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AMERICAS  IARGEST-SEUING  MOVIE  M&GAX'NE 


DORIS  DAY 


20< 


TIN  and  LEWIS 


HE  TRUE  STORY 


abulous 
lean  Simmons 

|s  revealed  by 
IEDDA  HOPPER 


Mildness — that’s  the  secret  of  Ivory’s  beauty  care.  Re- 
assuring, reliable  mildness.  So  gentle  on  a baby’s  skin 
— so  right  for  yours.  You  know  more  doctors  advise 
Ivory  for  your  complexion  than  any  other  soap! 


Itbung America  lias  it... 
Wni  can  have  it  in  7 days! 


Babies  have  That  Ivory  Look  . . . Why  shouldn’t  you  ? 


That 

Ivor y 

Look 


M 


You  can  have  That  Ivory  Look  in  just  one  week  ! 
You’ll  like  it,  too!  Start  cleansing  your  skin  regu- 
larly, using  pure,  mild  Ivory  Soap.  In  7 days,  what 
a change!  Your  skin  will  look  prettier,  fresher, 
younger  . . . you’ll  have  That  Ivory  Look! 


99ioo%  pure  , it  floats 


More  doctors  advise  Ivory  than  any  other  soap 


Now.. .enjoy  sweet  treats  ana 
protect  your  teeth  from  cavities 

New  white  Ipana  with  WD-9  inhibits  tooth-decay  acids* 


Now  you  can  eat  the  sweet  things  you  like  — and 
need  for  quick  energy,  a balanced  diet — and  stop  worry- 
ing about  unnecessary  cavities. 

Many  foods,  including  sweets,  form  tooth-decay  acids. 
But  now,  with  new  white  Ipana  containing  acid-inhibitor 
WD-9,  you  can  guard  your  teeth  against  these  acids. 

For  WD-9  in  lpana's  exclusive  new  formula  is  one  of 
the  most  effective  ingredients  known  to  prevent  the  forma- 
tion of  tooth-decay  acids.  Acid-inhibitor  WD-9  is  an 
active  anti-enzyme  and  bacteria  destroyer. 


*To  get  the  best  results  from  new  Ipana  with  acid- 
inhibitor  WD-9,  use  it  regularly  after  eating.  Thus  it  acts 
before  tooth-decay  acids  can  do  their  dahiage. 

Brushing  with  new  Ipana  after  eating  really  works. 
A 2-year  clinical  test  with  hundreds  who  ate  all  the  sweet 
things  they  wanted  proved  that  brushing  this  way  can 
prevent  most  tooth  decay. 

So  remember,  while  no  dentifrice  can  stop  all  cavities 
— you  can  protect  teeth  from  sweet  foods  by  brushing 
with  new  Ipana  containing  WD-9. 


Don’t  cut  down  sweets ...  do  cut  down  cavities  with  new  ipana 


strong,  medicinal  taste  in  new  Ipana  with  WD-9.  And  it 
makes  your  mouth  so  fresh  and  clean  that  even  one  brush- 
ing can  stop  most  unpleasant  mouth  odor  all  day  long. 


New  white  IPANA 
with  Acid-Inhibitor  WD-9 


r 


1 


Buy  one  jar— -get  another 

Free 


To  introduce  you 
to  the  doctor’s  deodorant 
discovery*  that  safely 

srnom 

All  DAY  UING 

New  Mum  with  M-3  won’t  irritate 
normal  skin  or  damage  fabrics 


We  want  you  to  try  wonderful  new 
Mum,  the  *exclusive  deodorant  based 
originally  on  a doctor’s  discovery,  and 
now  containing  long-lasting  M-3  .That’s 
why  we  offer  you,  absolutely  free,  a 
bonus  jar  of  new  Mum  when  you  buy 
the  regular  394  jar. 

New  Mum  stops  odor  all  day  long 
because  invisible  M-3  clings  to  your 
skin  — keejps  on  destroying  odor  bac- 
teria a full  24  hours— far  longer  than 
the  ordinary  deodorant  tested. 

Non-irritating  to  normal  skin.  Won’t 
rot  fabrics  — certified  by  American  In- 
stitute of  Laundering.  Creamier,  deli- 
cately fragrant,  won’t  dry  out  in  the 
jar.  Today,  take  advantage  of  new 
Mum’s  Special  Offer.  Get  a free  bonus 
jar  while  supplies  last. 


NEW  MUM 


cream  deodorant  with 
long-lasting  M-3 

A PRODUCT  OF  BRISTOL-MYERS 


PHOTOPLAY 

JULY,  1954  • favorite  of  America’s  moviegoers  for  over  forty  years 

HIGHLIGHTS 


How’s  Your  Social  Rating? Terry  Moore  12 

Magnificent  Procession 14 

Celebrity  Corner 22 

Movies  Are  Better  than  Ever 39 

Inside  Stuff Cal  York  40 

Happiness  Is  a State  of  Mind  (Jean  Simmons) Hedda  Hopper  42 

The  Day  Fate  Smiled  (Haver-MacMurray) Dan  Senseney  44 

Don’t  Call  That  Boy  a Square Rock  Hudson  46 

Blind  Date  Party 48 

Are  Martin  and  Lewis  Breaking  Up? Maxine  Arnold  50 

It  Pays  to  Be  Good Sheilah  Graham  54 

Lucky  Me  (Doris  Day) 56 

He’s  Your  Man,  If  . . . (Scott  Brady) Beverly  Ott  58 

“The  Black  Shield  of  Falworth” 60 

Robert  Wagner:  Valiant  Prince Ralph  Edwards  62 

My  Girl,  Debbie  (Debbie  Reynolds) Maxene  Reynolds  66 

Photoplay  Fashions 69 


FEATURES  IN  COLOR 


Elaine  Stewart 

40 

Dolores  Dorn 

49 

Rhonda  Fleming 

40 

Susan  Cabot 

49 

Jane  Russell 

41 

Terry  Moore 

49 

Piper  Laurie 

41 

Dick  Anderson  . 

49 

Anne  Francis 

41 

Hugh  O’Brian 

49 

Jean  Simmons 

43 

Janet  Leigh 

60 

Rock  Hudson 

46 

Tony  Curtis 

60 

Mitzi  Gaynor 

48 

Bob  Wagner  ...  

63 

Dick  Allan 

48 

Debbie  Reynolds 

66 

Lori  Nelson 

49 

Anne  Baxter  

69 

PHOTOPLAY 

PICTURE  GALLERY 

Tony  Curtis 

75 

Frank  Sinatra  

76 

Gene  Nelson 

75 

Piper  Laurie 

77 

Tab  Hunter 

78 

SPECIAL 

EVENTS 

Hollywood  Whispers  Florabel  Muir 

4 

Hollywood  Parties  . .Edith  Gwynn 

16 

Readers  Inc . . 

6 

Laughing  Stock  . .Erskine  Johnson 

28 

Let’s  Go  to  the  Movies  . Janet  Graves 

8 

Casts  of  Current  Pictures 

30 

That’s  Hollywood  . . Sidney  Skolsky 

10 

Brief  Reviews  ...  

34 

Cover:  Doris  Day, 

star  of  Warners’  “Lucky  Me” 

Color  Portrait  by  Ornitz 


Ann  Higginbotham 

Ann  Mosher — Supervising  Editor 
Sumner  Plunkett — Managing  Editor 
Rena  Firth — Associate  Editor 


Editor 

Ron  Taylor — Art  Director 

Norman  Schoenfeld — Asst.  Art  Director 

Lillian  Lang — Fashion  Director 


Janet  Graves — Contributing  Editor 


Jane  Marcher — Fashion  Editor 


HOLLYWOOD  EDITORIAL  STAFF:  Sylvia  Wallace— Editor 
CONTRIBUTING  STAFF:  Maxine  Arnold,  Jerry  Asher,  Ruth  Waterbury,  Beverly  Ott 
HOLLYWOOD  ART  STAFF:  Phil  Stern,  Sterling  Smith 
Fred  Sammis,  Editor-in-Chie) 

JULY.  1954  VOL.  46.  NO.  1 

PHOTOPLAY  IS  PUBLISHED  MONTHLY  by  Mactadden  Publications,  Inc.,  New  York,  N.  Y. 

EXECUTIVE,  ADVERTISING  AND  EDITORIAL  OFFICES  at  205  East  42nd  Street,  New  York  17,  N.  Y.  Editorial 
branch  office,  321  South  Beverly  Drive,  Beverly  Hills,  Calif.  Harold  A.  Wise,  Chairman  of  the  Board;  Irving  S. 
Manheimer,  President;  Fred  R.  Sammis,  Vice-President;  Meyer  Dworkin,  Secretary  and  Treasurer.  Advertising 
offices  also  in  Chicago  and  San  Francisco. 

SUBSCRIPTION  RATES:  $2.00  one  year,  U.  S.  and  Possessions,  Canada  $2.50  one  year,  $4.00  per  year  all 
other  countries.  , , . . 

CHANGE  OF  ADDRESS:  6 weeks’  notice  essential.  When  possible,  please  furnish  stencil-impression  address 
from  a recent  issue.  Address  change  can  be  made  only  if  we  have  your  old  as  well  as  your  new  address.  Write 
to  Photoplay,  Macfadden  Publications,  Inc.,  205  East  42nd  Street,  New  York  17,  N.  Y. 

MANUSCRIPTS,  DRAWINGS  AND  PHOTOGRAPHS  will  be  carefully  considered,  but  publisher  cannot  be  responsible 
for  loss  or  damage.  It  is  advisable  to  keep  a duplicate  copy  for  your  records.  Only  material  accompanied  by 
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FOREIGN  editions  handled  through  Macfadden  Publications  International  Corp.,  205  East  42nd  Street,  New 
York  17.  N.  Y.  Irving  S.  Manheimer,  President:  Douglas  Lockhart,  Vice  President. 

Re-entered  as  Second  Class  Matter,  May  10,  1946,  at  the  Post  Office  at  New  York,  N.  Y.,  under  the  Act  of 
March  3 1879.  Authorized  as  Second  Class  mail.  P.  O.  Dept.,  Ottawa,  Ont. , Canada.  Copyright  1954  by  Mac- 
fadden Publications,  Inc.  All  rights  reserved  under  International  Copyright  Convention.  All  rights  reserved 
under  Pan-American  Copyright  Convention.  Todos  derechos  reservados  segun  La  Convencion  Panamericana  de 
Propiedad  Literaria  y Artistica.  Title  trademark  registered  in  U.  S.  Patent  Office.  Printed  in  U.  S.  A.  by  Art 
Color  Printing  Company. 

Member  of  The  True  Story  Women’s  Group 


2 


ffioy.a£,  ffiiot&uA 

% 


~ r- . . . who  would 
rather  make  love 
rE.  than  history! 


Glorified  by  M-G-M 
with  the  kiss  of  COLOR  . . , 
and  the  embrace 

CINEMASCOPE 


Songs  for  Lovers  by 
SIGMUND  ROMBERG 
"Drink,  Drink,  Drink” 
"Deep  In  My  Heart,  Dear’ 
n Golden  Days” 
and  many  others! 


SUHIIM6 


ANN  BLYTH  • EDMUND  PURDOM  • john  ericson-lquis  calhern 

EDMUND  GWENN  • $. “cuddles”  sakall  ■ delta  sr.  john  • john  mums  • m vardeh 
AND  THE  SINK  VOICE  OF 


Written  For  the  Screen  by 


WILLIAM  LUDWIG  and  SONYA  LEVIEN 
RICHARD  THORPE 


COLOR  BY 


Music  From 

THE  STUDENT  PRINCE"  by  1 


DIRECTED  BY  I 


ANSCD 

JOE  PASTERNAK 


PRODUCED  BY 


AN  M-G-M  PICTURE 


p 

3 


p 


V V 

PERIODIC  PAIN 


Don’t  let  the  calendar  make  a 
slave  of  you,  Betty!  Just  take 
a Midol  tablet  with  a glass  of 
water . . .that’s all.  Midol  brings 
faster  relief  from  menstrual  pain 
-it  relieves  cramps,  eases  head- 
ache and  chases  the  "blues.” 

“WHAT  WOMEN  WANT  TO  KNOW” 


✓ 


a 24 -page  book  explaining  menstruation 
is  yours,  FREE.  Write  Dep’t  B-74,  Box  280, 
New  York  18,  N.  Y.  (Sent  in  plain  wrapper). 


All  Drugstores 
have  Midol 


Hollywood 

Whispers 


BY 

FLORABEL  MUIR 


Jean  Peters  no  longer  wants  to  be  alone 


Pier  Angel i will  be  making  beauty  news 


about  how  Pier  Angeli.  the  beauteous 
foreign  import,  is  getting  the  treatment 
from  Gene  Tierney’s  ex.  Oleg  Cassini, 
famous  clothes  designer.  Pier’s  new  look 
began  to  he  noticeable  in  Hollywood 
last  winter  when  Oleg  was  seeing  her 
behind  the  scenes,  so  to  speak.  Oleg  is 
the  man  who  taught  Gene  the  hows 
and  wherefores  of  clothes  styling.  Look 
for  Pier  and  Oleg  to  make  news. 

• 

And  one  other  couple  who  may  in- 
spire headlines  any  minute  — Joan 
Crawford  and  Jennings  Lang.  Joan  is 
frankly  aglow  when  she  appears,  more 
and  more  frequently  on  the  arm  of  the 
tall  MCA  agent.  Little  wonder  that  the 
gossips  now  look  upon  all  of  her  other 
escorts  as  mere  camouflage. 

• 

The  betting  around  Hollywood  is  no 
longer  whether  Gene  will  loop  her 
bridle — should  that  he  bridal? — over 
Aly’s  neck,  but  how  long  she’ll  be  able 
to  keep  it  cinched  on.  And  most  in- 
siders will  give  you  eight  to  ten,  or 


better,  that  she’ll  be  able  to  stick 
longer  than  her  predecessor  Rita  Hay- 
worth did. 

• 

With  Mel  Ferrer  and  Audrey  Hep- 
burn due  to  be  meeting  in  Rome  around 
mid-Julv.  Hollywood’s  whispering  of 
news  in  the  making.  Even  though  some 
of  Audrey’s  close  pals,  including  her 
Mom.  are  frowning. 

• 

The  way  Hollywood's  current 
younger-set  trade  guys  and  dolls  from 
eve  to  eve  is  very  confusing  to  on- 
lookers. . . . Betty  Hutton  and  Charlie 
O’Curran  could  be  a midsummer  melt- 
ing. They  haven't  got  very  close  to- 
gether on  get-to-gether.  And  Betty’s 
now  being  shepherded  by  a new  press 
relations  man  not  of  Charlie’s  choos- 
ing. a wrong  symptom. 

• 

And  about  Jean  Peters,  who  seems 
to  be  back  in  circulation  with  Boh 
Wagner.  She  attended  the  “Prince 
Valiant”  preem  with  him. 


4 


>ouTY0° 


monohan 


' / THE  HAPPIEST 
f EVENT  OF  THE  YEAR! " 

Danny  sings  dortnS,  and 
dances  at  the  fop  of  his  form  / 


^iruicoio11 


Co-starring 


Chonofaphy  by  Michael  KidJ 

Written,  Produced  and  Directed  by 


Words  and  Music  bjr 


/ Fit-amount  Route 


p 


5 


Address  letters  to  Readers,  Inc.,  PHOTOPLAY,  205  East 
42  Street,  New  York  17,  New  York.  Much  as  we  would  like 
to,  we  cannot  promise  to  publish,  return  or  reply  to  all  letters. 


New  sure  way  to 

LOVELIER 

HANDS 

IN  ONLY  9 DAYS 


2.  Protect  with 
PLAYTEX 

GLAMOROUS 

HOUSEWORK 

GLOVES 


(unrefouched 

photo) 


( unretouched 
photo) 


The  best  protection  is 
prevention.  And:  The  first 
manicure  you  save  can 
pay  for  your  gloves. 


PLAYTEX'  »l” 

Prices  slightly 

LIVING  GLOVES  “r" ' 

FABRIC-LINED  LATEX 

61954  International  latex  Corp'n,  PLAYTEX  PARK, 
Dover  Del.  In  Canada:  Playtex  Ltd.,  Arnprior,  Ont. 


SOAP  BOX: 

I was  at  the  “Prince  Valiant”  premiere 
when  a friend  walked  up  to  me  and  shook 
my  hand.  "R.  J.,  you’ve  arrived,”  he  said. 
“You’re  a big  star  now.” 

I’ll  agree  that  “Valiant”  was  the  break 
of  a lifetime.  But  as  for  the  business  of 
“arriving” — well,  when  1 look  at  guys  like 
Tracy  and  Gable  and  Ladd,  then  I see 
stars.  Then  I know  what  stardom  really 
means  and  that  I’m  just  getting  started. 


Bob's  not  taking  any  chances 


I suppose  I’ve  always  been  inclined  to 
worry.  When  I first  got  into  pictures  I 
kept  thinking,  “I  can’t  be  a newcomer 
forever.  Next  year  someone  else  will  come 
along  and  take  my  place.  I have  to  keep 
moving  up  the  ladder.”  I wondered  what 
would  happen.  An  actor  has  to  have  pic- 
tures. Good  pictures.  And  he  has  to  do 
his  best  to  be  worthy  of  them — or  there’ll 
be  no  more.  That  means  hard  work  and 
study — and  it  never  stops. 

I’ve  been  lucky.  And  Fox  has  been 
great  to  me.  They’re  giving  me  those  pic- 
tures— "12-Mile  Reef,”  "Prince  Valiant,” 
and  now  “Broken  Lance.”  But  I guess  I’ll 
always  do  a bit  of  worrying.  I still  have  a 
long  way  to  go  and  a lot  to  learn.  And 
I'm  well  aware  of  the  fact! 

Bob  Wagner 

It  just  gripes  my  soul  to  hear  that  20th 
Century-Fox  has  let  a wonderful  star  like 
Betty  Grable  go. 

She  has  a better  voice  than  Marilyn 
Monroe,  a better  figure  and  prettier  legs 
than  anyone  else,  and  I’m  sure  that  in  the 
future  20th  will  see  their  mistake. 

Mary  Lou  Caruthers 
Baytown,  Texas 

I just  saw1  “She’s  Back  on  Broadway” 
and  thought  Steve  Cochran  was  terrific. 
Since  Hollywood  insists  he  is  their  biggest 
wolf  and  a perennial  playboy,  why  not 
cast  him  in  more  roles  of  this  type? 

Incidentally,  when  someone  handles  the 
leading  male  role  as  well  as  he  did,  why 
not  give  him  top  billing  instead  of  having 
to  look  at  the  bottom  of  the  billboards  to 
find  his  name  in  small  print?  I didn’t  even 
know  he  was  in  the  picture  until  I got  in- 
side the  theatre. 

Bunny  Neithard 
Montreal,  Quebec 


Tonight  I had  the  honor  of  seeing  the 
world  premiere  of  Paramount’s  new  kind 
of  western,  "Red  Garters,”  and  I’ve  never 
seen  a show  that  held  everyone  so  spell- 
bound in  my  life.  I tip  my  hat  to  the  whole 
darn  cast  for  a terrific  show. 

Pat  Crowley,  Guy  Mitchell,  Frank  Fay- 
len.  Buddy  Ebsen  and  Gene  Barry  were 
here  and  got  a wild  and  royal  Austin  wel- 
come. Sorry  Rosemary  Clooney  and  Jack 
Carson  had  to  miss  it. 

Bill  Wilson 
Austin,  Texas 

I am  willing  to  bet  Steve  Forrest  will 
be  the  biggest  name  in  1954.  I was  amazed 
at  his  poise  and  ability  in  “So  Big.”  He 
had  some  expert  competition  but  he  held 
his  own  and  made  the  picture  very  excit- 
ing for  me. 

Mrs.  Anne  E.  Heller 

East  Lansdowne,  Pennsylvania 

In  the  latest  pictures  we  have  seen  with 
Gene  Nelson,  he  has  always  come  out  sec- 
ond-best. We  would  like  to  see  him  in  a 
picture  in  which  he  gets  the  leading  girl. 
He  has  more  talent  than  most  of  the  cur- 
rent leading  men,  and  he  can  sing  almost 
as  well  as  he  can  dance. 

Barbara  M. 

Ethel  P. 

Tarentum,  Pennsylvania 

CASTING: 

"The  Robe”  was  so  perfect  I hope  20th 
will  now  make  "The  Silver  Chalice,”  again 
starring  Richard  Burton. 

Barbara  Spaulding 
Rye,  New  Hampshire 

Warners  will  make  “Chalice,”  with  Vir- 
ginia Mayo  and  Jack  Palance. — ED. 


Heavenly  role  for  Katie 

How  I’d  love  to  see  a remake  of  “I 
Married  an  Angel,”  with  either  June  Haver 
or  Kathryn  Grayson ! 

And  w'hy  hasn’t  anyone  thought  of  co- 
starring  Jane  Russell  and  Steve  Cochran? 

Lola  Dobberstine 
St.  Joseph,  Missouri 

Some  friends  and  I . . . would  like  to 
see  Leslie  White  Turner’s  book  “The  High- 
land Hawk”  made  into  a picture  starring 
Richard  Greene  as  Davy  Dugul. 

Camila  Castell 
Mexico,  D.  F. 

(Continued  on  page  36) 


CHILDS 

a wealthy 
collector- - 
of  other 
men’s  wives ! 


LYDIA 

who  was 
as  low  as 


high  society 
could  get! 


MAY 

strictly 
a night-time 


woman : 


Meet 
on  AN 
Adventure 
That  Spans 
THE  2400 
Miles  from 
Honolulu  to 
San  Francisco  Bay. 
Out  of 

this  Meeting  of 
Strangers  Comes 
Entertainment  History, 
the  Story 
of  Every  Kind 
of  Love 
There  is! 

WARNER  BROS.  PBEsEnt 

WILLIAM  A.  WELLMAN'S 


NELL  still  burning 
with  honeymoon 
fever! 


SALLY 
who  lived 
in  a world 
of  whistles ! 


PAUL  KELLY  SIDNEY  BLACKMER  DOE  AVEDON-  KAREN  SHARPE  JOHN  SMITH  Screen  Play  by  ERNEST  K.  GANN  A WAVNE  - FELLOWS  PRODUCTION  Directed  by  WILLIAM  A.  WELLMAN  WARNER  BROS. 

Music  Composed  «nd  Conducted  by  Dimitri  Tiomhin 


DAN  who  had 
used  up  his 
nine  lives,  and 
vas  starting 
on  ten ! 


EVERY 
SEARING 
MOMENT 
OF  THE 
TWO-YEAR 
BEST-SELLER! 


For  complete  casts  of  new  pictures  see  page  30 
For  brief  reviews  of  current  pictures  see  page  34 


✓ ✓✓✓  EXCELLENT  ✓✓✓  VERY  GOOD  GOOD  ✓ FAIR 


River  of  I\o  Return  20th;  cinemascope,  technicolor 

WVV  It’s  hard  to  imagine  any  scenic  attraction  over- 
shadowing Marilyn  Monroe,  but  the  Canadian  Rockies  do 
in  this  ripsnorting  adventure  tale  of  Northwestern  wilder- 
ness. In  her  dance-hall-gal  costumes,  Marilyn  is  a spectacu- 
lar sight,  but  the  vistas  of  mighty  mountains  in  shifting 
colors,  steal  the  movie.  As  a stubborn  farmer  immune  to 
the  gold  fever  then  raging.  Bob  Mitchum’s  the  very  model 
of  a tough  action  hero.  When  Marilyn’s  lover,  gambler 
Rory  Calhoun,  steals  Bob's  rifle  and  horse,  the  farmer  and 
his  little  son  (Tommy  Rett ig ) are  left  defenseless,  with 
Indian  raids  threatening.  Also  in  peril.  Marilyn  accom- 
panies the  pair  on  a raft  voyage  downriver  after  the  thief. 
Raging  rapids,  desperadoes,  flving  arrows  and  changing 
emotions  keep  excitement  high.  family 

Bob’*  “ objection ” breaks  up  Marilyn’s  dance-hall  routine 


Ulan  with  a ISlillion  rank,  u.a.;  technicolor 

V'V'V'V  Switching  to  comedy,  Gregory  Peck  stars  in  a bit 
of  whimsy  that  has  considerable  malice  in  its  laughter. 
Based  on  a Mark  Twain  story  and  filmed  in  England,  it 
casts  Greg  as  a Yankee  stranded  and  starving  in  London 
around  1900.  He’s  rescued  by  two  eccentric  brothers  who 
have  a bet  on.  One  contends  that  a man  can  get  along  as 
well  by  seeming  rich  as  by  actually  being  rich.  They  lend 
Greg  a million-pound  bank  note  and  promise  him  a good 
job  if  he  can  live  well  for  a month — without  breaking  the 
note.  The  trick  works.  All  he  has  to  do  is  flash  the  dazzling 
piece  of  paper  money  and  lie’s  granted  unlimited  credit, 
fawned  on  everywhere.  But  finally  the  deception  causes 
trouble,  hampering  his  romance  with  a pretty  aristocrat 
(Jane  Griffiths).  Satire  edges  many  scenes.  family 

A supposed  millionaire,  Greg  tcoos  high-born  Jane  Griffiths 


Them!  warners 

VVV  The  latest  science-fiction  thriller  offers  an  extra  meas- 
ure of  creeps:  but.  like  the  best  of  its  breed,  it’s  told  in  a 
crisp,  matter-of-fact  manner.  A series  of  mysterious  deaths 
in  the  New  Mexico  desert  brings  both  the  law  and  science 
on  the  scene  to  investigate.  State  cop  James  Whitmore  and 
G-man  James  Arness  must  call  on  scientists  Edmund  Gwenn 
and  Joan  Weldon  for  help.  From  the  tracks  of  the  murder- 
ous monsters,  it’s  deduced  that  a horrible  new  species  has 
cropped  up  in  the  insect  world.  Radiations  from  the  first 
A-bomb  experiment  have  so  affected  the  lowly  desert  ant 
that,  in  the  years  and  ant  generations  since,  creatures  ten 
feet  long  have  been  produced.  While  coping  efficiently  with 
the  menace,  Arness  and  Joan  find  a moment  or  two  for  love. 
But  the  picture  concentrates  on  chills.  family 

Eerie  sounds  warn  Jim  Arness  and  Joan  Weldon  of  danger 


8 


Playgirl 

V'V'  Shelley  Winters  has  a show-piece  of  a role  in  this  lurid 
expose  of  a big  city’s  night  life.  She’s  really  giving  two 
separate  performances,  since  her  character,  like  the  movie 
itself,  suddenly  takes  a different  direction  midway.  At  first, 
she’s  a wisecracking  night-club  singer,  sharing  her  apart- 
ment with  an  innocent  youngster  newly  arrived  in  New 
York.  Colleen  Miller,  fresh-faced  and  dark-haired,  makes 
a good  impression  in  this,  her  first  leading  role.  Advised 
by  Shelley  and  aided  by  their  neighbor  Gregg  Palmer,  she 
gets  off  to  a fast  start  as  a model.  Meantime,  Shelley’s 
involved  in  a long-time  affair  with  a married  man.  Barry 
Sullivan.  Level-headed  and  sharp-witted  to  start  with,  she 
goes  emotional  as  the  film  shifts  gears  to  wind  up  in 
melodrama,  gunplay  and  hints  of  vice.  adult 

Gregg  and  Shelley  give  Colleen  Miller  tips  on  popularity 


Hell  BeloiV  Zero  COLUMBIA,  technicolor 

PV  Against  the  fascinating  background  of  the  present-day 
whaling  industry,  Alan  Ladd  tackles  an  unusual  sort  of 
mystery.  He’s  a drifter  who  signs  on  as  first  mate  of  a 
whaler  bound  for  the  Antarctic.  Also  aboard  are  Joan 
Tetzel.  daughter  of  a former  owner  of  the  company,  and 
Basil  Sydney,  her  late  father’s  partner.  Both  suspect  that 
her  father’s  death  on  the  preceding  trip  was  no  accident. 
Alan’s  sleuthing  is  climaxed  in  a battle  on  the  ice  floes, 
and  there’s  also  a triangle  involving  him  with  Joan  and 
Stanley  Baker.  Sydney’s  arrogant  son.  But  the  chief  interest 
of  the  picture  lies  in  the  authentic  shots  obtained  by  a 
camera  crew  in  the  Antarctic:  the  processing  of  whale  car- 
casses on  the  big,  ungainly  factory  ship;  harpooners  at 
work  on  small,  fast  boats.  family 

Sub-zero  weather  can’t  cool  off  Joan  Tetzel’ s love  for  Alan 


Lucky  TMe  WARNERS;  cinemascope,  technicolor 

PV’  It’s  up  to  Doris  Day  to  carry  this  musical  to  success, 
and  she  responds  nobly,  singing  its  not  too  notable  songs 
and  going  through  the  paces  of  its  plot  with  irresistible 
gusto.  When  a stage  revue  folds  in  Florida,  she  and  her 
fellow  troupers  are  left  penniless.  Thanks  to  the  inefficient 
conniving  of  the  head  man.  Phil  Silvers,  the  stars  of  the 
show  find  themselves  slaving  away  in  a hotel  kitchen.  How- 
ever, song-writer  Robert  Cummings  happens  to  be  a guest 
at  the  hotel,  planning  a big  Broadway  musical.  The 
stranded  show  people  see  their  chance — all  except  Doris, 
who  has  fallen  in  love  with  Bob  with  no  ulterior  motives, 
not  realizing  who  he  is.  Comics  Silvers,  Nancy  Walker  and 
Eddie  Foy,  Jr.,  get  opportunity  only  in  a couple  of  bright 
song-and-dance  routines.  family 

Freed  from  kitchen  drudgery,  Doris  goes  stepping  with  Bob 


More  reviews  on  page  24 


9 


p 


rosemary  clooney  plays  in  an  unbe- 
lievable TV  sketch  and  I believe  her 
. . . What  I don’t  understand  is  why 
Debra  Paget’s  mother  trots  all  over  the 
studio  with  Debra  but  is  never  at  the 
studio  with  Lisa  Gaye,  a younger 
daughter  . . . My  favorite  current  male 
singer  is  Eddie  Fisher,  but  I'm  just  a 
member  of  a large  army.  Fisher  should 
be  making  a movie  . . . I’m  still,  and 
always  will  be,  loyal  to  Bing  Crosby. 
The  greatest.  Guess  I’ll  never  tire  of 
hearing  Bing  sing  “Down  the  Old  Ox 
Road.” 

Grace  Kelly  should  do  a p.a.  tour,  so 
she’d  be  as  popular  with  the  fans  as  she 
is  with  her  leading  men.  Grace  has  the 
personal  touch  . . . James  Mason  likes 
Hollywood  now  almost  as  much  as  he 
likes  money.  “I  became  an  actor  because 
I didn’t  know  an  easier  and  nicer  way 
to  make  money,”  admits  James  . . . 
When  I’m  asked  how  long  do  I think 
Marilyn  Monroe  will  be  popular,  my 
answer  is:  “Marilyn’s  popularity  will 
continue  until  men  go  out  of  style.” 


. . . Tom  Jenks’  conclusion  about  a 
popular  actor:  “He’s  put  his  foot  into 
everything,  except  the  forecourt  of 
Grauman's  Chinese.” 

I would  like  to  see  a television  broad- 
cast of  the  Academy  Oscars  good 
enough  to  win  an  Emmy  ...  I think 
Jerry  Wald  is  playing  it  real  cool  by 
giving  Sheree  North  a good  role  in  the 
next  Judy  Holliday  movie.  If  handled 
properly,  Sheree  could  make  stardom 
. . . Robert  Wagner  likes  girls  who  are 
sincere  and  without  artifice.  While 
playing  gin  Bob  told  me:  “I  can’t  stand 
gals  who  are  amateur  psychologists  and 
start  telling  me  all  about  myself.” 
. . . They  should  restrict  the  singing  of 
“No  Business  Like  Show  Business,”  or 
people  are  apt  to  be  weary  of  it  by  the 
lime  the  picture  is  playing  . . . Wish  I 
could  tell  you  one  of  the  reasons  Terry 
Moore  goes  to  Terry  Hunt's  gym,  but  I 
can't.  Please — don’t  insist.  leant! 

Zsa  Zsa  Gabor  doesn't  send  me,  not 
even  an  inch.  However,  it  was  Zsa  Zsa 
that  I overheard  saying  to  Janet  Leigh: 


“I  don’t  like  to  repeat  gossip,  honey, 
but  what  else  can  you  do  with  it?” 

Elizabeth  Taylor  is  getting  prettier 
than — well,  than  Elizabeth  Taylor  . . . 
Donna  Reed  takes  a bubble  bath  occa- 
sionally but  prefers  a shower  to  a tub. 
“It’s  like  walking  in  the  rain.”  ...  I ad- 
mit 1 don't  understand  the  success  of 
Liberace  . . . My  favorite  character, 
Mike  Curtiz,  is  getting  competition  from 
Joe  Pasternak,  who  told  Gene  Kelly  he 
ought  to  dress  better.  “You’re  always 
running  around  in  an  old  pair  of  Gunga 
Dins.” 

-k  *k  -k 

I’ll  make  a bet  right  now  that 
George  Stevens’  “Giant”  will  be  a great 
picture.  He  hasn’t  learned  how  to  make 
a bad  one  ...  I want  to  say  Arlene  Dahl’s 
classmates  knew  what  they  were  doing. 
Back  in  high  school  they  voted  Arlene 
“Most  Likely  to  Succeed.”  . . . And 
don’t  forget  that  in  Hollywood  a per- 
son who  says  he  hopes  to  see  the  light 
— means  spell  out  his  name  on  a mar- 
quee. That’s  Hollywood  For  You. 


10 


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12 


HAIR  DRY  SWIM  CAPS 
KEEP  YOUR  HAIR  DRY- 
PROTECT  YOUR  WAVE/7 


Terry’s  an  authority — she  rates  high  with  guys  Like  Bob  Wagner 


HOW’S  YOUR  SOCIAL  RATING? 


BY  TERRY 

The  dictionary  puts  it  this  way. 
Wallflower:  the  lady  who  remains  a 
spectator  at  a ball.  Well,  that’s  just 
fine.  If  your  feet  hurt,  if  your  head 
aches  or  if  you  simply  don’t  care! 
But  if  you  do  care — anil  who  can 


MOORE 

honestly  say  she  doesn’t? — think 
about  the  questions  below  and  an- 
swer them  as  carefully  as  you  can. 
All  they  need  is  a yes  or  no,  and  they 
should  provide  a lot  of  clues  that  will 
help  you  have  fun  at  your  next  party. 


1.  Do  you  enjoy  being  with  people? 

2.  Do  you  have  a.  feeling  of  panic  when  you're  about  to 

enter  a roomful  of  strangers?  Q □ 

/ 

II.  Do  you  like  making  new  acquaintances?  □ 


4.  When  you  don’t  know  many  people  at  a gathering,  do 
you  find  yourself  a corner  and  hide? 

5.  When  you  go  to  a party,  are  you  confident  you’ll  have 
a good  time? 


□ 

□ 


a/ 

g/ 


6.  Do  hostesses  seem  to  feel  they  must  hover  around  you 

constantly  to  make  sure  you're  having  a good  time?  □ F2/ 

7.  Do  you  dance  well?  □ 


says  FLORENCE  CHADWICK 

famous  Channel  swimmer 


WATERTIGHT  j 
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and  lovely! 


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ROCKEFELLER  CENTER  • NEW  YORK 


«.  If  you  accidentally  spilled  something  on  your  dress, 
would  it  ruin  your  entire  evening? 

fl.  Can  you  pay  a sincere  compliment — and  do  it  often? 

lO.  Are  you  always  the  first  to  arrive  and  the  last  to  leave 
a party? 

1 I . Do  you  enter  into  party  games  wholeheartedly? 

I 2.  Do  you  feel  you  have  to  be  "on  stage”  constantly  in  order 
to  have  fun? 

III.  Do  you  enter  into  a group  discussion  easily? 

14.  Do  you  think  it’s  smart  to  be  sarcastic? 


□ ,□ 
□ 


□ 0 

wC  □ 

□ 0^ 

d □ 

□ 0^ 


15.  Are  you  well-informed  on  a variety  of  subjects  and  can 
you  talk  about  them  intelligently? 


16.  Do  you  figure  the  more  noise  you  make,  the  more  atten- 
tion you’ll  get — and  the  more  attention,  the  better? 

17.  Are  you  a good  listener? 


□ CB 

d'  □ 


in. 


u>. 

20. 


Do  you  irritate  the  other  girls  by  flirting  with  every  man 
in  sight? 

Do  you  try  to  see  to  it  that  others  around  you  are  having 
fun? 

If  the  party’s  formal,  do  you  usually  dress  differently — 
let’s  say  informally? 


□ ^ 
sj\ 

□ s/ 


Continued  on  page  20 


9MB 


Screen  Play  by  ALEC  COPPEL  and  MAX  TRELL  ^ 

Adaptation  by  RICHARD  MAIBAUM 
Based  on  the  novel  "The  White  South"  by  Hammond  Inncs 

Associate  Producer  George  W.  Willoughby-  Produced  by  IRVING  ALLEN  and  ALBERT  R.  BROCCOLI  • Pir< 


1 1 1 

2 

row  m 

i 

.JOANTETZEL 

1 ' m %L  * 

W&mm  1 9-  4 ; 

Basil  Sydney  • Stanley  Baker 

One  enchanted  evening — when  Barbara 
Rush  became  a star  and  Rock  Hudson 

became  the  man  of  the  hour 


wCe/v/rtMcma, 


Barbaras  night — but 

husband  Jeff  Hunter  » 
shares  her  happiness 


A proud  mother  beams 
between  Rock  and  his 
friend,  Betty  Abbott 


MAGNIFICENT  PROCESSION 


p 

14 


Disc  jockey  Johnny  Grant  introduces  Susan  Cabot,  Dick  Anderson  met  at 

co-stars  Jane  Wyman,  Claire  Trevor  "Blind  Dale  Party ” (see  page  48) 


• Of  all  the  brilliant  throng  that  attended  the 
opening,  in  Hollywood,  of  the  long-awaited 
picture.  “Magnificent  Obsession,”  none  was 
more  thrilled  than  Rock  Hudson  and  Barbara 
Rush.  For  this  was  their  night  to  howl.  The 
critics  said  so,  their  co-star  Jane  Wyman  said 
so,  the  congratulations  of  the  movie  star 
audience  confirmed  it.  For  Barbara,  her  role 
was  a boost  to  stardom.  For  Rock,  it  was  the 
most  challenging,  most  satisfying  of  his  pic- 
ture career. 

As  the  autograph  books  eddied  around  them, 
Rock  and  Barbara  grinned  at  each  other.  There 
would  be  other  roles  and  other  premieres — but 
for  these  two.  never  the  excitement,  the  sky- 
rocketing happiness  of  this  magnificent  night! 


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BY  EDYTH  GWYNN 


Mrs.  Dick  Long:  Bride  of  the  year 


The  Champions : Her  gown  glittered 


P 


there  were  two  extra-splashy  preems, 
plus  lots  of  parties  large  and  small,  to 
say  naught  of  “special  events”  this 
month.  But  of  course,  nothing  topped 
the  Academy  Awards — for  glamour  at- 
tendance and  glamorous  duds. 

