a few minutes. Then he knocked the offender down with a hard right hand. The next’ morning he was served with papers in a lawsuit for $10,000 on an assault and battery charge. Gene won his case, but he had been the victim of another type of hoax artist—the sort who schemes for big money.
There is hardly a star in Hollywood who has not at one ‘time or maw been the target for a hoax artist. Most recently, two nationwide news services were called upon to verify a sudden report that Brian Donlevy was dead. Brian had been ‘in the hospital, struck down by the flu. Two telephone calls were made, one purporting to come from the. hospital and another from a doctor. Two days later, Donlevy was out of the hospital and. back working in a picture, the most serious thing happening to him having been that he had had a tooth knocked out in a movie fight.
The hoaxer who specializes in reporting’ movie star deaths is perhaps the most malevolent, for his victims are the friends and families of those against whom he strikes. And for some strange reason (Continued on page 100)
57
THE SEARCH, a drama of Europe's orphans, RED RIVER, with Joann THE HEIRESS, with Olivia de Havilland introduced Monty to the public, brought films to be shown. Howard Hawks, his boss, has since been (not yet released) is Monty's first roman- extravagant praise from fans and critics. deluged with requests from’ other producers to borrow him. tic role. Insiders report he's sensational.
Montgomery Clift has appeared in only
two films—The Search and Red River—but already the fans are calling him the most
| exciting screen figure since Gregory Peck.
At the same time, there have been reports
from Hollywood that he’s uncooperative and conceited, that he’s ruining his career at the
| z outset by being difficult to get along
| i | with. Any truth to this? Well, here’s a i candid portrait of a candid—and highly i interesting—personality THE EDITORS.
| ™@ The battered alarm clock chattered its sudden signal as jarringly as a riveting machine.. | The long, dark young man in the Murphy
bed jack-knifed to a sitting position, blinked his
| green eyes, regarded the clock morosely, rubbed his stubble of dark whiskers, turned
/\ the clock off, and with enormous will-power put his feet on the floor. It was 6 a.m., an hour at which some thousands of other young
| * wage-earners arose from their Murphies in their one-room apartments; gulped their coffee; kicked at the starters of their eight-year-old,
third-hand automobiles, and set off for work. The young man we have in mind, a fellow
named Montgomery Clift, gulped
coffee at a drug store; chugged across Hollywood
Boulevard, which looks dreary at 6 a.m.; turned “ North; bumped over to Melrose; parked his
car in a gas station; saluted the cop at the gate, and entered Paramount Studio. | There, not many minutes later, he put | BY CAMERON SHIPP his arms around Olivia de Havilland and kissed her soundly and expertly, a well-paid chore which inspired a nod of praise from taciturn | William Wyler, director of The Heiress. At the end of his day’s work, which consisted chiefly of kissing Miss de Havilland many more times in close-ups, long-shots (Continued on page 107)
They say he doesn’t know how to behave like a star-—Swimming pools don’t interest him and he’d rather be free than famous— Hollywood can’t quite
figure this
phenomenal Monty Clift.
m@ The Snake Pit is a film of which the motion picture industry may feel proud. It is a great social document that will inevitably lead to reforms in a shameful area of American life; it is highly educational in a field about which the general public knows little; it is technically brilliant; and from beginning to end it is absorbing, dramatic entertainment.
Based on the novel by Mary Jane Ward, The Snake Pit tells the story of one woman’s experiences in a typical state mental hospital. In so doing, it manages to give a sharp and dreadful picture of the conditions and atmos- phere of the entire institution—the many types of mental cases there incarcerated; the techniques used in attempts to cure them; the tragic neglect and incomplete treat- ments which result from the disgraceful fact that, in the wealthiest nation on earth, there simply aren’t enough doctors and nurses in this typical establishment to cope with the terrible overcrowding.
The main character, played with magnificent range and depth by Olivia de Havilland, is Virginia Cunningham, a nervous breakdown case. You follow her progress as she goes part way along the road back to mental health, relapses, goes forward again. Gradually, as her husband (Mark Stevens) tells what he knows of her history and the psychiatrist (Leo Genn) delves deep into her back- ground through the use of hypnotic narcosynthesis and electric shock treatments, you learn the causes of: her breakdown. Finally, as these dark and buried reasons are made clear to Virginia herself, she is cured.
Anatole Litvak has directed The Snake Pit with masterly judgment and skill and the acting, down to the smallest role, seems flawlessly realistic. Under the leadership of Darryl Zanuck, 20th Century-Fox has produced a courageous amd unforgettable work of art. On these pages, we give you the story in pictures.
; : ; ‘ ‘ re y : 5 > . . . “4 R @ ae ” = 4 ae ~e ag Pon A Wolke ws b-
LONG AGO, THE INSANE WERE THROWN IN PITS OF SNAKES TO
i ” Pig et “f i 1. As The Snake Pit begins, Virginia Cunningham (Olivia de Havilland) finds herself an inmate in a mental hospital. Bewildered, suspicious and fearful, she can't recall her husband
SNAKE PIT'' FEELS THAT THIS HAS BEEN DONE TO HER.
TO SHOCK THEM INTO SANITY.. VIRGINIA (OLIVIA de HAVILLAND)
), tells her husband, Robert Cun- 3. One day she tled trom him without explanation. Six months later, he re-met her in New York. She wouldn't explain her disappearance.
ningham (Mark Stevens) that her case history is slight. So Robert tells what he can. He relates how he first met and dated her in Chicago. They were wed and soon after, on May !2th, she attempted suicide.
a —
2. Psychiatrist Mark Kik (Leo Genn
continued on next page
id ~~ anil
| aaa Gi ) ue:
4. After that, Robert brought her to the hospital. ... Now Dr. Kik 5. She recognizes him now. In the dining room, the hospital chiet uses electric shock treatment on her. This helps, but she recalls says Virginia should be staff-examined with view to her release in little, flares up at mention of May I2th. Robert comes to see her Robert's custody. Dr. Kik objects, is reminded of overcrowding.
7. She blames herself for his death. Kik reassures her, then requests 8. When she comes out of it days later, she blames Kik for sending her more time to cure her sense of guilt, is refused. She takes a staff
for examination prematurely. But Robert admits to her Kik was over-
examination, during it cracks up violently and bites hospital chief. ruled at his request. So she tells Kik she now no longer blames him.
10. When he asks her to return the doll to save trouble, she denounces 11. Her mother insisted she get the doll back and her father sided him for behaving like her father in taking the nurse's side. Then she ~ with her mother. Virginia then wished him ill. He died, she blamed tells him of the doll her mother gave her as a child, which she traded. _ herself. She's relieved when Kik explains he was incurably ill anyhow.
6. Then, under narcosynthesis (use of hypnotic drug), Virginia tells Kik she lett Robert in Chicago for date with admirer Gordon. When he proposed, she felt ill so he turned car back, was killed in crash.
9. Kik tells her that her realization that she wasn't ready for an examination is a good sign, has her sent to Ward One, from which inmates go home. Here she's accused of stealing a doll, taken to Kik.
¢
12. But as a result of a run-in with a nurse, Virginia relapses, is placed with extreme cases. Here she feels comparatively sane. Then, after Kik makes clear to her what led to her breakdown, she's cured.