No  one  looked  lovelier  than  Liz  Tay- 
lor in  her  full-skirted  Fontana  original. 
It  was  of  pale  pink  chiffon,  strapless 
and  embellished  with  a delicate  leaf 
design  in  pearls  and  rhinestones.  With 
it,  Liz  wore  a fabulous,  250-year-old 
necklace  of  pearls  and  diamonds  from 
Sweden,  also  pink  Italian  sandals  to 
match  her  gown  and  a straight-edged 
stole  of  white  fox.  . . . Irene  Dunne  was 
done  up  in  a Don  Loper  creation  of 
yellow  lace  with  myriad  brilliants  em- 
broidered into  the  voluminous  skirt.  . . . 
Gene  Tierney’s  slinky  form-hugging 
gown  of  black  crepe  was  topped  by  a 
four-layer  capelet  of  white  organdy 
that  billowed  around  her  shoulders.  A 
real  eye-catcher!  . . . Lana  Turner,  al- 
ways a knockout,  was  a knockout  again. 
This  time  in  strapless  bright  red  peau 
de  soie  with  full  tiered  skirt.  A large 
rose,  fashioned  of  the  gown’s  material, 
at  the  right  side  of  the  decolletage  was 
the  only  trimming — unless  you  want  to 
count  Lana’s  diamond  choker  and  ear- 
rings! She  wore  a white  fox  stole. 

Ann  Blyth’s  off-the-shoulder  dress  of 
emerald  chiffon  was  designed  by  Helen 
Rose  and  had  a full  skirt  bedecked 
with  emerald  green  sequins,  as  had  the 
bodice.  Ann's  wrap  was  dark  ranch 
mink.  . . . The  lovely  thing  Mitzi  Gavnor 
wore  when  she  danced  with  Don  O'Con- 
nor was  of  aquamarine  and  silver  metal- 
lic cloth  with  halter  top  and  a bodice 


fitted  tight  all  the  way  to  the  hipline. 
The  skirt  was  very  full  and  accordion- 
pleated  with  rhinestone  beading.  Mitzi’s 
white  mink  stole  was  brand-new  for  the 
occasion. 

Donna  Reed,  the  happiest  and  most 
excited  Oscar  winner  I’ve  ever  eyed, 
accepted  her  prize  wearing  a short 
evening  gown  of  blue-gray  lace — an- 
other Don  Loper  original.  The  bouffant 
skirt  and  decollete  bodice  were  slashed 
by  a wide  ribbon  of  Kelly  green  and 
pink.  Donna’s  gown  was  emphasized 
by  the  absence  of  jewelry.  Bits  of  glit- 
ter on  her  shoulders  and  in  her  hair 
added  sparkle. 

As  I said,  the  dolls  in  the  audience 
were  just  as  divinely  gotten  up  as  were 
those  on  stage,  and  fans  outside  the 
Pantages  Theatre  went  currazy  yelling 
for  their  favorites  as  the  stars  entered. 
Biggest  cheers  (honest!)  were  for 
Clark  Gable  with  Grace  Kelly  on  his 
arm.  Grace  was  stunning  in  a cham- 
pagne tulle  gown,  almost  the  shade  of 
her  own  blond  tresses.  It  was  embroi- 
dered all  over  in  a grape  design  in  gold 
pailletes.  . . . Tiny  Pilar  Palette,  with 
John  Wayne — natch!,  in  soft-falling 

white  crepe,  strapless  and  generously 

beaded  in  crystals. 

Marge  Champion  in  white  lace  over 
nude  tulle,  tremendously  full  skirt,  very 
low-cut  bodice  trimmed  with  iridescent 
sequins.  Marge  wore  a short  white 

mink  cape.  . . . Rosemary  Clooney  was 
in  draped  pale  gray  chiffon  embroi- 
dered with  pearls  and  crystals — a 

real  gown.  ( Continued  on  page  18) 


16 


Lustre  - Creme 
Shampoo... 


Cream  or  Lotion 


sHAM pOO 


“Yes,  I use  Lustre-Creme 
Shampoo,”  says  Debra  Paget.  It’s 
the  favorite  of  4 out  of  5 top 
Hollywood  movie  stars! 

It  never  dries  your  hair!  Lustre- 
Creme  Shampoo  is  blessed  with 
lanolin  . . . foams  into  rich  lather, 
even  in  hardest  water  . . . leaves 
hair  so  easy  to  manage. 

It  beautifies!  For  soft,  bright,  fra- 
grantly clean  hair — without  special 
after-rinses — choose  the  shampoo  of 
America’s  most  glamorous  women. 
LTse  the  favorite  of  Hollywood  movie 
stars — Lustre-Creme  Shampoo. 


starring  in  "DEMETRIUS 

AND  THE  GLADIATORS" 

20th  Century-Fox’s  CinemaScope  Production. 

Color  by  Technicolor. 


. 


s. 


uave 


Relieves  dryness.. .gives  hair 
healthy  looking  glow 


No  other  hairdressing 
leaves  hair  so 
natural  looking 


s. 


( You  look  prettier 
than  a picture!) 

HELENE  CURTIS 


uave 


Gives  your  hair 
that  “cared  for"  look 

WITHOUT  OILY  AFTER-FILM 


s. 


( Now  he'll  really 
take  you  places!) 

HELENE  CURTIS 


uave 


8*15- 

S**»ve 


4*  »#**«« 


I 


! forms:  lotion. 


No  other  hairdressing  adds  so  much  sheer 
beauty  to  your  hair!  For  only  SUAVE  contains  amazing 
non-greasy  Curtisol  . . . relieves  dryness,  frizz,  split  ends. 
Keeps  hair  in  place,  lovely  to  behold  all  day! 

No  wonder  women  prefer  it  7 to  1. 


creme  (in  jars), 
)<t  to  $1  ( plus  tax } 


* TRADEMARK 


( Continued  from  page  76) 

Everyone  was  certain  Audrey  Hep- 
burn would  win  her  Oscar — and  happy 
that  she  did.  But  before  the  night  was 
over,  you  could  have  heard  at  least 
twenty  people  remarking.  “Why  doesn’t 
Audrey  lose  that  weird  hair-cut?”  . . . 
One  of  the  after-Oscar  soirees  was  at 
Romanoff’s,  where  a cute  sight  was 
furnished  by  Donna  Reed  and  Esther 
Williams,  chatting  gaily  as  they  fresh- 
ened their  make-ups  together  at  the 
same  mirror. 

And  now  to  the  “Valiant”  opening 
which  brought  Bob  Wagner  to  star 
status  all  the  way.  His  date  was  Jean 
Peters.  It  was  the  second  premiere 
Jean’s  ever  attended — and  the  first  was 
a long  time  ago!  So  she’d  forgotten 
what  goes  on.  On  the  way  into  the 
theater  when  fans  in  the  bleachers  were 
yelling,  etc.,  Jean  turned  to  Bob  and 
exclaimed.  “You  forgot  to  tell  me,  they 
squeal!”  . . . Debra  Paget’s  sis,  Lisa 
Gaye.  was  with  Robert  Dix.  young  son 
of  (lie  late  Richard  Dix.  Robert’s  been 
signed  to  a movie  contract — and  they'll 
soon  he  squealing  at  him!  Among 
many  stars  on  hand,  and  at  the  Roma- 
noff dinner-dance  later,  were  June  Haver 
and  Fred  MacMurray,  Rock  Hudson, 
with  Susie  Zanuck,  Susan  Hayward, 
witli  long-time  friend.  Ned  Marin.  Paul 
Brinkman  and  Jeanne  Crain,  in  a fancy 
gown  of  white  and  gold,  Clifton  Webb 
and  Ids  Ma,  Maureen  O'Hara,  Mari 
Blanchard,  Ty  Power  and  Linda  Chris- 
tian. the  Edmund  Purdoms,  Terry 
Moore,  the  Ronald  Reagans,  Debbie 
Reynolds  with  Hugh  O’Brian,  the 
Sterling  Haydens,  Barbara  Rush  and 
Jeff  Hunter.  And,  of  all  things,  Debra 
Paget,  looking  dreamy  in  a strapless, 
full-skirted  shortie  gown,  all  alone! 

Terrific  turnout  it  was — for  the  Bev- 
erly Hills  bow-in  of  Danny  Kaye’s  fun- 
niest, most  frantic  picture,  “Knock  on 
Wood”!  If  you  haven’t  already  rocked 
at  th  is  laff-fest  (good  songs,  too! ) then, 
fevvens  sakes!  get  on  over  to  see  it! 
After  the  show,  Danny  and  his  Mrs., 
Sylvia  Fine,  who  did  the  words  and 
music  for  his  numbers  (as  usual)  took 
over  all  of  Mocambo  and  tossed  a mid- 
night-to-dawn  party  for  almost  everyone 
who’d  been  at  the  preem!  Vera-Ellen 
( in  beaded  white  satin  sheath  with  that 
“covered  up  look”  all  the  way  to  her 


ears!  ) was  with  Richard  Gully.  1 also 
saw  Jeanne  Martin,  wearing  virtually 
the  same  dress  as  Vera’s,  plus  tiny 
silver  and  white  bows  in  her  hair,  on 
the  arm  of  hubby,  Dean;  Ethel  Mer- 
man. Claudette  Colbert,  Jane  Powell 
and  Pat  Nerney,  Merle  Oberon,  back 
with  Dr.  Rex  Ross,  the  Keenan  Wynns. 
(Keenan  complete  with  a beard  he 
grew  for  a picture),  Ann  Robinson, 
with  silver  flakes  in  her  red  hair,  the 
Eddie  Robinsons,  Nancy  Sinatra  with 


Liz  Taylor — a (lrcant  in  diamonds 


Vic  Damone  (now.  there’s  a bit!),  the 
Jack  Bennys,  Eartha  Kitt  with  Arthur 
Loew,  Jr.,  Leslie  Caron’s  ex,  Georgie 
Hormel  with  Marla  English,  and  Deb- 
bie Reynolds,  in  her  favorite  shade  of 
blue,  first-dating  with  singer  Bill  Shir- 
ley. Joan  Crawford  was  successfully 
wearing  a combination  that  would  scare 
many  a woman,  though  it  never  should. 
Joan’s  gown  was  of  flaming  red  net 
(miwyons  of  yards  in  the  skirt  I,  with  a 
huge  pale  pink  rose  pinned  to  one  of 
the  narrow  shoulder-straps  of  the 
lightly  draped  bodice.  Over  this,  she 
wore  PINK  mink!  And  if  you  don’t 
think  this  is  stand-out  stuff  for  a bru- 
nette. you're  color  blind! 

Day  after  the  Kaye  soiree,  Susan  and 
Richard  took  their  vows  in  Santa  Bar- 
bara. Mala  Powers,  Lori  Nelson.  Jeff 
Chandler  and  Julia  Adams  were  among 
the  thousand  guests  who  thrilled  (liter- 
ally!) to  tears  when  Susan  tossed  aside 
her  crutches  moments  before  the  cere- 
mony and  walked  down  the  aisle.  Just 
as  this  courageous  girl  had  told  the 
world  she  would — months  ago!  If  the 
slight  limp  bothered  her.  or  the  cause 
of  it  gave  her  pain,  it  wasn't  apparent 
at  the  small  wedding  supper  later. 
Susan,  shining  with  happiness,  said,  ‘‘1 
always  knew  I’d  get  married  without 
crutches!” 

Ooops!  Here  I am  at  the  end  of  my 
“aisle” — so  sorry. 


Mrs.  Grace  Brown  of  Scarsdale,  New  York,  keeps  her 
hands  lovely  as  a bride’s  with  Jergens  Lotion.  She  says: 

“I  use  detergents  as  often  as  you 
. . . but  Jergens  Lotion 
keeps  my  hands  pretty !” 


Grace  does  plenty  of  laundry  by  band. 
Detergents  help,  but  they  could  ruin  her 
hands.  IIow  does  she  keep  them  so  pretty? 


No  other  lotion  works  faster,  or  penetrates 
deeper.  Lovelier  hands  at  once!  jergens  nev- 
er leaves  a sticky  film  ( as  many  others  do ) . 


Jergens  Lotion!  This  famous  formula  has 
been  continuously  improved  for  fifty  years 
to  help  heal  chapped,  red  hands  instantly! 


Contains  two  softening  ingredients  doctors 
have  used  for  years.  And  Jergens,  the 
world’s  favorite  hand  care,  costs  you  less. 


Use  Jergens  Lotion -avoid  detergent  hands 


p 


Actual  skin  tests  prove 
YODORA  SO  "KIND"  TO  SENSITIVE  SKIN 
we  can  make  this  bold  statement 

FIRST  . . . shave  under  arms.  (For  faultless 
grooming  — ask  your  druggist  for 
Yodora  shaving  booklet.) 

THEN  . . . apply  Yodora  immediately  with 
complete  confidence* 

We  guarantee  Yodora  soothing  to  apply 
after  shaving  . . . gives  day-long  protection 
. . . won’t  harm  finest  fabrics,  or  your 
money  back. 

*//  you  suffer  from  skin  irritations  due  to  allergies  or 
functional  disorders,  see  your  doctor. 


YODORA 


ANSWERS  TO 

HOW’S  YOUR  SOCIAL  RATING? 

Continued  jrom  page  12 

F 01  a pel  feet  scoie  you  should  have  answered  a resounding 
"Yes!”  to  file  odd-numbered  questions  and  an  equally  re- 
sounding “No!  to  the  even-numbered  questions. 

Fifteen  correct  answers  is  about  average  and  certainly  no 
cause  for  concern  unless  you  want  to  go  into  politics.  But 
if  you  didn't  get  anywhere  near  a perfect  score  and  are 
beginning  to  feel  sorry  for  yourself — don’t!  Remember  that 
at  least  you're  honest  enough  to  admit  there’s  room  for  im- 
provement, and  that’s  half  the  battle  right  there. 

Think  about  the  questions  you  got  wrong.  Figure  out 
why  you  got  them  wrong  and — even  more  important— figure 
out  what  you  can  do  about  them. 

Remember  that  everyone  suffers  from  shyness  at  one  time 
or  another,  and  with  some  of  us,  shyness  is  a constant  com- 
panion, unwelcome  though  it  is.  Watch  how  other  people 
meet  and  overcome  the  things  that  have  you  stumped.  There’s 
nothing  wrong  with  duplicating  what  someone  else  does — for 
all  you  know  that  very  person  may  be  copying  something 
that  you  do  well. 

But  don  t go  too  far  in  the  other  direction  either  in  over- 
coming your  shyness.  The  life  of  the  party  can  also  be  the 
death  of  it  as  far  as  the  other  guests  are  concerned — and 
it’s  probable  that  this  person  is  actually  just  trying  desper- 
ately to  cover  up  a sense  of  shyness  by  being  boisterous  and 
dominating  everyone. 

Fortunately,  there  s a happy  medium  which  means  happy 
guest  and  happy  hostess.  And  that's  something  to  strive  for. 

Fry  it  and  see.  But  don  t try  to  do  everything  at  once. 
Tackle  one  thing  at  a time,  starting  out  slowly  gaining  speed 
as  you  gather  momentum. 

Remembei  the  truth  in  the  fable  about  the  tortoise  and 
the  hare  and  you  can’t  go  wrong. 


The  role  of  parent  in  Broadway  play  “ Anniversary  Waltz ” comes  naturally  to  Mac 
Carey!  He  and  wife  Betty,  shown  here  with  Stevens,  Elizabeth  (rear)  Lynn  and  Anna 
(front)  became  parents  a fifth  lime  with  birth  of  Edward  Macdonald  Jr.,  April  22 


20 


Marriages  may  be  made  in  heaven  but 
they  must  be  lived  on  earth.  And  Mrs. 
j — finds  it  more  livable  if  she  lets  noth- 
ing mar  her  charm.  Like  unpleasant 
breath,  for  example.  Not  for  her,  make- 
shifts that  deodorize  temporarily!  She 
lets  Listerine  Antiseptic,  with  its  lasting 
effect,  look  after  her  breath  . . . lets  it 
accent  her  sweetness,  heighten  her  ap- 
peal, day  in,  day  out.  Why  don’t  you 
make  this  a must  in  daily  grooming?  It 
certainly  pays  off  in  added  attractiveness. 

lasting  Effect 

You  see,  Listerine  instantly  stops  bad 
breath,  and  keeps  it  stopped  usually  for 
hours  on  end  . . . four  times  better  than 
tooth  paste.  It’s  the  extra-careful  pre- 
caution against  offending  that  count- 
less fastidious  people  rely  on. 

Listerine  Antiseptic  does  for  you 


what  no  tooth  paste  does.  Listerine 
Antiseptic  instantly  kills  bacteria  . . . by 
millions— stops  bad  breath  instantly, 
and  usually  for  hours  on  end. 

No  Tooth  Paste  Kills  Odor  Germs 
like  This... Instantly 

You  see,  far  and  away  the  most  com- 
mon cause  of  offensive  breath  is  the 
bacterial  fermentation  of 
proteins  which  are  always 
present  in  the  mouth.  And 
research  sho  ws  that  your  breath 
stays  sweeter  longer , depending 
upon  the  degree  to  which  you 
reduce  genus  in  the  month. 

No  tooth  paste,  of  course, 
is  antiseptic.  Chlorophyll 
does  not  kill  germs  but  Lis- 
terine kills  bacteria  by  mil- 


lions, gives  you  lasting  antiseptic  pro- 
tection against  bad  breath. 

Listerine  Clinically  Proyed 
Four  Times  Better  Than  Tooth  Paste 

Is  it  any  wonder  Listerine  Antiseptic 
in  recent  clinical  tests  averaged  at  least 
four  times  more  effective  in  stopping 
bad  breath  odors  than  the  chlorophyll 
products  or  tooth  pastes  it  was  tested 
against?  With  proof  like  this, 
it’s  easy  to  see  why  Listerine 
belongs  in  your  home.  Every 
morning  . . . every  night  . . . 
before  every  date,  make  it  a 
habit  to  always  gargle  Lis- 
terine, the  most  widely  used 
antiseptic  in  the  world. 

Every  week 

2 different  shows,  radio  & television — 

"THE  ADVENTURES  OF  OZZIE  & HARRIET" 


LISTERINE  ANTISEPTIC  STOPS  BAD  BREATH 

4 times  better  than  any  tooth  paste 


p 


‘21 


All  you  have  to  do  is  give  up  hot, 
“chafey”  external  pads  and  turn  to  the 
Tampax*  method  of  sanitary  protection. 
Tampax  is  worn  internally  and  positively 
will  not  chafe  or  irritate,  no  matter  how 
warm  the  weather  is.  In  fact,  the  wearer 
doesn’t  even  feel  it,  once  it’s  in  place. 

Tampax  has  many  other  warm  weather 
advantages.  For  one  thing,  it  prevents 
odor  from  forming — and  what  a blessing 
that  is!  Tampax  also  gives  you  the  free- 
dom of  the  beach.  It  can’t  “show”  under 
a bathing  suit;  you  even  wear  Tampax 
while  you’re  swimming. 

If  you’re  planning  on  going  away, 
just  remember  this:  Tampax  is  extremely 
easy  to  dispose  of,  even  when  the  plumb- 
ing is  erratic.  Get  this  doctor-invented 
product  at  any  drug  or  notion  counter 
in  your  choice  of  3 absorbencies:  Regu- 
lar, Super,  Junior.  Month’s  supply  goes 
into  purse;  economy  size  gives  4 times 
as  much.  Tampax  Incorporated,  Palmer, 
Massachusetts. 


by  the  Journal  of  the  American  Medical  Association 

22 


ELEBRITY  CORNER 


No  shadow  of  things  to  come  marred  the  en- 
joyment of  these  guests  in  Booth  1 , in  the 
Pump  Room  of  Chicago’s  Ambassador  Hotel. 
But  of  the  six  star  couples  shown  here — 
three  have  divorced  in  the  last  five  years! 


Engagement  party.  But  marriage  was  Janet  Leigh  and  Tony  Curtis  still 

brief  for  Liz  Taylor , Nicky  Hilton  kid — but  not  about  their  marriage 


The  Clark  Gables  seemed  set  for  life. 
But  these  two  were  to  part  in  1952 


No  secret  about  who’s  Doris  Day’s 
“secret  love” — hubby  Marty  Melcher 


<s> 

PLAYTEX 


To  look  best  in  1954  s 

revealing  summer  fashions 


Hollywood  Stars 


recommen 


d 


You  can  see  for  yourself  that  this 
year’s  summer  silhouette  is  slender 
as  a stem.  That’s  why  now,  more 
than  ever,  you  need  a Playtex  Panty 
Brief  to  trim  away  extra  inches/ 
Without  a seam,  stitch  or  bone, 
Playtex  slims  you  in  complete  free- 


dom. Made  of  a smooth  latex  sheath, 
Playtex  is  invisible  under  the  most 
revealing  fashions.  And.  it  washes 
in  seconds,  dries  with  the  pat  of  a 
towel,  ready  to  wear  again,  right 
away.  At  department  stores  and  bet- 
ter specialty  shops  everywhere/ 


J 


St 


an  uten 


star  of  Paramount’s  “alaska  seas  says  . . . \ou  could 
buy  the  most  expensive  of  girdles  and  still  not  get  the 
comfort  and  control  of  Playtex/ 


Living  Panty  Brief 


playtex®  Living®  panty  brief  (without  garters) 
playtex  Living  panty  cirdle  (with  garters)  . . 

playtex  Living  cirdle  (with  garters) 

playtex  Fabric  Lined  panty  brief 

playtex  Magic-Controller * panty  brief  . . . . 


$3.50 

3.0,7 

3.95 

4.95 

6.95 


i'U.S.A.  and  Foreign  Patents  Pending  ( Prices  slightly  higher  outside  U.S.A.) 

954  International  Latex  Corporation  ...  PLAYTEX  PARK  ...  Dover  Del; 
In  Canada:  Playtex  Ltd PLAYTEX  PARK  . . . Arnprior,  Ont. 


OWEN 


SCHNURER  EMILIO  of  CAPRI 


DE  GRAB 


P 


23 


( Continued  from  page  9) 


P 

24 


"Eat  and  Grow  Thin!”  says  Corinne  Calvet 


Famous  Movie  Star  Tells  You 
How  To  Lose  Weight ! 


Ayds  has  helped  many  famous  Hol- 
lywood stars  to  a lovelier  figure.  It 
can  do  the  same  for  you ! At  drug  or 
department  stores. 


When  so  many  beautiful  Hollywood  stars  like 
Corinne  Calvet  keep  their  figures  slim  and  lovely 
with  the  help  of  Ayds,  you  know  that  the  Ayds 
way  must  work.  Let  it  help  you  to  lose  weight,  too! 

Proved  by  Clinical  Tests! 

With  Ayds  you  lose  weight  the  way  Nature 
intended  you  to — without  strenuous  dieting  or 
hunger.  A quick,  natural  way,  clinically  tested 
and  approved  by  doctors,  with  no  risk  to  health. 
With  the  Ayds  Plan  you  should  feel  healthier, 
look  better  while  reducing— and  have  a lovelier 
figure.  When  you  take  Ayds  before  meals,  as 
directed,  you  can  eat  the  foods  you  like.  No 
starvation  dieting— no  gnawing  hunger  pangs. 
Ayds  is  a specially  made,  low  calorie  candy 
fortified  with  health-giving  vitamins  and 
minerals.  Ayds  curbs  your  appetite— you 
automatically  eat  less— lose  weight  naturally, 
safely,  quickly.  It  contains  no  drugs  or  laxatives. 

Guaranteed — A Lovelier  Figure! 

Users  report  losing  up  to  ten  pounds  with  the 
very  first  box.  Others  say  they  have  lost 
twenty  to  thirty  pounds  with  the  Ayds  Plan. 
You,  too,  must  lose  pounds  with  the  very  first 
box  ($2.98)  or  your  money  back. 


Corinne  in  a boudoir  scene.  “I  can 
sincerely  recommend  Ayds  to  any- 
one who  wants  a lovelier  figure,” 
says  Corinne. 


Corinne  Calvet  loves  boating.  She 
says:  “I  can  say  from  my  own  ex- 
perience and  that  of  my  friends  that 
Ayds  is  wonderful.” 


Gorilla  at  Large 


20th; 

3-d,  technicolor 


V'V'  Stir  together  chills,  a whodunit  plot 
and  carnival  atmosphere,  and  you  get  a 
batch  of  lively  entertainment.  Newly  seduc- 
tive, Anne  Bancroft  plays  an  aerialist  with 
a tangled  marital  history,  gradually  uncov- 
ered when  the  killings  begin  along  the 
midway.  Among  the  suspects:  Raymond 
Burr,  her  current  husband;  Cameron 
Mitchell,  a law  student  with  a summer  job 
at  the  carnival;  Peter  Whitney,  Anne’s  first 
husband,  now  a slow-witted  keeper  to  the 
gorilla  that  is  the  show’s  big  attraction. 
Lee  J.  Cobb  plays  sleuth,  and  Charlotte 
Austin  romances  with  Cameron.  The  3-D 
is  good  (if  your  theatre  uses  it),  family 


Drums  Across  the  River  u'1’ 

TECHNICOLOR 

PV  Here’s  a Western  with  no  nonsense 
about  it,  getting  right  down  to  action  at 
the  start  and  keeping  it  up  briskly  all  the 
way.  Misguidedly,  Audie  Murphy  joins  a 
group  invading  Ute  Indian  territory  in 
search  of  gold.  His  dad  (Walter  Brennan) 
warns  them  not  to  break  the  treaty  and 
renew  warfare.  After  discovering  that  Lyle 
Bettger  and  henchmen  actually  want  to 
goad  the  Utes  to  battle,  Audie  turns 
against  the  gang.  The  ladies  get  only  a 
scant  look-in:  Lisa  Gaye  (Debra  Paget’s 
sister),  a wistful  Western  heroine;  Mara 
Corday,  Bettger’s  girl.  family 

Prisoner  of  War  m-c-m 

V'V'  A study  of  American  POW’s  in  North 
Korea  is  a subject  calculated  to  touch  the 
heart,  but  here  it’s  handled  shallowly. 
Ronald  Reagan  is  an  officer  who  deliber- 
ately lets  himself  be  captured,  so  he  may 
smuggle  back  reports  on  conditions  in  the 
Red  Prison  camps.  The  GIs’  reactions  are 
a cross-section  of  reality:  Dewey  Martin 
promptly  goes  “progressive”  to  get  privi- 
leges; Steve  Forrest  refuses  to  give  in  to 
Red  persuasions  and  brutality.  But  the 
characters  are  over-simplified  and  the 
story  becomes  merely  a catalogue  of 
atrocities,  without  meaning.  adult 


Arrow  in  the  Dust 


ALLIED  ARTISTS, 
TECHNICOLOR 


V'V'  A vigorous  yarn  of  Indian-fighting 
shows  Sterling  Hayden  continuing  to  de- 
velop assurance  as  an  adventure  star.  At 
the  outset,  he’s  a self-centered  type,  de- 
serting from  the  cavalry  to  head  for  Cali- 
fornia. But  he’s  persuaded  to  assume  the 
identity  and  responsibilities  of  a dead 
officer  and  go  to  the  rescue  of  a wagon 
train  threatened  by  warring  tribes.  Coleen 
Gray’s  a courageous  pioneer  drawn  to 
Hayden,  the  impostor.  family 


The  Miami  Story  Columbia 

W Though  introduced  in  documentary 
style,  this  racket-busting  melodrama  has 
no  great  degree  of  plausibility.  “Set  a thief 

( Continued  on  page  26) 


BRUSHES  OUT 
INSTANTLY 

A few  brush  strokes  and 
every  trace  of  SPRAY  NET  is 
gone.  Doesn't  flake,  linger 
on  the  scalp,  or  necessitate 
washing  your  hair  more 
often  than  you  like. 


NO  DROOPING  CURLS 
ON  DAMP  DAYS 

With  spray  net  your  hair 
doesn’t  pay  any  mind  to 
dampness.  Curls  and  waves 
stay  in,  weather  or  no.  Even 
the  most  wilting  day  won't 
wilt  your  hair-do! 

*T.  M.  REG.  U.  S.  PAT.  OFF. 


Ir  A l/ if  w J 1 AKJ I AA/if*"  Mg  p a n p 


keeps  your  hair  in  place  softly,  softly . . . without  ever 
drying  it . . . thanks  to  the  spray-on  Lanolin  Lotion  in  SPRAY  NET* 


What  a delightful  difference! 

And  the  difference  is  this  . . . 
SPRAY  NET  keeps  your  hair  soft  and 
"touchable”  while  keeping  it  in 
place  all  day  long. 

Your  hair  isn’t  glued,  or  stuck,  or 
starched  in  place  when  you  spray  on 
Helene  Curtis  spray  net. 

It’s  as  if  your  hair  grew  the  way 
you  set  it  . . . naturally  inclined  to  stay 
in  place . . . every  wandering  wisp  of  it. 

Touch  your  lingers  to  your  hair 


(and  don’t  be  surprised  if  he  wants 
to,  too).  Such  softness  is  irresistible. 

And  if  you’re  a girl  who  varies  her 
hair-do  . . . you  especially  should  try 
Helene  Curtis  spray  net.  It  keeps 
an  "up-sweep”  up  all  evening,  and 

a "down-do”  beautifully  doneall  day. 

You’ll  never  vary  from  SPRAY  NET ! 


Try  it  today. 

Regular  size  (414  oz .) 

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only  Helene  Curtis  Spray  Net  contains  spray -on  lanolin  lotion... 


'15 


( Continued  from  page  24) 


She  stuck  in  her  thumb, 

And  pulled  out  PINK  PLUM 

And  cried,  “What  a smart  girl  am  I!” 


Smart  girl,  indeed!  For  w hat  could  be 
more  tempting  to  the  lips  than  the  sun- 
ripe,  sun-sweet  color  of  fresh  plums? 
And  what  more  effective  accent  to  the 
whole  new'  range  of  Paris  blues,  off- 
pinks,  charcoal  and  black?  (Nice,  too, 
to  know  that  Cashmere  Bouquet's 
Pink  Plum  stays  pink,  stays  on — for 
hours — without  re-touching!) 

7 Cover-Girl  Colors  49X 


cashmere 


Conover  girls  pick  Cashmere  Bouquet 


"We  teach  our  Conover  School  stu- 
dents how  to  use  Cashmere  Bouquet 
Indelible-Type  lipstick.  They  apply, 
splash  cold  wafer  on  their  lips,  then 
blot.  The  color  clings  for  hours!” 


CwUfJtm J (*&^) 

■ Director  Conover  School 

bouquet 

INDELIBLE-TYPE  LIPSTICK 


Super-Creamed  to  Keep  Your  Lips  Like  Velvet 


26 


to  catch  a thief”  is  its  theme.  Barry  Sulli- 
van, a reformed  gangster,  is  hired  by  out- 
raged leading  citizens  of  Miami  to  break 
up  the  criminal  ring  gripping  the  city.  So 
he  pretends  he’s  out  to  rule  the  rackets, 
supplanting  boss  Luther  Adler.  Beverly 
Garland’s  seen  as  a sweet  youngster  look- 
ing for  her  sister  (Adele  Jergens),  who’s 
become  Adler’s  partner.  And  fair-haired 
John  Baer  scores  as  Adler’s  gunman- 
protege,  a college  grad.  family 


Southwest  Passage 


U.A., 

PATHECOLOR 


VV  An  interesting  touch  of  the  exotic 
crops  up  in  this  horse  opera— it’s  also  a 
camel  opera.  Rod  Cameron  leads  a strange 
expedition  designed  to  find  out  whether 
camels  would  be  as  useful  on  our  South- 
western desert  as  on  the  Sahara.  The  mixed 
caravan  is  joined  by  John  Ireland,  an  out- 
law posing  as  a doctor,  and  Joanne  Dru, 
his  sweetheart.  Battles  with  thirst  and 
Apaches  maintain  tension.  family 


The  Saracen  Blade 


COLUMBIA, 

TECHNICOLOR 


VV  Ricardo  Montalban  cuts  a stalwart 
figure  in  a swashbuckling  tale  of  the  Cru- 
sades and  intrigues  in  Italy.  He’s  a sup- 
posed commoner,  actually  out  for  revenge 
on  the  powerful  family  that  killed  his 
nobly  born  father.  Betta  St.  John,  his  true 
love,  is  forced  to  marry  Rick  Jason,  scion 
of  the  hated  clan.  Having  attained  knight- 
hood through  friendship  with  the  Emperor, 
Ricardo  then  claims  Carolyn  Jones,  Rick’s 
cousin,  as  his  bride,  resolved  to  treat  her 
with  scorn.  There’s  enough  plot  here  for 
three  or  four  movies,  so  events  have  to 
keep  moving  at  a fast  clip.  family 


The  Cowboy 


LIPl’ERT, 
EASTMAN  COLOR 


VV  A documentary  on  the  loved,  half- 
legendary hero  of  the  West  is  a splendid 
project,  long  overdue.  The  opening  of 
this  modest  film  casts  a spell,  close-upping 
the  wise,  weatherbeaten  faces  of  ancient 
cowhands,  who  remember  the  West  when 
it  and  they  were  young.  But  the  recon- 
struction of  old  days  on  the  range  is  not 
well  organized.  The  movie  takes  on  real 
interest  when  it  follows  two  genuine  mod- 
ern cowboys,  going  about  their  daily 
chores.  Drawbacks  are  one  scene  of  obvi- 
ous fakery  and  a musical  score  of  written- 
to-order  songs,  lacking  the  flavor  of  au- 
thentic Western  ballads.  family 


Fireman  Save  My  Child  u-i 

VV  This  headlong  bit  of  slapstick  is  a 
typical  Abbott  and  Costello  vehicle — ex- 
cept that  Bud  and  Lou  aren’t  in  it.  Hugh 
O’Brian  (quite  handsome  in  his  dark  uni- 
form) plays  straight  man,  and  Buddy 
Hackett  is  the  bumbling  comic.  Both  work 
in  a firehouse  that’s  a madhouse,  since 
the  boss  is  Spike  Jones  and  the  smoke- 
eaters  are  his  City  Slickers.  Some  of  the 
running  gags  are  good  for  laughs,  family 


mm 


fed  • • • 


(ycCMltr 


cashrnere 

bouq^ 

tm.ci>m  ->°*°ER 


Cashmere  Bomm 

"Borr°'W  "Toe°°°m 

•rSSicor^ 

->  of'ilo.V'1* 

Ca*hmu  ho*  chafed 
sm°°'  helps  ghd'es, 


skin 

*oeWn?.mooihW 

ease 


and  shoes 
on  sm°o'' 


Says 


iMr< 


HarrV 


Conover 


Direc'or 


Conover 


School 


BY  ERSKINE  JOHNSON 


know  ? 


The  guest  no  one  invites  again  is  — 

I | A lazy  daisy  Q A lem-me  girl  Q A Plain  Jane 

Thai  camera  she’s  toting  on  a tippy-canoe 
ride:  It’s  expensive;  it  belongs  to  her  hostess. 
Like  the  swim  suit  she’s  wearing  — and  the 
tennis  racket  she’ll  use  later.  Don’t  be  a lem- 
me  girl  ("lend  me”  this  or  that).  When  visit- 
ing, bring  your  own  sports  props;  why  in- 
convenience your  friends  — or  risk  being 
dubbed  a vandal?  Dodge  calendar-time  risks, 
too.  You  get  safety  you  trust  with  Kotex,  for 
this  extra  absorbent  napkin  gives  protection 
that  doesn’t  fail ! 


If  you’re  baffled  by  a French  menu  — 

I I Take  a chance  Q Get  a translation 

Better  not  stab  at  just  anything  listed.  It 
might  turn  out  to  be  snails’  brains  — when 
you  were  drooling  for  duck!  So  even  if  your 
squire  is  that  suave  new  blade-about-town 
you’d  impress  — let  him  pollyvoo  for  you. 
Ask  what  vittles  he’d  suggest.  In  any  lan- 
guage, confidence  (on  certain  days)  means 
Kotex.  One  reason:  special  flat  pressed  ends 
that  prevent  telltale  outlines. 


More  women  choose  KOTEX 
than  all  other  sanitary  napkins 


Does  that  very  swish  shindig  call  for  — 

I | A new  hairdo  Q Your  usual  style 


Yah  — you  look  different  all  right,  with  that 
new  siren-ish  chignon!  In  fact,  you’re  a 
Stranger  in  Harry’s  eyes— so  now  you  feel 
unsure.  A special  occasion’s  no  lime  lo  try 
new  hairdo  tricks.  But  at  "that”  time,  it’s  no 
trick  to  be  sure  about  whether  Regular,  Junior 
or  Super  Kotex  suits  you  best.  Try  all  3.  Each 
size  has  chafe-free  softness;  holds  its  shape! 


— *T.  M.  REG.  U.  S.  PAT.  OFF, 


When  shouldn’t  a gal  just  trust  to  luck? 

I I On  a quiz  show  Q On  certain  days  Q In  Canasta 

It’s  the  wise  lassie  who  doesn’t  lake  chances  with  personal 
daintiness  on  certain  days,  but  trusts  to  Quest*  deodorant 
powder.  Quest  was  specially  designed  for  sanitary  napkins 
. . . no  moisture  resistant  base  to  slow  up  absorption.  Unscented 
Quest  powder  positively  destroys  odors.  Use  Quest  to  be  sure! 


laughiivg 

STOCK 

Red  Skelton,  hoping  to  sleep  late  one 
Sunday  morning,  offered  a prize  to  which- 
ever of  his  youngsters  slept  the  latest. 

At  5 a.m.  son  Richard  awoke  him  and 
asked : 

“Daddy,  who’s  winning  the  prize?” 

Jan  August’s  telling  about  the  actor  who 
has  a 3-D  wife — 

“She’s  been  throwing  things  at  him  for 
years.” 

Richard  Barstow  met  a celebrated  movie 
doll  and  later  commented,  “There  was  a 
gap  in  the  conversation — her  mind.” 

King  Paul  and  Queen  Frederika  of 
Greece  were  introduced  to  Marilyn  Mon- 
roe during  their  Hollywood  visit.  But  the 
newspaper  stories  neglected  to  report  if 
the  Greeks  had  a word  for  it. 

Art  Linkletter  gave  Marie  Wilson  of  the 
low  necklines  a gag  gift — a stick  with  a 
nail  on  it,  “So  you  can  pick  up  things 
without  bending  over.” 

Sign  on  the  office  of  Milton  Berle’s  gag 
writers,  “The  biggest  quip  joint  in  town.” 

A Hollywood  night-club  press  agent  ex- 
plained why  certain  film  stars  are  invited 
on  the  cuff  to  openings,  “We  make  up  a 
list  ol  names.  Then  we  invite  a lot  of  peo- 
ple they  don’t  like — and  pray  for  a fight.” 

A bar  on  Hollywood’s  tv  row  is  serving 
a non-Dragnet  cocktail.  One  drink  and  you 
care  nothing  about  the  facts. 

Sign  on  a studio  secretary’s  desk : “Be 
Brief.  Be  Bright.  Be  Gone.” 

The  football  season  is  over  hut  Jack 
Benny’s  great  gag  lingers  on.  “This  foot- 
ball team,”  Jack  told  it,  “was  good  but 
not  very  bright.  So  the  coach  had  little 
radios  installed  in  their  helmets  so  they 
could  listen  to  the  broadcast  of  the  game 
and  find  out  who  had  the  ball.  But  one  day 
the  quarterback  tuned  in  the  wrong  station 
and  tackled  Johns  Other  Wife.” 

Double  feature  at  a drive-in  theatre — 
when  you  go  with  two  girls. 

Overheard : 

At  Ciro's:  “Do  you  mind  moving  about 
10  yards  to  the  right — you  are  sitting  di- 
rectly on  my  nerves.” 

At  the  Mocambo:  "Her  heart  is  in  the 
right  place  but  nothing  else  is.” 

At  the  House  of  Murphy:  “He’s  the  most 
modern  psychoanalyst  in  Hollywood.  He 
uses  sectional  couches  for  patients  with 
split  personalities.” 