4 Snake pit
™@ They didn’t have to twist Olivia de Havilland’s arm to get her to play Virginia in The Snake Pit. While the novel was still in galley proofs in May, 1945, director Anatole Litvak read it, excitedly sent it to Olivia, and she immediately decided that Vir- ginia was the role for her. “It gives me,” she said, “the greatest dramatic opportunity I’ve ever had.”
Scenarists Frank Partos and Millen Brand began work on the script in September, 1946. Their first important step was to build up a detailed case his- tory for the unhappy heroine—the novel presented very little background material on her. When they got through, they had 123 pages. This they took East and had it gone over by three prominent psychi- atrists. The doctors carefully checked every phase of it, made a few strengthening suggestions and, when these were incorporated, agreed that the case was completely authentic.
In preparation for their roles;-Olivia, Leo Genn— the fine British actor who plays the kindly psychia- trist—and Mark Stevens—who plays Virginia’s hus- band—all made repeated observatory visits to a number of state mental hospitals. (One of these institutions, while modern in every way in so far as buildings and equipment were concerned, had one doctor for every 400 patients.)
When the shooting script was finally done, Olivia described it, with firm enthusiasm if shaky grammar, as being “the most perfect I’ve ever worked from.”
It seems safe to predict that The Snake Pit will be a strong contender for 1948 Academy Award honors in every department for which it is eligible. Among these, the most obvious possibility is that Olivia de Havilland will add another Oscar to the one she earned in 1940 for her work in To Each His Own— even though she'll be up against some very tough competition supplied by Jane Wyman, Barbara Stanwyck and Irene Dunne.
Olivia, until she came through so deservedly in 1940, had just barely missed an Oscar twice before— in the supporting role of Melanie in Gone With the Wind (1938) when Hattie McDaniel, in the same picture, beat her out; and as the star of Hold Back the Dawn (1940), when her sister, Joan Fontaine, triumphed in Suspicion.
During the filming of The Snake Pit, rumors sprang up that Olivia and her husband, novelist Marcus Goodrich, were on the verge of divorce. Neighbors reported hearing terrible screams coming from the Goodrich establishment. The screaming, however, was in no wise connected with the domestic relationship, which has from the beginning been lov- ingly serene. It was just Olivia rehearsing for the narcosynthesis sequence in the film.
But it’s understandable that the neighbors thought Olivia was in earnest. You should hear her in the picture. THE END
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| | |
@ It’s not only what you wear—it’s what you wear with it. That’s our theme for this issue. Our accent is on accessories, the plusses that add up to a successful costume.
Take a good look at any best-dressed girl you know—especially a girl who looks like a million on a budget—and you'll find she gets her effects with the etceteras of fashion —Jjewelry, bags, belts, gloves, scarves.
Look hard at a girl in a glamorous get-up, ||
and she may turn out to be wearing nothing more elaborate than a simple sweater and skirt—or the plainest of basic dresses . . . plus. The knockout effect comes from the right accessories, used in the right way.
To illustrate, on the opposite page Janet Leigh wears a sweater and skirt, pls—and see what happens! On page 66 we give jewelry top billing; on page 68 we add™ belts and gloves to blouses and skirts.
And on page 70 we introduce a really fabulous accessory—fancy stockings which | will turn any dress into a gala production. |
f
accessories add plus to fashion
connie bartel, fashion editor |
janet leigh adds pearls to red, white and blue
@ Janet Leigh, whom we can’t wait to see as “Meg” in MGM’s forth- coming “Little Women,’ shows what can be done with a. sweater and skirt—plus accessories.
To her blue and white sweater and plain blue skirt—she adds the new crinkled baroque pearls, deli- cate pearl bracelets, a pearl-handled umbrella, and a bright red belt. Result—drama.
The cotton knit sweater comes |
also with kelly, red, brown or green stripes; also in pink with brown stripes, maize with grey stripes. Sweater by Alberic—$2.98.
At Abraham & Straus, Brooklyn Woodward -& Lothrop, Washington Nancy’s, Hollywood
Jewelry by Coro; belt by Criterion ©
Umbrella from Uncle Sam’s Um- brella Shop, N. Y. C.
Other store information, page 73.
i Oger creen
| ~~ ' : ‘.. ashions
@ Take it from three who know—
nothing stretches your wardrobe like a collection of tops and skirts—plus accessories! Especially when the accessories include the very newest in jewelry—as shown here. Please take a second
look at these bracelets, necklaces and pins; they’re all trend-setters, they’re all being
worn by every fashion model and fashion editor in New York this very minute!
blouse: New idea! Collar-and-tie blouse in washable crepe. The blouse is green; the red tie runs under the collar and can be removed if you switch to a scarf. Also red, brown, black.
By Vicki Lynn. $3.98.
plus: Double-eagle pin with
rhinestones; gold-tipped bobby pin for the hair; a jeweled locket bracelet
which opens to show pictures of your three favorite people. (The kangaroo pocket skirt in gabardine is by
Junior Miss of Calif. $7.95.)
sweater: Striped cotton boucle in navy and white. Also green, grey, red, brown stripes, others. By Alberic. $3.98.
plus: Pearls that go the oyster one better—they’re crinkled. Baroque pearl necklace; bracelet of baroque pearls strung on fine gold chain; pearl heart bar-pins; pearl drop earrings.
shirt: Cuffed cardigan in knitted cotton, in dreamy shades of pistachio green, almond, brown, berry red, others. By Garland. $4.98.
plus: The newest in necklaces—pearls
and colored beads spaced by tiny gold beads; wide leather cummerbund to give the new high-waisted Empire look.
JEWELRY BY CORO. GLOVES BY ARIS. CUMMERBUND BY CRITERION. GOLD BOBBY PIN BY BEN HUR.
$2.98 By Jr. Miss
a modern screen fashion
ao} _ fel 3 Q » 4 CS 5 o wd dF "Sb — B= | q = E o E 3S Q bo
pins and fresh white ples, The blouse: a real find | Gold, green, brown,
grey. By Cornibert.
The skirt; smart narrow Green, red, pink, aqua, grey, black, brown, navy, gold, beige, winter white.
of California. $7.95
For where to buy, See page 73.
@ The plus: scatter _ in washable printed rayon.
@ The plus: leather
belt and gloves, fob pin, nifty crooked handle umbrella.
The blouse: combed cotton with flat turtle neck.
Lots of colors. By Shepherd. $1.98 The skirt: buttoned
to hem, side pocket, in rayon Dundee suiting. Rose, blue, brown, navy or black.. By Koret of California. $5.95
For where to buy, see page 73.
.a modern screen fashion 69
1. Crowns on
your ankles.
Stockings by Bryan. About $4.95
at Bonwit Teller, N. Y. Andrew Geller Shoes
2. Lace instep and clock by McCallum. About 3. Initials to your order. Stockings -by #! $3.50 at Bonwit Teller, N. Y. Shoes by Evins Bryan. About $3.75. Bonwit Teller, N.Y)}!
Now you ence aoe jewels on
your ankles, lace on your toes
\Strictly in the what-will-they- think-of-next department—here are | jeweled stockings, of all things!
| A designer named Ellen Troy—a \red headed Viennese with a very ooh-la-la accent, decided one day ) that if you wear jewels on the ears, fingers, wrists and around the neck
|—-why slight the feet? - So she set to work hand painting, embroider-
ing and eventually sprinkling rhine-
/ stones on stockings—and now look!