George  Jessel,  lunching  with  Fred  Allen, 
affixed  his  monocle  to  read  the  menu. 

“What’s  the  matter,”  leered  Fred,  “isn’t 
the  other  eye  eating?” 

Ed  Wynn  was  reading  the  eye  chart  for 
renewal  of  his  driver’s  license: 
“S-C-W-A-L-S-K-I.” 

“Oh,  I know  him,”  said  Ed.  “We  played 
football  together.” 


28 


*See  Erskine  Johnson's  "Hollywood  Reel " on  your 
local  TV  station 


Joan  the  glamorous!  Joan  the  gunfighter! 

She’s  fire  and  steel  in  a story 
of  passion  and  bitter 
hatred  as  big  as  the 
great  Southwest! 


p 


29 


p 


GOOD  SUMMER  THEATRE  . . . 

lively,  lovely  Sun-Sets,  the  bras 
beautifully  shaped  for  keeps,  just  as 
you’d  expect  from  Lovable. 

Left:  “Show  Business”  with  curved 
lines  and  hip  bows  defined  by 
contrast  piping.  Lower:  “On  Stage” 
with  bra  that  crosses  in  back  or 
converts  to  a halter,  cuffed  shorts 
with  zipper  closing.  Cotton  twill, 
bras  32  to  38,  shorts  10  to  16. 
Colors  bright  as  all  outdoors, 

$3  a set! 


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CASTS 


OF 


CURRENT 


PICTURES 


ARROW  IN  7 HE  DUS'l — Allied  Artists.  Directed 
% Ug*d^y  Selander:  Bart  Laish,  Sterling  Hayden; 
C hmteuu.  Loieefl  Gray ; Lt.  King , Keith  Larsen; 
Crowshaw , Tom  lully;  Pepperis,  Carleton  Young; 
Lavqueville,  Jimmy  Wakely;  T illot  son,  Tudor  Owen; 
t rciv  Boss , Lee  Van  Cleef;  Lybargcv , John  Pickard. 


COll  BOY,  FHh — Lippert  Pictures,  Inc.  Directed 
by  Elmo  Williams:  Narration  by  Tex  Ritter;  Bill 
Conrad;  John  Dehner;  Larry  Dobkin. 


DRUMS  ACROSS  THE  RIVER — U-I.  Directed  by 
Nathan  Juran:  Gary  Brannon,  Audie  Murphy;  Jen- 
me  Marlowe,  Leslie  Gave;  Frank  Walker,  Lyie  Bett- 
ger;  Sam  Brannon,  Walter  Brennan;  Sue,  Mara 
Corday;  Morgan,  Hugh  O’Brian;  Taos,  Jay  Silver- 
heels;  Shenff  Beal,  Regis  Toomey;  Ouray,  Morris 
Ankrum;  Jed  Walker,  James  Anderson;  Les  Walker, 
George  Wallace;  Billy  Costa,  Bob  Steele;  Ralph 
Costa,  Lane  Bradford;  Marlowe.  Emile  Meyer; 
Fallon,  Greg  Barton;  Stilwell,  Howard  McNear; 
Red  Knife,  Ken  Terrell. 


FIREMAN  SAVE  MY  CHILD— U-I.  Directed  by 
Les  Goodwins:  McGinty,  Spike  Jones;  Firemen,  The 
City  Slickers;  Smokey,  Buddy  Hackett;  Smitty, 
Hugh  O’Brian;  Harry’s  wife,  Adele  Jergens;  Bill 
Peters,  Tom  Brown;  Commissioner  Spencer,  Harry 
Cheshire;  Chief  Rorty,  George  Cleveland;  Tucker, 
Tristram  Coffin;  Crane,  John  Cliff;  Mayor,  Willis 
Bouchey;  Harry,  Henry  Kulky;  Mayor’s  wife,  Madge 
Blake. 


GORILLA  AT  LARGE — Panoramic  Productions. 
Directed  by  Harmon  Jones:  Joey  Matthews.  Cameron 
Mitchell;  Laverne  Miller,  Anne  Bancroft;  Detective 
Sergeant  Garrison.  Lee  J.  Cobb;  Cyrus  Miller,  Ray- 
mond Burr;  Audrey  Baxter,  Charlotte  Austin; 
Kovacs,  Peter  Whitney;  Sliaughnessy,  Lee  Marvin; 
Mack,  Warren  Stevens;  Morse,  John  G.  Kellogg; 
Owens,  Charles  Tannen. 


HELL  BELOW  ZERO — Columbia.  Directed  by 
Mark  Robson;  Duncan  Craig,  Alan  Ladd;  Judic 
Nordahl,  Joan  Tetzel;  Bland,  Basil  Sydney;  Erik 
Bland,  Stanley  Baker;  Capt.  McPhee,  Joseph 
Tomelty;  Dr.  Howe,  Niall  MacGinnis;  Gerda  Peter- 
sen, Jill  Bennett;  Miller,  Peter  Dyneley;  Kathleen, 
Susan  Rayne;  Sandeborg,  Philo  Hauser;  Larsen, 
Ivan  Craig;  Manders,  Paddy  Ryan;  Factory  Ship 
Radio  Operator,  Cyril  Chamberlain;  Kista  Dan  Radio 
Operator,  Paul  Homer;  Ulvik,  Edward  Hardwicke; 
Martens,  John  Witty;  Christiansen,  Brandon 
Toomey;  Stewardess,  Jenine  Graham;  Office  Mana- 
ger, Basil  Cunard;  Drunken  Sailor,  Fred  Griffiths; 
Hotel  Receptionist,  John  Warren;  Captain  Peter- 
sen, Philip  Ray;  Svensen,  Paul  Connell. 


LUCKY  ME — Warners.  Directed  by  Jack  Dono-  1 
hue:  Candy,  Doris  Day;  Dick,  Robert  Cummings;  • 
Hap,  Phil  Silvers;  Duke,  Eddie  Foy,  Jr.;  Flo,  Nancy  I 
Walker;  Lorraine,  Martha  Hyer;  Thayer,  Bill 
Goodwin;  Anton,  Marcel  Dalio;  Tommy  Arthur,  I 
Hayden  Rorke;  Mahoney,  James  Burke. 


MAN  WITH  A MILLION - — U.A.  Directed  by 
Ronald  Neame:  Henry  Adams,  Gregory  Peck; 
Portia  Lansdowne,  Jane  Griffiths;  Oliver  Montpelier, 
Ronald  Squire;  Duchess  of  Cromarty,  Joyce  Gren- 
fell; Duke  of  Grognal,  A.  E.  Matthews;  Roderick 
Montpelier,  Wilfrid  Hyde  White;  Rock,  Reginald 
Beckwith;  Hastings.  Hartley  Power;  Lloyd,  Brian 
Oulton;  American  Ambassador,  Wilbur  Evans;  Mr. 
Reid,  Maurice  Denham;  Parsons,  John  Slater;  Duke 
of  Cromarty,  Hugh  Wakefield;  Tod  ( Tailor  shop), 
Bryan  Forbes;  Rente,  Ann  Gudrun;  Chop  House 
Proprietor,  George  Devine;  Mr.  Clements,  Ronald 
Adam:  Chop  House  Proprietor’s  Wife,  Joan  Hick- 


30 


son;  Bank  Director,  Ernest  Thesiger;  Consulate 
Official { Eliot  Makeham;  James,  Richard  Caldicott; 
Receptionist  ( Bumbles ),  Hugh  Latimer;  Williams, 
Jack  McNaughton;  Commissionaire,  John  Kelly. 


MIAMI  STORY,  THE — Columbia.  Directed  by 
Fred  F.  Sears:  Mick  Flagg,  Barry  Sullivan;  Tony 
Brill,  Luther  Adler;  Ted  Dclacortc,  John  Baer; 
Given  Abbott,  Adele  Jergens;  Holly  Abbott,  Beverly 
Garland;  Frank  Alton,  Dan  Riss;  Chief  Martin  Bcl- 
man,  Damian  O’ Flynn;  Robert  Bishop,  Chris  Al- 
caide; Johnny  Lokcr,  Gene  D’Arcy;  Louie  Mott, 
George  E.  Stone;  Gil  Flagg,  David  Kasday;  Charles 
Larnshaiv,  Turn  Greenway. 


FLAY GIRL — U-l.  Directed  by  Joseph  Pevney : Fran 
Davis,  Shelley  Winters;  Mike  Marsh,  Barry  Sulli- 
van; Tom  BradleY,  Gregg  Palmer;  Barron  Courtney, 
Richard  Long;  Ted  Andrews,  Kent  Taylor;  Jonathan 
Dave  Barry;  LcvJ  Martel,  Philip  Van  Zandt;  Paul, 
James  McCallion;  P audio,  Don  Avalier;  Wilbur, 
Paul  Richards;  Cab  Driver,  Carl  Sklover;  Phyllis 
Matthews,  Colleen  Miller. 


PRISONER  OF  WAR-  M-G-M.  Directed  by  An- 
drew Marton : Web  Sloane,  Ronald  Reagan;  Cpl. 
Joseph  Robert  Stanton,  Steve  Forrest;  Jesse  T read- 
man,  Dewey  Martin;  Col.  Nikita  I.  Biroshilov,  Oscar 
liomolka;  Francis  Aloysius  Belney,  Robert  Horton; 
Capt.  Jack  Hodges,  Paul  Stewart;  Maj.  O.  D.  Halle, 
Henry  Morgan ; Lt.  Georgi  M.  R’obovnik,  Stephen 
Bekassy;  Col.  Kim  Doo  Yi,  Leonard  Strong;  Mer- 
ton Tollivar,  Darryl  Hickman;  Red  Guard,  Weaver 
•Levy;  Capt.  Lang  Hyun  Choi,  Rollin  Moriyama; 
Benjamin  Julesberg,  Ike  Jones;  MVD  Officer, 
Clarence  Lung;  Axel  Horstrom,  Jerry  Paris;  Lt. 
Peter  Reilly,  John  Lupton;  Red  Guard,  Ralph  Ahn. 


RIVER  OF  NO  RETURN— 20th.  Directed  by  Otto 
Preminger:  Matt  Caldcr,  Robert  Mitchum;  Kay, 
Marilyn  Monroe;  Harry  Weston,  Rory  Calhoun; 
Mark,  Tommy  Rettig;  Colby,  Murvyn  Vye;  Benson, 
Douglas  Spencer;  Gambler,  Ed  Hinton;  Ben,  Don 
Bcddoe;  Surrey  Driver,  Claire  Andre;  Dealer  at 
C rap  Table,  Jack  Mather;  Barber,  Edmund  Cobb; 
Trader,  Will  Wright;  Dancer,  Jarma  Lewis;  Young 
Punk,  Hal  Baylor. 


SARACEN  BLADE,  THE — Columbia.  Directed  by 
William  Castle:  Pietro,  Ricardo  Montalban;  lolauthe, 
Betta  St.  John;  Enzio,  Rick  Jason;  Elaine  of  Sinis- 
eola,  Carolyn _ Jones;  Frederick  II,  Whitfield  Con- 
nor; Count  Siniscola,  Michael  Ansara;  Baron  Rogli- 
ano,  Edgar  Barrier;  Isaac,  Nelson  Leigh;  Zenobia, 
Pamela  Duncan;  Donati,  Frank  Pulaski;  Haroun, 
Leonard  Penn;  Maria,  Nyra  Monsour;  Giuscppi,  Ed- 
ward Coch;  Italian  Prince,  Gene  D’Arcy;  Gina, 
Poppy  Deluando. 


SOUTHWEST  PASSAGE— V. A.  Directed  by  Ray 
Nazarro:  Lilly,  Joanne  Dru;  Edward  Beale,  Rod 
Cameron;  Clint  McDonald,  John  Ireland;  Matt  Car- 
rol, John  Dchner;  Tall  Tale,  Guinn  (Big  Boy) 
Williams;  Hi  Jolly,  Mark  Hanna;  Jcb,  Darryl  Hick- 
man; Lieut.  Ozvens,  Stuart  Randall;  Doc  Stanton, 
Morris  Ankrum;  Sheriff  Morgan,  Kenneth  Mac- 
Donald; Constable  Bartlett,  Stanley  Andrews. 


THEM — Warners.  Directed  by  Gordon  Douglas: 
Sgt.  Ben  Peterson,  James  Whitmore;  Dr.  Harold 
Medford,  Edmund  Gwenn;  Dr.  Patricia  Medford, 
Joan  Weldon;  Robert  Graham,  James  Arness;  Brig. 
Gen.  O’Brien,  Onslow  Stevens;  Major  Kibbee,  Sean 
McClury;  Ed  Blackburn,  Chris  Drake;  A Little  Girl, 
Sandy  Descher;  Mrs.  Logo,  Mary  Ann  Hokanson; 
t apt.  of  Troopers,  Don  Shelton;  Crotty,  Fess  Park- 
er; Jensen,  Olin  Howlin. 


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31 


f 


20th  Century-Fox 
presents 


The  continuation  of  the 
greatest  story  of  love  and 
faith  in  the  history  of 
entertainment!  The  soul- 
searching  drama  of  what 
happened  to  “The  Robe”  and 
Demetrius— who  defied 
the  word  of  God  for  the 
wanton  smile  and  willing 
arms  of  the  high 
priestess,  Messalina, 
and  met  the  most 
awesome  challenge  of 
the  human  spirit... on 
the  blood-drenched  sands 
of  the  Colosseum! 


color  by 


Produced  by  FRANK  ROSS 
Directed  by  DELMER  DAVES 


In  the  Wonder  of  4-TRACK,  HIGH 


32 


1 


TECHNICOLOR 


FIDELITY  STEREOPHONIC  SOUND 


Written  by  PHILIP  DUNNE 

Based  on  a Character  Created  by 
Lloyd  C.  Douglas  in  "THE  ROBE" 


33 


BRIEF  REVIEWS 

For  fuller  reviews,  see  Photoplay  for  months  in- 
dicated. For  this  month’s  full  reviews,  see  page  8. 


PVpV  EXCELLENT  PW  VERY  GOOD  V'y'  GOOD  ^ FAIR 

A — ADULTS  F — FAMILY 


Some  3-D  films  are  also  being  shown  in  2-D  versions.  Check  your  theatre  to  see  which  is  being  used. 


PV  ACT  OF  LOVE— U.A.:  Kirk  Douglas  and 
newcomer  Daily  Robin  interpret  the  ill-starred 
love  affair  of  a Cl  and  a French  waif.  Filmed  in 
France;  interesting  backgrounds.  (A)  April 

|Pp^  BAIT — Columbia:  Efficiently  written  little 
melodrama.  Gold  prospector  Hugo  Haas  plots  to 
get  rid  of  his  partner,  John  Agar.  (A)  April 

PVPV  BEAUTIES  OF  THE  NIGHT— U.A.:  En- 
chanting French  film  (titles  in  English),  mixing 
slapstick  and  sense.  Gerard  Plnlipe,  a poor  young 
composer,  dreams  he  s a big  success  in  bygone 
limes,  wooing  Gina  Lollobrigida.  (F)  June 

P^P*V  BEA 1 THE  DEVIL — LI. A.:  Wonderfully 
wacky  characters  in  a melodramatic  satire,  shot  in 
Italy.  Bogart  tangles  with  uranium-seekers,  eccen- 
trically neglects  Gina  Lollobrigida  to  dally  with 
Jennifer  Jones.  (F)  May 

P'PV  BOY  FROM  OKLAHOMA,  THE— Warners, 
WarnerColor : Will  Rogers,  Jr.,  and  Nancy  Olson 
score  in  a delightful  yarn  of  a peace-loving  sheriff 
in  a rootin’,  tootin’  town.  (F)  March 

P'pV  CARNIVAL  STORY— RKO,  Agfa  Color: 
Gaudily  effective  drama  of  passion  and  violence 
on  the  midway.  Anne  Baxter  has  a juicy  role  as 
a German  girl  involved  with  no-good  Steve  Coch- 
ran and  likable  Lyle  Bettger.  (A)  June 

P'PV  CASANOVA’S  BIG  NIGHT— Paramount, 
Technicolor:  Wild  gags  and  slapdash  action  keep 
Renaissance  Italy  jumping.  Boh  Hope's  a timid 
tailor  who  impersonates  the  great  lover  in  a plot 
masterminded  by  Joan  Fontaine.  (F)  June 

PV  CREATURE  FROM  THE  BLACK  LAGOON 
U-I,  3-D:  Exciting  if  unscientific  science-fiction. 
Richard  Carlson  and  Julia  Adams  find  a prehis- 
toric fish-man  in  Amazon  jungles.  (F)  May 

P'P'P**  CRIME  WAVE — Warners:  Expert,  crisp 
thriller.  Detective  Sterling  Hayden  checks  on 
parolee  Gene  Nelson  and  wife  Phyllis  Kirk, 
snared  in  a robbery  plot.  (F)  September 

PV  DANGEROUS  MISSION— RKO,  Technicolor: 

Gangster  thriller  refreshingly  set  in  the  Rockies. 
Piper  Laurie  s fled  there  after  witnessing  a racket 
killing.  Vic  Mature  and  Vincent  Price  pursue  her 
with  different  motives.  (F)  June 

PW  DRIVE  A CROOKED  ROAD-Columbia: 
Mickey  Rooney’s  fine  as  a first-rate  but  under- 
sized driver-mechanic  lured  into  crime  by  Dianne 
Foster.  Taut,  well-scripted  action.  ( F)  May 

P^P'P'  ELEPHANT  WALK — Paramount,  Techni- 
color: In  a flamboyant  drama,  Liz  Taylor’s  the  be- 
wildered bride  of  Ceylon  tea-planter  Peter  Finch. 
With  exotic  locales  and  Dana  Andrews.  (F)  May 

P PVlPV  EXECUTIVE  SUITE-M-G-M:  A star- 
bright  cast  topped  by  Fredric  March  and  William 


Holden  shows  the  intense  struggle  for  power  that 
follows  a business  tycoon’s  death.  (A)  May 

PVV  GENEVIEVE— Rank,  U-I;  Technicolor: 
Nice  British  comedy  about  antique-car  fans.  With 
Dinah  Sheridan  and  dashes  of  sex.  (A)  January 

PVW  HOLLY  AND  THE  IVY,  THE— London 
Films:  Splendidly  acted  though  talkative  British 
movie.  Ralph  Richardson,  Margaret  Leighton, 
Celia  Johnson  tell  the  intimate  story  of  a country 
minister  and  his  unhappy  family.  (A)  May 

PVV  INDISCRETION  OF  AN  AMERICAN 
WILE — Columbia:  Unusual  drama,  shot  in  Rome. 
Tourist  Jennifer  Jones  tries  to  end  her  love  affair 
with  an  Italian  (Montgomery  Clift).  (A)  May 

V'v'V'V  IT  SHOULD  HAPPEN  TO  YOU— Co- 
lumbia: Clever,  likable  comedy  starring  Judy 
Holliday  as  a fame-hungry  girl  in  New  York,  wooed 
by  Jack  Lemmon  and  Peter  Lawford.  (F)  April 

P'p'  LONG  WAIT,  THE— U.A.:  Gruesome,  gory 
Spillane  mystery.  Amnesia  victim  Anthony  Quinn, 
accused  of  murder,  tangles  with  racketeer  Gene 
Evans  and  four  alluring  girls.  (A)  June 

PV  MA  & PA  KETTLE  AT  HOME— U-I:  More 
knockabout  comedy  by  Marjorie  Main,  Percy 
Kilbride.  To  help  son  Brett  Halsey  win  a contest, 
they  try  to  convince  a magazine  editor  that  their 
ramshackle  old  home  is  a model  farm.  ( F)  June 

P'PV  NAKED  JUNGLE,  THE— Paramount,  Tech- 
nicolor:  Neatly  made  thriller  with  a different  sort 
of  villain.  Eleanor  Parker  comes  as  a mail-order 
bride  to  Charlton  Heston’s  plantation  deep  in  the 
jungles  of  South  America.  ( F)  June 

P'PV  NEW  FACES — 20th;  CinemaScope,  color: 
Bright,  sophisticated  stage  revue  filmed  with  the 
original  cast,  including  Eartha  Kitt.  (F)  May 

P'p'P'P'  NIGHT  PEOPLE — 20th;  CinemaScope, 
Technicolor:  Crackling,  well-dialogued  melodrama 
of  modern  Berlin.  Gregory  Peck’s  excellent  as  an 
Army  officer  bargaining  for  the  freedom  of  a GI 
kidnapped  into  the  Red  East  Zone.  (F)  June 

PV  PHANTOM  OF  THE  RUE  MORGUE— 
Warners;  3-D,  Technicolor:  Chiller  about  atrocious 
murders  in  Paris  of  1900.  Psychologists  Steve  For- 
rest and  Pat  Medina  are  threatened.  (F)  May 

PVPV  PICKWICK  PAPERS,  THE— Mayer- 
Kingsley:  Mellow,  adeptly  stylized  British  version 
of  Dickens’  beloved  novel.  James  Hayter  and  Nigel 
Patrick  head  a fine  cast.  (F)  April 

P'P'p'P'  PRINCE  VALIANT — 20th;  CinemaScope, 
Technicolor:  Rousing  adventure  yarn  of  knight- 
hood days.  Bob  Wagner's  the  exiled  prince  who 
seeks  justice  and  fights  treachery  at  the  court  of 


Arthur.  James  Mason  takes  care  of  the  menace; 
Janet  Leigh,  the  romantic  angle.  (F)  June 

PV  RAILS  INTO  LARAMIE-U-I,  Technicolor; 
Lively  outdoor  action.  Opposed  by  old  friend  Dan 
Duryea.  John  Payne  tackles  a racket-ridden 
town  where  railroad-building  is  stalled.  (F)  June 

PVlP  RED  GARTERS — Paramount,  Technicolor: 
Westerns  take  a ribbing  in  an  imaginative  musical. 
Rosemary  Clooney  runs  the  dance  hall;  Guy 
Mitchell  trails  a killer;  Pat  Crowley  and  Joanne 
Gilbert  are  decorative.  (F)  April 

P'P'P'  RHAPSODY — M-G-M,  Technicolor:  Ro- 
mance given  weight  by  fine  music  and  real  Euro- 
pean  locales.  Liz  Taylor's  a possessive  rich  girl  who 
loves  violinist  Vittorio  Gassman.  (A)  May 

PVp'  RIDE  CLEAR  OF  DIABLO— U-I,  Teclini- 
color:  Fast,  humorous  Audie  Murphy  horse  opera, 
with  luscious  Susan  Cabot.  Dan  Duryea  has  an 
amusing  heavy  role.  (F)  April 

P'PV  RIDING  SHOTGUN— Warners,  Warner- 
Color:  ITnassuming  Western  with  unusual  twists. 
Randolph  Scott,  a stagecoach  guard,  tries  to  save 
a town  threatened  by  a bandit  gang — nearly  gets 
lynched.  Joan  Weldon  stands  by  him.  (F)  June 

PV  ROSE  MARIE — M-G-M;  CinemaScope,  Tech- 
nicolor: Conventional  operetta,  full  of  long-loved 
songs.  Ann  Blyth’s  the  French-Canadian  hoyden, 
courted  by  Fernando  Lamas,  a dashing  trapper, 
and  Howard  Keel,  a bluff  mountie.  (F)  June 

P'PV  SASKATCHEWAN — U-I,  Technicolor:  Sat- 
isfying Northwestern.  In  the  Canadian  Rockies, 
mountie  Alan  Ladd  defends  Shelley  Winters  and 
other  whites  against  warring  Sioux.  (F)  May 

. 

P'PV  SIEGE  AT  RED  RIVER,  THE— 20th,  Tech- 
nicolor:  The  Civil  War’s  fought  out  West,  with 
plenty  of  local  color  and  vigorous  action.  Con- 
federate Van  Johnson  steals  a new  Union  weapon, 
woos  a dear  enemy,  Joanne  Dru.  (F)  June 

lP*PlP  TENNESSEE  CHAMP— M-G-M,  Ansco 
Color:  Cheerful,  off-beat  tale  of  a religious  hill- 
billy (Dewey  Martin)  groomed  for  the  prize  ring 
by  unscrupulous  manager  Keenan  Wynn.  Shelley 
Winters  scores  as  Wynn’s  wife.  (F)  May 

PVp'  WITNESS  TO  MURDER— U.A.:  In  genious  j 
suspense  movie.  Barbara  Stanwyck  sees  neighbor 
George  Sanders  commit  a murder,  reports  it — 
then  can’t  get  the  police  to  believe  she  isn’t  a 
neurotic,  subject  to  delusions.  (F)  June 

PV  YANKEE  PASHA — U-I,  Technicolor:  Florid 
adventure  story.  Jeff  Chandler's  a frontiersman 
come  to  North  Africa  to  rescue  Rhonda  Fleming, 
enslaved  by  Barbary  pirates.  (F)  May 


Mj  may  u 


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I recently  made  a bet  with  a friend  con- 
cerning Marie  Wilson's  correct  age.  Could 
you  tell  me  where  and  when  she  uas  horn? 
Sct.  R.  W.  Mathf.ws 
c/o  FRO  San  Francisco,  California 
She  was  horn  in  Anaheim.  California,  on 
the  last  day  of  Cl  17. — ED. 


Marie  Wilson  is  ageless 


My  husband  made  a bet  with  a buddy 
about  when  "The  Outlaw”  came  out. 

Mrs.  Robert  Meau 
Deer  Lodge,  Montana 
In  1943,  withdrawn , re-released  in  1950. 
—ED. 

“The  Eddie  Cantor  Story”  was  wonder- 
ful! Who  played  Harry  Harris,  the  doctor? 

Anna  Jane  Smith 
Montgomery,  Alabama 
That  was  Arthur  Franz. — ED. 

Would  you  please  tell  me  which  picture 
was  released  first  -“The  Wild  North”  or 
“Singin’  in  the  Rain”? 

A/3c  Sam  Di  Angelo 
RM  San  Francisco,  California 
“The  Wild  North ” was  released  in  March. 
1952,  approximately  one  month  before 
“Singin’  in  the  Rain.” — ED. 

My  girl  friend  and  I have  been  arguing 
about  who  had  the  supporting  role  of  Robert 
Taylor's  uncle  in  “Quo  Vadis.”  I say  it  was 
James  Mason,  she  says  Leo  Genn. 

D.  B. 

Oceanside,  California 
She’s  right.  It  was  Leo  Genn. — F.D. 


A round-up  on  Ricurdo 


Will  you  please  tell  me  something  about 
Ricardo  Montalban,  who  played  in  "Som- 
brero." Is  he  married,  what's  his  address? 

F.  1.  Doeel 
Seaside,  California 
He  is  married  to  Loretta  Young’s  sister. 
Georgianna.  They  hare  4 children.  Write 
him  at  M-G-M. — ED. 

In  the  picture  “Decision  Before  Dawn,’ 
who  played  the  German  medic  whose  name 
in  the  piv_  :-e  was  Happy ? I have  never 
seen  him  before  and  thought  he  was  good. 

Nora  Graham 
Winnipeg,  Manitoba 


(Continued  from  page  6) 


FAMOUS 


That  was  Oskar  Werner,  who  has  re- 
mained in  Europe. — ED. 

Please  settle  an  argument.  How  old  is 
Sonja  Henie,  and  how  many  times  did  she 
win  the  Olympics? 

Edna  Armstrong 
Detroit,  Michigan 

She  was  horn  April  8.  1918.  in  Oslo.  She 
has  won  the  Olympic  Games  3 times. — ED. 

I have  just  seen  “Young  Bess”  and 
thought  it  was  wonderful.  I would  like  to 
know  who  played  the  young  page,  Burnaby. 

Karen  Unruh 

West  Hartford,  Connecticut 

Robert  Arthur  played  Barnaby. — ED. 

f would  appreciate  your  telling  me  Scott 
Brady’s  real  name  and  where  I can  get  in 
touch  with  him. 

Er\a  Ziaiaier 
Bronx,  New  York 

II  is  real  name  is  Gerard  Tierney,  and 
since  he’s  been  free-lancing,  suggest  you 
write  him  at  the  Screen  Actors  Guild. — ED. 


Evelyn  Keyes:  She's  “it" 


In  the  picture,  “The  Jolson  Story,”  who 
played  his  wife — Joan  Caulfield,  Evelyn 
Knox  or  Evelyn  Keyes? 

Joan  .1.  Mastsious 
Jersey  City,  New  Jersey 

Evelyn  Keyes  played  Julie  Benson. — ED. 

John  Wayne  has  always  been  one  of  my 
favorite  actors  ever  since  I can  remember. 
Could  you  tell  me  how  long  he  has  been  in 
motion  pictures  and  his  first  starring  role? 

Mary  Ann  Perry 
Akron,  Ohio 

lie  has  been  appearing  in  motion  pictures 
for  20  years,  ever  since  “ The  Big  Trail”  for 
Warners  in  1930.— ED. 

I would  like  to  know  the  name  of  the 
man  who  played  the  part  of  Grace  Kelly’s 
husband  in  “Mogambo.” 

Susan  Petroff 
Iron  River,  Michigan 

Donald  Nordley  was  played  by  Donald 
Si  tt  den. — ED. 

I would  like  to  praise  Doris  Day’s  won- 
derful performance  in  “Calamity  Jane.”  No 
one  can  take  the  place  ol  her  bright,  ex- 
citing, warm  personality. 

I would  like  to  know  her  real  name  and 
her  age.  My  girl  friend  seems  to  think  she 
is  in  her  late  thirties.  1 say  she's  about  35. 

Edeaine  Freisinghr 
La  Grange,  Illinois 

Doris  Day  was  born  Doris  Kappelhoff  in 
1924.— ED. 

Several  years  ago  my  friends  and  I saw 
“Broken  Arrow,”  a wonderful  picture.  Could 
you  please  tell  us  who  Debra  Paget  mar- 
ried? It  will  settle  an  argument. 

Carrol  Tate  and  Marilyn  Viele 
Sjiringfield,  Illinois 

It  was  Jimmy  Stewart. — ED. 


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# And  “The  Caine  Mutiny"  is  another  of  several  excellent  films  that  have 
come  alortg  this  year  to  prove  it  I 

It’s  fun  to  see  two  newcomers,  Robert  Francis  and  May  Wynn,  introduced  to 
screen  audiences  in  a fine  tender  love  story.  It's  rewarding  to  see  Humphrey 
Bogart,  Van  Johnson  and  Fred  MacMurray  in  such  splendid  roles  — they've 
never  been  better. 

When  you’re  in  need  of  relaxation,  in  need  of  shedding  the  cares  of  the  day, 
there  is  nothing  better  than  a good  motion  picture  to  take  you  out  of  this  world. 
We  highly  recommend  “The  Caine  Mutiny"  as  the  film  that  can  do  it. 


EDITOR-IN-CHIEF 


39 


Sun-Kissed  Stars 


Elaine  Stewart:  This  water 
nymph  dove  right  in  for  the  role 
she  wanted — and  got! 


Rhonda  Fleming : She’s  in 
troubled  waters  now,  but  that  trip 
to  Europe  may  help  her 


Stern 

inside 

stuff 

Cal  York’s  Gossip 

of  Hollywood 


Sweet 


Sun-kissed  Sweeties:  A lass  with  a deli- 
cate air — and  a still  more  delicate  skin 
— Piper  Laurie  takes  her  sunbathing  in 
small  doses.  But  with  a figure  like  hers, 
not  even  a shady  porch  could  put  Piper 
in  the  shade!  ...  Yes,  there  was  good 
reason  for  those  crazy,  mixed-up,  low- 
flying  planes  over  RKO!  For  her  role 
of  the  part-Cuban  girl  in  “Big  Rain- 
bow,” Jane  Russell  had  to  have  creamy 
coffee-colored  skin.  So  she  sun-tanned 
that  terrific  torso  every  day  on  the 
studio  roof!  And  speaking  of  Jane  who 
loves  to  pound  that  pillow  until  noon 
when  she  isn’t  working,  she’s  up  at 
dawn  these  days.  Her  newly  formed 
Russ-Field  Corporation  leased  office 
space  on  the  Goldwyn  lot.  Madame  her- 
self is  supervising  the  decorating  and 
it’s  quite  a sight  to  see  her  in  overalls 


Jane  Russell:  Her  sun  baths 
on  the  studio  roof  had  local  planes 
dropping  to  a new  low! 


Piper  Laurie:  She  loves  to 
swim — but  leave  her  in  the  sun 
too  long  and  Piper  burns ! 


Estabrook 


Blackwell.  Jt. 


wielding  a wicked  paint  brush!  . . . 
There’s  a wise  brain  inside  Elaine  Stew- 
art’s beautiful  head.  She  hasn’t  worked 
for  director  Vincente  Minnelli  since 
that  sensational  bit  in  “Bad  and  the 
Beautiful,”  which  launched  her  career. 
So  when  she  heard  that  Vincente  need- 
ed her  type  in  a short  modern  sequence 
for  “Brigadoon,”  she  went  after  the  role 
and  got  it.  Contrary  to  all  those  serious 
romance  rumors,  Elaine  says:  “Leo  the 
Lion  is  my  only  love!”  That’s  what  the 
girl  said ! . . . Everyone  knew  something 
was  bothering  luscious-looking  Rhonda 
Fleming  when  she  arrived  at  the  studio 
red-eyed  to  work  in  “Yankee  Pasha.” 
Now  everyone  knows!  Rhonda  and  Dr. 
Lew  V.  Morrill  have  separated.  Their 
courtship  was  tempestuous  and  their 
marriage  simmered  down  to  a series  of 


near-separations.  The  toast  of  Techni- 
color hopes  she  can  make  a movie  in 
Europe  and  get  away  from  it  all  . . . 
And  while  we’re  in  Europe,  Anne  Fran- 
cis turned  thumbs  down  on  those  Italian 
film  offers  and  is  remaining  right  in 
Hollywood.  In  love  with  Bam  Brice,  she 
believes  a husband  and  wife  should  stay 
together  if  they  want  to  remain  to- 
gether. Since  “Susan  Slept  Here,” 
Anne’s  been  helping  Bam  complete  that 
movie  he’s  making.  It’s  actually  his 
thesis  and  the  subject  deals  with  the 
effect  of  narcotics.  They’re  both  pray- 
ing it  will  win  him  his  master’s  degree. 

Helping  Hand:  Cal  feels  confident  that 
his  readers  will  agree  on  the  following. 
Much  has  been  written  about  Guv 
Madison’s  (Continued  on  page  80) 


Anne  Francis:  Not  even 

Italy's  sunny  shores  could  lure  her 

away  from  husband  Bam  Price 


BY  HEDDA  HOPPER 


Jean  Simmons  lives  on  an  acre  of  heaven — with  views  that  are  down  to  earth! 


• Jean  Simmons  had  invited  me  to  her  home 
many  times,  but  I hadn’t  managed  to  get  there 
until  the  morning  of  our  interview.  When  she 
phoned,  just  as  I was  putting  on  my  new  hat,  to 
suggest  she’d  meet  me  at  a given  point  and  lead 
the  way,  I was  skeptical  of  the  need  for  such  service, 
but  by  the  time  I spotted  her  little  putty-colored 
Jaguar  waiting  at  one  of  the  hairpin  curves  of  the 
highway,  I was  eager  to  encounter  my  guide. 

I began  driving  behind  her,  and  suddenly  her 
roadster  plunged  through  a gap  in  the  shrubbery 
and  onto  a curving  lane  which  wound  sharply 
around  the  mountain  until  we  were  climbing  almost 
straight  up.  Speeding  through  a breezeway,  we 
came  out  on  a huge,  circular  brick-paved  court  with 


a swimming  pool.  The  low  gray  house  circled  three 
sides  of  the  landing  spot  like  a protecting  arm. 
Below  us  lay  the  world,  stretching  off  to  an  infinity 
of  sea  and  mountains  on  every  side. 

“How  did  you  find  this  eagle’s  nest?”  I asked. 

“I  didn’t  even  know  it  was  here.” 

“We  used  to  go  prowling  around,  and  one  day 
we  came  on  it,”  Jean  said.  “It  wasn’t  finished — - 
there  was  nothing,  really — not  a tree  or  a plant  or 
a blade  of  grass.  We  completed  the  building  of  the 
house  and  Jimmie  brought  up  every  single  thing, 
even  that  birch  tree  over  the  kitchen  roof.  He 
planted  the  hill  all  the  way  down  to  the  main  road — 
about  an  acre  in  all.” 

“An  acre  of  heaven,”  ( Continued  on  page  101) 

Color  portrait  by  Smith 


42 


State  of  Mind 


BY  DAN  SENSENEY 

i 

The 

Day 

Fate 

Smiled 

Their  private  griefs  were  forgotten  in  the  laughter 
they  shared.  They  were  learning  to  live  again 

• They  did  not  run  to  meet  him.  That  was  the  frightening  thing. 
Always  before  when  he  had  entered  the  house — even  if  it  were 
only  after  a day  at  the  studio — they  had  come  laughing,  eager,  in 
happy  rivalry  to  see  which  could  reach  him  first.  Now  they  stood 
rather  too  close  together,  the  girl  just  into  her  teens,  the  boy  younger 
and — waited.  It  was  long  past  their  bedtime.  They  had  been  waiting 
for  hours.  But  not  to  greet  him  this  time — rather,  to  know  if  what 
they  had  read  in  the  newspaper  and  heard  on  the  radio  was  true. 

He  glanced  involuntarily  at  the  nursemaid  who  stood  a little  apart, 
and  she  gave  him  a helpless  look  which  meant,  “I  tried.  But  you 
know  how  Susan  loves  to  read  the  paper.  She  saw  it  before  I did.  I’m 
sorry.”  He  gave  a little  nod,  forcing  back  the  bitterness  he  couldn’t 
help  feeling.  It  wasn’t  her  fault — it  wasn’t  anyone’s  fault,  really. 
Unless,  maybe,  it  was  his  own. 

With  that  thought  hurting  him,  Fred  MacMurray  crossed  the  room 
to  his  children.  He  dropped  to  his  knees,  putting  an  arm  around 
each,  holding  them  close.  “Susan — Bobby — ” he  said  huskily.  “I’m 
not  married.  Don’t  you  know  I wouldn’t  marry  anyone  without  telling 
you  first?  Don’t  you  know  I couldn’t  do  {Continued  on  page  97) 


June  Haver’s  marriage  to  Jimmy  Zito  was  unhappy 
but  it  made  June  a wiser,  more  understanding  person 


With  Dr.  John  Duzik,  June  hoped  for  a new  life, 
but  his  untimely  death  brought  fresh  heartbreak 


Inconsolable  over  loss  of  beloved  wife  Lillian , 
Fred  MacMurray  all  but  retired  from  public  life 


44 


Whatever  his  romantic  future,  Fred  made  sure  his 
children  Bobby  and  Susan  would  trust  his  judgment 


— 


Rock  Hudson’s 
Tip  to 
Teen-Agers: 


Teen-ager  Margie  Thomas  took  a tip  from  Rock 


Call  That  Boy  A Square” 


BY  ROCK  HUDSON 


• Having  nothing  in  particular  to  do  one  evening, 
1 made  a short  hop  over  to  see  some  old  friends. 
We  were  all  sitting  around  laughing  and  talking- 
having  one  good  old  gab  fest — when  the  telephone 
rang.  Conversation  came  to  a fast  stop  as  Joan, 
their  teen-age  daughter  jumped  from  her  easy  chair, 
hurling  the  family  pooch  out  of  her  lap,  and  raced 
to  the  phone  as  if  the  whole  world  were  headed  for 
that  same  call.  A few  minutes  later,  she  was  back 
again. 

“That  was  quick,”  her  father  said,  giving  her  a 
hep  look.  “‘The  Crumb’?” 