If you have champagne taste—
there are stockings with a cham- pagne glass—plus rhinestone bub-
bles! Getting married? There are _ stockings with wedding bells. Or if
| laine watch!
| you’re musical—how about nylons
with a painted scale and rhinestone
| notes? Also among the fantasies— | crowns (photo 1), four leaf clovers,
rosebuds, hearts, and even a chate- You can also have your own initials (photo 3)—or your college flag . . . to be made up to your individual order. All of these
| designs are patented, the stock-
ings themselves are nylon—and yes, of course you can wash them.
As for lace, the McCallum people have come up with a glamorous design that covers your instep and
extends in a long graceful clock
‘(photo 2)—and Gotham offers an elegant lace medallion, studded with jet (photo 4).
Naturally, these stockings are not intended to be worn with your tweed suit. But when you’re dress- ing for a big night—and your mood is pure abandon—these are for you!
4. Lace insert studded with jet beads. By Gotham. About $15, Gotham Shops.
MARION HUTTON, STARRING IN THE
UNITED ARTISTS’ FILM “LOVE HAPPY”
@ Marion Hurton
Taught me afore Lesson
I never used to be popular...
‘Til one lucky night I turned a page and read: “ “Men are romantics at heart’, says Marion Hutton. ‘They like a girl to be so-o feminine . . . to have the softest, pampered-looking hands.’ Marion advises: “Use Jergens Lotion on your hands—I do.’ ”
Right then, I started using Jergens too!
Not long after I started going out! First with Paul, then Cy, now I’ve got several beaux. Men really do choose the girl with the softest, loveliest hands!
See how much soffer your hands can be with today’s richer Jergens Lotion! Because it’s a liquid, Jergens quickly furnishes the softening moisture thirsty skin needs. Yet never leaves that sticky feeling. Still only 10¢ to $1.00 plus tax. a
Hollywood Stars Use Jergens Lotion 7 to 1 Over Any Other Hand Care
Contains generous samples of Jergens Lotion, Powder, Face Cream and Dryad Deodorant. Send 10¢ to cover handling and postage to The Andrew Jergens Co., SUBHe / Box 6, Dept.50A, Cincinnati 14, Ohio.
GG Sorry, offer good in U.S.A. only, expires Dec. 31, 1949.
e it you wear a
— HALF SIZE
@ Here’s a date dress with three tiers to throw soft
flattery toward your face—and make your skirt look very slim by contrast. Sizes 14% to
20%. In grey, navy, powder blue, rosé or aqua romaine crepe. -By Rite-Fit. About $8. Carson, Pirie Scott, Chicago.
Other stores on page 73.
72 a modern screen fashion
WHERE YOU CAN BUY
MODERN SCREEN FASHIONS
(Prices may. vary throughout country) | Striped sweater worn by Janet Leigh in the full-color photograph (page 65)
Brooklyn, N. Y.—Abraham & Straus, 420 Fulton St., Sweaters, 3rd fl.
Hollywood, Calif. —Nancy’s, 6366 Holly: wood Blvd.
Washington, D. C—Woodward & Loth-
- rop, 10th & G Sts., Sportswear, 3rd fl., Main Bldg.
Collar-and-tie blouse (page 66)
Baltimore, Md.—The May Co., Howard & Lexington Sts., Downstairs
Brooklyn, N. Y.—Loeser’s, 484 Fulton St.,
'. Blouse Dept., Downstairs
Chicago, Ill —Carson, Pirie Scott & Co., State, Madison and Monroe Sts., East Rm. Sportswear, Downstairs
Kangaroo pocket skirt (page 66) ‘
Atlanta, Ga—Franklin Simon, 640 Peach- tree St., NE.
Buffalo, N. Y.—The William Hengerer Co., 465 Main St., 4th fl.
New York, N. Y.—Franklin Simon, 5th Ave. & 37th St., Jr. Assembly Shop, 6th fi.
Striped cotton boucle sweater (page 66)
New York, N. Y.—Stern’s, 41 West 42nd St., Jr. Sportswear Dept., 3rd_ fi.
Syracuse, N. Y.—The Addis Co., 449 S. Salina St., Neckwear Dept., Main fl.
Cuffed knitted cardigan shirt (page 67)
Los Angeles, Calif.—Broadway Dept. Store, Broadway & 4th Sts., “Nine Sev- enteen Shop,” 4th fi.
New York, N. Y.—Oppenheim Collins, 33 W. 34th St., Main fi.
Philadelphia, Pa—Strawbridge & Clo- thier, Market & 8th Sts., Misses Sep- arates, 3rd fi.
Printed rayon blouse (page 68)
Boston, Mass.—The Gilchrist Co., 417 Washington St., Blouses, Street fl.
Chicago, Ill—Carson, Pirie Scott & Co., State, Madison & Monroe Sts., East Rm. Sportswear, Downstairs
New York, N. Y.—Macy’s, Herald Square, Blouses, Main fi.
Narrow skirt with hip pockets (page 68)
Buffalo, N. Y—The William Hengerer Co., 465 Main St., 4th fi.
Louisville, Ky.—H. P. Selman Co., 4th & Walnut Sts., 2nd fi.
New York, N. Y.—Franklin Simon, 5th Ave. & 37th St., Jr. Assembly Shop, 6th fi.
Cotton turtle neck sweater (page 69)
.New York, N. Y.—Arnold Constable, 5th Ave. & 40th St., Main fi.
Pittsburgh, Pa—Frank & Seder, 5th Ave. & Smithfield St., 2nd fi.
Button-to-hem skirt (page 69)
New York, N. Y.—Saks-34th, 34th St. & Broadway, Sports Dept., 3rd fi.
San Francisco, Calif —Macy’s San Fran- cisco, Stockton & O’Farrell Sts., 2nd fi.
Washington, D. C_—The Hecht Co., 7th & F Sts., Sport Shop, 3rd fl.
Half size, tiered bodice dress (page 72) .
Boston, Mass.—Conrad & Co., 19 Winter St., Dress Dept., Downstairs
Chicago, Tl —Carson, Pirie Scott & Co., State, Madison & Monroe Sts., East Rm., "Downstairs
New York, N. Y.—Wanamaker’s, Broad- way & 9th St. -
San Francisco, Calif—Macy’s San Fran- cisco, Stockton & O’Farrell Sts., 2nd fl.
HOW TO ORDER MODERN SCREEN FASHIONS
1. Buy in person from stores listed. 2. Order by mail from stores listed.
3. Write Connie Bartel, Moprern ScrEEN, Box 125, Murray Hill Station, New York 16, N. Y., for store in your vicinity.
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Stardust Beauty Contest winner. Enter our 1949 contest now. YOU may be the lucky winner of $500 first prize plus a modeling and television career under Harry Conover management, or 27 other awards! Just send recent non-returnable photo with height, weight, bust, waist and hip measurements before May 1, 1949. Decisions of famous | beauty judges are final. Mail entry to P. O. Box 65, Murray Hill Station, New York
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74
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SOMETHING NOT FOR THE BOYS
(Continued from page 36)
There was also French pastry decorating the board. Everyone was looking for- ward to it. When it was passed, however, it wasn’t touched.