“I  don’t  know  why  he  keeps  calling,”  said  our 
pretty  heroine  with  disgust.  “I  wouldn’t  be  caught 
dead  with  him — let  alone  alive  at  the  movies.” 

“Why  not?”  inquired  not-so-hep  old  Uncle  Rock. 

“Somebody  might  see  us  together.”  She  shud- 
dered at  the  thought. 

“New-type  monster?”  I asked  pleasantly. 

Omits  • Rock  is  in  " Magnificent  Obsession” 


“Same  old  kind,”  said  her  father.  “There’s  a crop 
every  year,  I understand.” 

“Two  heads — both  square,”  I guessed. 

“Well,  no,”  grinned  our  girl.  “But  it  might  help. 
At  least,  then  he’d  have  a choice.  It’s  just  that  he’s 
so  laughable.  Gawky.  All  hands  and  feet.” 

“Jimmy’s  an  awfully  nice  boy,”  the  girl’s  mother 
said.  “And  he  comes  from  a fine  family.  Seems  to 
me  I remember  a certain  young  lady  who  went 
through  that  gawky  stage  herself,  not  so  long  ago.” 

“Oh,  mother — I wasn’t  rude,”  said  the  girl.  Then 
she  flipped,  “I  even  said  goodbye  before  I hung  up.” 

Oh,  brother,  girls  that  age  don’t  know  how  cruel 
they  are,  I thought,  because  I have  a few  memories 
myself  of  a time  when  I was  a gawky  kid  back  in 
Winnetka,  Illinois. 

One  of  my  teen-age  loves  was  a girl  named  Nancy. 
It  was  the  most  beautiful  name  I’d  ever  heard. 
And  Nancy  was  the  most  ( Continued  on  page  87) 


47 


No  one  was  wearing  red  before  the  party  so  three  girls 
changed  their  minds  at  the  last  minute  — and  wore  red 


Teacher  Dick  and  pupil  Terry  did  one  of  their  routines. 
"Terry's  been  one  of  my  best  pupils,"  said  Dick  proudly 


Food  being  the  way  to  a man's  heart,  be  he  guest  or  host, 
Mitzi  served  a buffet  supper  which  was  fun  and  delicious 


Mitzi  Gaynor's  blind  date  party  began  as 
a dinner-time  conversation.  "It's  spring," 
said  Mitzi  to  her  mother  and  her  fiance. 
Jack  Bean,  that  evening.  "And  I don't 
need  a calendar  to  know  it." 

"You're  real  crazy,"  grinned  Jack.  "But 
I love  you." 

"And  I love  you,"  said  his  girl.  "That's 
just  it.  It's  my  theory  that  everyone  should 
be  in  love." 


S S3 


PHOTOS 


STERN 


"I  second  the  emotion,"  was  Mr.  Bean's 
enthusiastic  reply. 

"And  Dick  Allan  should  ask  Terry  Moore 
for  a date,"  Mitzi  went  on. 

"Mitzi,"  said  her  mother.  "Eat  your 
dinner." 

"Why  should  Dick  Allan  ask  Terry 
Moore  for  a date?"  asked  the  reasonable 
Mr.  Bean.' 

Mitzi's  reply  was  eauallv  reasonable. 


Terry  and  Dick  had  known  each  other  for 
nearly  a year.  Terry'd  taken  dancing  les- 
sons from  Dick  at  the  Fox  lot.  But  Richard 
had  confided  to  Mitzi  he'd  never  had  nerve 
enough  to  ask  ( Continued  on  page  79) 


Sitting  in  front  row:  Mitzi,  Lori 
Nelson,  Dolores  Dorn,  Susan  Cabot. 
Back  row:  Jack  Bean,  Terry  Moore, 


Breaking  through  the 


are  the  facts  about 


Dean’s  and  Jerry’s  feud 


LEWIS  Breaking  Up? 

By  Maxine  Arnold 


I T happens  to  every  team.  One  of  them  has 
a headache  some  day  and  gets  annoyed  at  his 
partner  for  something  that  any  other  day  he 
would  brush  aside  with  a cheerful  grin.  Im- 
mediately the  rumors  start  to  fly  hot  and  heavy. 

It  happened  recently  to  Martin  and  Lewis, 
as  it  must  eventually  happen  to  every  team, 
but  there’s  no  stopping  this  irrepressible  pair. 
In  the  face  of  rumors  that  they’ve  lost  their 
magic  formula  and  that  theirs  is  becoming  a 
partnership  in  name  only.  Dean  and  Jerry  re- 
cently issued  a statement  acknowledging  that 
they  were  in  fact  going  to  break  up  and  go 
their  separate  ways — on  July  25,  1996.  This 
will  be  some  forty-two  years  from  today! 

For  those  close  to  Martin  and  Lewis,  any- 
time within  the  next  couple  of  hundred  years 
would  still  be  too  soon.  It  would  seem  incon- 
ceivable that  either  Dean  or  Jerry  could  ever 
really  split  up.  They’ve  been  bound  too  long 
together  by  a handshake  that’s  survived  an 
eternity  of  experience.  Their  lives  have  been 
linked  by  too  much — and  too  many. 

Linked  by  a sea  of  happy  faces  which 
stretches  limitlessly,  by  the  sound  of  laughter 
— to  them  the  most  magical  sound  in  the  world 
— by  the  happy  smiles  of  children  like  a little 
boy  named  Bill  who  sat  in  the  front  row  of 
the  El  Capitan  Theatre  the  other  day  watching 
their  television  rehearsal  with  feverish  blue 
eyes,  as  though  committing  all  of  it  to  heart 
and  memory.  Beside  him,  a grave  woman  smiled 
when  he  smiled,  laughed  when  he  laughed 
and  thanked  Dean  Martin  and  Jerry  Lewis  with 
all  of  a mother’s  heart  for  playing  the  whole 


jr* 


51 


Are  MARTIN  and  LEWIS  Breaking  Up?  — continued 


1947 — on  their  uhix 


Two  kindred  comedians  with  the  heart  and  humor  of  one 


In  1951,  a moment  to  cherish — Pattis  happy 
tears  at  surprise  seventh  wedding  celebration 


show  straight  to  her  boy — to  those  excited 
and  feverish  eyes  which  might  never  see 
them  again,  which  might  never  see  any- 
thing again.  He  faced  an  operation  that 
might  leave  him  blind.  Anxious  to  give 
him  something  to  remember,  his  parents 
had  asked  what  he  would  like  to  see. 
“Martin  and  Lewis,”  he  said  with  no  hesi- 
tation. And  so  this  little  boy  became  one 
more  link  binding  Martin  and  Lewis  to- 
gether in  a seemingly  unbreakable  chain. 

Their  lives  are  linked  too  by  all  those 
who  may  be  affected  by  the  $6,500,000 
they’ve  raised  toward  the  eradication  of 
Muscular  Dystrophy  and  by  their  own 
knowledge  that  together  some  day  they 
might  well  be  the  financial  means  of  wip- 
ing this  dread  disease  completely  out. 

The  music  Dean  Martin  and  Jerry  Lewis 
have  made  together  is  the  happy  music. 


A great  team,  a great  moment.  In  1953  they 
won  Photoplay  Awards  as  top  team  of  the  year 


IV hen  Dean  and  Jeanne  separated,  temporarily, 
Jerry  stood  by  with  advice,  room  in  his  home 


The  first  appearance  of  Martin  & Lewis  on  TV — a team  bound  together  by  the  tough  times  and  the  triumphs,  by  the  million  laughs  they've  had 


The  sweetest  music  this  side  of  any  place. 
The  laughter  to  lighten  the  lives  of  mil- 
lions of  human  beings  the  world  over  in 
tense  times  when  they’ve  needed  it  most. 
Laughter  which  must  not  stop. 

More  personally,  Martin  and  Lewis  will 
always  be  b-  und  together  by  the  million 
laughs  they’ve  had,  the  tough  times  and 
the  triumphs  they’ve  shared  since  they  met. 

Theirs  has  been  the  most  perfect  wed- 
ding of  talent  in  recent  show  business. 
Their  magic  formula,  the  heart  behind 
their  humor  is  an  affinity  almost  too  close 
to  define.  Together  the  handsome  crooner 
and  the  comedian  with  the  chrysanthemum 
haircut  have  proven  themselves  to  millions 
of  laughing,  cheering  admirers.  As  a team 
they’ve  been  indivisible  and  indestructible. 
And  everyone  who  has  tried  to  separate 
them  has  gotten  a (Continued  on  page  93) 


Let  Martin  & Lewis  know  how  you  feel:  P.O. 
Box  No.  3155  Olympic  Station , Beverly  Hills 


53 


Hollywood’s  headline 
hunters  should  take 
a lesson  from  some 
stars  whose  private  lives 
and  careers  prove 


Grace  Kelly,  here  with  Clark  Gable,  learned  in 
time  that  the  wrong  kind  of  publicity  has  its  price 


BY  SHEILAH  GRAHAM 


• Just  a few  short  years  ago,  Ann 
Blyth,  Jane  Powell,  Liz  Taylor,  June 
Allyson,  Jeanne  Crain,.  Ava  Gardner. 
Lana  Turner,  Shelley  Winters  and 
Marilyn  Monroe  were  growing  up,  ma- 
turing in  Hollywood.  Today,  Piper 
Laurie,  Debbie  Reynolds,  Terry  Moore. 
Grace  Kelly  and  Elaine  Stewart  are 
in  the  same  position  the  older  stars 
once  occupied.  For  some,  stardom  is 
an  overnight  miracle;  for  others,  it 
has  taken  years  of  hard  work  to  achieve 
success.  But  no  matter  which  way  it 
comes,  the  one  thing  both  youngsters 
and  their  older  sisters-in-glamour  have 
discovered  is  that  it  pays  to  be  good! 

Notoriety  is  not  fame — this  Jane 
Powell  has  now  discovered.  When  a 
star  breaks  the  rules  of  decent  human 
behavior  laid  down  by  society,  he  or 
she  pays  for  it.  even  as  you  and  I. 
To  the  public,  a little  less  than  a year 
ago.  Jane  Powell  was  a symbol  of  the 
perfect  wife,  mother  and  star.  Her 
home  life,  outwardly,  was  an  example 
of  what  every  marriage  should  be. 
Then  came  not  only  her  infatuation 
for  dancer  Gene  Nelson,  with  whom 


When  Jane  Powell,  above  with  Pat  Nerney,  stepped 
out  of  “perfect  wife”  role,  her  career  suffered 


she  worked  in  “Three  Sailors  and  a 
Girl,”  but  her  outward  flaunting  of 
propriety  which  caused  her  marriage 
to  Geary  Steffen  to  break  into  a million 
pieces.  When  Jane  detoured  from  the 
straight  and  narrow,  the  people  who 
loved  her  were  disappointed,  and  dis- 
approval was  expressed  at  the  box 
office.  For  Jane  herself,  there  is  the 
heartbreak  of  a broken  home  for  her 


two  young  children,  Geary  and  Suzanne, 
the  rebuilding  of  her  personal  life  and 
the  rebuilding  of  her  career.  For  those 
who  dance  to  the  piper  must  pay  and 
pay  and  pay. 

At  all  the  glittering  parties  during 
recent  months  in  Hollywood,  where 
beauties  were  a dime  a dozen,  Lana 
Turner  and  Lex  Barker  drew  lots  of 
admiring  attention.  Why?  Lana  with 

1 


54 


Jeanne  Crain,  with  Paul  Brinkman,  changed  her  ap- 
pearance— and  her  mind,  about  those  “bad  girl”  roles 


Liz  Taylor  (Mrs.  Mike  Wilding)  learned  that  growing 
up  is  as  important  for  your  heart  as  for  your  head 


Ava  Gardner  continues  to  make  news — and  the  Hap- 
piness she  wants  50  much  continues  to  avoid  her 


Mrs.  Lex  Barker  is  happier  and  far  more  attractive 
to  her  public  than  the  Lana  who  made  the  headlines 


her  brown  hair  was  certainly  a less 
flashy  femme  than  in  other  days.  But 
the  very  look  in  her  eyes,  the  relaxed 
manner,  the  happiness  spoke  loudly  oi 
a woman  who  is  loved,  and,  because 
she  is  loved,  has  an  inner  strength 
which  cannot  be  denied.  And  every- 
one who  admires  her  as  a talented 
actress  rejoiced  with  her.  Her  marriage 
to  Lex  Barker  seems  to  have  swung 


her  successfully  over  to  the  side  of 
convention. 

Lana’s  past  amours  once  kept  her 
in  a most  uncomfortable  hot  spot  as 
top  news.  Lana’s  present  calm  and  the 
obvious  adjustment  of  her  life  gives 
the  lie  to  one  of  Hollywood’s  tritest 
cracks  that  it  doesn’t  matter  what  they 
say  or  print  about  you,  just  as  long 
as  they  spell  your  name  right.  Lana 


would  be  the  first  to  say  that  when  you 
play  fast  and  loose  with  high  stand- 
ards in  personal  life,  life  has  a way 
of  slapping  you  down.  Liz  Taylor  is 
another  woman  who  has  learned  that 
the  mistakes  of  youth  can  cost  dearly. 
However,  now  that  she  is  the  wife  of 
Michael  Wilding  and  the  mother  of  a 
son,  Michael,  Jr.,  she  is  able  to  look 
back  and  (Continued  on  page  100) 


55 


56 


UCKY 
ME" 

• Maybe  the  music  in  Doris  Day’s  heart  was  out  of 
tune  for  a while,  but  now  it  rings  as  true  as  the 
notes  of  her  singing  voice.  You  remember  that  she 
began  Warners’  “Lucky  Me”  under  a shadow  of 
rumored  illness.  Yet  the  millions  of  movie-goers 
who  watch  her  dance  across  the  CinemaScope  screen 
see  only  the  wholesome  gaiety  that’s  always  been 
the  essence  of  her  appeal.  Is  it  just  an  illusion 
created  by  clever  acting?  These  candids  give  you 
the  answer.  Snatched  on  the  set,  they  show  you  how 
Doris  herself  actually  felt.  In  musical  numbers,  the 
picture  and  the  sound  are  recorded  at  different 
times  to  insure  perfection  in  each.  Doris’  warm 
good  humor,  matching  the  film’s  title,  was  no  act 
put  on  for  the  movie  cameras — they  weren’t  rolling. 

Music  lifts  a singer’s  own  spirits  as  it  does  yours. 


Up  goes  the  baton  in  the  hand  of  musical  director  Ray 
Heindorf,  and  Doris  Day’s  off  on  a recording  session. 
All  the  tunes  of  her  latest  movie  went  on  the  sound 
track  lilting  with  laughter  right  out  of  a full  heart 


57 


Love  isn’t  just  fifty-fifty  with 
Scott — it’s  a hundred-hundred 


The  girl  he  loves  will  either  like 
the  things  he  does — or  he’ll  change! 


He  can’t  stand  moods,  mystery,  wants 
to  see  his  girl  smile,  enjoy  herself 


Scott  Brady’s  kind  of 
girl  would  need  a sense 
of  humor,  a strong 
constitution  and  the  femininity 
of  Eve.  But  she’d  be  living ! 


I t was  one  of  those  small  out-of-the-way  restaurants  that  seems 
to  swim  in  candlelight  and  old  world  charm.  Scott  Brady  was  seated 
opposite  a very  attractive  young  lady  when  she  suddenly  said, 

“She’ll  be  very  lucky.”  The  very  attractive  young  lady  sighed  and 
tried  a sweet,  sweet  smile. 

“Who?”  asked  the  bewildered  Scott. 

“The  girl  you  marry,”  she  replied.  “You’re  still  looking  for  her, 
aren’t  you?  Or  are  you?  Tell  me  about  her.” 

Scott  has  never  been  known  to  actually  panic  at  a direct  or 
indirect  approach  to  the  subject  of  marriage.  However,  when  a 
lady  has  that  certain  gleam  in  her  eve  and  it’s  beamed  in  his 
direction,  mentally  he  heads  for  the  hills.  Alone.  “I’m  not  getting 
married,”  he  assured  her.  “I  don’t  want  to  get  married.” 

“Of  course  you  do  . . . someday,”  the  lady  insisted. 

“No,”  he  issued  another  denial,  still  managing  to  keep  a straight 
face.  “What  in  the  world  would  I do  with  ( Continued  on  page  89) 


58 


man, 


if. . 


By 

BEVERLY  OTT 


Brnrfii  it  in  “Jnhnnn  duitar’' 


PHOTOPLAY 

PREVIEW 


a: 


he  average  young  married 
couple  kisses  a loving  goodbye  on  the 
morning  of  each  working  day.  But 
for  Janet  Leigh  and  Tony  Curtis 
there  was  a sweet  hello-again  almost 
every  day  that  “The  Black  Shield 
of  Falworth”  was  shooting.  In  this 
swashbuckling  adventure  tale  from 
U-I,  resplendent  in  CinemaScope 
and  Technicolor,  Tony  and  Janet 
voyage  back  to  the  lusty  England  of 
Henry  IV  (Ian  Keith).  There 
Tony’s  a courageous  youth  brought 
up  as  a peasant,  and  Janet’s  a lady  of 
high  degree.  Her  father  (Herbert 
Marshall)  brings  Tony  and  his  sister 
(Barbara  Rush)  to  the  royal  court. 
The  two  discover  that  they  are 
actually  the  last  of  the  Falworths, 
a noble  family  wiped  out  by 
treachery.  Tony  must  attain  knight- 
hood so  that  he  may  defeat  the 
traitor,  avenge  his  family,  save  his 
country — and  win  Janet’s  hand. 


Slack 


Wearing  for  the  first  time  the  red-blazoned, 
arms  of  his  family,  Tony  tackles  his  enemy 


Schemer  David  Farrar,  in  dark  armor,  tries 
to  unseat  Tony  as  the  joust  nears  a climax 


Tony  receives  the  spurs  of  knighthood  from  Torin  Thatcher.  Beyond  him,  his  sister,  his  most 
deadly  enemy  and  his  sweetheart  watch  the  gleaming  pageantry  at  the  court  of  England’s  king 


61 


THIS  IS 
YOUR  LIFE 

BY 

RALPH  EDWARDS 


valiant  prince 


• Today,  yours  is  a magic  singing  sword.  Your  subjects  number 
millions  throughout  the  land.  They  call  you  “Prince” — and  well 
they  should.  For  you  are  a Prince  of  hearts — age  seven  to  seventy. 

They  call  you  “Valiant.”  And  this  too  you  have  earned.  In  the 
battle  of  Hollywood,  you’ve  conquered  many  comers  and  you’ve 
met  challenge  in  any  form.  Yet  yours  has  been  a divided  victory, 
for  to  win  meant  defeating,  too,  the  lifetime  dreams  of  those  who 
loved  you — exchanging  your  father’s  world  of  steel  for  a kingdom 
of  celluloid. 

But  from  childhood,  yours  was  a magical  dream  not  to  be 
denied.  It  lay  within  the  high  walls  of  a motion-picture  studio 
and  in  the  path  of  lights  that  streaked  across  Hollywood  skies. 
You  fought  your  way  into  that  world,  not  by  joust  nor  with  a 
sword  that  sings  but  with  an  instinct  for  acting,  a willingness  to 
work  and  an  eagerness  to  listen  and  to  learn. 

As  a kid,  you  spent  Saturday  afternoons  in  a Westwood  Village 
theatre,  thrilling  as  thousands  of  other  youngsters  thrilled  before 
you  to  the  adventures  of  Tarzan.  You  watched,  wide-eyed,  Johnny 
Weissmuller’s  leaps  from  tree  to  tree,  bellowing  his  call  of  victory. 
Your  top  treasure  then — a picture  he’d  signed. 

A small  voice  in  the  crowd  at  the  Riviera  Country  Club,  you’d 
cheered  a star  playing  polo.  Name?  Spencer  Tracy— with  whom 
even  a dream  like  yours  would  not  dare  say  you  will  later  co-star. 

Like  any  other  movie  fan  you  stood  and  stood  in  the  footprints 
in  the  forecourt  of  Grauman’s  Chinese.  Most  of  the  time  you  tried 
Clark  Gable’s,  thrilled  even  reading  his  name  scrawled  there,  but 


He  had  no  magic  sword 
with  which  to  conquer  Holly- 
wood. Only  a dream.  But 
it  was  enough 


Color  by  Ornitz 
Bob's  next  is 
“ Broken  Lance" 


( Continued  .on  next ' page) 


62 


mwM 


’%*■+** 


ROBERT  WAGNER: 

valiant  prince 

—continued 


Bob’s  success  charm  was 
evident  even  at  four 

■ 


As  “Prince  Valiant,”  with  Janet 
Leigh,  Bob  played  childhood  hero 
— and  his  most  challenging  role 


you  tried  on  others  like  Robert  Taylor’s 
and  Tyrone  Power’s  too.  Just  for  size. 
You  stood  there  unnoticed,  just  another 
boy  in  blue  jeans  and  T shirt  trying  on 
footprints  too  large  for  him,  dreaming 
about  those  whose  names  are  immor- 
talized in  cement.  With  a kid’s  curi- 
osity, you  wondered  how  they’d  put 
them  there.  . . . 

Today  you  know — every  print  must 
find  its  own  way.  The  story  behind  any 
of  them  could  be  this  story  of  a movie 
fan  who  became  a star.  Your  story, 
Robert  Wagner.  And  here  is  your 


answer.  For  this  is  your  life.  . . . 

It  begins  one  day  in  February,  the 
tenth  to  be  exact.  The  year  is  1930— 
the  same  year  a serene  blond  star 
named  Ann  Harding  is  being  foot- 
printed  to  fame ; a tow-haired  kid 
named  Jackie  Cooper  is  becoming 
America’s  boy;  and  a handsome  husky 
from  Ohio  is  fluttering  the  first  of 
many  hearts  who  will  hold  him  dear 
through  a long  motion-picture  career, 
a guy  named  Gable.  Gable  is  later  to 
play  an  important  part  in  your  own,  but 
you  couldn’t  be  aware  of  it  then.  For 


64 


As  the  young  soldier  in  “With  a 
Song  in  My  Heart  ,”  with  Susan 
Hayward,  Boh  won  acting  spurs 


Things  began  to  happen  fast  to 
Bob.  Now  he  had  his  own  apart- 
ment. reveled  in  bachelor  life! 


In  New  York,  with  Terry  Moore, 
he  knew  thrill  of  being  a celeb- 
rity to  Ed  Sullivan  and  others 


Bob’s  dream  was  not  theirs,  but 
today  his  parents  take  pride  in 
their  son’s  self-made  success 


Proud,  too.  is  Bob  ( here  with 
Janet)  of  Photoplay  Award  he 
won  as  fastest  rising  young  star 


the  biggest  news  in  your  block  in  De- 
troit, Michigan,  is  that  a son  has  been 
born  to  a paint  salesman  named  R.  J. 
Wagner,  Sr.,  and  his  lovely  wife,  Hazel 
Boe. 

In  Detroit,  the  first  years  of  child- 
hood drag  slowly  by — while  Hollywood 
footprints  a glamorous  blond  named 
Jean  Harlow  and  salutes  America’s 
new  sweethearts  Marie  Dressier  and 
Wally  Beery  for  “Min  and  Bill.”  . . . 

But  in  1937,  you  too  are  in  Hollywood. 
Director  William  Wellman,  later  to 
guide  your  destiny,  directs  to  fame  “A 


Star  Is  Born”  and  for  “Captains  Cour- 
ageous” Spencer  Tracy  wins  Holly- 
wood’s Academy  Award,  while  Gene 
Autry  is  winning  the  West,  armed  only 
with  a guitar.  Mickey  Rooney,  as 
Andy  Hardy,  is  an  endearing  part  of 
every  household  in  the  land.  The 
twinkling  feet  of  Ginger  Rogers  and 
Fred  Astaire  are  still  making  history. 
And  a vigorous  executive  at  20th  Cen- 
tury-Fox’s studio,  named  Darryl  Za- 
nuck,  is  being  hailed  a star-maker  for 
his  faith  in  unknowns.  Like  that  trusty 
triumvirate,  Tyrone  Power,  Don  Ame- 


che  and  Alice  Faye.  Little  does  he 
know  then  that  there  arrived,  special 
delivery,  a seven-year-old  he  will  some 
day  discover,  too,  and  star — initialed 

“R.  J.” 

This  is  the  year  your  parents  move 
to  Hollywood.  They  send  you  ahead 
on  the  train,  pinned  to  you  a note  of 
instructions  addressed  to  a matron 
named  Mrs.  Pierce,  which  says,  “This 
is  Robert  Wagner,  Jr.  Please  deliver  to 
Hollywood  Military  School.”  With  you 
is  your  sister  Mary  Lou,  age  twelve. 
Your  father  (Continued  on  page  84) 


65 


V 


Sometimes  I wonder  what  we’ll  do 
for  laughs  when  she  leaves 
our  home  as  a bride.  And  I envy  the 
girl  who’ll  be  my  grandchild! 


'"When  Deb  jails  in  love.  I'll  know  it.  She’s  a shouter!’ 


BY  MAXENE  REYNOLDS 

as  told  to  MAXINE  BLOCK 


Ornltz  • Debbie  Reynolds  is  in  “Susan  Slept  Here" 


# The  letter  that  arrived  yesterday  morning  worried 
us.  My  youngest  brother  in  El  Paso,  Texas,  just 
eighteen  and  in  his  first  year  of  a four-year  college 
scholarship,  announced  his  plan  to  marry  immedi- 
ately if  he  could  get  my  consent.  When  Debbie 
came  home  from  the  studio  and  heard  the  news 
about  her  young  Uncle,  she  cracked  up  a storm 
and  began  spluttering. 

“The  dope!  Marry  at  eighteen!  Holy  cow!  With 
three  years  of  college  ahead  of  him?  He’s  only  a 
baby.  Why — why,  I’ll  buy  him  a ticket  to  Paris — 
anything.  Only  we  must  try  to  talk  some  sense  into 
him,”  Debbie  begged  her  grandmother,  who  is 
visiting  us. 

Debbie’s  fuss  ended,  however,  when  Grandmother 
pointed  out  that  she  had  no  right  to  interfere — ;any 
more  than  she  would  if  Debbie  made  such  a deci- 
sion. If  Debbie  wanted  to  write  her  Uncle  her  views 
— all  right,  but  it  wasn’t  up  to  the  family  to  in- 
fluence him  one  way  or  the  other. 

Debbie’s  like  a lot  of  teen-agers  I know.  She’s 
been  brought  up  to  use  her  mind  to  make  her  own 
decisions.  And  thank  goodness.  For  how  else  does 
one  prepare  a daughter  to  take  the  good  steps,  the 


Continued  on  next  page 


67 


Deb  signs  autographs  at 
Scout  ball  game. 

Both  Deb  and  her  mother 
are  scout  counselors 


With  M/Sgt  Paul  Lillar. 
She's  never  too 
busy  or  tired  to  en- 
tertain the  troops 


Dates  don't  have  to  be 
a big  production — 
just  fun.  Tab  Hunter 
is  a favorite  date 


With  her  sister-in-law 
Joyce,  niece  Gail. 

Deb  loves  her  home,  re- 
fused own  apartment 


right  steps  toward  adulthood  and  marriage? 

Debbie’s  ideas  against  early  marriage  are 
strictly  her  own.  Her  own  brother  Bill  married 
at  nineteen.  I married  at  sixteen — and  very 
happily- — so  I’ve  never  tried  to  influence  the 
children  one  way  or  the  other.  Dad  and  I 
have  tried  to  show  Debbie  what  constitutes 
a good  marriage  indirectly,  and  listening  to 
her  views  at  present,  I think  we’ve  succeeded. 

Once,  when  Debbie  was  a little  girl  in  El 
Paso,  she  watched  me  setting  four  places  at 
the  table  for  dinner.  It  was  even  before  the 
birds  and  bees  period  of  explanation!  Debbie 
appeared  to  be  thinking  deeply,  looked  up  at 
me  and  said,  “When  I get  big,  I’m  going  to 
ask  ten  children  to  come  live  with  me — not 
just  two.  What  do  I have  to  learn  to  have 
my  own  house?”  I told  her  she  could  practice 
taking  care  of  children  with  her  own  dolls, 
that  she’d  learn  more  and  more  each  year  and 
by  the  time  she  was  ready  to  marry,  I hoped 
she’d  know  the  answer. 

Today,  I think  Debbie  knows  how  to  run  a 
home  of  her  own,  even  though,  because  of  the 
demands  of  her  career,  she  has  had  less  time 
to  practice  household  arts  than  other  girls  of 
her  age.  Yet,  I feel  confident  she’ll  make  out 
all  right. 

What  mother  ever  thinks  she’s  done  a per- 
fect job  on  her  children?  None.  And  that’s 
as  it  should  be.  What  I’ve  done  for  Bill  and 
Debbie  is  try  to  make  them  self-reliant  and 
to  respect  not  only  others  but  themselves,  too. 
Debbie’s  grandfather  used  to  tell  her,  “Live 
by  the  Ten  Commandments  and  you’ll  be 
all  right.” 

Debbie  was  born  in  El  Paso  on  April  Fool’s 
Day,  1932,  Dad  was  a railroad  carpenter  on 
the  Southern  Pacific  in  that  town.  When  she 
was  eight,  Dad  was  transferred  to  Los  Angeles 
and  we  found  a house  in  Burbank.  We’re  still 
there,  and  Dad  is  still  on  the  job.  Our  home 
is  about  twenty  miles  from  Debbie’s  studio, 
M-G-M,  but  it’s  thousands  of  miles  away  as 
far  as  the  glamour  and  razzle-dazzle  of  Holly- 
wood is  concerned. 

None  of  us  would  have  it  any  other  way. 
Our  home  was,  and  is,  run  for  the  family 
as  a whole.  We  share  pleasures  together  and 
we  share  responsibilities  together.  When  Deb- 
bie was  very  young,  I gave  her  duties,  such  as 
setting  the  table,  helping  with  the  dishwashing, 
making  her  own  bed  and  picking  up  her 
clothes  in  her  room.  On  the  last,  though,  I’ve 
never  had  much  success.  And  when  I talk  to 
the  mothers  of  Debbie’s  friends,  I find  they 
haven’t  had  any  ( Continued  on  page  90) 


68 


PHOTOPLAY  FASHIONS  PRESENTS 


VACATION  CLOTH 


COOL 


LNNE  BAXTER  CURRENTLY  IN  R.K.O.’s  “CARNIVAL  STORY 


Anne  Baxter  models  our  buy-of-the-month  dress  of 
pink  cotton  and  orlon,  with  deep-cut  scoop  neckline 
softened  by  tiny  tear  drops  of  pearls.  Flare  skirt  ac- 
cented with  white  rickrack.  Needs  no  ironing,  dries 
in  an  hour!  Also  aqua,  blue,  lilac.  7-15.  $8.95.  By 
Kaytron.  Saks  34th  St.  Jewel-dotted  linen  handbag 
by  Magid.  Pumps  by  Confetti,  at  Franklin  Simon. 


For  "Where  to  Buy ” turn  to  p&ge  83 


69 


PHOTOPLAY 

FASHIONS 

PRESENTS 


COOL 

VACATION 

CLOTHES 

Continued 


Left:  Judy  Lynn  happily  suns  herself  in  a fun-loving 
white  twill  halter  and  shorts  set.  Cuffed  shorts  have 
handy,  navy  slash  pockets,  halter  has  bra  construction. 
32-38.  $3.  By  Lovable.  Silk  scarf  by  Baar  & Beards 
Right:  the  perfect  partnership  for  play.  Polly  Bergen 
likes  little-boy  chartreuse  cotton  suit  that  takes  cover 
when  out  of  water  under  a matching  jacket.  32-38.  $9. 
Brilliant.  Large  red  hoop  earrings  by  La  Tausca.  $2 
Far  right:  Jan  Sterling  is  the  biggest  catch  on  the 
beach  in  gay  gingham  romper  suit,  form-fitting,  zip- 
pered  up  the  back.  Green  and  purple  plaid.  10-16.  $12. 
Rose  Marie  Reid.  Hat  by  Madcaps.  U.  S.  Rubber  shoes 

For  "Where  to  Buy ” turn  to  page  83 


PHOTOGRAPHS  ON  PACES  69-74  BY  RICHARD  LITW1N  * ALL  DESICNS  BY  AARON  FINE  USING  SUMMER  COTTON  FABRICS  BY  EVERFAST  AND  PARL1AMENT-CELANESE 
JUDY  LYNN  IS  IN  “TOP  BANANA”  • POLLY  BERGEN’S  IN  “HALF  A HERO”  • JAN  STERLING’S  NEXT  IS  WARNERS’  “THE  HIGH  AND  THE  MIGHTY” 


jjp 


MORE  FASHIONS  ► 


COOL 

VACATION 

CLOTHES 

Continued 


72 


JOAN  WELDON  IS  IN  WARNERS’  “THEM" 


Left:  For  wilting  summer  days,  Joan  Weldon 
chooses  a crisp  cool  suit.  Cardigan  jacket,  to  belt 
or  not,  with  push-up  sleeves,  slim  skirt  and  perky 
polka-dotted  sleeveless  blouse.  Wrinkle-resistant. 
Comes  in  white,  red,  natural,  navy.  10-18.  $30.  By 
Printz  Biederman.  Shortie  gloves  by  Wear  Right. 
Right:  Polly  Bergen  wears  this  pretty  butterfly- 
dotted  cotton  dress  with  deep  round  neckline, 
shirred  skirt.  All-wool  white  sweater  is  trimmed 
with  dress-matching  collar  and  cuffs,  In  aqua, 
pink,  yellow  on  white.  8-16.  $20.  By  Serbin. 
Jewelry  by  La  Tausca.  $2  each.  Wear  Right  gloves 


'<r  jf* 


MOKE  FASHIONS 


For  “ Where  to  Buy”  see  paqe  8$ 


V 


\N 


Jan  Sterling  smiles  right  back  at  the  sun  in  a per- 
fectly molded  jet-black  linen  sheath.  Tiny  sleeves 
cap  a wide-away  velvet-trimmed  neckline.  Also  in 
navy.  8-18.  $35.  By  Richard  Cole.  For  drama: 
jeweled  linen  pumps  by  Confetti  at  Franklin  Simon 


PHOTOPLAY 

FASHIONS 

PRESENTS 

COOL 

VACATION 

CLOTHES 

Continued 


For  “Where  to  Buy ” see  page  83 


74 


When  Tony  Curtis  heard  he  was  at  last  going  to  do  a musical,  he  leaped  with  joy.  He  went  on  leaping 
in  dance  rehearsals  with  Gene  Nelson  for  “Three  Gobs  in  Paris.”  “Whoever  said  dancing  was  sissy 
stuff  ought  to  try  a few  routines  with  Gene,”  groaned  Tony.  But  after  the  initial  aches  and  pains, 
Tony  began  to  enjoy  his  role  as  a song-and-dance  man.  Says  Gene,  “Tony’s  a natural.”  Maybe  some 
day  the  public  will  be  seeing  a musical  in  which  the  co-stars  are  Mr.  and  Mrs.  Tony  Curtis! 


Tony  is  also  in  “Johnny  Dark ‘ 


PHOTOPLAV 

PICTURE 

GALLERY 


STARS  IN  ACTION 


Frank  Sinatra  is  iiext  in  “Suddenly”  and  “Not  as  a Stranger” 


A WONDERFUL  REUNION 

Two  of  the  proudest  kids  in  the  world  watched  Frank  Sinatra  step  up  to  re- 
ceive an  Oscar  for  his  great  performance  in  “From  Here  to  Eternity.”  They 
were  Frankie,  Jr.  and  Nancy,  Jr.  When  the  news  was  announced,  Nancy  began 
to  cry  from  sheer  joy.  At  dinner  that  night,  the  children  had  given  their 
father  two  medals — a St.  Anthony  and  a St.  Genesius.  Looking  at  them,  Frank 
knew  he  had  to  win.  For  on  the  back  of  the  St.  Genesius  medal  was  a small 
Oscar — and  the  inscription,  “to  daddy — all  our  love  from  here  to  eternity” 


THIRTY  MINUTES  ’TIL  GOODBYE 

When  accordionist  Dick  Contino  came  back  from  Korea,  the  first  girl  he  saw 
was  Piper  Laurie.  And  when  Piper  left  for  a short  visit  with  relatives  in 
Detroit,  the  last  boy  she  saw — was  Dick  Contino.  Both  deny  it’s  a romance — 
insist  they’re  just  friends.  And  it’s  a fact  they’re  both  dating  others.  But 
maybe  Cupid’s  just  being  coy.  Because  Dick  rushed  all  the  way  from  Glendale 
to  Los  Angeles’  Union  Station  to  say  goodbye  to  Piper.  He  hadn’t  even  had 
time  to  buy  a farewell  gift.  But  the  fact  that  he  was  there  seemed  enough  for 
Piper.  And  when  her  train  pulled  out,  Dick  watched  it  until  it  disappeared ! 


76 


PHOTOPLAY 

PICTURE 

GALLERY 


Continued 


Piper  Laurie  appears  in  “Johhny  Dark” 


77 


PHOTOPLAY 

PICTURE 

GALLERY 


Continued 


A CHAMPION  TAKES  THE  HURDLES 

Horses  have  been  tops  with  Tab  Hunter  ever  since  he  was  a kid  of  twelve.  But  in  the  last 
year  he’s  had  little  time  for  his  favorite  sport.  Tab’s  been  concentrating  on  his  career.  The 
public  went  for  him  in  his  first  film,  “Island  of  Desire.”  But  the  producers  claimed  he  couldn’t 
act.  Tab  knew  it  was  up  to  him.  He  studied  hard,  won  the  co-starring  role  with  Marilyn  Erskine 
in  road  show,  “Our  Town.”  His  acting  brought  the  critics’  acclaim  and  producers  to  his  door 


78 


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Blind  Date  Party 

(Continued  from  page  49) 

Terry  for  a date.  She  always  seemed  to 
be  going  out  with  five  other  guys  . . . and 
. . . well  . . . 

“Think  of  all  the  kids  who  would  make 
cute  couples  and  they  don’t  even  know  it,” 
sighed  Mitzi. 

Operation  Cupid  was  underway.  Be- 
fore the  evening  was  over,  the  party  was 
planned.  Comprising  the  guest  list  were 
some  of  Hollywood’s  most  eligible  bachelor 
boys  and  bachelor  girls — Terry  and  Dick, 
Lori  and  George,  Susan  Cabot  and  Dick 
Anderson,  Dolores  Dorn  and  Hugh  O’Brian. 
Next  day,  Mitzi  called  to  invite  the  girls. 
Jack  phoned  the  boys.  The  inevitable 
question,  “Who’ll  be  my  date?”  was  an- 
swered with  mysterious  stretches  of  silence, 
followed  by  double  talk,  ending  with  “Wait 
and  see.” 

The  girls  planned  to  arrive  early.  Dolores 
was  first.  She’d  made  up  her  mind  to 
wear  a blue  gown,  then  decided  upon  her 
new  red  dress.  Mitzi  met  her  at  the  door. 
“Twins,”  she  whooped,  standing  there  in 
her  chiffon  creation.  Terry,  coming  up  the 
steps,  heard  her.  “Triplets,”  she  corrected 
when  she  reached  the  door.  Terry  was  al- 
so wearing  red.  When  Lori  arrived,  the 
girls  breathed  sighs  of  relief.  “Now  here’s 
a girl  who  dares  to  be  different,”  Dolores 
declared.  Lori  wore  pink. 

Just  then  Susan  Cabot  appeared  in  the 
doorway  and  Jack  went  to  greet  her.  She 
looked  around.  “Where’s  everybody?”  she 
asked. 

“Here  we  are,”  volunteered  Hugh. 