For riding on a wave of whipped cream and grated chocolate atop an éclair was a large green fly. Every time a girl glanced longingly at the pastry, the fly would check her appetite.
When Jean was ready for dessert, how- ever, she picked up the aforementioned éclair and deftly removed the insect—a novelty-store fly on a six-inch pin. ~
This action was the signal for things to
start happening. From here on the eve- ning was filled with surprises. There was cold cream smeared on door knobs, vanity drawers put in upside-down, and gold- fish paddling in the bath tub.
crystal-gazing . ..
During the party’s saner moments, Betty Lynn decided to tell everyone’s fortune.
Crystal-gazing was a familiar routine for Betty. She had done it, just for fun, when she lived at Rehearsal Hall in New York. This is where girls who work on the stage, or aspire to, live. -
“All I did was to tell one girl’s fortune,” sighed Betty, “then how the news spread.
“Yd always end my predicting with— ‘You'll be sent to Hollywood and have such a terrific screen test that they'll give you a contract immediately’.”
“I wish you’d told me that,’ spoke up Kathleen Hughes. , woud have saved me some awful worry.” Kathy is the newest starlet to be added to ae 20th Century roster. Her uncle is F. Hugh Herbert who wrote Sitting Pretty.
“Til never forget the morning of my test,” Kathy went on. “I had a cold with the usual horrible accompaniments—red nose and bleary eyes. I’d always been told that the camera exaggerated any defects in your appearance, so I shud- dered. Besides, I was hoarse as a crow.’
Somehow she made it to the studio. The makeup department got her ready for the test. She didn’t look so bad after all. Then she went to the test sound stage.
“There wasn’t a soul in sight. I was a half-hour early. So for 30 minutes I paced back and forth like an expectant father. cameras, an amazing thing happened. My knees stopped knocking and my laryn- gitis vanished.”
So Kathy was given a role immediately,
~—in Road House. Then her face landed on
the cutting-room fleor except for one short scene. But her part in Mother Is a Freshman doesn’t suffer the same fate.
When you have a gathering of girls in one place—we were all in the living room —how can the conversation possibly stay off the subject of—Men?
After dissecting every available bach- elor in Hollywood, from Dean Stockwell to Monty Woolley, Jean showed us a book a gay friend had sent her. The title was: “How to Pick a Mate.”
Every girl wanted to read it, at the same time, and for the same reason. (During the fleeting seconds we saw it, we learned that San Diego, Calif., was the best place to find a husband.) Then the book was snatched from one pair of eager hands to another. Colleen hurled it, football fashion, to Jean. She ran for the bedroom, and the girls pursued. Someone threw a pillow. One pillow led to another. Be- fore long the room was filled with flying feathers and loud squeals. Then fol-
When I did step in front of the
lowed utter exhaustion.
Everyone would have loved to aver collapsed on the bed. But there were j
seven of us and only two twin beds
Betty Lynn helped solve the problem a
by taking a blanket and curling up in a/|
corner.
“T don’t mind at-all,” she’ said. “I can remember times overseas when a bed like this would have been heaven.”
Betty toured the China-Burma-India cir- cuit for seven months. She and a guitarist were designated by the Army as a special unit. They’d go to the out-of-the-way stations usually overlooked.
Lose ye
“Tell us about your most exciting ex- |
perience over there,’ we asked her.
“T guess that was during the siege on Mandalay,’ Betty answered. supposed to entertain 40 soldiers who were stationed near the front. The monsoon
“We were ,
was on and the roads were like swamps. | We’d been bumping along in our jeep for |
hours and still no sight of the camp.” They were lost.
They stopped the jeep |
when they spied some natives crossing a ||
little footbridge.
One of them came over. He was wear- ing GI shoes. He was a member of an OSS outfit and informed them they were behind enemy lines.
If they’d gone two miles farther down that road they’d have driven into an encampment of 350 Jap soldiers.
“When I discovered how close we were ~
to being captured, every freckle faded |
from my face. I think we broke some kind of a speed record getting out of there.”
With Betty bunked on the floor, there | was still the matter of fitting six girls |
in two twin beds. We drew straws.
Vanessa and we drew the short ones. So it was the deck for us.
No sooner had everyone settled .down for the night than there came a cry from Colleen: “I’m hungry!”
“Well, just get un-hungry,” said Jean. “We've already emptied the icebox!”
“Aren’t there any tasty tidbits in your vanity drawer?” kidded Coke.
miss peters’ prank...
This turned out to be an allusion to an- other Peters’ prank. There was a “no cooking in your room” ruling at Ohio State. mate managed to smuggle in a hotplate, pickles and four marinated herring.
Just as they were devouring a feast fit for a king, there was a knock on the door. The pickles and hotplate went into the bottom vanity drawer with several sweat-
I
But one night Jean and her room- ~
ers hastily thrown on top for reasons of ,
security. The herring were put on the window sill
The door was opened. Room inspected. Window raised. But-the herring weren’t discovered—since as the supervisor pushed open the window, they slipped off. the sill into the front yard.
We kept talking and laughing into the wee small hours. The last thing we re- membered was Colleen telling about work- ing in a malt.shop. Something about giv- ing friends extra scoops of ice cream... putting it on the cuff .. . being fired...
Soon everything became quiet. You could hear the water dripping in the kitchen. We sleepily wondered what Jean would say in the morning when she found that the night before someone had filled the sink with hot water and then had added six packages of gelatin?
Who’d do a thing like that? Guess our
THE Enp
halos are getting rusty.
| ey
i ee pn 6 5
new
faces
PATRICIA NEAL was dis- covered by Eugene O'Neill while audi- tioning for a part im his play, Moon for the Misbegotten. She didwt get the part, but six months later she read for Lillian Beach and was cast for the Broadway production of Another Part of the Forest. Pat was born im Kentucky, January 20, 1926, and started taking dramatic lessons when she was 12. She made her debut m John Loves Mary with Ronald Reagan for Warners and is now at work in The Foun- tainhead. Pat’s 5’ 8” tall and has hazel eyes and blonde hair.
oe VANESSA BROWN, 771 ad- “ dition to being a short Story writer, aid a senior at U. C. L. A. is also a full-fledged actress. She was born in Vienna, March 24, 1928, and made her acting debut in Paris, Eabbing m “Ep voice of a little girl in Prisoner of Shark Island. Jn Chicago with the Watch on the Rhine company, Vanessa was invited to become a quiz kid, and re- maimed one for 2 years. 20th Century-Fox signed her to a contract and she’s appeared m Margie, The Late George Apley, and will soon be m The Fan. She’s got chestnut har and blue eyes, and collects stamps.
TERRY MOORE had a friend who thought she'd be good in mov- zes, and sent Terry's picture to a casting magazine. (She was eleven at the time.) Her photo was pub- . lished and that was the eginning of both her radio and movie careers. Terry was born in Los Angeles, January 7, 1929, went to Glendale High School and took part in such radio shows as Dr. Christian and A Date With Judy. She played Ingrid Bergman as a girl in Gaslight, avd Return of October is her first grown-up role. Terry is 5’ 2” tall, and has blue eyes and blonde hair.
GORDON MACRAE came to Hollywood via radio and light opera stock company. He made his professional debut at the age of 12 on the radio, and later Spent several years on
the stage, a few sea- sons in summer stock, and made couztless recordings. He was born m N. J., March 12, 1921, and discovered in the NBC studios in New York by Horace Heidt. He’s married to Sheila Stephens and they have three children. Gordon’s 5’ 11’ tall and weighs 175 Ibs. YVow’ll be seeing him soon in Warner’s Silver Lining.
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your letters...
FOR THE DEFENSE
Dear Editor: With Hollywood’s mor- al reputation at its lowest ebb and with the recent scandals and tragedies blazing across the front pages of the nation’s newspapers, now is the time for Hollywood to begin defending it- Seliueaparne And who can do more to- ward this end than the movie maga- zines? Let’s see more features on the worthwhile Hollywood personalities !
Ann McCullough, Victoria, Texas. (Fee.ing it can do no less to earn its readers’ respect, MOoOpDERN SCREEN shows Hollywood’s people and situa- tions as they are—not as anyone might wish they were. This makes more significant a recent survey of our own 1948 issues. The survey in- dicated that of all stars covered, only about one in 37 was involved in any- thing “scandalous.” Of course, since scandals are always news and ordi- nary respectability often iswt, the actual preponderance of “worth- while’ stars is even greater —Ed.)
WE'VE GOT IT!
Dear Editor: Movie magazines al- ways have the same people, with new clothes and different stories about them. How about more newcomers?
F. Freeburg, Niagara Falls, N: Y. (The New Faces column—see page 75 —is now a regular department, and newcomers are featured more prom- inently as soon as readers indicate in- terest in them. This month, for ex- ample, Moprern ScreEN introduces Montgomery Clift on pages 58-59 in response to truly great demand.— Ed.)
DOUBLE LIFE Dear Editor: In your December is- sue, you said that Michael North got his first role in The Unsus pected. Pre- viously, he had made several films under the name of Ted North. William Lappin, Montreal, Can.
FASHION NOTE FROM PORTUGAL Dear Editor: I must confess that Tyrone Power’s statement on Por- tuguese bathing suits in the Septem- ber MS is not at all exaggerated. The other day a girl came to the beach in a modern bathing suit, but was forced to leave because although the suit was one-piece, it had no skirt !
Ditta Wolfrum, Porto, Portugal (Ditta refers to Linda Christian’s story about their preparations for a vacation in Portugal. Ty warned her: “Our regular bathing suits will never do. Men have to wear suits with attached tops, and women must wear one-piece suits with short skirts.’ Linda telegraphed her mother in Mexico and, by return mail, received a black woolen suit with lace trimmings and hip-pockets, Paris fashion, 1924!—Ed.)
a a A So
PROBLEM CHILD
(Continued from page 33) “Dinetiy H wd smil e wi ns
| and analyzed it, Esther was fascinated. It | was like a game, a challenge. It was
“epiassen ters some) SEX Olfers from Hollywood !
boys liked her, but not in a boy-girl way. And she wasn’t interested in boys as the opposite sex. They were no mystery to her. She’d played with her older brother, David, and his pals around the house all her life. Esther was a tomboy and an | athlete herself. She wasn’t boy-struck. Romantic notions were late in dawning. She didn’t stand in the hall corners at | school flirting and giggling. She didn’t use feminine wiles, dress up, try to be pretty. In fact, she didn’t give a hoot how she looked. Out popped a clue right there. } “Janet says she’s not going to be friends with me any longer,” Esther confided. “Why not?”
“She says I look too sloppy.”
Another followed: A “truth” session at her school girls’ club had produced sim-
ilar critical brickbats. We talked as two | girls, not necessarily mother and daughter, | and light began to dawn: Esther’s boy | problem was a problem only because of | | | | |
the girls’ attitudes. They were boy-crazy well ahead of her and they didn’t want to go around with a girl who wasn’t attractive to boys. Esther was excited at the dis- covery, not depressed.
“Tiet’s see what we can do to fix that,” I suggested.
It wasn’t so difficult. A look in the mir- ror at the unbrushed hair, wrinkled skirt
and scuffed shoes that Tomboy Williams
had never given a thought to—and she
knew the solution. Esther saw to it that
from then on she was neat as a pin, trim and attractive.
Dorothy Hart, Universal - International Starlet, blazed onto the Hollywood scene as the winner of a country-wide beauty contest. Then she spurned the | prize—a movie contract—to become a cover girl. :
\
After Dorothy’s winning smile appeared on the covers of eight leading magazines in rapid succession, the movies beckoned again. This time Dorothy couldn’t { say “‘no’’ to all six tempting offers she received. She | is on the threshold of stardom now . . . and taking } care to keep the sparkle in her famous smile. “‘It’s a ; Pepsodent Smile,’ Dorothy says, “I know from ex- perience, Pepsodent brightens my teeth best !”’ j
full steam ahead...
The shock to the girl who always loved everyone and thought everyone loved her was spur enough to action. Her popular- ity zoomed; she went everywhere, she was elected to everything. She soon was buz- zing about in a dozen school activities— the Tri-Y, the Knights and Ladies. She was vice-president of the student body (the first girl elected, by the way). She turned into a new person to meet the new phase of her developing girlhood. In fact, she became so popular that another prob- lem popped up. Pretty soon Esther was disciplined for talking in the halls to the crowds around her. They put her in a room by herself—and that day half the school moved in with her! =
If you're going to be of any help to e e your children, or to anyone, you have to gain their confidence. That recalls a funny ec Sml eC a Wins story which might show how free Esther | | felt about talking things over with us.
< Scene from Dorothy Hart’s latest picture, THE COUNTESS OF MONTE CRISTO, a Universal-International Release. |
( ae euoenes one of her peous one night, e e
1 “You know, I tell my mother everything t f
that happens to me.” He jerked back in 1S € Cpso en mi ‘S e | horror. “You tell. her everything?” A
“Yep,” repeated Esther, “everything.” , “Golly,” gasped the boy friend, driving Dorothy Hart knows it. And people all over
her quickly home. I’m afraid that scared America agree — the smile that wins is the Pepso- him away, because he didn’t come around dent Smile! Pepsodent removes the film that | much after that! ; makes teeth look dull—uncovers new bright- | Actually, there were few startling con- ness in smiles! i | fessions Esther had to make to me. I have 3 1] never worried about her in my life, not Wins 3 to 1 over any other tooth paste even when she had emotional troubles— Families from coast to coast compared delicious |
though most of the time we didn’t let ; : | ocobisie ausenees dnc Barbi sree. New Pepsodent with the tooth paste they were
{
|
_ Most parents face, sooner or later, the pet- using. By an average of 3 to 1, they said Pep- | ting problem, for instance. sodent tastes better, makes breath cleaner and | And I'll have to tell a story on her here, teeth brighter than any other tooth paste they | about the first time she let a boy kiss her tried. For the safety of your smile use Pepsodent —although it wasn’t exactly a time: it was twice a day —see your dentist twice a year! ANOTHER FINE LEVER BROTHERS PRODUCT more like a campaign. Esther worked out 77
aS oe BSS ee
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FROM THE MOVIES
A SONG IS BORN—''Giants of Jazz’ (Capitol). This colossal collection includes the Benny Goodman bop version of ‘Stealing Ap- ples'' which we two-starred here a couple of months back. The other sides are Muskrat Ramble'' by Mel Powell and an all-star Dixieland group; ‘Redskin Rhum- ba" by Charlie Barnet's band; ‘'Daddy- O"' by the Paige Cavanaugh Trio with Jeri Sullivan, singing it just the way she voice- doubled for Virginia Mayo on the sound track of the picture; and finally, a double- sided all star jam session on “A Song Was Born," similar to the scene in the film, with the Golden Gate Quartet, Jeri Sullivan, the Brazilians, Messrs. Goodman, Barnet, Powell, T. Dorsey and Louis Arm- strong. It's the best musical album ever issued in connection with a movie—and as if that weren't enough reason to buy it, all royalties go to the Damon Runyon Fund. Don't miss it!