Then  Mitzi  appeared.  “Here  we  are,” 
she  grinned.  “Come  on  in.” 

So  Susan  went  in  and  pretty  soon  the 
girls  came  out  and  there  was  a flurry  of 
introductions.  And  for  an  ice-breaker 
Mitzi  organized  a game  of  charades,  during 
which  Hugh  O’Brian’s  idea  of  “The  Rise 
and  Fall  of  the  Roman  Empire”  nearly 
broke  the  floor. 

Mitzi  and  Jack  beamed  as  the  couples 
paired  off.  Lori  and  George  took  to  one 
another  right  away.  They’re  both  quiet, 
both  very  serious  about  their  careers.  .She’d 
seen  him  in  RKO’s  “Carnival  Story,”  in 
which  he  has  a lead.  He’d  heard  raves 
about  her  performance  as  Nora  in  the 
scene  from  “Here  Come  the  Clowns,”  which 
was  featured  in  the  Universal-Interna- 
tional stage  show,  “Inside  U-I.”  They 
talked  about  acting  and  they  talked  about 
travel.  George  had  made  pictures  in  India, 
Sweden  and  Germany.  Lori  talked  of  the 
film  festival  in  South  America  which  she’d 
recently  attended. 

“You  make  a beautiful  corpse,”  said 
Hugh  to  Dolores. 

“Why  thank  you,”  said  Dolores  to  Hugh, 
taking  no  offense. 

She  was  a victim  of  the  killer  in  “Phan- 
tom of  the  Rue  Morgue.”  However,  she’s 
very  much  alive  in  “Lucky  Me”  and  cur- 
rently under  contract  to  Warners.  Hugh 
obtained  his  release  from  Universal-Inter- 
national to  freelance,  and  was  signed  by 
Fox  for  a role  in  “Broken  Lance.” 

Dick  Anderson,  who’s  in  M-G-M’s  “Stu- 
dent Prince,”  dubbed  tiny  Susan  Cabot 
“Half-pint.”  Susan  (in  “Ride  Clear  of 
Diablo”)  likes  tall  guys,  used  to  date 
Rock  Hudson.  Dick  occasionally  squires 
Debbie  Reynolds  and  Vera-Ellen. 

After  everyone  devoured  the  buffet  sup- 
per provided  by  Mrs.  Gerber,  . . Terry  and 
Dick  were  talked  into  going  through  one 
of  their  dance  routines.  “Terry’s  one  of 
my  best  pupils,”  said  Dick  proudly. 

Kids  left  shortly  before  midnight,  leav- 
ing a thoughtful  host  and  hostess  sitting 
dreaming  beside  the  pool — happy  as  a 
couple  of  Cupids. 

The  End 


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inside 

stuff 


( Continued  from  page  41) 


Premiere  party:  Rory  Calhoun,  here  with  wife  Rita, 
co-stars  with  Jean  Simmons  in  “A  Bullet  Is  Waiting” 

There’ll  be  no  going  back  together  for  the  Nelsons, 
who  announced  that  attempts  to  reconcile  have  failed 


Jean  Peters  had  flu  relapse,  lost  role  in 
“IFoman’s  World.”  Above,  with  Bob  Wagner 


Guests  shed  tears. 
Julia  Adams,  Lori 
Nelson  at  Suzan 
Ball’s  wedding 


devotion  to  Gail  Russell  and  rightly  so. 
Gail’s  brave  attempt  to  regain  her  health 
and  find  peace  of  mind  is  something  to 
comment  about  too.  She’s  attending  lec- 
tures in  Beverly  Hills  conducted  each 
week  by  an  admirable  religious  man  who 
teaches  “right”  thinking.  Gail’s  trying 
hard  to  help  herself,  so  let’s  all  add  our 
prayers  to  hers.  If  ever  anyone  deserved 
them,  she  does! 

Many  Happy  Returns:  Jane  Powell  wore 
Pat  Nerney’s  gift  of  gold-encrusted  watch 
and  earrings  on  her  twenty-fifth  birthday. 
They  took  her  children  to  lunch  in  the 
patio  at  Frascotti’s  on  Wilshire  Boulevard, 
and  Debbie  Reynolds  who  was  twenty-two 
on  the  same  day  joined  them.  Robert  Dix 
(now  at  M-G-M)  son  of  the  late  matinee 
idol,  Richard  Dix,  was  Debbie’s  date  that 
evening.  “Why  is  it,”  she  sighed  wishfully 
to  her  mother,  “I  always  fall  for  the  name 
P of  Bob?”  Senor  Wagner  please  note! 


Today's  Target:  For  Cal’s  cold  cash.  Don- 
ald O’Connor  did  a brilliant  job  at  MCing 
this  year’s  Academy  Awards.  Following 
instructions,  he  kept  things  light  and  gay. 
However,  for  the  first  time  in  his  life,  the 
press  let  him  have  it.  He  was  accused  of 
lacking  in  dignity,  maturity  and  showing 
little  respect.  After  the  first  blast,  poor 
bewildered  Donald  called  his  close  friend. 
Marilyn  Erskine.  “I  tried  my  best.”  he  said 
sadly,  “what  did  I do  that  was  so  wrong?” 
Wise  in  her  way.  Marilyn  comforted  him: 
“You  were  wonderful.  Donald.  Everyone 
goes  through  the  same  thing.  It  just  hap- 
pened to  be  your  turn!” 

Son  Up:  World  War  II  hero.  Audie  Mur- 
phy. now  thinks  the  Army  is  pretty  good. 
He  was  out  making  personal  appearances 
when  the  stork  suddenly  decided  to  make 
a forced  landing.  Audie  and  the  ambu- 
lance arrived  simultaneously  at  his  front 
door.  On  the  way  to  the  hospital  they  were 


forced  to  detour  because  of  a fire.  Then,  irl 
all  the  excitement  of  getting  his  wife  to 
her  room,  the  expectant  father  discovered 
he’d  left  her  packed  bag  in  the  ambulance. 
Despite  it  all,  James  Shannon  Murphy 
weighed  in  at  eight  healthy  pounds.  “And 
looking,”  says  Audie  humorously,  “just 
like  an  Indian  chief!” 

Academy  Award  Sidelights:  So  typical, 
modest  Bill  Holden  wouldn’t  walk  into 
Chasen’s  carrying  his  highly  deserved  Os- 
car. So  his  wife  sneaked  it  in  under  her 
furs  and  then  set  it  up  on  the  table  where 
they  celebrated  with  close  friends.  . . . 
Since  winning  the  acting  award,  the 
change  in  Frank  Sinatra  is  heartwarming. 
Not  too  co-operative  in  the  past,  grateful 
Frankie  drives  all  the  way  in  from  Palm 
Springs  to  keep  appointments  with  the 
press.  . . . When  Grace  Kelly  confided 
she’d  turned  down  Clark  Gable’s  proposal 
in  Africa,  she  provoked  skepticism.  But  if 


80 


she  could  persuade  him  to  escort  her  to 
the  Awards — his  first  time  in  fifteen  years, 
looks  like  Gracie  could  be  the  King’s 
queen  of  hearts.  . . . And  now  it  can  be 
told!  At  the  eleventh  hour,  hysterical  Gene 
Tierney  tried  to  get  out  of  her  stint.  She 
was  forced  to  postpone  her  unexpected 
rendezvous  with  Aly  Khan  in  Mexico  un- 
til the  next  day! 

Cal  Wonders:  Where  those  rumors  start 
that  all  is  not  well  between  Jeffrey  Hunter 
and  Barbara  Rush.  Currently  her  career 
seems  to  be  gaining  a faster  momentum, 
but  Jeff  is  so  enthused  for  her.  They  had  a 
ball  together  at  the  Argentine  Film  Fes- 
tival and  their  obvious  devotion  thrilled 
the  natives.  . . . When  Zsa  Zsa  Gabor  is 
going  to  learn  that  too  much  publicity  is 
much  more  harmful  than  none  at  all.  In- 
siders report  that  women’s  clubs  have 
subtly  suggested  that  studios  instruct  the 
: uninhibited  Hungarian  actress  to  stop  liv- 
ing her  life  on  daily  front  pages! 

Stork  Club:  Liz  Taylor  and  Mike  Wilding 
are  saying  right  out  loud  that  they  want 
another  baby  and  soon.  First  they  have  to 
find  a larger  house,  so  in  the  meantime 
M-G-M  waits  and  wonders!  . . . And  the 
Ronald  Reagans  face  the  same  situation. 
They  may  add  a room  where  they  are, 

■ however,  if  the  stork  outsmarts  them.  . . . 
Mrs.  Edmund  Purdom  has  the  most  glam- 
orous maternity  costumes.  Mrs.  Tyrone 
Power  who  wore  ’em  first  gave  them  to 
her.  . . . Rory  Calhoun  to  a reporter  who 
called  to  ask  if  they  were  expecting:  “The 
I only  thing  we’re  expecting  is  a new  out- 
board motor  I ordered!” 

Man  Power:  Most  movie  stars  have  to 
watch  that  waist  line  but  not  Robert  Wag- 
; ner.  He  can’t  gain  an  ounce,  so  he’s  work- 
ing out  in  a Westwood  gym  to  build  up  a 
body  beautiful.  . . . Dale  Robertson’s  shar- 
i ing  a valley  house  with  former  Argentine 
' polo  player,  Manuel  Rojas.  You’d  be  so 
surprised  at  the  names  on  their  long  list  of 
lonesome  ladies  who  offer  to  come  over 
and  cook  dinner.  . . . Poor  Tab  Hunter 
didn’t  work  for  a year.  Then  he  played 
opposite  Claudette  Colbert  in  her  first  tv 
pilot  film  and  now  Warners  won’t  let  him 
sign  for  the  series! 

Home  Fires  Burning:  Cute  gag  Janet 
Leigh  pulled  on  Tony  Curtis  who  was 
working  and  unable  to  accompany  her  to 
New  York  to  exploit  “Prince  Valiant.”  Jan 
bought  a dozen  thick  novels  and  instructed 
the  book  store  to  deliver  one  daily  to  her 
husband!  . . . Marilyn  Monroe  was  Jane 
Russell’s  neighbor  long  enough  to  move 
into  a house  and  right  out  again.  Crowds 
parked  out  front  all  day  in  hopes  of  get- 
ting a glimpse  of  the  famous  DiMaggios. 
...  And  when  Alan  Ladd  learned  Richard 
Widmark  was  going  to  make  a London 
movie,  the  thoughtful  guy  cabled  the  own- 
er and  secured  the  house  the  Ladds  rented 
for  the  Widmarks.  (Continued  on  page  82) 


WESTMORE 


proved  in  giant-screen 

{3Q$*  cl°se-uPs  by  movie  stars  . . . 

True-Glo  all-day  make-up  shows  how 
alluring  your  complexion  can  be! 
k PROVED  in  giant:screen  close-ups 

where  make-up  must  be  perfect  to  keep 
skin  looking  perfectly  smooth.  Made  for 
you  and  stars  by  Westmore  brothers, 
' most  famous  make-up  artists,  origina- 

tors of  liquid  make-up.  SEE  the  thrilling 
HE  difference:  Dot  on  creamy  Tru-Glo, 

blend  in  evenly,  pat  off  with  tissue.  For 
/rf  all  types  of  skin — in  many  shades. 


WESTMORE 

59**  PR0 

and  ctirk 


Ess -Tested  nPs,ick 


' . PROVED  BEST  in  movie  close-ups  where  lip- 

^ stick  MUST  NOT  SMEAR,  even  after  kissing, 
£,7$  eating,  working  under  lights.  Non-drying! 


At  all  variety  and  drug  stores. 

* Prices  plus  tax.  Slightly  higher  in  Canada. 

House  of  Westmore,  Inc.,  New  York  11  * Hollywood 


liquid  make-up 


WESTMORE 


creamy  powder  make-up 


FOR  INSTANT  BEAUTY,  carry  Party  Puff  as 
movie  stars  do  on  the  set,  at  play  and  eve- 
nings. Powder  and  base  all-in-one. 


Color  by  Technicolor 


WESiniVKE  brings 


r 


81 


in  side 
sin  ff 

(Continued  from  page  81) 


Oh.  her  aching  feet!  Ava  Gardner  warms  up 
with  footbath  on  “ Barefoot  Contessa”  set 


Gene  Tierney  and  Aly  Khan.  The  question 
is  no  longer  if  they’ll  marry — but  when! 


That  Old  Feeling:  Now  that  everyone 
realizes  Doris  Day  was  really  ill  and 
not  temperamental,  all  hatchets  are 
huried.  And  Doris  is  so  well  these  days, 
she  even  called  the  publicity  depart- 
ment and  requested  a portrait  sitting — 
her  first  in  two  years.  When  she  walked 
into  the  gallery,  the  gang  had  a red 
carpet  at  the  door.  There  were  signs 
posted  that  read:  “Welcome  Home” — 
“You  Know  Who  We  Love.”  Doris 
laughed  and  cried  at  the  same  time. 

Sour  Note:  Before  he  left  for  the 
“Bengal  Rifles”  location,  with  Arlene 
Dahl.  Rock  Hudson  dashed  into  a 
Beverly  Hills  record  shop.  He  had 
about  ten  minutes  to  listen  to  new  re- 
cordings and  then  he  was  due  at  the 
city  hall  for  publicity  pictures.  Sud- 
denly. a group  of  hysterical  teen-agers 
spied  him  in  the  glass-enclosed  booth. 
They  swarmed  around  it,  turned  the 
key  and  stood  there  gazing  rapturously 
at  their  idol.  Rock  would  have  been 
amused — if  he  hadn’t  known  the  Mayor 
was  waiting!  The  store  owner  finally 
sprung  him! 

The  Facts,  Ma'am:  It  isn’t  exactly  news 
that  Jimmy  Stewart  is  a pretty  even- 
tempered.  easygoing  guy.  But  recently, 
while  he  was  on  location  in  Florida  for 
“Strategic  Air  Command,”  one  of  those 
smart-alec  troublemakers  buttonholed 
him.  “Why  do  you  make  so  many  pic- 
tures with  June  Allyson?”  needled  the 
pest.  “Don’t  you  two  get  sick  of  look- 
ing at  each  other?”  Jimmy  started 
talking  fast!  “She’s  one  of  the  best 
actresses  in  Hollywood.”  he  said.  “I 
like  June  personally,  she’s  always  good 
luck  for  me  because  our  pictures  make 
money — and  it’s  still  none  of  your  busi- 
ness!” 

Change  of  Heart:  Twentieth  called  off 
its  two-million-dollar  breach  of  contract 
suit  against  Marlon  Brando.  Under 
psychiatric  care,  he  walked  out  on  “The 
Egyptian,”  but  will  now  play  Napoleon 
in  “Desiree”  instead.  The  sudden  death 

p of  his  mother,  who  was  visiting  a sister 
in  Pasadena,  touched  Marlon  deeply. 
He  rushed  to  the  coast  immediately, 

82 


and  since  this  unhappy  event,  lie’s  a 
changed  man. 

Idle  Thoughts:  Wonder  if  Grace  Kelly’s 
secret  love  really  is  Jean  Pierre  Au- 
mont.  as  whispered?  Some  say  her 
various  dates  (including  Gable)  are 
merely  to  throw  people  off  the  trail.  . . 
Will  Leslie  Caron  eventually  leave 
Hollywood?  Essentially  an  artist  seek- 
ing self-expression,  she’s  still  trying, 
but  not  too  successfully,  to  adapt  her- 
self to  a spotlighted  existence  here.  . . 
Is  Pier  Angeli  quietly  planning  a cam- 
paign to  emulate  Jane  Powell,  Jeanne 
Crain  and  Anne  Baxter  by  going  on  the 
glamour  kick?  Pretty  Pier,  who’s  been 
dating  Kirk  Douglas  again  and  Richard 
Anderson,  too,  isn’t  too  happy  with  her 
role  of  Miss  Mouse  on  and  off  the 
screen. 

Romantic  Rumors:  Handsome  George 
Nader  (he’s  terrific  in  “Carnival 
Story”)  doesn’t  want  to  go  steady,  not 
even  with  Barbara  Stanwyck,  whom  he 
admires  tremendously.  . . And  Joan 
Crawford’s  recent  date  whirl  with 
Franchot  Tone  was  strictly  for  fun  and 
not  for  publicity,  as  some  say.  . . Re- 
member back  a husband  or  two  ago 
when  Rita  Hayworth  was  the  gal  Fer- 
nando Lamas  hoped  to  date  the  most- 
est?  Well,  he’s  now  dating  Mary 
Castle,  who  looks  like  Rita’s  twin. 

The  Truth  Is:  Jeff  Chandler’s  been 
christened  into  a new  world  of  music. 
He’s  getting  a terrific  kick  traveling 
from  city  to  city  to  plug  his  new  record 
with  disc  jockeys.  . . Although  the 
little  daughter  of  Ursula  Thiess  has 
been  in  this  country  only  three  months, 
she  speaks  perfect  English.  Her  teacher 
was  the  devoted  Robert  Taylor. 

Predictions:  That  Eleanor  Parker  will 
marry  famous  artist  Paul  Clemens. 
When  you  see  them  together,  you  under- 
stand why.  . . That  Lana  Turner  and 
Lex  Barker  will  be  on  the  stork’s  wait- 
ing list  before  the  year  is  out.  They 
want  it  this  way  because  they’re  so 
much  in  love.  . . That  the  divorce  trial 
of  Susan  Hayward  and  Jess  Barker  will 


make  unhappy  history  for  Hollywood. 
His  fight-it-out-to-the-finish  ultimatum  is 
the  result  of  failure  to  settle  their  dif- 
ferences out  of  court.  . . That  his  ad- 
visors will  succeed  in  convincing  John 
Wayne  a marriage  to  Pilar  Palette  is 
inadvisable,  careerwise — and  they  have 
nothing  against  the  lady  personally. 

Lights,  Camera,  Action:  A torn  liga- 
ment (which  necessitated  a cast  from 
ankle  to  thigh)  postponed  Elizabeth 
Taylor’s  new  picture.  But  Stewart 
Granger  drove  her  to  lunch  with 
Michael  Wilding  at  20th  where  Mike 
was  making  “The  Egyptian.”  Stewart, 
of  course,  lunches  with  Jean  Simmons, 
who’s  in  the  same  picture.  . . Girls! 
Now  hear  this!  In  “Three  Gobs  in 
Paris,”  Tony  Curtis,  Gene  Nelson  and 
Paul  Gilbert  do  a musical  strip  tease 
right  down  to  their  shorts.  The  big 
news  of  this  picture,  however,  is  Tony’s 
singing.  He  played  his  first  recording 
for  Cal,  and  it  sizzles  with  sex  appeal. 
. . . Humphrey  Bogart,  who  delights  in 
needling  his  new  leading  ladies,  didn’t 
uncurl  a hair  on  Ava  Gardner.  Those 
typical  Bogartisms  during  “Barefoot 
Contessa”  only  amused  her,  and  they 
got  along  famously. 

News  and  Views:  It’s  another  son  for 
the  Gordon  MacRaes,  which  gives  them 
two  boys  and  two  girls — or,  as  Gordy 
puts  it,  “A  perfect  family”.  . . Since 
seeing  “About  Mrs.  Leslie,”  Shirley 
Booth  wishes  she  didn’t  have  one  more 
picture  to  make  for  producer  Hal 
Wallis.  She’s  great.  The  picture  isn’t. 
. . . And  while  we’re  checking  out  of 
studios,  the  day  Greer  Garson  moved 
out  of  M-G-M  and  into  Warners  Leo 
the  Lion  handed  her  a phone  bill  for 
thirty  cents.  . . . Fortunately,  Bob  Wag- 
ner was  on  location  in  Nogales  when 
police  found  a fan  under  the  bed  of  his 
Westwood  apartment.  Believe  it  or  not, 
he  was  waiting  to  get  an  autograph!  . . . 
The  taste  and  talent  of  designer  Jean 
Louis  rates  him  a life-long  friend — and 
customer.  Betty  Grable  was  so  thrilled 
over  her  gowns  for  “The  Pleasure’s  All 
Mine”  that  from  now  on  her  personal 
wardrobe  will  feature  Jean  Louis  labels. 


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Robert  Wagner — Valiant  Prince 


( Continued  from  page  65) 
has  stayed  behind  in  Detroit  to  settle  busi- 
ness problems  before  coming  West  to  be- 
come a manufacturers’  representative  for 
the  steel  industry. 

Christmas  1937 — a day  you  will  never 
forget.  Santa  Claus  brings  you  a squirt 
gun  and  a bicycle  and  an  electric  train. 
But  better  than  that — to  a lonely  little  boy 
— he  brings  your  parents  in  time  for  the 
whole  family  to  celebrate  Christmas  Eve 
together  in  your  new  Bel  Air  home. 

This  really  is  the  year  to  remember.  It 
marks  your  first  appearance  on  the  stage 
— -in  Hollywood  Military  School’s  produc- 
tion of  “The  Courtship  of  Miles  Standish.” 
You  play  Priscilla,  complete  with  costume 
and  curls.  But  your  manly  honor  is 
avenged  with  pathos  in  the  challenging 
part  of  the  cripple  Tiny  Tim  in  the  Christ- 
mas play.  And  this  is  the  year,  too,  that 
your  imagination  is  fired  by  the  daring 
and  brave  exploits  of  a comic-strip  char- 
acter called  Prince  Valiant. 

Athletics  you  like.  And  you  excelled  in 
swimming,  diving,  tennis  and  track.  How- 
ever, schooling  in  less  active  subjects  holds 
small  interest  for  you.  Impartially,  you  try 
them  all:  Fairburn  Avenue  Grammar 
School,  Emerson  Junior  High,  Black  Foxe 
and  Harvard  Military  Academy.  Some  you 
leave.  Others  invite  you  to.  At  Black  Foxe 
in  Hollywood,  they  put  it  politely  at  the 
end  of  the  term.  If  you  want  to  come  back, 
if  you  will  apply  yourself,  if  you  will  be 
regimented  . . . but,  for  you,  there’s  too 
much  marching  and  too  much  discipline. 
At  Harvard  Military  Academy  too  many 
demerits  mean  too  much  marching.  And 
one  day  when  a classmate  delivers  a jibe 
while  you’re  marching  off  a few  of  them, 
you  start  a one-soldier  riot  on  the  field. 
Yes,  you  always  were  an  active  boy,  as 
a boyhood  friend,  John  Derek,  can  well 
affirm. 

“You  can  say  that  again,  Ralph.  R.  J. 
was  always  plenty  fast  on  his  feet.  He  was 
three  years  younger  than  the  rest  of  our 
group  and  small  for  his  age.  But  he  was 
always  tagging  along  the  way  a young  kid 
will  tag  after  bigger  guys,  always  wanting 
to  get  in  on  things.  We  kept  our  horses 
at  the  same  stable  in  Bel  Air  and  rode 
together.  We  went  to  the  movies  in  West- 
wood  and  we  hung  out  at  the  same  malt 
shop.  And  wherever  we  went,  there  with 
us  or  ahead  of  us  was  R.  J.  He  learned 
to  drive  an  old  ’39  convertible  I had.  After 
my  break  in  pictures,  we  didn’t  meet  for 
some  time.  Then  one  day  photographers 
were  shooting  a magazine  layout  of  me 
in  Westwood  when  I heard  his  familiar 


‘Derr.’  He  told  me  he’d  signed  with  20th 
Century-Fox  and  was  prepping  for  some 
tests  there.  I’d  spent  some  time  at  20th 
and  nothing  had  happened.  With  all  the 
good-looking  guys  with  experience  sit- 
ting around  waiting  to  work  I was  afraid 
it  would  be  the  same  story  for  him.  My 
break  had  come  right  out  of  the  blue,  or 
I’d  still  have  been  sitting,  too.  I wished 
him  luck  in  the  movies,  but  I wasn’t  too 
hopeful.  Although  I should  have  known 
R.  J.  wouldn’t  miss  out  on  any  action. 
He  never  had.” 

These  are  typical  teen-age  years  for 
you,  Robert  Wagner.  With  the  help  of 
your  pal  and  neighbor,  Bob  Green,  today 
Lieutenant  Robert  Green,  U.  S.  M.  C.,  you 
build  a hot  rod  combining  a Model-A 
Ford  and  a Mercury  engine.  You  spend 
Saturdays  sanding  it  down  and  knocking 
off  the  chrome.  It  clocks  120  miles  an  hour 
at  the  Lakes.  The  hottest  rod  in  upper 
Bel  Air.  At  sixteen,  sweater  girls  are 
edging  out  jalopies  in  your  life.  Like  any 
teen-ager  today,  you’re  plagued  by  the 
folks’  famous  last  words,  “Where  are  you 
going?”  Also,  “What  time  will  you  be  in?” 
One  morning  you  get  in  pretty  late.  As 
I’m  sure  you  recall.  . . . 

“Do  I?  I’d  borrowed  my  dad’s  car  for 
a big  date  that  previous  evening.  We’d 
been  looking  at  a few  lights  of  the  city 
and  were  returning  when  something  went 
wrong  with  the  fuel  pump  on  the  car.  I got 
home  at  4 a.m.  and  my  folks  were  really 
burned  up.  They  thought  mine  a very  un- 
likely story  and  said  so  in  no  uncertain 
terms.  Later  that  day  when  dad  took  the 
car  to  work  he  got  stuck  with  the  same 
trouble.  ‘I’m  sorry  about  last  night,  kid,’ 
he  said  when  he  got  home.  Next  day?  New 
fuel  pump.” 

In  1946,  as  today,  in  any  teen-ager’s 
life,  truth  seems  sometimes  stranger  than 
fiction. 

Your  friend,  Lieutenant  Robert  Green, 
now  stationed  at  Camp  Pendleton,  remem- 
bers still  another  time  when  half  of  Palm 
Springs  was  out  searching  for  both  of  you. 

“At  least  half,  Ralph.  We  were  living  in 
Palm  Springs  and  ‘J’  was  dating  a beau- 
tiful little  blonde.  The  four  of  us  went 
horseback  riding  early  one  morning.  In  an 
adventurous  mood,  we  didn’t  want  to  stick 
to  the  usual  trails.  We  wanted  to  go  where 
nobody  else  ever  went.  And  we  just  about 
did.  We  rode  clear  up  to  the  snow.  Tired 
and  hungry,  we  got  lost  on  the  way  back 
home.  There  was  one  silver  lining.  It  was 
so  dark,  and  the  girls  were  so  scared  they 
couldn’t  keep  close  enough  to  us,  riding 
back.  We  got  in  around  eleven  p.m.  to  find 


search  parties  out  looking  everywhere 
for  us.  My  father  had  his  own  searching 
party.  So  did  Uncle  Bob,  ‘J’s’  dad.  For  a 
while  there — joining  the  Foreign  Legion 
seemed  like  a fine  idea.” 

During  your  own  normal,  eventful  teen 
years,  a blond  star  by  name  of  Betty 
Grable  has  been  pinned  up  all  over  the 
world  and  her  famous  legs  imprinted  in 
the  forecourt  of  Grauman’s  Chinese.  A 
crooner  from  Spokane,  Bing  Crosby,  has 
won  Hollywood’s  highest  acting  honors 
for  “Going  My  Way,”  and  time  is  growing 
shorter  between  now  and  that  fateful  hour 
when  you  too  must  decide  your  rightful 
destiny.  . . . 

Through  Jack  Anderson,  a friend  of 
Warners’  talent-head,  Solly  Biano,  you 
get  a reading  at  that  studio.  He  likes  you, 
but  three  days  later  there’s  a strike  and 
the  studio  closes  down.  To  earn  spending 
money  you  haunt  places  of  employment 
where  you  can  brush  shoulders  with  the 
stars.  On  Saturdays  you  cover  Clover 
Field,  presumably  a salesman  but  usually 
polishing  stars’  planes  and  firing  questions 
at  them.  When  you  won’t  accept  a tip  for 
polishing  Brian  Donlevy’s  plane,  he  leaves 
you  the  money  anyway  and  says,  “Here, 
kid.  Go  buy  yourself  a book  on  dramatics.” 
You  two  are  to  meet  again  in  a few  years 
guesting  on  the  show  at  the  Stork  Club  in 
New  York,  where  you’re  making  personal 
appearances  with  your  first  starring  pic- 
ture, “Beneath  the  12-Mile  Reef.” 

Through  a school  friend,  Carol  Lee 
Ladd,  you  meet  Alan  Ladd  and  ask  his 
advice.  You  take  a job  caddying  at  the 
Bel  Air  Club,  making  seven  dollars  a day 
and  a million  dollars  worth  of  acting  tips 
from  Clark  Gable,  Cary  Grant,  Fred  As- 
tire  and  Ken  Murray.  Eh,  Ken? 

“As  I remember,  there  were  a couple  of 
shots  when  I needed  Prince  Valiant  for  a 
caddy  too,  Ralph.  Bob  was  a good-looking 
kid.  Quiet,  well-mannered,  with  a quick 
alert  mind  and  his  eye  always  on  the  ball. 
It  was  apparent  to  me  then  that  whatever 
Bob  did  he  would  do  his  job  well.  Go  the 
whole  distance.” 

P.S.  However,  to  you,  Robert  Wagner, 
in  1947 — that  distance  still  seems  too  far. . . . 

Yours  is  one  of  the  voices  in  the  glee 
club  of  St.  Monica’s  High  School  at  Santa 
Monica — remember.  . . 

“All  hail  Alma  Mater 
Green  and  Gold  our  colors  hail. 

We’ll  sing  to  you  always 
On  and  on  through  all  the  years. 

For  all  the  Santa  Monica’s 
Our  love  will  never  fail. 

All  hail  to  Alma  Mater 

To  the  Green  and  Gold  all  hail.” 

Here  at  Santa  Monica’s  for  the  first  time 
you  feel  you  have  an  Alma  Mater.  You 
realize  the  serious  importance  of  an  edu- 
cation and  regret  those  years  you  might 
have  studied  more.  Although  a non-Cath- 
olic,  you’re  impressed  by  the  unselfishness 
of  the  priests  devoting  their  own  lives  to 
helping  others  without  monetary  reward. 
One  in  particular,  Brother  Hilary  J.  Deer- 
ing,  a young  Irish  priest  with  red  hair 
and  humorous  brown  eyes  and  a thick 
brogue,  is  a great  inspiration  to  you.  Long 
after  his  own  weary  day  is  through,  he 
works  tirelessly  at  night  and  on  Satur- 
days in  the  physics  lab  with  you,  tutoring 
you  on  the  alloys  and  the  processing  of 
steel  and  preparing  you  for  the  future. 
However,  at  first,  yours  is  a more  imme- 
diate incentive,  as  Brother  Hilary  will  re- 
member well. 

“Indeed  I do,  Mr.  Edwards.  R.  J.’s 
father  had  promised  him  a trip  East  with 
him  during  the  Easter  recess  if  he  mas- 
tered his  studies  of  steel.  And  R.  J.  really 
wanted  that  trip.  But  as  months  went  on, 


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84 


he  matured  a great  deal  both  in  his  think- 
ing and  serious  application  to  his  work. 
We  spent  a great  deal  of  time  together.  He 
introduced  me  to  my  first  Notre  Dame 
football  game  and  to  driving  in  the  Cali- 
fornia traffic.  I had  driven  in  Ireland,  but 
I was  hesitant  to  drive  here  until  R.  J.  got 
me  out  into  the  traffic  and  gave  me  con- 
fidence. As  a student,  his  increasing  ap- 
plication of  concentration  to  his  studies 
was  very  gratifying.  I was  amazed  from 
the  first — for  one  who  admittedly  had 
made  small  use  of  it— by  his  retentive 
memory.  He  was  preparing  for  the  steel 
world  then,  but  instead  the  celluloid  world 
captured  him.  . . .” 

You,  R.  J.,  are  impressed  by  the  hours 
the  priest  spends  preparing  you  for  the 
business  world,  and  you  respond  grateful- 
ly. According  to  the  high  school  annual, 
“The  Compass,”  your  favorite  saying  this 
senior  year  is  “That’s  very  dapper,”  and 
your  favorite  pastime  “listening  to  Louis 
Armstrong.”  You  make  the  glee  club, 
you’re  active  in  dramatics,  in  swimming 
and  tennis,  and  you  are  touchingly  over- 
whelmed when  the  students  vote  you 
senior-class  president. 

It’s  June  12,  1949 — commencement. 

You’re  handed  a green  leather  diploma 
and  you  are  on  the  threshold  of  an  ex- 
citing new  life.  A life  which  will  surprise 
some  of  your  classmates,  including  Bob 
Smith — today  a very  successful  insurance 
man. 

“I  was  in  Korea  with  the  Seventh  Army 
when  I saw  ‘With  a Song  in  My  Heart,’ 
and  realized  the  shell-shocked  soldier  was 
R.  J.  I hadn’t  even  heard  he  was  in  the 
movies.  In  school,  he  was  a devil-may- 
care,  easy  going  kid.  To  see  him  portray- 
ing such  a serious  role — and  doing  it  so 
i|  well — I was  surprised.  All  the  guys 
thought  he  was  great.  I kept  thinking  I 
went  to  school  with  this  kid,  but  I never 
realized  he  had  so  much  on  the  ball.  Yet, 


when  I thought  about  it,  the  more  I 
realized  it  was  always  there.” 

It  was  always  there,  all  right,  and  al- 
though you  make  every  effort  to  prepare 
seriously  for  the  place  your  father  has 
made  for  you,  your  own  dream  remains. 
You  work  in  steel  mills  back  East  this 
summer,  learning  firsthand  everything 
from  the  furnacing  and  milling  to  the 
marketing  of  steel.  You  take  a job  in  your 
father’s  office  going  after  new  accounts. 
He  pays  you  a retainer  of  two  hundred 
dollars  a month  and  plans  to  divide  the 
profits  with  you  at  the  end  of  the  year. 
For  a boy  of  nineteen  this  is  a bonanza. 
For  your  father  it  means  the  fulfillment  of 
a lifelong  ambition.  But  you  yourself 
know  this  is  not  your  life.  Nor  can  it  ever 
be.  Your  heart  is  within  those  studio  walls 
and  sound  stages  you  pass  on  the  way  to 
work  each  day.  One  night,  the  night  that 
is  to  change  your  whole  life,  you  tell  him. 
Nobody  knows  better  than  you,  R.  J., 
just  what  happened  that  night. 

“Looking  back  now  I was  pretty  selfish, 
Ralph.  I didn’t  know  then  what  a blow 
it  would  really  be  to  Dad.  How  many 
plans  he’d  made  for  the  two  of  us.  He  was 
disappointed  all  right,  but  how  disap- 
pointed he  didn’t  let  me  know  then.  And 
me — I was  concerned  with  what  I wanted 
to  do.  Even  though  I’m  sure  he  hoped  it 
would  prove  just  a whim,  when  I asked 
Dad  to  back  me  for  a year,  he  agreed.  If  he 
hadn’t,  I could  have  become  embittered 
and  resentful,  and  he  could  have  changed 
my  whole  life.  What  a guy!” 

September  1949  and  “What  a guy!”  is 
right.  When  nothing  happens  to  help  you 
realize  the  dreams  that  mean  your  own 
happiness,  your  father  seeks  advice  from 
an  old  friend,  director  William  Wellman, 
who  gives  you  a double  bit  in  his  M-G-M 
picture,  “The  Happy  Years.” 

In  your  first  scene,  you  play  a tough 
catcher  on  a kids’  baseball  team  with  a 


catcher’s  mask  completely  covering  your 
face.  You  make  $37.50  for  the  day’s  work, 
and,  tired  but  happy,  you  insist  on  cele- 
brating by  taking  your  parents  to  dinner 
at  The  Beachcombers  Restaurant  in  Hol- 
lywood and  paying  the  check.  A few  years 
later,  you  are  to  celebrate  there  another 
occasion — the  most  exciting  event  of  your 
life. 

Even  behind  a catcher’s  mask  director 
William  Wellman  sees  great  promise  in 
you.  Suppose,  Bill  Wellman,  you  tell  us 
why. 

“Because  I made  Bob  do  a bit  part  that 
needed  an  experienced  actor,  Ralph,  and 
Bob  played  it  like  a professional.  All  I 
remember  advising  was,  ‘Think  you  can 
do  it  and  you  can.’  But  I can’t  take  any 
credit  for  discovering  Bob  Wagner.  As 
much  as  Bob  wanted  this,  he  would  have 
stuck  to  it  no  matter  how  long  until  one 
way  or  another  he  got  a break.  I tried  to 
get  M-G-M  to  sign  him,  but  they  thought 
I was  crazy.  They  couldn’t  see  him  at  all 
then.” 

Yes,  despite  director  Wellman’s  personal 
pitch,  the  talent  department  there  dis- 
courages you,  advising  you  to  go  to  New 
York  and  study  for  two  years,  get  yourself 
an  agent  and  then  come  back  and  talk  to 
them.  Nor  will  Wellman’s  agent  handle 
you.  He  explains  kindly  that  he  cannot 
give  you  the  time  and  attention  a new- 
comer should  have. 

Finally,  the  big  management  corpora- 
tion, MCA,  agrees  to  sign  you  if  you  will 
study  at  Pasadena  Playhouse  for  a year. 
You  arrange  to  meet  at  the  agency  on  a 
Monday  morning.  But  on  Sunday  night  at 
a friend’s  restaurant,  the  Beverly  Gour- 
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bring  your  father  along  and  come  to  his 
office  the  following  day. 

“What  did  you  see,  Henry,  that  night 
that  so  impressed  you?” 

“The  changing  expressions  on  his  face, 
Ralph.  I watched  his  face  mirror  every 
thought  and  word — this,  together  with  his 
looks  and  bright  clean  personality.  Bob 
has  a sincerity  and  a relaxed  quality  that 
comes  right  across  that  screen.  He  has, 
too,  the  unusual  star-making  ability  of 
making  every  characterization  believable 
while  projecting  his  own  personality  in 
every  part  he  plays.  Given  the  oppor- 
tunity, I was  sure  he  couldn’t  miss.” 

The  autumn  days  roll  on  in  1949,  and 
you  get  that  opportunity.  You  test  for  the 
lead  in  “Teresa”  at  M-G-M,  and  out  of 
one  hundred  fifty  tests,  yours  gets  studio 
raves.  Fortunately  for  you,  New  York 
executives  decide  not  to  risk  using  a boy 
who’s  had  neither  stage  nor  screen  ex- 
perience, for  Darryl  Zanuck  signs  you  at 
20th  Century-Fox  on  the  strength  of  that 
same  test  and  puts  you  successively  in  top 
budget  pictures — so  great  is  his  own  per- 
sonal faith  in  you. 

So  in  1949  those  studio  gates  you’ve  en- 
visioned swing  wide  open  for  you  and  you 
step  inside  the  magic  never-never  land. 
You’re  given  the  small  part  of  a Marine 
in  “The  Halls  of  Montezuma,”  and  wisely 
enough,  you  know,  Robert  Wagner,  that 
you  too  have  only  just  begun  to  fight. 

You  earn  your  studio  stripes  that  first 
year,  working  overtime  convincing  some 
of  the  frankly  skeptical  that  this  really  is 
your  life.  That  for  you  acting  is  no  sum- 
mer inspiration,  no  game  you’re  trying  for 
kicks  and  size.  You  haunt  sound  stages 
from  early  in  the  morning  when  the  first 
crew  arrives  until  the  last  arc  light  dies. 
The  stages  darken  and  the  night  shift 
strikes  the  sets,  but  the  studio  lot  is  still 
an  enchanted  world  to  you.  You  spend 
hours  in  the  cutting  rooms,  talking  to 
cameramen,  rehearsing  with  the  studio 
drama  coach,  Helena  Sorrell. 