KISSING BANDIT— Senorita’ by Frank Sinatra* (Columbia), Jack Smith (Capitol), Dennis
album**
Day (Victor). “If | Steal a Kiss" by Andy Russell* (Capitol), Frank Sinatra (Co- lumbia), Vaughn Monroe (Victor). "What's Wrong With Me™ by Vaughn
Monroe (Victor), Patti Page* (Mercury). "Siesta'’ by the Sportsmen (Capitol). LUXURY LINER— ‘Con Maracas’ by Jose Mor-
and* (Victor). ONE SUNDAY AFTERNOON —' Girls Were Made to Take Care of Boys’ by Jo Stafford
and Gordon MacRae* (Capitol). PALEFACE—Still more ‘Buttons and Bows,’ by Bob Hope* (Capitol), Evelyn Knight*
(Decca), the Dinning Sisters (Capitol). REACHING FOR THE STARS — ‘The Morning Glory Road" by Ray McKinley* (Victor), John Laurenz (Mercury). SO DEAR TO MY HEART— Lovender Blue (Dilly
Dilly)’ by Vera Lynn (London), Sammy Kaye (Victor). “It's Whatcha Do With Whatcha Got'' by Johnnie Johnston* (MGM).
JAZZ (HOT AND COOL!)
LOUIS ARMSTRONG — ‘Please Stop Playing Those Blues''** (Victor).
DIZZY GILLESPIE— Algo Bueno" (Victor), "'l
Can't Get Started''* (reissue on Co- lumbia).
BENNY GOODMAN— Varsity Drag'’* (Capitol).
STAN HASSELGARD—''|'|| Never Be The Same''* (Capitol)
WOODY HERMAN — ' Basie's Basement''* (Coral).
CHUBBY JACKSON — ‘Lemon Drop''** (Rain- bow).
GENE KRUPA— How High The Moon’ (Co- lumbia).
DODO MARMAROSA — ‘Trade Winds" (alias
"You Go To My Head'')** (Dial).
CHARLIE PARKER— Embraceable You'’* (Dial), “Barbados''* (Savoy).
ED SAFRANSKI—''Turmoil’'* (Atlantic).
CHARLIE VENTURA—'|'m Forever Blowing Bub- bles''* (National). It's a field-month for jazz! Almost all the above are worth a spin, with Dodo's superb piano work a high spot. Nice "‘bop-vocal-with-horns'' ideas on the Jack- son and Ventura sides. Ben Webster plays tenor sax with Woody Herman. The Sa- franski item features seven men out of the Stan Kenton band.
her first defense scheme all by herself, but Mother got daily bulletins.
This boy had taken her to a school dance and at our door said he wanted to kiss her good-night.
Esther stalled. “Why?” she asked.
“For heaven’s sake!” exclaimed her es- cort, “what do you mean—‘why?’ ”
“T don’t know why you want to, that’s ~
all.”
“I don’t either. . . . Gosh—I just do.”
“Wouldn’t it be awfully silly,” reasoned Esther, “to do something you don’t know why you want to do?”
The boy was pretty baffled at that, but he made another date anyway and, of course, tried again. This time Esther’s de- laying tactics expanded the idea that had worked before. She told him, “Think it over for a week—and if you can tell me one good reason why I should let you kiss me, why, I will.”
He was back again with a reason that boiled down to, “I’d like to.”
“Not good enough,” Esther decided.:
Esther finally gave in—she knew it was inevitable—the week after that. But by then I’m not sure the ardent suitor thought a good-night peck was worth all the long- distance debate.
Still, I knew a problem had come up in Esther’s life, one of the most important ones, in fact, that-an adolescent girl faces: To pet or not to pet? If I do, will the boys like me better, or worse? If I don’t, will they call me a “lemon,” will they stop asking me out, will I be unpopular?
At teen-age time, both girls and boys are pressed with a hundred haunting fears. At that trying time of a youngster’s life, the herd instinct is very strong. There’s a desperate desire to do as the rest of the age group is doing. There’s a great long- ing to be accepted by your contemporaries. If you know you're with the crowd, you're confident and happy. But the age-group’s verdict is what counts. I decided to get it on the petting problem.
One afternoon, Esther, her brother Da- vid, and four or five schoolmates flocked into our house for an after-school snack. It was always open house at our house, and where there’s an easy welcome, there will always be young people. They came out in the kitchen and I found a chance in the conversation to ask, “Tell me, does a girl have to pet to get dates? I’m curious, and you boys know. Give me the low- down.”
“No,” they scoffed, “not if she has what it takes.”
“What’s that?” I wanted to know.
“You've got to look attractive and you’ve got to be fun,” answered a boy. The-others nodded. “Sure, those are the girls we like best.”
I said, “Do they have to be the prettiest girls?” The boys answered, “No, but they have to look right—their hair has to be neat and their clothes clean and in style, but not too fancy.”
There was Esther’s—and her girl friends’ —answer, straight from the horse’s mouth, where it convinced. After that, Esther and the girls at her school studied the petting problem, talked it over among themselves, knowing where they stood. They even started making rules, rather than risk get- ting themselves involved in what they recognized as a serious problem. Five minutes parked in a car was the limit when they came home from a date. It was HEsther’s idea too, to start the boys thinking and talking on interesting sub- jects. “Tell me about clouds,” she’d ask her date on the way home, “what do you know about them?” If the boy didn’t have wise masculine information handy, he’d study up so he could next time—and he loved it. Esther knew and so did her girl friends soon that being an audience is supremely flattering to the other sex—and
j it kept their minds on safe grounds for) the girls.
I’ve always believed in thinking with’ your children instead of against them, if! you wish to help. A parent who is a dic-| tator is a very poor parent. It’s a parent’s| role to say: “I'm a friend. I’ve lived longer’ than you. Now, here is everything I've learned. Please use it.” But never, “Do| it because I say so,” or “because it’s best | for you.” That’s a sure way to force them | to do just the opposite. Forbidden fruits have been the sweetest since Adam and Eve and always will be.
We always followed rules of frank dis- cussion and reason in our house. We never had a taboo. Taboos are “thou shalt nots,” and that’s negative, and nothing good comes of that.
Because of this, alcohol was never a problem in our home. Dad kept a bottle of whiskey in the kitchen cupboard and every Williams child knew where it was. If they wanted to taste it, they could. If they did, they didn’t like it and that was that. But there was no mystery. The first time Esther was offered a flask by a wild youngster at a dance I’m afraid he was terribly let down by her reaction. “Daddy has some at home if I want it,” she told him.
All our children look back on our sim- ple little home as the greatest home in the world. They were all practically grown before they considered that there existed finer, wealthier, more comfortable homes. And when they did, they didn’t like them half so well as their own.
simple rules .. .
Why? Because their home was their business, their project, their responsibility. They were “in on the act” as Jimmy Durante says, and every minute. They weren't just kids eating and sleeping there, being bossed around and dying to get away. Our place was always a welcome- matted clubhouse for the Williams kids and their friends. The big front room was always available for parties, fun, games, events. The only rules about it were (1) See if somebody else has plans to use it first and (2) Clean it up when the fun’s over. (I was never the type to be a slave for my children—I don’t approve of it!)
The kitchen was where our family gath- ered. It had a long table which was the family dining spot and council table, too. I think every home should have a table like that—especially when I think of the family problems that were taken up, ana- lyzed, and solved enthusiastically around it, with every member tossing in his two cents’ worth. Democracy, like so many things, begins at home. Everyone in our house was an active member of the ways and means and the rules committee, too.
I saw I Remember Mama with Esther
recently. Halfway through that humor- ously touching picture she squeezed my arm excitedly. “Why, Mommie,” she said, “that’s us—that was our family!” And it was. And Esther remembers it as warmly and humanly as the author who wrote that play. All of us do. - There was the time, for instance, when June wanted a class sweater. It cost four dollars. ‘To some families that was the same as forty cents; to us it was more like 40 dollars. But all the other girls had them. We discussed it at the table, all of us. We decided that June would feel out of things if she didn’t have one too. She should buy one—but how? The idea spread from Esther, and was vigorously seconded by the other children: we'll each give up something we want and that will pay for the sweater. They thought: We can sacrifice; our time will come later. Right now it’s very important to June.
Another time David joined the Boy Scouts when things were going hard fi-
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nancially with our family. The night he joined, Esther, aged ten, piped up at the dinner table, “Give David the biggest piece of meat. He needs strength for all those hikes and things he'll be taking.”
We were not exactly poverty-stricken when Esther was_a girl, but we did have to make every penny count. Dad and I raised a family of five children on what many families spend on one. Esther has
told before now how, once when times -
were very lean, I fed our family on a sack of beans for almost a month. That was extreme. Most times we managed enough nourishing, well-balanced food—and the same ample helpings of psychologically im- portant fare. If that meant a neat blouse and skirt to look like the other school girls, Dad and I found a way to get it (and the length must be to one-eighth of an inch what they were wearing!). If our kids hadn’t come up with a self-sacrifice idea to make June’s class sweater possible, I’d have found a way to get it because it was a psychological necessity.
But I wouldn’t have worried my mind a minute if it had been a grand new eve- ning dress she pined for, or a closet full of fancy skirts or shoes.
still satisfied .. .
Until she had graduated from high school Esther never suspected that other girls had better clothes or a better home than she had. When it dawned on her that others did, she wouldn’t have traded if she could. And she still wouldn't, in spite of the expensive set-ups she sees all around her as a screen star.
Dad and I still live in the modest little house where Esther was born and raised. When Ben Gage, now Esther’s husband, first took her out she brought him right here, saying, “You’d better meet my fam- ily and see what you think of us.” While I chatted with Ben, Esther fell asleep on the sofa. That’s how secure, unruffled and completely at home she felt.
I never saw Esther resent a “made-over” dress, and for a long time those were about the only dresses she had. On the contrary, each hand-me-down was a terrific thrill and a challenging problem. I had three girls to clothe and also, luckily, a good friend who came by with a box of her clothes every now and then. To Esther such occasions were like Christmas. In- stead of being furious at the second-hand idea—as some girls are—HEsther was as ex- cited as if the packet was a band-box with a Fifth Avenue label. Her happy reaction was, “Now, what can we do with this one? ... Oh, I know!” and off the whole household would be in a whirl of altera- She gets the same glee today out of passing on her own clothes to her nieces, Bula, 14, and Judy, 11.
The most important thing of all, I be- lieve, is to give children the conviction that a beneficent, loving Power is always around to protect them, love and guide them; that they can turn to Him any time for their needs. When you live by that secure faith it’s pretty hard not to face life with courage, cheer and happiness.
Esther grew up with this feeling: “In me is a connection with every good thing. There is no limit to what I can do if I draw on this Power within me.” Her sim- ple little prayer of faith was the well- known one that goes, “God is my help in every need, God does my every hunger feed.” Her favorite hymn was “God Will Take Care of You,’ which most children sing in Sunday School. She believed then and still does every word of the comforting lines,
When one Joy He takes, He puts another in its place So we may always see
The smiling of His face...
That doesn’t mean that all is sugar and spice and everything nice. But that faith does assure a constructive, happy, relaxed and undefeated approach to every prob-
lem, and as I said, problems are the warp ||
and woof of life.
When Esther won the national freestyle) swimming championship, she relied on that’ faith and incidentally, I had a char ‘e] to face another problem with her, although’ she was 3,000 miles away. I knew it was} a major event in her life. I knew there was the danger of tenseness, of tying up,
of letting a scare psychology ride in on |
the importance of the big moment in her) lifelong ambitions.
And I knew, from }
Esther’s home training, what would free |
her for her best effort.
I wrote her a long letter which she read the night before the final race, lying in her | cot, sleepless. letter from home, telling her family news, | sending our love, wishing we were there to back her up as always.
Most of it was just a chatty |
But also I re- |
peated the simple, direct faith she had |
known since childhood, and later she told
me she read and re-read those lines before | she dozed off to wake up confident and | strong, drawing on that Power she believes |
in to force her through to victory.
I had written simply, “You don’t have || to win if you don’t want to. But if you do | you can, if you draw on the Power within | you. .. . And remember that God will be }
a
with success as well as with failure. . . \|
Sometimes I feel that ’m not much use to my own children any more. Particu- | larly do I feel that I don’t know Esther’s — movie world, that I’m out of touch with her problems.- I tell myself the help I am
to Esther Williams is what I gave her when |
she was a little girl. Then the front door bursts open as it
did the other afternoon and there’s that |
same little girl, maybe a few years older, with a slight cloud dimming the sunshine. “Wiommie, I’ve got a problem. and-such has happened, such- and-such is wrong...
“That’s too bad, honey. But is it really so bad? Now, let’s see what we can do about it.
We're sitting at the kitchen table before we know it, the same kitchen table that’s served so well all these years.
Such- |
And the }
years are rolled back and I’m meeting a |
problem with Esther, and watching her }
leave at last, happy and radiant again. Then I realize that once a mother, you're a mother for keeps. It’s a lifetime job, a privileged, important one. And to me it’s the happiest job in the world. THE Enp
| SAW IT HAPPEN
Recently, while shopping in one of the New York stores, I came across a collection of smart suits. I didn’t have much time, but I wanted to buy one. A woman standing nearby asked if she might help me select a suit. I was very grateful. While helping me, the woman spoke ensually and humorously and I thought I'd never enjoyed shopping more. The suit was finally chosen and my charm- ing helper left. Later, while walking in the street I passed a theater and saw a very familiar face on the bill- board. Suddenly I realized that my shopping assistant had been none other than Marsha Hunt! Lilyan Brounstein Brooklyn, New York
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Fe ap anak ere
THE WOMAN NOBODY KNOWS
(Continued from page 44)
A star who’s worked with Jennifer Jones in most of her best movies shakes his head in wonder every now and then. “I can’t understand how you ever decided to be an actress,” he tells her. “You haven’t any more ego than an Easter bunny!” Another calls her “the most un-Holly- wood star in Hollywood.” “Either that,” sighs this friend, “or she’s the stingiest one with her talent—she won’t put on an act for a minute, away from the camera!”