Soon  stars,  producers,  directors,  gaffers 
and  grips,  all  of  them  are  with  you. 
Cameramen  “reload”  to  cover  you  when 
you  fluff  a line,  giving  you  time  to  regain 
confidence.  Gaffers  “blow  a light”  to  give 
you  a chance  to  make  another  and  better 
take.  In  “The  Halls  of  Montezuma,”  Rich- 
ard Widmark  observes  you’re  getting  lost 
in  a scene  as  one  of  many  Marines  going 
over  a hill  and  tells  you,  “Look,  kid,  take 
your  time.  Next  take,  slow  down  and  stay 
close  behind  me.”  You  do,  and  the  camera 
is  full  on  you  all  the  way.  Dick  Widmark 
puts  that  close  one  right  in  your  lap.  But 
he  takes  no  credit  for  ever  helping  you. 

“If  I did,  well,  it’s  easy  to  help  someone 
you  like.  You  can  tell  when  a kid’s  out 
for  a fast  buck.  Bob  was  never  that  way. 
He  was  always  eager  to  learn.  He  had  a 
basic  instinct  for  acting  and  the  talent  to 
get  some  place.  He  has  a lot  of  years  in 
this  business.  I’d  have  given  my  eyeteeth 
to  play  the  part  he’s  playing  in  ‘Broken 
Lance’ — and  playing  well.  I remember  tell- 
ing him  that  first  picture  I’d  be  support- 
ing him  before  I was  through.  Sure 
enough,  in  my  last  picture  at  20th,  I’m 
supporting  him.” 

In  1951,  director  Walter  Lang  and  the 
late  Lamar  Trotti  pick  you  for  the  won- 
derful bit — a shell-shocked  soldier  in 
“With  a Song  in  My  Heart.”  They  say  it 
will  do  a lot  for  you.  And  it  does.  A Bob 
Wagner  fan  club  forms.  You  have  your 
own  fan  publication,  “The  Wagner  World.” 
Director  John  Ford  casts  you  as  the  love 
interest  in  “What  Price  Glory.” 

But  before  his  picture  rolls,  tragedy 
overtakes  you  for  the  first  time  in  your 
twenty -one  years. 

You  go  water-skiing  at  Lake  Arrow- 
head. Robert  Jacks,  later  to  produce 
“Prince  Valiant,”  is  driving  the  boat.  You 


and  another  friend  are  skiing  tandem  be- 
hind. You  fall  and  his  knee  hits  you  in  the 
side  of  the  head,  knocking  you  out  cold. 
Later  a doctor  assures  you  there’s  no 
serious  injury.  But  two  weeks  later,  you 
go  to  the  hospital  with  a punctured  ear- 
drum and  a serious  brain  concussion.  You 
spend  weeks  flat  on  your  back  before  you 
entertain  the  dark  thought  that  this  may 
well  be  the  end  of  your  dream.  For  one 
who’s  been  so  athletic,  yours  is  the  tragic 
thought,  too,  that  there  will  be  no  more 
physical  activity.  But  Lady  Luck  doesn’t 
desert  you  now,  and  you  are  to  portray 
just  about  the  most  strenuous  role  ever 
enacted  on  the  screen. 

It’s  1952,  and  with  1953  comes  “Titanic.” 
Darryl  Zanuck  is  steadily  shooting  you  to 
stardom.  Motion  pictures  have  still  lost 
none  of  their  glamour  for  you.  You  live, 
breathe  and  love  your  work.  During  a love 
scene  with  Terry  Moore  in  “Beneath  the 
12-Mile  Reef” — but  let  Terry  tell  this. 

“R.  J.  surely  does  take  his  work  serious- 
ly, Ralph.  I can  vouch  for  that.  During  an 
underwater  love  sequence,  a shark  came 
between  us.  R.  J.  just  held  me  with  one 
arm  and  pushed  the  shark  away  with  the 
other  and  went  right  on  with  the  scene.” 

Nobody  could  blame  him  for  taking  that 
one  seriously. 

In  1953,  you  reach  full  stardom  in  “Be- 
neath the  12-Mile  Reef.”  You  and  Terry 
Moore  make  a personal  appearance  at  the 
New  York  opening.  You’re  thrilled  by  the 
dazzling  marquee  and  thrilled  as  a fan  of 
Jackie  Gleason’s  to  meet  him  and  guest  in 
his  television  show. 

December  1953  sees  you  portraying  your 
own  childhood  hero.  Producer  Robert 
Jacks  picks  you  for  Prince  Valiant — a 
triumph  and  the  toughest  of  challenges 
for  you.  You’re  Tarzan  and  D’Artagnan 
rolled  into  one.  You  scale  walls  and  joust 
with  lances  and  fight  one  hundred  sixty 
broadsword  encounters.  Concerned,  both 
as  friend,  and  producer,  that  one  of  them 
will  be  too  broad.  Bob  Jacks  insists  you’re 
taking  too  many  chances. 

With  the  second  week’s  rushes,  Darryl 
Zanuck  gives  you  a new  four-figu'ed 
contract  that  guarantees  star  billing  from 
now  on.  It  will  seem  true  to  you  when 
“Prince  Valiant”  is  cut  and  reviewed. 

February  1954,  and  you  are  co-starring 
with  Spencer  Tracy  in  “Broken  Lance.” 
King  Trace,  no  less,  pays  you  the  supreme 
compliment  you  will  read  here  for  the 
first  time. 

“The  kid  has  the  quality  of  a young 
Barrymore.  His  future?  Unlimited.” 

And  now,  finally,  it’s  April  2,  1954,  Rob- 
ert Wagner,  the  night  you’ve  been  waiting 
for  all  your  life.  The  night  of  the  pre- 
miere of  “Prince  Valiant”  when  a movie 
fan’s  dream  is  to  become  a magic  reality. 

You  take  your  parents  to  The  Beach- 
combers for  dinner,  celebrating  that  other 
night  four  and  a half  years  ago  when  you 
dined  them  on  your  first  $37.50  bit  pay 
check.  Tonight  they  proudly  celebrate 
with  you  the  success  of  a dream  that  was 
not  their  own — your  success  in  the  world 
of  celluloid. 

At  eight-thirty  your  car  pulls  up  in 
front  of  Grauman’s  Chinese  Theatre. 
Crowds  jam  the  bleachers  and  the  boule- 
vards roar.  Arc  lights  split  the  Hollywood 
heavens.  As  your  party  steps  out  on  that 
red  carpet,  photographers’  flash  bulbs  are 
blinding. 

Your  own  throat  is  too  full  to  speak. 
You’re  the  same  kid  who  stood  there  not 
long  ago  trying  on  those  footprints.  To- 
night the  world  acknowledged  they  fit. 

This  is  your  night,  and  this  is  your  life 
from  now  on.  Prince  Valiant  Wagner.  Long 
may  you  reign. 

The  End 

I 


( Continued  from  page  47) 
beautiful  girl  I’d  ever  seen.  But  something 
always  came  between  us.  In  the  classroom 
at  New  Trior  High  School,  it  was  a dis- 
tance of  twelve  desks.  Outside  the  class- 
room, a fellow  named  Roy  Fitzgerald  was 
my  worst  enemy.  And  in  case  you  don’t 
know,  my  real  name  is  Roy  Fitzgerald.  And 
I was  the  tallest,  thinnest,  shyest  guy  in 
town. 

Mentally,  I waxed  poetic  about  Nancy, 
comparing  my  love  to  the  sun  and  moon 
and  stars,  not  to  mention  Hedy  Lamarr. 
However,  when  it  came  to  speaking  up,  I 
was  doing  well  if  I could  stammer,  “Hello.” 
This  eloquent  speech  seemed  to  take  about 
as  long  to  prepare  as  a recitation  of  the 
Gettysburg  Address. 

One  day,  at  long  last,  I managed  a good 
half-dozen  words  and  asked  for  a date. 
Then  I stood  on  my  two  left  feet  waiting 
her  reply.  “No,”  replied  Nancy.  “I  will  not 
go  out  with  you.” 

I was  shattered. 

I looked  up  a buddy  and  we  hitchhiked 
down  to  Booley’s  Cupboard,  a place  near 
town,  to  drown  my  sorrows  in  a couple  of 
milkshakes.  We’d  been  there  only  a short 
while  when  my  beloved  Nancy  and  her 
friend  Barbara  came  in.  They  nodded  in 
our  general  direction  but  didn’t  join  us. 

When  we  left,  we  noted  that  their  car 
was  parked  out  front.  “Now  why  should 
we  have  to  hitchhike  all  the  way  back?” 
asked  my  resourceful  pal. 

So  we  climbed  into  the  back  seat  of  the 
car  and  crumpled  out  of  sight.  Well,  the 
seven-mile  ride  home  was  more  like  a 
hundred-and-seventy.  With  each  mile,  the 
girls’  conversation  deflated  me  more.  “That 
Fitzgerald  boy  in  Booley’s,”  began  Nancy. 
“Know  what  he  did?  He  asked  me  for  a 


Don't  Call  That  Boy  a Square 

date!  Can  you  imagine  the  nerve  of  him?” 

“Are  you  going  out  with  him?”  asked 
Barbara. 

“Are  you  kidding?  Maybe  silence  is  sup- 
posed to  be  golden,  but  I think  it’s  dull.” 

“He’s  probably  shy,”  offered  Barbara. 

“He’s  a square,”  said  my  beautiful  Nancy. 

Barbara  giggled.  “Who  ever  heard  of  a 
square  bean  pole?”  And  they  both  broke 
into  hysterical  laughter. 

That  was  it.  The  end  of  the  world.  My 
world  at  the  moment,  at  any  rate.  I was 
as  tall  as  I am  now,  six  feet  five,  and  my 
150  pounds  consisted  mostly  of  bones.  I had 
no  smooth  manners,  no  easy  line.  I lacked 
the  necessary  social  graces.  And  I wanted 
to  cut  the  throat  in  which  my  words  kept 
getting  stuck  and  leaving  me  speechless. 
My  voice?  It  wouldn’t  change.  Other  guys 
could  boom  forth  in  their  newly  acquired 
bassos,  but  I was  certain  I was  doomed  to 
be  a boy  soprano  for  the  rest  of  my  life. 

It’s  called  “the  awkward  age,”  this  phase. 
It  comes  to  every  boy  and  girl.  Girls  ma- 
ture earlier  than  boys,  however,  grow  out 
of  adolescence  and  forget  they  ever  went 
through  it.  And  they  leave  their  contem- 
poraries of  the  opposite  sex  far  behind. 
And  this  is  what  many  girls  simply  don’t 
realize — and  should. 

As  far  as  a girl  is  concerned,  references 
to  “that  stage”  are  usually  accompanied  by 
words  of  reassurance  that  some  day  soon 
she’ll  be  a real  beauty.  She’s  given  credit 
for  at  least  one  redeeming  feature — be  it 
sparkling  eyes,  beautiful  hair  or  a brilliant 
mind.  As  far  as  a boy  is  concerned,  the 
awkward  age  is  awkward  for  everybody. 
Someone  once  told  me  the  amusing  saying 
of  a parent,  speaking  of  his  growing  son. 
“The  only  time  he  stands  up  straight  is 
when  he  can’t  decide  which  way  to  lean,” 


said  the  father  in  a rather  pained  voice. 

Teen-agers  don’t  intend  to  be  cruel.  They 
don’t  mean  to  be  thoughtless.  But  in  a 
teen-age  world,  you  either  belong  or  you 
don’t  belong.  Nothing’s  more  important. 
And  when  you’re  an  outsider,  no  one 
gives  a great  deal  of  thought  to  acknowl- 
edging the  fact  that  you’re  alive.  You 
simply  don’t  exist. 

I remember  one  fellow  in  my  class.  He 
wore  glasses  and  had  braces  on  his  teeth. 
These  were  temporary  corrective  measures. 
However,  he  could  hardly  go  around 
shouting,  “These  won’t  be  here  forever.” 
And  let’s  face  it,  he  looked  like  a square 
sort  of  square.  He  spoke  to  no  one.  Pri- 
marily, I now  suspect,  because  nobody 
spoke  to  him. 

He  wound  up  as  an  Army  pilot  in  the 
last  war  with  glasses  and  braces  a thing  of 
the  past.  The  girls  considered  him  one  of 
the  most  handsome  fellows  in  his  air 
group.  He’s  in  Panama  today  with  his  wife, 
who’s  a real  beauty.  You  never  know. 

Many  times  teen-agers  judge  one  an- 
other on  appearances.  Teen-agers  have  to 
conform.  And  if  they  can’t,  it  isn’t  always 
because  they  don’t  want  to.  I speak  from 
experience.  Levis  and  sweat  shirts  were 
our  class  uniform.  Came  the  time  my 
mother  bought  me  a new  white  shirt — 
slightly  formal,  mainly  because  it  wasn’t 
a sweat  shirt.  I wore  it  several  times  out  of 
deference  to  her.  Then  one  day  I heard 
someone  snicker.  At  me?  You  know,  I 
never  actually  found  out.  I just  heard  the 
snicker  coming  from  some  place  and  be- 
came very  sensitive  about  it.  So  when  I 
got  home,  I took  off  the  shirt. 

“I’m  not  going  to  wear  it  again,”  I told 
Mother.  “I  can’t.  It  looks  awful.” 

Later,  the  sleeveless  sweater  arrived.  My 


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These  are  the  panties  that  never  get  clingy,  never 
feel  clammy  — even  on  the  warmest  days.  Cool 
in  Summer,  comfortable  always,  because  they’re 
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the  KNIT  with  the  FIT  where  you  SIT 


They  g-i-v-e  with  every  motion,  really  fit  your 
figure  — they’re  made  for  an  active  life.  Easy  to 
care  for,  they  wash  and  dry  quickly,  need  no  iron- 
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Every  Woman  Should  Read 
These  Vital  Facts! 

Women  who  are  happily  married  and 
who  possess  physical  charm  realize 
the  importance  of  using  a cleansing, 
deodorizing  douche  for  feminine  hy- 
giene and  after  their  monthly  periods. 
A recent  survey  shows  many  nurses 
consider  it  wise  to  always  use  zonite 
for  this  purpose.  There’s  a good  rea- 
son why!  Scientific  tests  proved  no 
other  type  liquid  antiseptic-germicide 
for  the  douche  of  all  those  tested  is 
more  powerfully  effective  yet 
absolutely  safe  to  body  tissues. 

Assures  BOTH  Internal  and 
External  Hygienic  Protection 

zonite  is  a powerful  antiseptic-germi- 
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and  non-irritating.  You  can  use 
zonite  as  often  as  needed  without 
the  slightest  risk  of  injury,  zonite 
immediately  washes  away  germs  and 
waste  deposits.  It  completely 
deodorizes  and  leaves  you 
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a few  pennies  per  douche. 

Enjoy  its  many  benefits! 

Use  as  directed. 

ZONITE 

'/0/'t/a£ua6(e  uSei 


grandmother  had  knitted  it  for  me.  The 
color  was  khaki,  and  any  jerk  in  our  class 
knew  better  than  to  wear  anything  but  red 
sweaters  with  sleeves.  My  solution  to  this 
problem  was  to  throw  the  sweater  away 
and  then  go  home  and  vow  I’d  lost  it. 

And  what  about  the  guy  who’s  neat  in 
that  blue  suit,  shirt  and  tie  when  the  rest 
of  his  class  is  wearing  levis?  But  how  do 
you  know  that  it’s  not  his  family’s  idea? 
He  may  rebel,  but  it  doesn’t  do  much  good. 
His  folks  are  insisting  that  he  become  an 
individual  long  before  he’s  ready — and  be- 
fore his  classmates  will  accept  individ- 
uality. And  that,  my  friends,  is  murder! 

The  awkward  age  is  a time  when  a guy 
can’t  seem  to  do  anything  right.  And  he’s 
clumsy  when  he  tries.  With  his  appearance 
against  him,  he  winds  up  with  a large  type 
complex.  He  means  well.  And  an  under- 
standing family  can  help  immeasurably. 

My  mother  is  a jovial  lady,  with  a fine 
sense  of  humor.  Remembering  the  times 
I used  to  put  my  best  foot  forward  and  fall 
over  it,  I can  laugh  and  she  can  have  hys- 
terics. But  if  she’d  cracked  a smile  the 
times  it  happened,  I’d  have  curled  up  and 
died  inside. 

We  lived  in  an  apartment.  Once,  when 
she  was  away,  I decided  to  surprise  her 
and  paint  the  bathroom.  It  was  a small 
room,  and  to  brighten  it,  I selected  a loud 
blue  enamel.  The  stuff  got  all  over  the 
bathtub  and  a lavatory  and  mirror— and 
dried  before  I thought  to  wipe  it  off. 

Mother  came  home  and  took  a look  at 
the  room.  “It’s  beautiful,”  she  said.  I was 
so  proud  of  my  handiwork  I never  no- 
ticed that  only  a short  space  of  time 
elapsed  before  she  completely  papered  the 
room. 

I had  a lot  of  good  intentions  that  went 
haywire.  Like  the  time  she  was  in  bed 
with  a strep  throat.  I assumed  that  orange 
juice  would  help,  so  I went  out  and  came 
back  with  oranges.  Around  ten  dozen,  I’d 
say.  I squeezed  every  last  one  of  them.  We 
had  orange  juice  in  every  pot,  pan,  kettle 
and  pitcher  in  the  house.  There  was,  I re- 
call, nothing  left  to  cook  in.  But  mother 
took  it  very  well. 

Understanding  can  do  wonders  for  good 
intentions  gone  wrong.  It  can  do  wonders, 
period.  Winnetka,  Illinois,  was  a wealthy 
town.  And  the  Fitzgeralds  were  somewhat 
less  than  wealthy.  One  of  my  chums,  whose 
family  was  a prominent  one,  arranged  for 
me  to  go  to  dancing  class  with  him.  Such 
activities  are  usually  viewed  with  horror 
by  the  participants,  but  this  was  considered 
fun  by  everyone  concerned  because  Miss 
Pratt,  the  teacher,  was  a genuinely  nice 
woman.  She  used  to  ask  me  to  help  when- 
ever she  was  illustrating  a new  step.  She 
was  tall  and  I thought  she  preferred  me  as 


a partner  because  I was  the  tallest  guy  in 
the  class.  Now  I realize  she  must  have 
sensed  my  terrible  lack  of  assurance  and 
wanted  to  help  me.  Gradually,  I began  to 
acquire  some  social  poise.  My  height  wasn’t 
so  disgraceful  after  all.  Miss  Pratt  let  me 
attend  the  classes  for  free  for  the  next 
three  years,  letting  me  feel  that  I was 
contributing  to  the  lessons.  It’s  only  re- 
cently that  I realize  how  kind  she  was. 

I really  needed  help!  I can’t  blame  girls 
for  not  stopping  to  understand  what  agonies 
their  male  contemporaries  are  suffering. 
And,  as  a kid,  I didn’t  help  the  girls  either. 
It  rarely  occurred  to  me  to  tell  a girl  how 
nice  she  looked.  And  when  it  did  occur 
to  me,  I couldn’t  put  the  sentence  together. 
I’d  blurt  out  crazy  things  and  I didn’t  mean 
them  the  way  they  sounded. 

“You  sure  look  funny,”  I once  said  in  an 
effort  to  tease  a lovely  young  lady.  She 
found  this  non-funny.  I was  bewildered. 

My  party  patter  was  also  brilliant: 

Girl:  “What  are  you  taking  in  school?” 
Me:  “Oh,  a few  subjects.” 

(Silence) 

Girl:  “Seen  any  good  movies  lately?” 

Me:  “Some.” 

(More  silence) 

Girl:  “Read  any  new  books?” 

Me:  “Yeah.” 

When  she’d  given  up  her  conversational 
effort,  I could  think  of  a thousand  things 
to  say.  Only  time  had  crossed  me  up.  Ten 
more  minutes,  I’d  think,  and  I could  have 
been  the  life  of  the  party.  As  it  was,  I was 
the  death  of  it.  Those  were  tough  days — 
or  I thought  they  were. 

I was  remembering  all  this  that  night  I 
overheard  my  friends’  daughter  taking  such 
a superior  attitude  toward  a boy  who 
must  have  been  much  as  I was  at  that  age. 

“Have  you  ever  thought  that  maybe 
‘The  Crumb’  has  feelings?”  I asked  her. 
“And  that  quite  possibly  he’d  like  to  be 
one  of  the  crowd?” 

“I  guess  I never  have,”  she  admitted. 
“He  could  have  been  in  China  as  far  as 
I’ve  been  concerned.  He’s  just  never  count- 
ed.” 

“He  must  like  you,”  I said.  “Or  he 
wouldn’t  be  calling.  Doesn’t  he  have  any 
redeeming  features?” 

“Well,”  said  she.  “He’s  pretty  smart.  In  a 
bookish  way.  And  he  does  have  kind  of  a 
nice  smile.” 

“Could  you  bring  yourself  to  smile  back 
at  him  sometime — and  mean  it?” 

She  grinned.  “I  just  might,”  she  said. 

As  a matter  of  fact,  she  did.  You  see, 
this  happened  a while  back.  By  no  stretch 
of  the  imagination  could  I call  myself 
Cupid.  But  now  they’re  going  steady.  And 
the  word  “Crumb”?  She’ll  tell  you  it’s 
strictly  for  the  birds.  The  End 


WHO  ARE  YOUR  FAVORITES? 


Send  your  votes  for  the  stars 
you  want  to  see  in  photoplay 


In  color  l want  to  see:  actor: 


actress: 


(1) _ _ (I) 

(2) _ l (2) 


I tvant  to  read  stories  about: 


(1)  (3) 

(2)  (4) 

The  features  I like  best  in  this  issue  of  Photoplay  are: 

(1)  (4) 

(2)  (5) 

(3)  (6) 

NAME 

ADDRESS ACE 


88 


Paste  this  ballot  on  a postal  card  and  send  it  to  Readers’  Poll 
Editor,  Box  1374,  Grand  Central  Station,  N.  Y.  17,  N.  Y. 


He's  Your  Man,  If  . . . 


(Continued,  from  page  58) 
a wife  around  the  house?  What  would  she 
do?” 

The  lady  laughed  merrily.  “Well,”  she 
said.  “She  could  cook  and  keep  house  and 
send  out  the  laundry.  . . .” 

“I  can  cook  and  keep  house,”  Scott  in- 
formed her.  “And  there’s  a man  who  comes 
once  a week  to  pick  up  the  laundry.  . . .” 

“She  could  pay  the  bills.” 

“I  have  a business  manager.  All  the  bills 
go  to  him,”  said  Scott. 

“What  about  a family?”  she  asked, 
smiling  through  teeth  now  clenched.  “Don’t 
you  like  children?” 

.“Sure,”  he  .said.  “Love  ’em.  Other 
people’s.”  He  paused  a moment,  thought- 
ful. “When  they’re  asleep,”  he  added. 

“Now,  Scott,”  she  prodded.  “You  know 
you’d  like  to  have  a family  of  your  own.” 

“On  second  thought,  maybe  I would,” 
said  Scott.  “About  thirteen,  I’d  say.  I’m  not 
superstitious.  Might  be  a good  idea  to  have 
a whole  crew  around — get  some  work  done. 
Keep  ’em  busy.  You  know,  running  er- 
rands, hustling  firewood.  Save  hiring  help.” 

After  this  speech,  the  little  lady  devel- 
oped a sudden  headache.  She  remembered 
she  was  expecting  an  important  call  at 
home.  And  furthermore,  her  mother  was 
there  alone  and  it  was  getting  late.  Scott 
never  saw  her  again.  As  he  left  her  at  the 
door,  he  concluded  that  she  must  have 
taken  him  seriously — and  he  didn’t  correct 
the  impression.  One  thing  was  certain.  He’d 
taken  her  seriously — and  resorted  to  his 
sense  of  humor  as  a first  line  of  defense. 

That’s  Brady.  If  you  were  his  girl,  you’d 
have  to  understand  him.  He’s  never  vowed 
that  he  won’t  marry — eventually.  As  for 
the  girl — whoever  she  is,  wherever  she  is, 
whenever  she  comes  along — well,  he’ll  be 
waiting.  And,  if  the  feeling  is  mutual,  he 
figures  they’ll  both  know.  She  won’t  have 
to  call  the  matter  to  his  attention.  “Right 
now  I simply  don’t  want  to  get  married,”  he 
says.  “Why  not?  Well  now,  when  does 
someone  want  to  marry?  One  guess  is  as 
good  as  another.  But  ask  why  I’m  not  in 
love  and  I’ll  ask  you  to  give  me  the  Ein- 
stein theory  of  relativity. 

“The  same  thing  goes  for  asking  some- 
body why  he  is  in  love.  How  does  he  know? 
It’s  an  intangible,  unexplainable  thing. 

“There  are  those  who  say  that  love  is  a 
fifty-fifty  deal.  Maybe  I’m  still  an  old-fash- 
ioned romanticist,  but  I’d  call  it  more  of  a 
hundred-hundred  deal.  How  can  you  love 
fifty  percent?  Like  the  song  says,  it’s  all  or 
nothing.  I’ve  never  had  the  feeling.  Con- 
sequently, at  the  moment,  I’m  a confirmed 
bachelor. 

“But  the  questions  keep  coming.  I re- 
member someone  once  asked  how  it  would 
be  if  someone  were  in  love  with  me.  How 
do  I know?  As  I’ve  said,  I’ve  never  been  in 
love.  The  only  thing  I can  do  is  to  think 
about  the  things  I’d  like  to  do  and  the  way 
I like  to  live.  The  person  I’m  in  love  with 
will  either  like  these  things  or  I’ll  stop 
liking  these  things.” 

If  you  were  Scott  Brady’s  girl,  you’d 
know  that  the  “home  with  a good  book” 
story  is  a true  one.  Scott  isn’t  a man  for 
night  clubs.  In  his  scheme  of  living,  he  con- 
siders going  out  a great  waste  of  time. 
“What  are  you  going  to  learn  at  a night 
club?”  he  asks.  “What  world-shaking 
events  occur  in  these  places?” 

Your  dates  would  be  quiet  ones.  Perhaps 
dinner  at  Scott’s  home — or  some  remote 
spot  with  a pleasant  atmosphere  and  good 
food.  “The  way  I see  it,”  he  says,  “it  doesn’t 
matter  where  you  are.  It’s  who  you’re 
dining  with.”  He’d  hope  his  girl  would  like 
plain  American  cooking.  And  after  dinner 
a movie  or  a play — if  there’s  one  in  town — 
or  possibly  the  fights. 


Sometimes  you’d  visit  friends,  and  prob- 
ably wind  up  on  the  floor  shooting  marbles 
with  their  kids  with  Scott  having  more  fun 
than  anybody.  When  he  vows  he’d  like 
enough  of  his  own  for  a basketball  team, 
he’s  not  so  certain  he’s  kidding. 

Parlez-vous  Francais?  Scott’s  learning. 
Two  nights  a week  you  might  join  him  at 
UCLA  night  school  where  he  recently 
signed  for  a couple  of  courses.  And  you’d 
like  as  not  spend  a great  deal  of  time  por- 
ing over  travel  folders.  Scott  has  a great 
yen  to  travel.  When  he  made  a picture  in 
London,  he  had  to  come  right  back  to  the 
States  for  another  film.  However,  some 
day  he  plans  to  take  the  grand  tour — 
France,  Italy,  Switzerland — all  the  places 
he’s  wanted  to  visit  over  there.  “I’d  like  to 
meet  the  people  of  our  world — and  pos- 
sibly expose  myself  to  a little  old-world 
culture,”  he  says. 

You’d  find  that  Scott  reads  the  books  on 
his  book  shelves — best  sellers  like  “The 
Caine  Mutiny”  and  “Not  as  a Stranger”  . . . 

You’d  discover  that  he  can’t  bring  him- 
self to  loaf  between  pictures,  that  he  likes 
to  spend  his  time  as  constructively  as  pos- 
sible. He  believes  an  actor  can  only  bring 
to  the  set  with  him  the  things  that  he  learns 
when  he  isn’t  working.  To  Scott,  the  real 
work  is  not  making  a picture.  It’s  preparing 
himself  before  the  picture  begins.  “It’s  an 
old  argument,”  he  says.  “Does  the  actor 
make  the  part  or  does  the  part  make  the 
actor?  I say  it’s  fifty-fifty.  If  the  part  isn’t 
there,  you  can’t  play  it.  But  then  again,  if  it 
is,  you’ve  got  to  be  able  to  do  it.  You  can 
only  portray  what  you  know.  Watch  the 
successful  ones  work.” 

When  he’s  working,  you’d  probably  come 
to  know  as  much  about  the  role  as  he  does. 
Scott  reads  the  script  and  tries  to  imagine 
what  kind  of  family  the  character  is  from. 
He  wants  to  know  the  background,  what’s 
behind  the  character.  Then  he  dreams  up  a 
story  and  tries  to  discover  how  he  would 
react  in  such  a situation.  “Then,  I have  an 
idea  of  how  he  does  things  because  I know 
why  he  does  them,”  he  says. 

He  doesn’t  go  off  into  a trance.  He  be- 
lieves that  living  a part  is  foolish.  However, 
the  best  way  to  understand  the  character 
is  to  talk  the  fellow  over  with  someone 
who’s  interested,  get  someone  else’s  point 
of  view.  If  you  were  Scott’s  girl,  that’s 
where  you’d  come  in. 

But  it  wouldn’t  all  be  work  and  study. 
There’d  be  days  at  the  beach  when  you’d 
take  along  a picnic  lunch  and  eat  fried 
chicken  salted  with  sand  and  love  it.  You 
might  note  that  occasionally  he’d  glance 
your  way,  thinking  you  weren’t  watching, 
to  see  if  you  were  really  having  fun.  He’d 
hate  to  see  you  moody  and  mysterious.  He’d 
want  to  see  you  smiling,  enjoying  life — at 
the  beach — anywhere. 

You  wouldn’t  gush  and  you  wouldn’t 
gossip.  If  you  did,  you  might  hear  Scott 
snap,  “Don’t  tell  me.  I don’t  want  to  hear 
about  it.”  And  that’s  another  thing — hon- 
esty. He’d  always  be  honest  with  you  and 
he’d  expect  the  same.  However,  you’d  both 
know  the  difference  between  constructive 
honesty  and  destructive  honesty. 

You’d  see  a lot  of  his  family.  You  might 
drop  by  for  dinner  some  evenings,  or  after 
dinner.  And  invariably  you’d  settle  down  to 
a Canasta  bout.  Scott’s  mother  is  a Ca- 
nasta fiend.  And  she  always  wins.  She  also 
has  definite  ideas  about  marriage.  “You 
ought  to  get  married,”  she’ll  tell  Scott. 
“Why  don’t  you?” 

“Because  I don’t  think  it’s  the  thing  to 
do  right  now,”  he  tells  her. 

“Are  you  in  love?”  she  then  asks. 

If  you  were  Scott’s  girl,  chances  are,  she’d 
ask  you  too.  And  he  would  leave  your  re- 
ply to  your  own  discretion.  The  End 


Inviting  Lips 


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In  The  Long  Wait 
With  ANTHONY  QUINN 
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My  Girl  Debbie 


(Continued  from  page  68) 
greater  success.  Debbie  frankly  doesn’t 
like  household  chores,  and  I can’t  say  I 
blame  her.  Neither  do  I.  But  con- 
fronted with  the  necessity,  such  as  when 
I’m  visiting  my  family  in  Texas,  Debbie 
can  do  a pretty  creditable  job  with  our 
Burbank  home. 

Our  neighbors,  watching  my  daughter 
play  sandlot  baseball,  dressed  in  old  faded 
blue  jeans  and  T-shirt,  shake  their  heads 
and  say  that  she  lives  and  acts  little  like 
their  conception  of  a movie  star.  Recently 
Debbie  completed  a theatrical  engagement 
in  “Gigi”  in  St.  Louis.  We  were  at  the 
airport  and  Debbie  bought  an  armload  of 
movie  fan  magazines.  Two  women  near- 
by kept  eyeing  her. 

“It  sure  looks  like  that  Debbie  Reynolds,” 
one  whispered  to  the  other. 

“Nope.  It  couldn’t  be.” 

“Well,  how  do  you  know.” 

“Simple.  No  movie  star  would  be 
reading  movie  magazines.” 

But  if  they’re  listening,  it  was,  too,  Deb- 
bie, and  she  does,  too,  read  fan  magazines. 
She’s  as  big  a movie  fan  as  any.  “Only 
way  that  I can  keep  up  with  my  friends, 
now  that  I’m  so  busy,”  she  says. 

And  now  that  I think  of  it,  it’s  a good 
thing  those  St.  Louis  doubters  didn’t  see 
Debbie,  her  dad  and  me  sleeping  all  night 
in  our  car  the  time  we  drove  our  son 
back  to  his  Army  camp  and  couldn’t  find 
any  place  to  stay.  They’d  never  have 
believed  she  was  in  films,  for  sure. 

True,  after  five  years  of  picture-mak- 
ing, Debbie’s  got  a swimming  pool  (though 
we  had  to  give  up  our  whole  back  yard 
for  it  and  Debbie  had  to  make  two  theat- 
rical tours  for  the  money) ; a crystal  mink 
stole  (her  past  Christmas  present  to  her- 
self, purchased  as  a bargain  because  it 
was  made  up  for  someone  else  and  turned 
out  too  small) ; a new  white  and  shrimp- 
pink  Mercury  (bought  at  the  factory  and 
driven  home  last  month).  I suppose  that 
proves  she’s  a movie  star,  but  she  also  sells 
Girl  Scout  cookies  and  that  proves  her 
sense  of  values  hasn’t  changed. 

Debbie  and  I have  been  all  wrapped  up 
in  scouting  ever  since  she  was  old  enough 
to  join  (we  still  are  counselors),  and  she 
has  more  different  badges  of  merit  than 
Mr.  Carter  has  pills — including  one  for 
baking  and  cooking!  Frankly,  I think  they 
were  looking  the  other  way  when  they 
handed  her  that  last  one!  But  seriously, 
it’s  my  feeling  that  if  you  get  a boy  or 
girl  interested  in  some  such  character - 
building  community  organization,  you  need 
never  worry  that  he  or  she  will  take  the 
wrong  path  in  life.  And  that’s  why  I never 


lost  sleep,  lying  wide-eyed  in  bed,  wait- 
ing for  Debbie  to  come  home  when  she 
first  started  dating. 

I must  say  though  that  I almost  de- 
spaired of  her  ever  taking  boys  seriously. 
She  was  interested  in  them,  all  right,  but 
only  so  far  as  their  prowess  in  football, 
baseball  and  bowling  was  concerned.  Deb- 
bie loves  sports — all  kinds.  In  fact,  if  you 
pasted  up  a list  of  her  favorite  sports  on 
a giraffe,  the  ones  she  considers  “real 
cool”  would  extend  from  top  to  bottom. 
(I’ve  just  remembered  I mustn’t  say 
“real  cool”  any  more.  As  soon  as  I learn 
to  use  one  of  Debbie’s  bebop  expres- 
sions, she  says  that  one  is  as  outdated  as 
the  dodo  and  I’m  a “real  square”  if  I 
still  use  it.) 

Debbie’s  brother  Bill  treated  her  as  a 
kid  when  she  tagged  along  to  play  base- 
ball or  football.  Like  most  big  brothers — 
he’s  two  years  older  than  she — he’d  say, 
“Gosh,  I wish  I could  trade  that  kid  sister 
of  mine  for  something  useful,  like  a bike.” 

Bill  would  tease  her,  saying,  “Greg 
thinks  you’re  peachy-keen.” 

“Really?”  Debbie  would  glow.  “How 
did  he  like  my  one-handed  catch  yester- 
day? Smooth,  huh?” 

“Naw,  I mean  he’s  got  a crush  on  you.” 

“Oh,  fiddlesticks,”  she’d  explode.  “Boys!” 

But  around  sixteen  or  so,  she  began  to 
discover  that  boys  are  here  to  stay.  And 
her  interest  in  clothes  mounted  in  the 
same  ratio.  I’ve  made  most  of  her  clothes 
because  Debbie  has  always  been  tiny  for 
her  age.  Now  she  wears  a size  seven  and 
can  find  dresses  in  that  size,  but  formerly 
it  was  impossible.  Anyway,  she  couldn’t 
afford  all  the  store-bought  clothes  she 
needed — and  wanted.  So  whatever  free 
time  I have  from  housekeeping,  my  work 
with  the  Red  Cross,  Girl  Scouts  and  Blood 
Bank  activities,  I’m  glued  to  the  sewing 
machine. 

The  result?  Dresses,  coats,  suits,  formats, 
overflow  her  room-length  closets.  And 
Debbie,  unfortunately,  is  the  kind  of  girl 
who  must  try  on  five  outfits  before  she’s 
ever  satisfied.  The  other  night,  Bob  Neal, 
a young  Texan,  was  over.  Hoping  I’d  em- 
barrass her,  I asked  him  if  he’d  like  to  see 
the  result  of  a baby  Texas  cyclone  and 
took  him  into  Deb’s  room.  But  he  wasn’t 
unhappy.  He  merely  picked  up  a box  of 
snapshots  of  Debbie  and  looked  at  them. 

Debbie’s  grandmother  shook  her  head. 
“Sake’s  alive,  Maxene,”  she  said,  “how  do 
you  ever  expect  to  get  that  young  one 
married  off  if  you  let  her  fellers  see  how 
untidy  she  is?” 

Frankly,  I’ve  done  nothing  to  try  to  get 
Debbie  married.  That’s  up  to  her  com- 


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pletely — just  as  her  career  is.  She’s  been 
dating  Bob  Neal,  Tab  Hunter,  Hugh 
O’Brian,  Bill  Shirley  and  a young  plastic 
surgeon,  Dr.  Michael  Flynn,  besides  lots 
of  boys  not  in  pictures.  But  I don’t  think 
our  Five  Foot  Dynamo  is  really  in  love 
yet.  When  she  is,  I’ll  know  it.  Because 
Debbie  is  a shouter.  She’s  been  called  ‘‘the 
lass  with  a delicate  air” — but  not  by  me. 

Since  she  was  eighteen  Debbie  has  been 
making  five-dollar  bets  with  friends  at  the 
studio  that  she  wouldn’t  be  married  at 
twenty-one,  twenty-two,  or  twenty-three. 
One  with  Lana  Turner,  I think,  is  now 
due,  and  Lana  owes  Debbie  five  dollars. 
Debbie  has  all  the  little  signed  slips  care- 
fully hidden  away,  and  if  she  doesn’t  marry 
this  year  or  next,  she  stands  to  collect 
about  one  hundred  dollars. 

I know  that  lots  of  girls  look  over  every 
date  with  a calculating  eye  while  hearing 
those  distant  strains  of  Lohengrin.  Not 
Debbie.  With  her,  it’s  just  fun,  whether 
it’s  a date  for  bowling,  dancing,  beach 
picnic,  barbecue  party,  a premiere,  a 
movie.  When  it  comes  to  clowning,  that 
Vitamin  Kid  can  outclown  any  three  girls. 
But  neither  her  dad  nor  I worry  about 
Debbie  winding  up  an  old  maid.  When 
the  time  comes,  the  right  man  will  find 
■ our  daughter.  For  years  she’s  been  saying 
she  wants  to  marry  a doctor  because 
they’re  such  wonderful  men.  She’s  even 
told  our  family  doctor,  but  he  just  laughs 
and  says,  “Heaven  help  him.  It’ll  set  the 
profession  back  ten  years!” 

Debbie’s  standards  have  always  been 
high.  She’s  really  embarrassed  in  a low- 
cut  glamour  gown.  Photographers  are 
always  saying,  “Take  your  hands  down, 
Debbie.”  This  innate  modesty  colors 
everything  about  her.  She  doesn’t  drink 
or  smoke,  and  she  isn’t  going  to  be  talked 
into  it  by  the  people  around  her.  She 
says  she’ll  never  marry  a divorced  man 
— won’t  even  date  a man  until  his  divorce 
I is  final.  “Say,”  I heard  her  shrill  over 
the  phone  the  other  night,  “is  your  year 
up  yet?”  (She  was  referring  to  the  Cali- 
fornia law  which  demands  a year  waiting 
period  before  a divorce  is  final.)  Nor 
will  she  date  a boy  a second  time  when 
she  finds  on  the  way  home  that,  as  she 
puts  it,  he  “develops  as  many  arms  as 
an  octopus.”  When  she  dates,  she  picks 
her  escorts  carefully  and  she  wants  to 
know  where  she’s  going  beforehand.  “It 
doesn’t  have  to  be  a big  production,”  she 
explained  to  me,  “but  we  have  to  have 
some  activity  planned.  I like  the  accent  on 
action,  so  there  isn’t  time  for  parking  in 
the  car  or  looking  for  dark  corners.” 
Wolves-about-town  she  refuses  to  date. 

Because  I think  Debbie  is  mature  enough 
for  her  age  and  because  so  many  other 
young  actresses  have  their  own  apart- 
ments, I once  asked  her  if  she’d  like 
one— nearer  to  the  studio.  And  she  ex- 
ploded: “That’s  like  saying  our  home  isn’t 
good  enough  for  me.  I love  it  here  and 
I want  to  stay  until  I marry.  I’d  hate  to 
live  alone.”  So,  quick -like,  I dropped  the 
suggestion.  Dad  converted  the  double 
garage  into  a little  guest  house,  thinking 
Debbie  would  like  it  for  study  and  rest 
when  we  didn’t  have  house  guests.  But 
Debbie  won’t  budge  from  the  house. 

The  truth  is  that  Debbie  is  as  con- 
tented in  her  home  as  a five-year-old 
in  a candy  store.  She’s  been  all  over 
our  country  and  to  South  America,  to 
Korea,  Japan,  Mexico  and  she’s  been  a 
guest  in  the  most  glamorous  estates 
around  town,  yet  she’s  never  felt  the 
slightest  bit  ashamed  of  our  modest  home. 

I think  this  is  because  we’ve  never  taught 
her  that  the  biggest  is  the  best.  And  if  she 
should  marry  a young  man  just  starting 
out  in  a profession,  she’d  be  content  with 
their  circumstances.  Though  Debbie’s 
eyes  are  green,  she’s  never  envied  friends 


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or  what  have  you!)  can  be  the 
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who  have  more  of  the  world’s  material  pos- 
sessions. When  young  people  are  jealous 
and  envious  of  others,  I think  it’s  because 
parents  have  neglected  to  instill  a pride 
of  home  in  their  children — a pride  based 
on  the  comforting  fact  that  of  all  the 
houses  in  the  world  one  alone  is  home. 

In  this,  Debbie’s  attitude  is  mature,  just 
as  it  is  in  her  work.  At  first,  I admit, 
that  little  character  I call  my  daughter 
looked  upon  acting  as  a lark.  Then  she 
began  to  grow  and  to  take  it  seriously.  The 
change  was  noticeable.  She’s  gone  from 
child  to  grownup.  For  it’s  my  belief  that 
the  ability  to  stick  to  a job— to  struggle 
through  it  until  it’s  finished — is  a real 
test  of  maturity. 

Like  honey,  she  sticks  to  anything  until 
she  becomes  a part  of  it.  Take  the  French 
horn,  for  instance.  Personally,  I’d  rather 
not  take  it — but  Debbie  practiced  and  prac- 
ticed until  she  could  play  it  well  while 
she  was  in  high  school.  Lately,  she’s  been 
persistent  in  learning  to  dance,  sing,  do 
ballet,  gain  proficiency  in  diction  and 
dramatics.  She’s  shown  endurance,  ac- 
cepted unpleasantness,  discomfort,  frus- 
tration, hardships.  And  she’s  learned  to 
size  things  up,  make  her  own  decisions. 

Once  when  a friend  asked  my  husband, 
Ray,  some  question  about  M-G-M,  Ray 
said  he’d  never  been  there.  And  he  hasn’t. 
And  I’ve  been  there  only  when  necessary. 

I remember  that  the  studio  school 
teacher  suggested  that  I come  and  super- 
vise Debbie  daily.  I declined,  politely. 
(I  have  a life  of  my  own,  too.)  And 
when  Debbie  was  eighteen  and  through 
school,  the  teacher  said  that  now,  more 
than  ever,  a young  girl  should  have  her 
mother  with  her  at  the  studio.  “Debbie.” 
I told  her,  “is  self-reliant  and  has  sound 
judgment.  I’ve  every  confidence  in  her. 
She  isn’t  going  to  do  anything  that  she 
wouldn’t  do  if  I were  here  watching  her.” 
And  she  didn’t. 

Debbie  handles  all  her  own  affairs— 
decided  on  the  details  of  her  new  contract, 
selected  a business  manager  who  allows 
her  twenty  dollars  a week  for  spending 
money.  She  uses  it  for  lunches,  movies, 
banana  splits  and  malteds,  bowling,  buying 
herself  a belt  or  a scarf  and  many  weeks 
she’s  amazed  to  find  a few  dollars  left  over. 
This  ability  to  budget  is  another  sign  of 
increasing  maturity. 

But  when  Debbie  first  signed  her  con- 
tract with  Warners  when  she  was  just 
sixteen,  I confess  Ray  and  I weren’t  quite 
ready  to  let  her  make  her  own  decision 
about  a career.  No  one  in  our  family 
had  ever  had  theatrical  ambitions  and  we 
weren’t  sold  on  the  idea  that  there’s  no 
business  like  show  business.  We  were 
a bit  skeptical  about  the  whole  idea.  (Only 
recently  my  mother  found  out  that  Maxine 
Elliott,  the  great  stage  star,  was  a distant 
kin  of  ours.  Frankly,  I have  to  confess 
that  I’d  never  heard  of  her  or  that  a 
theatre  was  named  for  her  on  Broadway.) 
Actually,  we  would  much  rather  have  seen 
her  go  on  with  her  ambition — to  become 
a gym  teacher.  Without  telling  Debbie,  we 
went  to  the  studio  and  had  a long  talk 
with  everyone  she  would  be  working 
with.  And  we  concluded  that  Debbie 
would  be  in  a safe  environment — that  these 
were  all  mighty  fine  people. 

Sometimes  I suppose  Debbie  must  think 
longingly  of  her  ambition  to  become  a 
gym  teacher.  She  has  so  little  leisure  time 
now.  Tourete,  her  poodle,  and  Henry,  her 
cat,  scarcely  see  her  these  days.  And 
her  collection  of  toy  monkeys  gathers  dust. 
“Heavens  to  Betsy,”  she  laughs,  “if  I had  a 
husband  it  would  be  ‘Hi’  and  ‘Bye’  and 
I’d  have  to  give  him  a picture  of  me  to 
remember  me  by.”  She  blows  in  exhausted 
from  a long  day  at  the  studio,  and  even 
if  she  has  a few  days  off  to  go  to  Palm 
Springs,  the  time  is  pretty  well  filled  with 


picture  layouts  and  personal  appearances. 
Every  chance  she  gets,  she’s  off  entertain- 
ing at  camps  and  hospitals.  This  is  her 
personal  contribution  and  she’s  never  too 
tired  or  busy  to  continue  with  it. 

Dad  likes  to  watch  wrestlers  on  tv — 
Debbie  considers  them  like  yesterday’s 
corn  fritters,  so  after  dinner,  if  she  doesn’t 
have  a date,  she  gratefully  climbs  into  her 
bed,  chews  away  vociferously  on  a stick  of 
gum  while  she  grows  a crop  of  goose  pim- 
ples listening  to  her  mad  passion — murder 
mysteries  on  the  radio.  Right  now  she’s 
in  the  throes  of  reorganizing  her  posses- 
sions which,  like  a Scotch  magpie,  she’s 
hoarded  through  the  years — old  school 
jumping  ropes,  athletic  equipment,  cheer- 
leader batons,  dolls,  magazines,  scrap- 
books, letters  and  pictures.  She  covers 
her  bed  with  sorted  piles,  then  puts  every- 
thing on  the  floor  when  she  goes  to  sleep. 
Next  night,  back  everything  goes  on  her 
bed,  while  she  continues  the  sorting. 

Dad  and  I look  in  on  this  bundle  of 
energy  and  wonder  what  we’ll  do  for 
laughs  when  the  day  finally  comes  that 
Debbie  leaves  the  house  as  a bride.  We 
both  never  hoped  to  be  perfect  parents 
to  Debbie.  Nor  have  we  demanded  perfec- 
tion in  her.  We’ve  been  aware  of  the 
necessity  of  give  and  take  on  the  part  of 
all  of  us,  and  that’s  why,  I think,  we  have 
always  had  a happy  home.  And  without 
pinning  a blue  ribbon  on  myself,  I think 
Debbie — together  with  many  of  her  girl 
friends — will  make  a fine  potential  crop 
of  mothers  and  I envy  the  girl  who’ll  be 
my  grandchild. 

Anyway,  I think  I pay  her  the  highest 
compliment  when  I say  I’d  be  happy  to  be 
her  daughter! 

The  End 


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In  most  cases  your  letters  will  reach  a star 
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•A  'k 


92 


Mar+in  and  Lewis 


( Continued,  from  page  53) 
familiar  answer,  “There’s  no  Martin,  no 
Lewis,  only  Martin  and  Lewis.” 

Looking  back  on  that  day  in  1942  when 
they  were  introdkuced  on  the  street  corner 
at  54th  Street  and  Broadway  in  New  York 
City,  both  of  them  feel  that  Fate  must 
have  had  a lot  to  do  with  it.  There  doesn’t 
seem  to  be  anything  else  that  could  have 
brought  them  toother  at  that  particular 
place  and  at  that  particular  time. 

But  cymbals  didn’t  crash  and  the  world 
didn’t  stop.  NobtUdy  even  gave  them  a 
second  glance.  At  best  they  were  an  un- 
likely looking  pair.  An  elastic-faced  youth 
named  Joseph  Lefcdtch,  fresh  from  the 
Borsch  Circuit,  and  an  Italian  barber's  son 
from  Steubenville,  Ohio,  Dino  Crocetti, 
singing  protege  of  the  boys  in  the  back 
room  of  the  local  cigar  store. 

Although  they  didn’t  get  to  work  to- 
gether as  a team  until  four  years  later, 
Fate  kept  crossing  their  paths.  Not  long 
; thereafter,  a very  nervous  Italian  crooner 
! then  billed  as  Dino  Martini  followed  Frank 
Sinatra  into  the  Club  Riobamba  in  New 
York.  Dino  was  so  nervous  he  was  sure 
the  customers  thought  he  was  singing  a 
rhumba  and  had  castemets  hidden  in  his 
knees.  To  make  things  worse  it  was  celeb- 
rity night  and  the  audience  was  almost 
entirely  composed  of  celebrities.  Wherever 
he  looked,  Dino  saw  famous  faces.  Un- 
known to  him,  howevier,  a non-celebrity, 
Jerry  Lewis,  was  sitting  at  the  bar  to  es- 
cape the  cover  charge.  He’d  gone  to  see 
and  hear  Sinatra  and  dSdn’t  know  the  bill 
had  changed.  But  he  didn’t  ask  for  his 
money  back.  He  watched,  entranced  by 
the  sight  of  this  unknown  who  could  sing 
to  such  an  audience  so  easily. 

That  evening  is  indelibly  engraved  on 
Jerry’s  mind,  and  he  caen  still  remember 
what  Dino  wore — a light  blue  dinner  jack- 
et that  a waiter  wears  if  people  are  com- 
ing and  a maroon  tie. 

So  much  to  remember.  . . . 

For  Jerry — an  indelible  picture — the 
time  he  next  saw  Dino  Martini,  singing 
at  Loew’s  Theatre  where  Jerr  was  “an 
yoosher  once.”  Dino  sang,  clutching  on  to 
something  in  his  hand.  Curiously  Jerry 
wondered  what  it  could  bet  Later  he  found 
out — a little  white  cross. 

For  Dino — during  the  months  after  their 
street-corner  meeting — Jarr’s  casual  cor- 
respondence on  the  walls  of  the  dressing 
rooms  in  the  club  circuit  where  one  usu- 
ally followed  the  other.  Jerr’s  welcoming 
scribble,  “Hi,  Dino.  I was  here.  Hope  you 
do  as  well.” 

I For  both  of  them — and  for  a laugh- 
hungry  world — the  memorable  evening, 
July  25,  1946,  at  Atlantic  City’s  “500  Club” 
— when  Martin  & Lewis  was  born.  Now 
married  to  Patti  Palmer,  Jimmy  Dorsey’s 
pretty  dark-eyed  vocalist,  and  with  hos- 
pital bills  hounding  them  following  the 
birth  of  a son,  Gary,  Jerry  nteeded  to  make 
more  money.  When  he  and  Dino  were  both 
booked  into  the  “500  Club” — he  talked  the 
proprietor  into  letting  them  do  their  “big 
comedy  act”  together.  The  one  that  really 
laid  them  in  the  aisle  wherever  they 
played.  But  of  course  the  first  night  they 
went  out  on  the  floor  together  nothing 
happened.  Jerr  did  his  mugging  to  records, 
Dean  sang  his  songs  and  the  rest  slept. 
Except  the  proprietor.  He  blew  his  top. 
“You  said  you  guys  get  laughs.  I did  not 
hear  no  laughs.”  No  laughs  next,show — and 
out  they  would  both  go. 

They  holed  up  that  night  in  Jerry’s 
hotel  room,  locked  the  door  and  worked  on 
colossal  ideas  they  couldn’t  use.  Some 
time  during  the  small  hours— they  went 
down  to  the  beach,  and  using  the  break- 
ers for  a rhythm  beat,  Jerr  tar$ght  Dean  a 


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time-step — the  same  one  they  do  today. 
Sleepless  and  desperate,  they  arrived  at 
the  club  the  next  night — still  with  no 
routine.  Like  condemned  men  with  noth- 
ing to  lose  they  descended  upon  the  un- 
suspecting customers.  A barrage  of  bed- 
lam— squirting  seltzer,  snipping  off  the 
ends  of  customers’  cigars,  chasing  the 
waiters.  Dean  stepping  on  Jerry’s  lines. 
Jerry  stepping  on  Dean’s  songs.  And  both 
of  them  walking  all  over  the  audience.  To 
Jerr — from  somewhere — there  came  a voice, 
a laugh-voice  high  and  whiny  that  was  to 
be  imitated  the  world  over.  They  wound 
up  their  act  leading  the  hysterical  custom- 
ers around  the  club  in  a conga.  That  night 
two  weary  new  comedians  collapsed  over  a 
few  beers — quite  a few. 

Like  any  couple — the  first  was  their 
toughest  year. 

Too  many  unpaid  bills  following  them 
around  and  catching  them.  In  Atlantic  City 
they  stayed  at  a flea-bitten  hotel.  The 
management  put  an  iron  crib  in  Patti  and 
Jerry’s  room  for  one-year-old  Gary.  Patti 
laundered  Gary’s  diapers  out  daily  and 
hung  them  on  the  fire  escape  to  dry. 
Money  was  so  scarce,  Dean’s  wife,  Betty, 
had  gone  home  to  her  mother’s  in  Phila- 
delphia to  have  their  third  child,  a daugh- 
ter they  named  Gail.  They  couldn’t  pay 
their  hotel  bills  and  finally  left  three 
trunks  for  security,  walking  out  of  the 
lobby  with  all  they  could  wear  and  baby 
Gary.  When  they  retrieved  the  trunks  a 
year  later,  they  found  the  moths  had  had 
a busier  season  than  theirs.  A wardrobe 
of  moth-eaten  rags. 

These  were  days  when  Dean  and  Jerry 
would  appear  on  celebrity  night  at  Leon 
and  Eddie’s  for  free  dinner  for  four. 
When  Patti  had  to  go  to  the  hospital  and, 
wanting  to  surprise  her  by  driving  her 
home  in  their  own  car,  Jerry  bought  an 
old  beaten-up  Plymouth  for  $600 — and 
Patti  was  plenty  surprised.  “We  don’t  even 
have  two  dollars.  What  about  the  hospital 
bills?”  The  car  was  on  its  last  gasp,  but 
was  Jerry’s  pride  and  joy.  Every  night  be- 
tween shows  at  the  Havana  Madrid — how 
he  would  stand  out  in  front  of  the  club 
under  the  lights  lovingly  polishing  it. 

Unforgettable — ever — the  night  Martin 
& Lewis  broke  into  the  big  time.  The  big- 
gest. New  York’s  Copacabana.  With  all 
Broadway  at  their  feet,  and  their  price 
upped  to  $5000  a week.  They’d  come  a long 
way  then — in  less  than  two  years.  But 
waiting  in  their  dressing  rooms  two  white- 
faced guys  were  ready  to  write  off  the 
whole  thing.  They’d  paid  a writer  $1000 
for  Jerry’s  three-minute  opener.  Watching 
Jerry  over  in  one  corner  of  the  dressing 
room,  struggling  feverishly  rehearsing  the 
gags,  almost  before  even  he  realized  what 


he  was  doing,  Dean  walked  over,  took  the 
paper  out  of  his  hand  and  tossed  it  out 
the  open  window.  Then  horrified,  they 
both  stood  there  watching  $1000  flutter 
slowly  down  to  the  street.  For  a minute 
they  felt  like  fluttering  down  after  it.  Then 
with  a confidence  he  couldn’t  feel,  Dean 
gave  Jerr  that  famous  third-quarter 
locker-room  speech.  “Now  go  out  there, 
Jerr — and  do  what  you  want  to  do.  What- 
ever you  feel  like  doing,”  he  said.  Jerr 
felt  like  folding  up,  period.  Shakily  mak- 
ing his  way  out  on  the  Copa  floor,  he  took 
a look  around  the  packed  club — and  again 
from  somewhere  ...  or  nowhere  . . . the 
line  came  to  him.  “My  father  always  said, 
‘When  you  play  the  Copa,  Son,  you’ll  be 
playing  to  the  cream  of  show  business.’  ” 
He  paused  and  took  another  look  around. 
Then  in  a cracked  voice,  “This  is  krim?” 
Hearing  the  laughs,  the  lyrics  of  “San 
Fernando  Valley”  returned  to  Dean’s  mind. 
They’ve  often  wondered  what  would  have 
happened  if  Jerry  had  done  the  $1000  ma- 
terial. “We  probably  wouldn’t  be  in  Hol- 
lywood today,”  they  say.  Jerry  still  does- 
n’t know  where  his  sock  opening  line  came 
from.  But  Fate  was  keeping  a protective 
eye. 

Exciting  giddy  days,  these.  The  first  flush 
of  a fantastic  success  even  Dean  and 
Jerry  couldn’t  explain.  Lines  waiting  six 
deep  out  in  the  snow  when  they  played 
the  Paramount.  Breaking  their  own  rec- 
ords wherever  they  went.  Capturing  the 
whole  country  with  their  uninhibited 
comedy,  their  absolute  irreverence  for 
anything — man  or  animal,  vegetable  or 
mineral.  Beloved  by  audiences  who  sensed 
the  heart  behind  their  humor,  their  mutual 
affection  and  admiration,  the  way  each 
extended  himself  to  make  the  other  look 
even  better,  the  happy  chemistry  of  two 
men  who  were  meant  to  make  laughter  to- 
gether. 

Laughs.  A million  laughs.  . . . 

The  hilarious  times  they’ve  covered  for 
each  other.  That  night  when  Dean  got 
back  to  the  dressing  room  late,  wondered 
where  everybody  was  and  rushed  out  on 
stage,  wearing  denims  and  sneakers,  to 
find  Jerry  singing  “Blue  Skies”  for  him — 
and  the  audience  in  hysterics  thinking  it 
part  of  the  act.  Another  night  when  Dean 
dashed  back,  slid  into  his  pumps — and 
realized  too  late  Jerry  had  nailed  them 
to  the  floor.  The  night  aboard  a New  York 
to  Chicago  train  when  Martin  & Lewis 
went  through  a Pullman  car  around  3:00 
a.m.  knocking  on  doors  and  announcing, 
“We’ll  be  in  La  Salle  Station  in  twenty 
minutes — La  Salle  Station — twenty  min- 
utes,” getting  all  the  sleepy  passengers  out 
in  the  aisles,  bags  in  hand — and  Chicago 
still  five  hours  away. 


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94 


And  how  about  that  prank  that  threat- 
ened to  break  up  the  act  . . . and  instead 
backfired  into  becoming  part  of  it?  The 
afternoon  Jerry  was  to  revolutionize  hair 
styles  by  making  famous  a chrysanthemum 
cut.  They’d  been  playing  three  shows  a 
night  at  the  Chez  Paree,  and  a tired  Jerr 
went  to  sleep  in  the  barber’s  chair  at  the 
Ambassador-East.  Dean  suggested  the 
barber  really  clip  him  for  laughs.  “I  can’t 
do  that,”  he  said.  But  Dean  kept  egging 
him  on  until  he  did,  slipping  him  a $20  tip 
and  saying,  “Here — I dare  you — ” His  long 
hair  that  he  wore  well-vaselined  down 
was  Jerry’s  pride  and  joy,  and  he  roared 
like  Samson  when  he  woke  up  and  found 
it  was  gone.  When  he  got  back  to  the 
hotel  room,  Patti  took  one  horrified  look 
and  said,  “What  have  you  done?  Where’s 
your  hair?  My  poor  Daddy—”  and  burst 
into  tears.  The  more  Patti  cried,  the  mad- 
der Jerry  got  at  Dean.  That  night  he 
didn’t  speak  to  him  when  they  went  on 
the  floor  of  the  Chez  Paree- — until  he 
heard  the  laughs  of  the  crowd,  just  eye- 
ing his  porcupine  cut.  It  changed  the  whole 
personality  of  the  act — and  today  he  prizes 
the  scissors  the  barber  sent  him  for  a 
souvenir. 

But  there’ve  been  tears  too.  . . . 

Tears  through  the  laughs  . . . like  the 
command  performance  Dean  and  Jerry 
gave  for  a dying  kid  at  midnight  in  a hos- 
pital in  Jersey  City — when  they  realized 
humbly  how  much  the  team  of  Martin  & 
Lewis  meant  to  others.  They’d  just  fin- 
ished their  show  at  the  Riviera  and  they 
rushed  out  the  door  into  zero  weather, 
praying  they’d  get  there  in  time. 

Tears  too — when  their  show  just  couldn’t 
go  on  and  each  realized  what  “the  guy 
who  is  half  my  life”  meant  to  him.  The 
night  at  the  Copa  when  Jerry  collapsed  at 
the  mike  from  nervous  exhaustion  and 
Dean  wound  up  the  act,  singing  with  mist 
in  his  eyes.  The  time  on  stage  in  Minne- 
apolis when  Jerr  fell  in  the  middle  of  an 
acrobatic  routine,  they  heard  a tendon 
snap,  and  thought  he’d  broken  his  back. 
The  theatre  management  carried  him  off 
stage,  and  facing  an  audience  of  five  thou- 
sand, Dean  started  to  sing,  choked  up, 
murmured,  “Sorry — I — I can’t.  . . .”  and 
made  a run  for  the  ambulance  to  ride  to 
the  hospital  with  him.  Another  night  at 
the  Havana  Madrid  Dean  had  an  appendi- 
citis attack  right  in  the  middle  of  the  show 
and  Jerr  couldn’t  make  with  the  jokes.  For 
the  next  ten  days,  while  Dean  recuperated 
from  an  operation,  he  commuted  between 
Lindy’s  Restaurant  and  the  hospital,  car- 
rying gallons  of  Dean’s  favorite  chicken 
soup  with  matzo  balls.  During  a Chicago 
engagement,  noting  Jerry’s  exhaustion  one 
night,  Dean  had  his  Beverly  Hills  phy- 
sician fly  pronto  to  Chicago  and  order  him 
home.  All  the  threats  for  cancelled  book- 
ings met  an  unperturbed  brown  eye  and 
Dean’s,  “The  kid  can’t  make  it.  Go  ahead 
and  sue.  . . 

And  there  were  flops.  Two.  . . . 

That  night  at  the  Fairmont  Hotel  in  San 
Francisco  when  Jerry  opened  blithely 
with,  “Good  evening,  Ladies  and  Gentle- 
men. I can’t  tell  you  how  happy  we  are 
to  be  in  Frisco  and — ” and  stopped,  won- 
dering why  the  whole  room  froze.  While 
the  veddy  crowd  in  the  Mayfair  Room  in 
Boston  just  didn’t  dig  them  at  all.  Until 
finally,  after  a prolonged  silence,  Jerry 
asked,  “Why  are  you  mad  at  us?  We  didn’t 
write  any  books.” 

Otherwise,  bedlam  at  the  boxoffice— 
everywhere.  Two  kindred  comedians  with 
the  heart  and  humor  of  one,  so  kindred 
that  once  when  somebody  in  the  audience 
booed  Dean  for  badgering  Jerry,  he 
stopped  right  in  the  middle  of  the  act  to 
explain,  “This  isn’t  for  real.  Honest.  I love 
him  too.  This  is  just  part  of  the  act.  . . 

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— that  star-studded  opening  at  Slapsie 
Maxie’s  when  all  movieland  conceded 
there  was  finally  something  new  under  the 
Hollywood  sun — the  fresh  zany  humor  of 
Martin  & Lewis.  They  liked  them  . . . 
liked  them.  . . . Dean’s  daughter,  Deana, 
was  born  that  first  year.  The  first  to  be 
born  under  more  comfortable  circum- 
stances. That  is,  in  an  uncomfortable  way. 
The  team  owed  a quarter  of  a million  in 
law  suits  at  that  time,  and  others  pending. 

Together — no  gamble  was  ever  too  great 
to  take.  . . . 

Unhappy  with  their  first  starring  pic- 
ture, “At  War  with  the  Army,”  with  noth- 
ing great  in  sight — and  not  sure  just  how 
far  Martin  & Lewis  would  go  on  film, 
Dean  and  Jerry  bought  up  the  rest  of  their 
contract  with  Screen  Associates  for  $850,- 
000,  figuring,  “If  we  make  more  pictures 
like  this  one,  we’ll  be  out  of  business  any- 
way,” still  not  realizing  just  how  much 
Martin  & Lewis  meant  to  their  public. 
Even  that  picture  clocked  $4,000,000. 

The  times — the  so  many  times — one’s 
fought  for  the  other,  tongue  and  fist.  . . . 

Take  that  time  in  Philadelphia— when 
Dean’s  fist  connected  with  a wisecracker’s 
jaw  and  an  amazed  Jerry,  who’d  heard 
nothing,  watched  the  guy  slide  the  whole 
length  of  the  saloon  and  wondered  why 
his  partner  was  that  mad.  And  found  out 
later  it  was  because  the  guy  had  made  a 
crack  about  Jerry’s  religion. 

Take  England — and  they  don’t  care  if 
you  do — where  they  almost  started  retakes 
on  the  Revolutionary  War,  each  fighting 
for  the  other. 

Take  the  time  they’ve  had  convincing 
Hollywood  there’s  no  Martin  and  no  Lewis 
— just  Martin  and  Lewis.  When  Dean 
wouldn’t  sign  with  Capitol  Records  unless 
they  agreed  to  sign  Jerry  too.  “Are  you 
crazy — what  do  we  do  with  a comic?” 
Sign  him  or  they  would  do — without — Dino 
Martin.  They  signed. 

And  how  many  times,  only  Dean  and 
Jerry  know,  when  Jerry’s  battled  the 
studio  for  a better  break  in  the  scripts  for 
Dean.  His  part  in  the  last  one,  “Three- 
Ring  Circus,”  Jerry  argued,  was  for  the 
birds.  Finally  they  were  faced  with  the 
decision  of  accepting  the  picture  and 
showing  up  on  location  in  Phoenix,  Ari- 
zona, by  midnight  of  the  deadline  given — 
or  paying  off  a default  clause  in  their  con- 
tract that  would  cost  them  $1,500,000.  Half 
the  loss  would  be  Jerry’s,  but  knowing 
how  unhappy  Dean  was  with  the  script, 
he  said,  “I’ll  take  my  loss,  Dean.  Let’s  not 
do  it.”  Expensive  words.  $750,000  worth  of 
words.  Dean  wouldn’t  let  Jerry  do  it — and 
they  caught  the  plane  and  made  the  dead- 
line. 

Share  and  share  alike  has  always  gone 
too  where  matters  involve  personal  heart- 
ache and  happiness. 

Like  Jerry  being  best  man  when  Dean 
married  pretty  blond  Jeanne  Biegger, 
Florida’s  Orange  Bowl  Queen.  Getting  so 
excited  he  jumped  into  the  swimming  pool 
with  the  bridegroom’s  “going-away”  suit 
on— and  Dean  joining  him  there  attired  in 
Jerry’s  own  best.  And  Jerry  sharing  his 
honeymoon  night  by  arriving  with  Patti 
and  Mack  Grey  at  the  Hotel  Delmar  ahead 
of  the  happy  couple  and  then  playing 
poker  all  night — the  five  of  them. 

And  all  those  nostalgic  times.  . . . 

Like  Dean  taking  a sentimental  jour- 
ney around  New  Haven,  Connecticut,  with 
Jerry  late  one  freezing  cold  night  after 
their  show — so  Jerr  could  relive  aloud  the 
happy  days  when  he  and  Patti  had  courted 
there.  Standing  with  him  out  in  front  of 
the  familiar  old  apartment  next  to  the 
delicatessen  store. 

Sharing  too  the  sad -hearted  hours.  . . . 

When  they  were  playing  the  Paramount 
Theatre  in  New  York  and  the  phone  call 
came  saying  Jerry’s  youngest  son,  Ronnie, 


had  broken  his  leg.  “If  I could  just  talk 
to  him.  I’d  feel  better,”  Jerr  kept  worry- 
ing. “If  I could  just  hear  his  voice  and 
know  he’s  all  right.”  The  phone  company 
in  Hollywood  ran  a special  line  through 
the  window  of  Ronnie’s  room  in  the  Chil- 
dren’s Hospital — so  Jerry  could  say 
“Hello”  before  going  on  the  next  show. 
Even  then  he  kept  worrying — until  Dean 
insisted,  “Look,  Jerr — take  a plane  after 
the  last  show.  Go  home  and  see  Ronnie.” 
He  would  carry  the  show  alone  for  one 
night,  and  if,  with  their  60  per  cent  ar- 
rangement, the  management  kicked,  so 
what  was  money?  “This  is  more  important 
— go  on  home  and  see  Ronnie.” 

Each  standing  by.  Always  standing  by — 
through  the  other’s  family  crises.  . . . 

Like  Dean  and  Jeanne’s  temporary  es- 
trangement after  they’d  been  married 
three  years.  When  a lonely,  restless  Dino, 
tired  of  baching,  moved  into  the  spare 
bedroom  at  Jerry’s  house.  And  a tactful 
plotting  Jerry  and  Patti  kept  constantly 
before  him  reminders  of  how  wonderful 
having  a home  and  a wife  and  a family  is. 
Happy  for  him — when  one  day  Dean  slung 
his  golf  clubs  over  his  shoulder,  climbed 
into  his  Jaguar,  and  headed  it  towards  his 
own  home. 

Of  course  there  were  other  times.  . . . 

When  any  couple  who  spend  as  much  of 
their  lives  together  as  do  Jerry  and  Dean 
— could  use  some  reconciling  too.  Like  the 
morning  they  got  off  a train  in  Chicago 
and  Jerry,  in  a depressed  mood,  sat  like  a 
cigar-store  Indian,  leaving  Dean  to  make 
the  jokes  all  by  himself  for  newsreels  and 
photographers. 

And  like  the  afternoon  when  Dean  was 
late  to  television  rehearsals  . . . and  Jerry 
finally  blew  his  top  and  told  him  just  how 
juvenile  he  thought  it  was — for  a grown 
man  to  push  and  follow  a little  ball  around 
a golf  green.  By  way  of  apology,  Dino  sent 
him  a handsome  hand-made  set  of  clubs 
with  his  name  on  them  and  a note  saying, 
“I  hope  you  use  these — then  you’ll  under- 
stand.” And  Jerr  was  so  touched  and  con- 
trite about  the  whole  thing,  to  show  his 
sportsmanship — he  went  straight  out  to  the 
club.  And  the  next  day  bought  five  pairs 
of  golf  shoes. 

But  most  important  of  all  to  remem- 
ber— the  triumphs  they’ve  shared.  When 
a victory  for  one  has  been  automatically 
a victory  for  the  other. 

Such  as  when  Steubenville,  Ohio,  cele- 
brated “Dean  Martin  Day,”  and  tendered 
the  golden  key  to  the  city  to  an  Italian 
barber’s  son  named  Dino  Crocetti — who 
was  more  sensitive  than  any  of  them  will 
ever  know  about  some  of  them  believing 
no  good  would  ever  come  of  him  . . . and 
who’d  vowed  when  he  left  ten  years  be- 
fore— never  to  return  until  he’d  proved 
differently.  . . . 

This  is  only  one  of  too  many  days  for 
two  fellows  named  Crocetti  and  Levitch  to 
remember  just  how  far  they’ve  come  to- 
gether since  that  historic  encounter  on  a 
strange  street  corner. 

Only  one  of  so  many  times  shared — to 
be  remembered. 

“I  don’t  even  want  to  think  about  it,” 
Jerry  has  said,  when  asked  how  he  would 
feel  if  Martin  & Lewis  should  ever  sep- 
arate. Dean  sat  there  very  silent,  but  his 
sentiment  echoed  Jerry’s  when  he  added, 
“I’d  be  very  happy  for  things  to  stay  just 
as  they  are — for  the  next  hundred  years.” 

To  which  the  many  millions  for  whom 
these  two  modern  day  medicine  men  make 
the  happy  music  of  laughter,  add  a pray- 
erful “Amen.”  Along  with  the  reminder 
that  the  guy  to  whom  each  of  them  owes 
half  of  his  life — is  still  Fate’s  very  good 
friend. 

The  End 


The  Day  Fate  Smiled 


(Continued  from  page  45) 
a thing  like  that  without  consulting  you?” 

At  almost  the  same  moment,  in  her 
own  home  across  Hollywood,  June  Haver 
was  talking  to  a reporter  on  the  tele- 
phone. Imminent  tears  thickened  her 
voice  as  she  said,  “It  simply  isn’t  true.  It’s 
all  a silly,  embarrassing  mistake.  Mr. 
MacMurray  and  I aren’t  married — we’ve 
never  even  discussed  marriage.  I’m  not 
sure  we  ever  will  . . . now.” 

She  hung  up  and  turned  away  from 
the  telephone — knowing  that  at  any  mo- 
ment it  would  ring  again,  commanding  her 
to  issue  still  another  denial.  And  know- 
ing, too,  that  since  denial  never  fully 
catches  up  with  rumor,  perhaps  it  would 
be  better  never  to  see  Fred  MacMurray 
again.  Alone,  June  faced  again  a time  of 
decision.  Would  it  be  hard  for  them  even 
to  see  each  other  at  all?  Would  there  be, 
between  them  now,  an  almost  impene- 
trable wall  of  embarrassment?  How  could 
these  two  adults  face  and  hurdle  this 
new  obstacle? 

Theirs  was  not  the  ordinary  Hollywood 
romance,  which  takes  publicity  almost  for 
granted,  laughing  off  the  gossip  columnists 
and  photographers.  Their  own  characters 
and  their  own  lives — the  intimate  ac- 
quaintance of  both  with  sorrow — made 
that  impossible. 

Without  the  tragedies  which  had  come 
to  each,  it  is  unlikely  that  Fred  MacMur- 
ray and  June  Haver  would  even  have 
met,  except  casually.  When  June  first  ar- 
rived in  Hollywood,  Fred  was  already  an 
established  star.  They  worked  together  in 
“Where  Do  We  Go  From  Here”  and  saw 
each  other  at  occasional  parties  or  pre- 
mieres— not  many,  because  Fred  and  his 
beloved  wife  Lillian  seldom  went  out,  pre- 
ferring the  comfort  and  privacy  of  their 
own  home  in  Brentwood.  The  MacMurrays 
did  not  make  headlines — they  were  too 
deeply  in  love,  too  content  with  each  other, 
their  children,  their  few  close  friends. 

It  was  June  who  made  the  headlines. 
Young,  with  a fresh  blond  loveliness,  her 
singing  and  dancing  had  lifted  the  hearts 
of  millions  almost  from  the  release  of  her 
first  picture.  She  was  news.  Her  dates 
were  news — with  Farley  Granger,  Victor 
Mature,  David  Rose — and  it  was  big  news 
when,  in  1947,  she  unexpectedly  eloped  to 
Las  Vegas  with  a young  trumpet  player. 
His  name  was  Jimmy  Zito,  and  he  and 


June  had  known  each  other  when  she  was 
fifteen  and  he  was  seventeen  and  they 
were  both  in  Ted  FioRito’s  band,  June 
working  as  the  featured  singer,  Jimmy  as 
a musician. 

Almost  from  the  first,  June  knew  that 
her  marriage  was  a mistake.  Except  for 
their  youthful  friendship,  she  and  Jimmy 
had  nothing  in  common.  He  was  a stranger 
to  her — moody,  subject  to  fits  of  silent  de- 
pression which  June  could  neither  under- 
stand nor  cope  with.  But  she  tried  des- 
perately hard  to  stay  married.  Two  weeks 
after  their  civil  ceremony  in  Las  Vegas, 
she  and  Jimmy  were  married  a second 
time  by  a priest  of  the  Roman  Catholic 
Church.  “I  didn’t  want  to  cheat,”  June 
said  pathetically  months  afterwards,  ex- 
plaining why  she  went  through  with  this 
religious  ceremony  at  a time  when  she 
already  feared  the  marriage  wouldn’t  last. 
“If  I were  sincere  in  wanting  to  make  a 
go  of  things  with  Jimmy,  I knew  I had  to 
be  sincere  in  my  faith.  My  priest  thought 
I should  give  the  marriage  every  possible 
chance.” 

There  was  no  chance.  Two  months  later, 
June  and  Jimmy  separated.  A brief  recon- 
ciliation followed — then  another  separa- 
tion and  finally  divorce. 

Yet,  there  is  no  doubt  that  the  whole 
unhappy  experience  matured  June,  made 
of  her  a wiser  and  more  understanding 
person.  Proof  of  this  is  the  fact  that 
after  her  divorce  she  was  able  to  resume 
her  friendship  with  Dr.  John  Duzik.  She 
had  met  him  some  months  before  her  run- 
away marriage — indeed,  there  had  been 
some  speculation  at  the  time  that  she  and 
Dr.  John  might  marry.  He  was  several 
years  older  than  she,  a dentist  with  an 
established  practice  in  Hollywood,  hand- 
some and  charming.  Even  more  important, 
he  had  the  priceless  gift  of  sympathy.  To 
him,  June  was  able  to  talk  out  her  tangled 
emotions  in  the  months  following  her 
divorce. 

John  Duzik  meant  security  to  June,  a 
cure  for  the  terrible  loneliness  that  comes 
in  the  wake  of  a broken  marriage.  He 
meant  sunlit  days  on  the  golf  course,  quiet 
evenings  of  cards  or  talk,  just  the  two  of 
them  alone  or  with  some  friends.  He  was, 
too,  like  June  herself,  a devout  Catholic, 
and  he  understood  her  sense  of  guilt  over 
the  divorce.  Understanding,  he  was  able  to 
take  some  of  it  away. 