Jennifer Jones has been around Holly- wood seven years but she can’t get ac- climatized to the Hollywood treatment— to glamor, fuss and fanfares. Partly it’s because she’s painfully shy, partly it’s be- cause she’s been cautiously alert ever since she hit Hollywood’s golden shores not to suecumb to the tinseléd fripperies—and partly it’s because she’s constitutionally inclined to sell herself short.
jones legend...
When Jennifer recently finished Rough Sketch at Columbia, she found herself, to her great surprise, a darling of the first “foreign”—or non-Selznick—camera crew she’d worked with for a long time. For their part, they were a little amazed at Miss Jones, whom they’d suspected of being on the grand side, temperamental and even “difficult.” You see, they'd tum- bled for the Unapproachable Jones leg- end. And then they found themselves being hailed by their first names and joked with, by a gal who seemed ready to handle any situation that came up, like a pretty good sport. So when the last scene was shot, it was pretty clear to Larry Germain, her hairdresser—who takes care of many set situations for Jennifer—that the star was going to be asked to auto- graph a lot of pictures. He hinted this to Jennifer, knowing that she wouldn’t have even a snapshot around anywhere.
“Maybe you’re right,” she admitted. “Maybe you’d better have the studio send some over. Six ought to be plenty.”
“Six won't last six minutes,” he said.
“But only two people have asked me,” said J. Jones innocently. Larry brought over four dozen just the same. They all went in a couple of hours—as he knew they would.
The biggest fright-object in Jennifer Jones’ life is the canvas star-chair with JENNIFER JONES stenciled pretentiously on the back—a type of caste mark which most screen stars dearly love. Long ago Jen-
nifer’s crews have noted that the minute they slide it up politely where she’s standing, she finds an excuse to get the heck out of that vicinity. ... The elab- orate movie-star dressing cottage she in- herited on the Selznick lot is musty most of the time from disuse; her trailer on the set, like those of other actors, is what she uses. . . . She hustles a 1941 Ford to and from studio—and to show how much fancy autos mean in her life, the speed- ometer, after seven years, reads 19,000 miles. She gives chewing gum a pearly beating. She’s a slave to radio disc jockeys: . . . She never has any money in her purse and her dream project—of all things—is to pack-back into the high Sierras with her boys, guideless, on a campfire-and-sleeping-bag safari.
All these scattered but true- items seem as out of place tacked onto the generally accepted picture of Jennifer Jones, as spangles on a nun. All are completely out of keeping with the elegant portrait of Jennifer which Hollywood has cherished ever since she played the virgin of Lourdes in Bernadette. Nothing—not even the red-hot role she played in Duel in the Sun—seems warm enough to melt away the solid idea that Miss Jennifer Jones in person is some kind of a cross between an ice-cream angel and a mystery Madame X.
And nothing could be crazier.
That such ’way-off-base ideas exist about Jennifer is, of course, largely her own fault—because of the way she looks, and the way she acts. The first she can’t help, and since she’s smart, probably wouldn’t anyway. As for the second— well, she gets tongue-tied talking about herself, so she doesn’t. “Nothing happens to me, I’m horribly uninteresting—what can I say?” she tosses in anguish at studio press agents approaching with a reporter in tow. So she’s regarded as an odd body, and more myths bob up about her bru- nette head than balloons at a county fair —which are always a pleasure to pop.
For one thing, because of her super- feminine facade, Jennifer Jones impresses most people who don’t know her, as a soft, sweet, gardenia petal of a girl. An anx- ious, elderly admirer wrote her recently advising iron-pills. “You look anemic, my dear,” she cautioned, “and you must keep strong to stand your strenuous career.” Jennifer’s about as anemic as a Kansas City top sirloin.
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In practically every picture she’s made lately, she’s had to handle a job husky |
enough to strain the sinews of a serial queen. She dug a tunnel with pick and shovel for days in Rough Sketch, and got rolled around by a tidal wave near Boston for Portrait of Jennie. Before that, she climbed a flinty Arizona cliff in Duel in the Sun, scorning knee pads, the stand- ard protection for softies. (Even cowboy stars use ’em all the time.) She reaped
a mess of cuts and scratches all over
her body from tip to toe in that adven- ture, but didn’t lay off an hour from her work, although the rocky mesa location was not designed for the lah-de-dah Hol- lywood lady ‘she’s supposed to be. ‘
On the screen, Jennifer seems some- |
what small and delicate. Actually, she’s tall and lean. She’s five-seven in her
‘stocking feet and tips the scales at 118. | This makes her a slender, streamlined |
vision in a bathing suit—which, incident- ally, she never wears for publicity stills, but strictly for getting through the water, swiftly and often. She walks fast, with a getalong like a determined deer. She eats like a hungry horse—and anything, but mostly meat, potatoes and greens. She drinks milk like a prize baby, never touches coffee, puffs cigarettes only when the script says to, takes a drink on only particularly festive occasions. She doesn’t bother herself with any health regime, diet, or massage to keep her figure because —surprise again—she has a terrific talent for sports, especially horseback riding and tennis. Jennifer has been taking tennis
lessons ever since she hit Hollywood years ,
back and by now she’s a potential whiz. portrait of jennie...
There are so many easy mistakes to make about the girl nobody seems to know, that the only way to add Jennifer Jones up is to break her down. Out of the little pieces you get a portrait of Jennifer that you never dreamed existed.
Mrs. Phyllis Isley Walker prefers her professional name, Jennifer Jones, in both public and private life and her favorite nickname is what she usually gets—“Jen- nie.” Only recently she learned exactly what it means. On the Rough Sketch set, on the final day, John Garfield presented a lady burro to Director John Huston for his San Fernando Valley ranch. He ex- plained to John that it was really a two- for-one present because the donkey was definitely headed for a blessed event.
“What’s her name?” asked Huston. -““‘Jennie, I guess,’ replied Garfield. “That’s what they always call these crit- ters when theyre expecting.”
To Jenny Jones, who was listening, that was news and a little disconcerting.
“From now on,” she stated emphatically, but with a twinkle in her eye, “everybody around here calls me ‘Jennifer—with a capital ‘J’!”
The house in Brentwood where Jennifer lives with her two boys, Michael and Bobby, is a medium-sized, French-style- place with an ocean view which she bought just before she went East to make Portrait of Jennie, Until then, she’d camped in apartments but never thought them fit to raise her kids in. The whole upstairs of her new place is turned over to the boys who, being only 11 months apart, look like twins—although Mike, seven, the younger, is taller than his eight- year-old big brother, Bob. Kermit, their nurse, takes care of their goings-on and Jennifer has developed what she calls “a deaf ear” in their direction. She can read,
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