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The  time  came  when  John  Duzik  and 
June  Haver  could  look  forward  to  happi- 
ness together.  She  had  petitioned  the 
Church  to  declare  her  marriage  invalid, 
and  there  was  good  reason  to  hope  the 
petition  would  be  approved.  June  knew 
— they  both  knew — that  John  was  the  man 
she  should  have  married  in  the  first  place. 
“Perhaps  we  both  just  had  to  grow  up 
to  each  other,”  John  said  quietly,  under- 
standing perfectly. 

Then,  in  September  of  1949,  John  en- 
tered St.  John’s  hospital  in  Santa  Monica 
to  be  operated  on  for  ulcers.  The  surgery 
was  successful — yet  days  went  by  and  the 
doctors  were  unable  to  stop  the  bleeding. 
A second  operation  was  undertaken.  Still 
the  bleeding  continued.  John  Duzik  suf- 
fered from  hemophilia — a little-understood 
disease  which  prevents  the  blood  from 
coagulating  properly.  He  was,  literally, 
bleeding  to  death. 

For  five  weeks  the  doctors  kept  him 
alive.  It  was  all  they  could  do,  and  they 
did  it  only  by  repeated  transfusions  of 
blood.  The  hospital  blood  bank  could  not 
supply  such  an  amount,  and  a call  was 
sent  out  for  donors.  From  June’s  home 
studio,  20th  Century-Fox,  came  twenty 
pints  in  a single  day.  From  Warners, 
where  she  was  making  a picture  on  loan 
at  the  time,  came  another  twenty-five. 

After  John’s  second  operation,  when  it 
was  recognized  how  really  serious  his 
condition  was,  June  collapsed  and  shoot- 
ing was  held  up  on  her  picture  for  four 
days.  But  the  generosity  of  her  fellow 
workers  sent  her  flying  back  to  the  studio 
— to  dance,  to  sing,  to  pretend  gaiety 
when  desolation  was  in  her  heart.  Every 
afternoon,  as  soon  as  the  day’s  shooting 
was  finished,  she  hurried  to  the  hospital, 
there  to  be  with  John,  to  pray,  to  hope,  to 
wait. 

Five  weeks  it  lasted — five  weeks  of  a 
constant  vigil,  of  days  of  work  and  nights 
of  prayer.  At  last,  “Daughter  of  Rosie 
O’Grady”  was  completed  with  the  shoot- 
ing of  a production  number  which  would 
ordinarily  have  taken  at  least  two  days  to 
get  on  film.  The  cast  and  crew  worked 
from  dawn  to  midnight  to  finish  it  in  one 
day — because  June  asked  them  to.  Be- 
cause they  all  knew  it  was  very  near 
the  end  of  John’s  life. 

She  drove  straight  from  the  studio  to 
the  hospital.  They  told  her  John  was 
sleeping,  and  she  slipped  into  the  chapel, 
kneeling,  whispering  soundless  words  of 
supplication.  At  dawn,  someone  tapped 
her  on  the  shoulder — a nun,  saying,  “You 
had  better  go  upstairs.” 

He  died  twenty  minutes  later,  with 
June  there  beside  him. 

She  tried  to  go  on,  the  little  song-and- 
dance  girl  whose  own  life,  it  seemed  then, 
would  never  hold  another  song.  After  a 
visit  to  John’s  family  in  Wyoming,  she 
returned  to  Hollywood  and  her  career. 
She  made  pictures,  good  ones.  When  a 
year  had  passed,  yielding  to  the  advice  of 
her  family  and  friends,  she  began  going 
out  socially.  The  gossip  columnists  made 
hopeful  notes  of  each  escort  she  was  seen 
with — Kirk  Douglas,  Dan  Dailey,  Sy 
Bartlett.  But  she  was  never  seen  with  the 
same  man  many  times  in  a row. 

She  was,  of  course,  looking  for  some 
meaning  in  her  life.  She  could  not  find 
it  in  dates  and  parties,  or  even  in  work. 
But  she  did  find  it  in  prayer,  in  study 
of  religious  writings,  and  most  of  all,  in 
service  to  others.  In  1951  and  1952,  it 
might  have  been  worth  noticing  that 
whenever  anyone  had  a problem,  was  sick 
or  bereaved,  June  was  there  helping  as 
much  as  she  could.  Always  deeply  re- 
ligious, she  turned  more  and  more  to  the 
quiet  joys  of  the  Church.  And  in  February 
of  1953,  after  two  years  of  serious  con- 
sideration, she  announced  that  she  was 


retiring  from  Hollywood  and  entering  a 
convent  to  study  and  prepare  herself  for 
holy  vows. 

It  was  a courageous  decision,  but  a 
second  and  even  more  courageous  de- 
cision lay  in  the  future. 

June  left  Hollywood.  She  entered  St. 
Mary’s  Academy  in  Leavenworth,  Kansas, 
as  a novice  in  the  Order  of  the  Sisters 
of  Charity.  The  life  of  a novice  is  a rigor- 
ous one — sixteen  hours  daily  of  study  and 
prayer — and  it  proved  too  taxing  for  her 
health.  Her  faith,  her  longing  to  serve 
God  did  not  falter,  but  her  body  did.  The 
time  came  for  that  second,  and  more  diffi- 
cult decision,  and  June  faced  it  in  hours  of 
prayer  and  meditation.  At  last,  humbly, 
she  accepted  the  realization  that  this  was 
not  the  way  God  had  chosen  for  her  to 
follow.  Months  before  it  was  time  for  her 
to  make  her  first  profession  of  vows,  she 
left  the  Academy. 

Back  in  Hollywood  she  tried  to  take  up 
again  the  lost  threads  of  her  life— the  life 
she  had  renounced  in  all  sincerity.  She 
knew  there  would  be  the  scoffers,  the 
doubters  who  would  automatically  dis- 
count her  motives  in  entering  the  Acad- 
emy in  the  first  place.  She  knew  that  once 
having  relinquished  her  high  place  on  the 
Hollywood  ladder  of  success,  she  would 
almost  certainly  have  to  start  again  on  a 
lower  rung.  All  this  she  was  prepared  to 
accept — yet  she  would  have  been  less  than 
human  if  in  her  own  heart  she  hadn’t  felt 
serious  doubts  and  fears,  a sense  of  fail- 
ure and  an  understandable  apprehension 
about  the  future. 

Old  friends  welcomed  her  home,  and 
their  unstressed  pleasure  helped.  She  went 
out  on  a few  dates.  Her  business  manager 
began  negotiating  with  different  studios 
for  the  right  comeback  role.  Then,  at  a 
party  at  John  Wayne’s  house,  she  met 
Fred  MacMurray— and  fate  smiled  on  two 
very  lonely  people. 

For  seventeen  years,  Fred  and  Lillian 
MacMurray  had  been  one  of  Hollywood’s 
ideally  happy  couples.  They’d  fallen  in 
love  before  Fred  reached  stardom,  when 
he  was  a bit  player  in  the  Broadway 
musical  “Roberta”  and  Lillian  Lamont 
was  a beautiful  brunette  chorus  girl  in 
the  same  show. 

It  was  Lilly  who  encouraged  Fred  to 
take  the  screen  test  which  brought  him 
his  first  chance  at  Paramount,  Lilly  who 
sent  him  alone  to  Hollywood  while  she 
remained  behind  in  New  York  in  case 
something  should  go  wrong  and  Fred’s 
short-term  contract  would  not  be  re- 
newed. Of  course  it  was  renewed,  and 
Lilly  joined  him  on  the  coast,  where  in 
1936  they  were  married.  After  that,  Lilly 
never  gave  another  thought  to  a career 
of  her  own. 

Had  they  known  it,  their  very  honey- 
moon in  Honolulu  was  shadowed  by  the 
sadness  which  was  to  come  to  Fred  seven- 
teen years  later.  Lilly  caught  a cold  on  the 
ocean  voyage,  but  rather  than  spoil  Fred’s 
pleasure  in  the  trip  she  kept  going,  re- 
fusing to  pamper  herself  with  a few  days 
in  bed.  Neglected,  the  cold  turned  into  in- 
fluenza. Lilly  returned  to  Hollywood  pale 
and  thin,  and  within  a few  weeks  was 
down  with  a new  attack  of  the  flu,  this 
time  a serious  one.  She  was  laid  up  for 
months,  and  although  she  recovered,  her 
health  was  delicate  for  the  rest  of  her  life. 

Yet,  it  was  a happy  life.  Not  a whisper 
of  scandal  ever  touched  Fred  and  Lilly 
MacMurray.  Their  love  was  steady,  serene, 
unchanging.  When  it  appeared  that  they 
could  not  have  children  of  their  own,  they 
adopted  two — Susan  first,  then  Robert — 
and  loved  them.  They  planned  and  built 
their  own  home  on  two  acres  in  a quiet 
section  of  Hollywood.  Their  devotion  was 
something  of  which  Hollywood  was  justly 
proud. 

I 


98 


But  that  devotion  made  Lilly’s  final 
long  illness  and  her  death  doubly  poign- 
ant. For  Fred,  when  he  lost  her,  there 
was  nothing  left  except  the  two  children 
they  had  both  loved.  He  all  but  retired 
from  public  life,  devoting  himself  to  Susan 
and  Bobby.  Then,  gradually,  he  came  to 
the  realization  that  grief  must  be  buried 
inside  oneself,  that  it  was  fair  neither  to 
the  children  nor  himself  to  become  a 
recluse.  That  was  one  reason  he  agreed 
to  attend  John  Wayne’s  party — the  other 
was  that  John  was  an  old  friend  who 
needed,  because  of  his  own  domestic 
troubles  just  then,  the  loyalty  of  all  his 
friends. 

So  Fred  and  June  met  and  were  in- 
evitably drawn  to  each  other.  Each  knew 
instinctively  what  the  other  was  seeking 
—companionship,  understanding,  sympa- 
thy, a chance  not  to  forget  the  past  but  to 
reconcile  it  with  the  present.  They  saw 
each  other  again,  and  then  frequently. 
They  found  that  there  was  so  much  they 
seemed  to  divine  about  each  other  with- 
out the  need  of  words — so  many  expe- 
riences they  had  shared,  even  though  at 
the  time  of  sharing  them  their  lives  had 
not  touched.  Together  now,  they  were 
able  to  find  the  quiet  laughter  they  both 
needed  so  much. 

Their  friendship  had  reached  this  point 
when  an  opportunity  came  for  them  to 
leave  Hollywood,  which  held  so  many 
memories,  and  go  together  to  new  sur- 
roundings. A film  festival  was  being  held 
in  Brazil,  and  both  Fred  and  June  were 
invited  to  join  the  party  of  Hollywood 
notables  attending  it.  They  accepted  the 
invitations:  June  had  flown  once  before 
to  South  America  and  was  able  to  tell 
Fred  firsthand  of  its  beauty,  its  unusual 
gaiety. 

And  the  trip  was  gay — so  delightful  that 
on  the  way  home  they  found  themselves 
unwilling  to  let  it  end.  The  plane  was 
scheduled  to  stop  in  Panama,  which 
neither  had  ever  visited.  It  seemed  so 
natural,  so  right  to  say,  “Let’s  stop  over 
and  do  some  sight-seeing.” 

The  decision  was  made  on  the  spur  of 
the  moment — thoughtlessly.  They  forgot 
that  their  reasons  for  the  stop-over  might 
be  misinterpreted,  forgot  even  that  for 
them  there  could  not  be  the  luxury  of  an 
unnoticed  holiday,  no  matter  how  inno- 
cent. 

While  they  remained  in  Panama,  the 
great  plane  winged  on  to  the  United 
States,  carrying  with  it  the  rumor  that 
Fred  MacMurray  and  June  Haver  had 
stopped  in  order  to  be  married.  Reporters, 
meeting  the  plane  when  it  landed,  noticed 
their  absence  from  the  party,  asked  for  an 


explanation,  were  given  the  rumor  for  an 
answer.  It  went  into  type,  onto  the  air. 
In  time,  it  was  flashed  back  to  Panama, 
interrupting  the  light-hearted  holiday  of 
the  two  people  it  concerned.  Immediately, 
they  caught  the  first  available  plane  for 
home  . . . and  the  denials  which  must  be 
made. 

So  Fred  held  his  children  tightly  in  his 
arms  and  said,  “You  know  I wouldn’t  do  a 
thing  like  that  without  telling  you  first!” 
And  June  paced  the  living  room  of  her 
home,  ready  to  answer  the  telephone 
when  it  rang  again. 

But  some  of  the  hurt,  at  least,  was  lifted 
from  Fred’s  heart  when  Susan  turned  to 
her  brother  and  said  with  grave  accusa- 
tion, “You  see?  I told  you  Dad  wouldn’t 
do  anything  so  silly.” 

Robert’s  eyes  were  troubled.  “Well,  I 
didn’t  think  you  really  would  either,  Dad. 
But  the  papers  said — ” 

He  knew  then  that  despite  the  mis- 
chance which  had  seemed  like  a deliber- 
ate betrayal  of  them  he  still  retained  his 
children’s  trust.  He  knew,  too,  that  it 
meant  more  to  him  than  anything  else  in 
the  world,  more  even  than  personal  hap- 
piness. 

It  was  not  quite  a tragedy,  that  com- 
pletely false  rumor  which  invaded  the 
privacy  of  two  people  desperately  trying 
to  find  their  way  back  to  the  warmth  of 
human  affection.  But,  in  the  words  of  a 
friend,  “It’s  a darn  shame  it  happened. 
The  publicity  is  bound  to  make  them 
both  self-conscious — just  when  they  were 
beginning  to  learn  to  enjoy  themselves 
again.” 

Can  they  overcome  the  damage  which 
idle  gossip  has  wrought?  Or  will  this  ex- 
perience draw  them  closer  together,  re- 
new their  efforts  to  handle  their  lives  with 
as  much  dignity  as  possible — but  with 
the  honest  conviction  that  two  people 
have  the  right  to  find  happiness  in  each 
other’s  company?  No  one  can  say  with 
certainty — June  and  Fred  perhaps  least 
of  all.  But  it  is  very  much  to  be  hoped 
that  they  can.  If  two  people  ever  deserved 
the  good  things  of  life,  they  do — and  to- 
gether they  could  find  them.  The  children 
who  mean  so  much  to  Fred  would  cer- 
tainly mean  as  much  to  June,  were  she 
to  become  his  wife.  She  has  always  been 
passionately  fond  of  children  and  longed 
for  some  of  her  own.  The  pace  of  their 
lives,  their  beliefs  and  ideals  would  fit 
extremely  well. 

It  may  happen.  Fate  smiled  on  them 
once.  She  may  be  kind  and  smile  again. 

The  End 

(Fred  McMurray’s  currently  in  “The 
Caine  Mutiny.”) 


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It  Pays  to 

(Continued  from  page  55) 
understand  why  some  of  the  newcomers 
are  making  the  same  mistakes. 

While  Ava  Gardner  was  going  through 
two  whirlwind  marriages  to  Mickey  Rooney 
and  Artie  Shaw,  another  girl  of  her  gener- 
ation was  steadily  climbing  to  star  heights 
— that  girl  was  Ann  Blyth.  Ann  worked 
steadily  at  her  job,  cared  for  her  mother 
with  whom  she  lived,  quietly  dated  the 
young  swains  who  came  to  call.  Just  as 
quietly  and  demurely,  as  she  matured  into 
adulthood,  she  met  and  fell  in  love  with 
Dr.  Jim  McNulty.  There  were  no  scenes 
played  for  the  night-club  set,  no  histrionics 
passionately  revealing  her  love  for  the  doc- 
tor. With  dignity  that  befits  a girl  reach- 
ing maturity,  Ann  Blyth  planned  her  wed- 
ding, worked  out  with  the  doctor  the  pat- 
tern of  her  life  to  be. 

Contrast  the  picture  of  life  which 
emerges  from  Ann  Blyth’s  actions  with 
those  who  are  tops  in  the  sensational  group 
right  now — and  you  see  a lot  of  unhappy 
persons,  whose  every  move  is  reported, 
many  times  in  distorted  and  depressing 
ways,  part  of  the  payment  for  making  mis- 
takes. The  public  battles  of  Shelley  Winters 
and  Vittorio  Gassman  are  doing  neither  of 
them  any  good.  Rita  Hayworth’s  tragically 
complex  marriage  to  Dick  Haymes  is  los- 
ing her  any  remaining  shreds  of  public  un- 
derstanding—and  may  end  by  losing  her 
her  chance  to  resume  her  career,  and,  more 
importantly,  to  build  a decent  future  for 
herself  and  her  family.  The  dignity  with 
which  Gene  Tierney  handled  her  marriage 
to  Oleg  Cassini  is  lacking  in  her  present 
international  dates  with  Aly  Khan.  I 
would  guess  that  the  blush  that  must  suf- 
fuse her  face  when  she  hears  the  gossip 
will  also  burn  her  heart  in  time. 

Learning  is  growing  up,  and  Jeanne 
Crain  is  the  perfect  example  of  a woman 
who  used  her  head  and  was  able  to  rectify 
an  error.  Jeanne’s  tranquil  home  life 
with  Paul  Brinkman  and  her  four  chil- 
dren has  always  brought  forth  excellent 
comment.  Recently,  Jeanne  cut  her  hair, 
dyed  it  flaming  red  and  sought  bad-girl 
roles — all  of  which  might  have  been  ex- 
cellent for  her  career,  but  when  it  called 
for  slightly  scandalous  remarks  being 
made,  Jeanne  switched  back — but  fast. 
Jeanne’s  a girl  who’s  watched  others  of 
her  generation  gain  a name,  and  that’s  cer- 
tainly not  what  she  wants  out  of  life. 

Grace  Kelly,  despite  her  dates  around 
the  Hollywood  community,  which  have 
caused  some  rumors,  comes  from  a family 
that  frowns  on  scandal.  Grace  conducts 
herself,  therefore,  with  quiet  dignity. 

Piper  Laurie  is  a girl  who  has  watched 
and  learned  by  example.  Her  dates  with 
Dick  Contino  were  like  those  of  any  young- 
ster in  any  community — gay,  laughter-pro- 
voking, companionable.  When  she  decided 


CONTEST 

Decca  albums  of  the  music  from 
“The  Glenn  Miller  Story”  have  been 
sent  to  the  two  winners  of  Photoplay’s 
contest  in  May  for  letters  giving  the 
best  answers  to  the  girl  who  asked 
June  Allyson  if  she  should  marry  a 
man  15  years  older  than  she.  Here  are 
excerpts  from  the  prize-winning  letters: 

...  I think  Miss  Allyson  gave  this  girl 
very  sound  advice.  If  she  follows  it,  waits 
while  she  finishes  college,  she  will  be  a lot 
happier  in  the  future.  If  God  means  them 


Be  Good 


against  going  steady,  she  didn’t  wear  her 
heart  on  her  sleeve,  nor  outrage  sensi- 
bilities by  dashing  into  the  arms  of  every 
playboy  in  town.  And  Debbie  Reynolds 
and  her  gang  continue  to  be  “just  friends” 
with  the  fun  of  good,  healthy  relationships 
with  neither  headlines  nor  heartaches. 

Elaine  Stewart  and  Terry  Moore  are  ma- 
ture enough  to  handle  their  private  affairs 
in  private.  Terry,  in  her  good-natured 
effort  to  be  co-operative,  did  lead  a fairly 
mad  pace  with  a series  of  dates  in  the 
night  spots  around  Hollywood  with  men 
who  were  out  to  advance  themselves  rather 
than  just  friendly  dates  with  a nice  girl. 
This  led  to  her  name  being  linked  with 
quite  a few  men.  Just  the  other  night  she 
told  me,  “It’ll  frighten  off  the  good  men.” 
And  Terry,  like  every  decent  girl  in  town, 
wants  a healthy,  normal  marriage  with  the 
right  man.  Elaine  has,  without  benefit  of 
public  prints,  been  steadily  building  friend- 
ships with  many  men.  Scott  Brady  helps 
her  through  the  times  when  she’s  finding 
herself  lonely  for  male  companionship. 
Her  romance  with  Curt  Ray  in  St.  Louis 
caused  no  fanfare  because  Elaine  saw  to 
it  that  there  was  no  cause  for  idle  gossip. 
His  family  accompanied  them  wherever 
they  were.  In  Hollywood,  Elaine  has  the 
same  steady  devotion  to  her  career,  to  im- 
proving her  status  in  her  community  that 
any  girl  has  anywhere.  As  sexy  as  Ava 
Gardner,  Elaine  has  learned  from  the 
mistake  her  glamour  sister  has  made. 

While  the  public  may  avidly  read  about 
the  wild  ones,  sometimes  the  personal 
tragedy  involved  is  almost  overwhelming. 
When  Marilyn  Monroe  discovered  that 
the  nude  calendar  pictures  of  her  were 
being  made  into  a Triple  A Gossip  Cam- 
paign, she  was  terrified.  She  asked  her 
close  friends  for  advice. 

They  asked  the  natural  question.  “Why 
did  you  ever  pose  for  the  picture  in  the 
first  place?” 

“I  needed  the  money,”  said  Marilyn. 

“Tell  that  to  the  reporters,”  her  advisers 
told  her. 

And  she  did,  which  turned  the  tide  of 
unpleasant  talk — at  least  to  a degree.  It 
still  worries  her,  but  the  pleasantly  normal 
trend  of  her  life  with  Joe  DiMaggio  should 
soon  sink  the  incident  altogether. 

The  terrifying  truth  of  the  matter  is 
that  bad  news  travels  the  fastest  and  the 
farthest,  that  scandal  is  impossible  to  stop 
—once  it  starts  to  blaze.  And  the  smartest 
stars  are  those  who  never  let  the  fire  get 
started. 

It’s  only  by  such  strong,  warmhearted 
people  as  June  Allyson  and  Dick  Powell, 
Alan  and  Sue  Ladd,  William  and  Brenda 
Holden  that  the  off-beat  scareheads  can 
be  licked — and  the  lesson  learned  that 
IT  PAYS  TO  BE  GOOD. 

The  End 


WINNERS 

to  be  married,  then  He  will  see  to  it. 

ANCELINE  DE  BOTTIS 

Port  Byron,  New  York 

. . . No  marriage  is  “ made  in  heaven and 
there  is  no  assurance  that  any  marriage,  no 
matter  what  the  circumstances,  will  surely 
be  happy.  This  girl  sounds  us  if  she  wants 
to  make  a go  of  it,  and  once  she  has  fin- 
ished school , if  she  still  loves  her  Richard, 
she  should  certainly  marry  him  and  not  let 
that  ogre  of  “fifteen  years  older ” stand  in 
the  way.  mrs.  george  h.  hill 

Bevans,  New  Jersey 


r Happiness  Is  a 

( Continued  from  page  42) 

I murmured  as  we  went  inside.  I had  come 
to  do  a piece  on  Jean  and  happiness.  When 
I peeped  into  the  dictionary  to  see  what 
happiness  included,  I found  such  inciden- 
tals mentioned  as:  pleasure,  success,  pros- 
perity, luck,  living  in  concord. 

I was  out  to  learn  whether  a little  girl 
born  of  a poor  family  in  Golder’s  Green, 
London,  twenty-five  years  ago,  had  ac- 
quired this  state  of  mind  along  with  fame 
and  life  with  the  man  of  her  choice.  If  you 
expect  the  conventional  picture  of  a young 
I girl’s  dream  of  married  bliss,  then  the  Jean 
i Simmons-Stewart  Granger  marriage  is  an 
upside-down  cake.  The  traditional  rose- 
covered  cottage  is  missing,  but  what  they 
have,  they  like  better.  There  are  no  chil- 
dren running  around  the  door,  but  there 
have  been,  and  will  be  again.  And  you’ll 
i never  find  Jean  Simmons  with  an  apron, 
elbow-deep  in  soap  suds — trance-deep  in  a 
i book  is  the  way  she  likes  to  be.  For  this 
marriage  follows  none  of  the  established 
patterns.  But  then  Jean  is  not  the  aver- 
age young  girl;  her  very  adult  mind  draws 
her  to  mature  people  rather  than  to  those 
her  own  age.  For  her,  happiness  would 
truly  be  a state  of  mind — completely  dif- 
ferent from  anyone  else’s,  or  am  I right? 

Jean’s  “cottage”  has  a great  main  room 
with  one  entire  wall  of  glass,  and  we  paused 
before  it  to  catch  an  eagle-eye  view  of 
mountains  and  ravines  that  fell  steeply 
away  from  our  feet.  (The  house  is  perched 
at  the  brim  of  the  sheer  cliff.)  The  room 
itself  is  an  interesting  mixture  of  sport  and 
and  the  arts,  a schizophrenic  combination 
of  big-time  trophies,  fine  canvasses,  Ming 
porcelains,  Tang  horses  (the  most  magnifi- 
cent specimens  I’ve  ever  seen),  Rodin  and 
Jacob  Epstein  sculptures  and  Chinese  stone 
figures  of  great  antiquity.  It  might  make  a 
decorator  wince,  but  the  whole  is  stunning 
and  very  original. 

“Jimmie  decorated  the  house  himself,” 
Jean  told  me.  “He  was  warned  he  couldn’t 
combine  such  warring  elements  as  these, 
but  I think  it  came  out  very  well,  don’t 
you?”  The  question  was  rhetorical — a cour- 
teous gesture — she  didn’t  wait  for  a reply. 
“Do  you  wonder  I never  want  to  go  out, 
that  I’m  content  to  stay  up  here  all  the  time 
I’m  not  working?” 

We  came  into  a completely  feminine  do- 
main as  we  stepped  into  Jean’s  bedroom; 
soft  dove  gray  and  primrose  yellow  with 
black  and  white  hangings.  Once  again,  it 
was  Jimmie’s  taste.  “I  thought  I would 
hate  it,”  she  said,  “when  Jimmie  told  me 
the  colors  he  had  selected.  But  when  it 
was  finished,  I adored  it.”  The  walls  were 
in  a rough  wood  like  the  main  room,  paint- 
ed a soft  gray,  and  from  the  windows  once 
again  we  saw  that  amazing  sweep  of  view, 
the  full  circle  from  this  mountain  top. 

We  made  the  grand  tour.  Jimmie’s  room 
smacked  of  Africa  again.  Leopard  skins 
were  everywhere — on  floor  and  chairs,  and 
the  terra-cotta  corduroy  hangings  made  a 
splendid  setting  for  their  barbaric  beauty. 
“Jimmie  shot  them  all  on  his  safari,”  Jean 
explained. 

The  bar  was  a sportsman’s  dream  of 
models,  fish  and  tackle,  gun  racks,  zebra 
skin  everywhere  and  hundreds  of  tiny 
model  heads  of  all  the  delicately  beautiful 
creatures  of  the  veldt  spotted  the  walls. 

“Jimmie  wants  to  live  in  Africa,”  Jean 
said,  as  if  reading  my  mind.  “He  wants  a 
farm  there.” 

“What  about  you?”  I managed  to  ask. 

“I  wouldn’t  mind  living  in  Africa.  Of 
course  I haven’t  been  there,  but  from 
what  Jimmie  has  told  me  I’d  love  it.  He’s 
dying  to  take  me — not  on  safari,  he  says 
he’d  be  too  nervous  something  might  hap- 
pen to  me — but  to  see  the  country.  He  has 


State  of  Mind 

great  passion  for  that  country.”  And,  when 
we  finished  admiring,  “Shall  we  go  back 
to  the  withdrawing  room?”  she  asked,  like 
a well-trained  little  schoolgirl. 

Marriage  has  made  Jean  look  less  like  a 
school  girl  than  she  did  a year  ago.  Her 
Roman  haircut,  shorter  than  the  average 
boy’s,  brings  out  an  adult  quality,  com- 
pletely sweeping  away  the  immaturity  that 
was  formerly  her  characteristic.  Her  simple 
little  black-and-white  check  dress,  full- 
skirted  and  worn  with  flat-heeled  shoes, 
was  modern  and  in  the  sophisticated  trend 
of  the  moment.  The  hazel  eyes,  heavily 
lashed,  had  a placid  quality  now,  a con- 
tended quiet.  We  sat  down  opposite  a Dom- 
ergue  portrait  of  Jean,  which  emphasized 
the  change,  the  canvas  was  a round-faced 
child  impatiently  waiting  to  grow  up. 

“Are  you  happy?”  I asked,  “truly 
happy?” 

“Oh  yes,  very  . . . truly  very,  very 
happy.” 

“You  have  everything  you  want?” 

She  smiled  confidently.  “Jimmie  and  I 
love  each  other.  We  are  both  successful.  We 
have  this  little  world  we  have  made  to- 
gether, and  we  have  the  world  down  there 
when  we  want  it.” 

“But  you’ve  been  separated  so  much 
during  the  three  years  you’ve  been  mar- 
ried.” 

“We  have  been  separated  a lot,”  she 
agreed.  “But  that  is  an  inevitable  part  of 
our  work;  we  make  the  best  of  it.  I sup- 
pose we’ve  been  apart  more  than  most 
couples.  Jimmie  was  five  months  in  Eng- 
land with  ‘Beau  BrummeU’ — that  was  last 
Christmas.  Before  that,  he  was  in  Italy  and 
North  Africa  for  ‘The  Light  Touch’  with 
Pier  Angeli.  I’ve  been  on  only  one  location 
trip  with  him,  the  one  to  Jackson’s  Hole, 
Wyoming,  for  ‘The  Wild  North.’  But  it 
could  have  been  worse;  I’ve  escaped  loca- 
tions almost  entirely  except  for  a few  days 
in  the  Mojave  for  ‘The  Egyptian.’  And 
mostly  I’ve  been  working  while  he  has 
been  away.  I was  on  ‘A  Bullet  Is  Waiting’ 
the  last  time  he  left.” 

“But  I hear  he’s  off  again  for  Colombia, 
Bogota.” 

“We  have  three  days  more  together,”  she 
protested.  “And  while  he’s  making  ‘Green 
Fire’  I’ll  be  on  ‘The  Egyptian’  and  after 
that  I go  into  ‘Desiree’  so  it  won’t  be  too 
bad.” 

I wanted  to  know  if  she  stayed  in  her  re- 
mote house  all  alone  when  Jimmie  was 
gone. 

“I  didn’t  want  to  move  away,”  she  said, 
“so  my  secretary  came  and  lived  here  the 
last  time.  The  hardest  thing  about  Jimmie’s 
absence,  aside  from  missing  him,  is  that  I 
almost  starve  while  he’s  gone.  You  see, 
Jimmie  is  the  cook;  I know  nothing  at  all 
about  preparing  food.” 

Once  again  it  was  the  topsy-turvy  situa- 
tion, with  Jimmie  the  decorator  and  the 
cook  and  Jean  the  admiring  bystander  in 
the  domestic  arts. 

“My  hairdresser  used  to  come  up  and 
make  me  a meal  sometimes,”  she  said. 

“I  hear  you  keep  open  house  for  the 
British  colony.  That  helps  kill  the  time, 
doesn’t  it?” 

“Well,  cocktail  parties  mostly,  unless  one 
of  my  guests  happens  to  know  something 
about  cooking.  This  time  it  will  be  different; 
we  have  Rushton  now.  I won’t  have  to 
worry  about  getting  someone  to  make 
meals.  Jimmie  brought  Rushton  back  from 
England  the  last  time  he  was  there.  He’d 
been  with  Jimmie  ten  years  over  there,  a 
combined  chef,  dresser — oh,  a little  of 
everything.” 

“Including  a loyal  and  devoted  watch 
dog  when  you’re  alone,”  I said,  and  she 
happily  agreed. 


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A jet  plane  cut  off  our  conversation, 
turning  the  acre  of  heaven  into  a roaring, 
vibrating  bedlam.  “That,”  said  Jean,  “is 
our  only  intrusion.  Fortunately  it  doesn’t 
happen  too  often.” 

Jean’s  story  is  a strange  idyll — a child 
of  fourteen  who  fell  in  love  with  a mature 
man,  married  and  the  father  of  two  chil- 
dren. Jean  was  playing  in  “Mr.  Emman- 
uel” with  Granger’s  first  wife  Elspeth 
March,  when  she  first  saw  Granger  in 
person.  Jean  played  Elspeth’s  daughter; 
she  was  a wide-eyed  sprout  and  terribly 
excited,  because  she  was  a Granger  fan. 
She  tells  me  he’d  wave  at  her  condescend- 
ingly when  they  encountered  each  other. 
Her  success  in  England  had  been  a fairy 
tale  sort  of  thing.  She  was  one  of  the  kids 
shipped  out  of  London  during  the  bomb- 
ings, and  when  she  came  back  she  and 
her  sister  Edna  had  plans  to  open  a school 
for  dancing.  Jean  even  had  the  license  to 
operate  the  school  when  motion-picture 
talent  scouts  spotted  her  and  she  was  cast 
in  some  child  roles.  She  got  splendid  no- 
tices, this  fabulous  urchin  that  Granger, 
the  man,  scarcely  noticed.  A few  years 
later  she  played  opposite  him  in  “Adam 
and  Evalyn.”  Jimmie  had  just  been  sepa- 
rated from  his  wife. 

“It  was  the  first  time  he  noticed  me  as 
a woman,”  she  said.  “We  were  going  to- 
gether from  that  time  on,  but  not  engaged 
yet.” 

I recalled  the  time  I first  met  her  in 
London  in  1945,  the  day  she  got  the  part 
of  the  slave  girl  in  “Black  Narcissus.”  She 
danced  around  the  tea  table  with  joy,  then 
suddenly  she  was  fearful  that  she  might 
not  be  able  to  do  it.  The  second  time  I saw 
her,  Elizabeth  Taylor  brought  her  to  my 
house  when  she  came  to  Hollywood  after 
“Blue  Lagoon.”  That  was  in  the  fall  of 
1950.  She  was  a bedazzled  child  with  an 
autograph  book  in  hand,  collecting  the 
signatures  of  the  famous.  “Tell  me,”  I 
asked  her,  “were  you  engaged  to  Jimmie 
at  that  time?” 

“No,  we  were  going  out  together,  but 
we  weren’t  engaged.” 

“You  were  very  wide-eyed  and  happy 
then,  as  I remember,”  I told  her.  “But  no- 
body is  happy  all  of  the  time — not  all  of 
your  life — everyone  has  something  to 
make  them  unhappy,  everyone  is  miser- 
able at  some  time  or  other.” 

“I  was  utterly  miserable  in  my  first  two 
years  here,”  Jean  admitted.  “First  I was 
reluctant  to  return  home  because  M-G-M 
had  signed  Jimmie  to  a contract.  Then, 
when  I got  back  to  London,  I learned  that 
Arthur  Rank  and  Gabriel  Pascal  had  sold 
me  to  Howard  Hughes  in  my  absence. 
There  was  something  slighting  about  sell- 
ing me  as  if  I were  a piece  of  merchandise. 
Then  I was  brought  back  here  for  ‘An- 
drocles  and  the  Lion.’  But  I was  happy, 
too,  because  Jimmie  and  I were  married 
in  Tucson  in  December  of  1950.  And  after 
‘Androcles’  I was  put  into  other  things, 
but  I was  wretched  in  my  work.  There 
were  law  suits  and  I don’t  know  what.  I 
wanted  to  go  to  New  York  but  didn’t  dare 
because  I was  afraid  I’d  be  put  on  sus- 
pension by  RKO  if  I went  out  of  town  and 
that  would  prolong  a contract  I wanted 
to  get  over  with.  But  finally  I was  sold 
again  and  made  ‘A  Bullet  is  Waiting,’ 
which  went  very  fast  and  is,  I feel,  a 
pretty  good  little  picture.  And  now  I’m  in 
two  things  I like  and  everything  is  serene 
again.” 

Then  we  had  luncheon,  with  Jimmie 
Granger  tossing  the  splendid  salad,  which 
he  served  with  just  the  correct  chilled 
white  wine.  We  talked  of  his  coming  trip, 
of  his  preoccupation  with  foods  and  the 
preparation  of  them,  and  he  told  of  the 
differences  in  his  and  Jean’s  tastes: 

“She  hates  caviar  and  I adore  it,”  he 
said.  “I  like  a baked  potato  stuffed  with 


caviar  and  she  won’t  touch  it.  But  she 
dotes  on  fish  ’n’  chips  and  she’d  die  for 
winkles: — a sort  of  shell-fish  they  sell  on 
the  streets  in  England  in  little  paper  bags, 
much  as  you  sell  hot  roasted  peanuts 
here.  You  hook  them  out  of  the  shell  with 
a pin — a very  low  taste,”  he  finished,  with 
an  indulgent  grin. 

The  household  animals  moved  in  on  us 
as  we  sat  around  the  huge  living  room 
table,  which  is  covered  with  tarpon  hide 
and  rimmed  in  ivy  green  leather,  two  toy 
poodles,  Betty  and  Beau,  mother  and  son, 
and  two  identical  Siamese  cats  named 
Traybert. 

“We  have  one  name  for  the  two  of 
them,”  Jean  explained,  “since  we  can’t  tell 
one  from  the  other.  It’s  a combination  of 
Spencer  Tracy  and  Bert  Allenberg,  and 
they  both  answer  to  it.  Jimmie  is  full  of 
contradictions;  he  announced  he’d  never, 
never  have  a cat  in  his  house,  then  sent 
me  these.  And  when  Betty  had  three 
puppies,  they  were  apparently  all  given 
away.  Then,  weeks  later,  back  came  this 
little  fellow  with  a note,  ‘I  hope  you 
haven’t  forgotten  old  Beau,’  and  he’d  been 
housebroken  and  things.  It  was  wonderful. 

“He  does  thoughtful  things  like  that. 
One  of  the  unhappy  things  in  my  life  was 
the  fact  that  my  father  died  before  I made 


NATI^NAi  fAMTf  M VNltl 


my  success — he  never  knew.  The  only  pic- 
ture we  had  of  him  was  one  Mother  had. 
Well,  when  Jimmie  was  in  England  this 
last  time,  he  got  the  picture  from  Mother 
and  had  it  copied  for  me.  I’ll  fetch  it.”  She 
came  back  with  a photograph  held  to  her 
heart.  “Here  he  is.” 

“Isn’t  that  a fine  face?”  said  Granger. 

It  was  a very  fine  face  with  a firm  square 
jaw,  balanced  eyes,  intelligence  and  a sane 
hold  on  life. 

“He  was  a swimming  champion,  too,  as 
well  as  a schoolteacher,”  Jean  explained. 
“He  represented  Britain  in  the  Olympic 
Games  of  1912.  I was  just  sixteen  when  he 
died.” 

When  I commented  that  they  had  as 
many  animals  as  Elizabeth  and  Mike  Wild- 
ing, Jean  said,  “Not  quite.  They  have  four 
dogs  and  two  cats,  and  the  James  Masons 
have,  oh,  I don’t  know  how  many  cats 
and  a dog,  an  Alsatian.”  The  phone  rang. 
“It’s  Liz,”  Jean  told  her  husband.  “They 
want  to  know  if  we’re  coming  over  for 
dinner  tonight.” 

Jimmie  said,  “Say  we’ll  let  them  know 
later  on.” 

“But  they  want  to  know  how  much  meat 
to  take  out  of  the  deep  freeze.”  So  Granger 
nodded:  “Okay,  tell  them  we’ll  be  over.” 

Liz  and  Jean  have  been  fast  friends  for 


years,  and  Stewart  Granger  and  Michael 
Wilding  have  been  pals  for  even  longer. 
Jean  spoke  of  Jimmie’s  children,  who  spent 
three  months  with  them  last  summer. 

“It  was  a delightful  time,”  she  said. 
“They’re  splendid  children,  naturally 
naughty  at  times  but  beautifully  behaved 
in  the  main  and  very  obedient.  They  loved- 
it  here.  Lindsay  is  almost  seven  and  Jamie 
is  over  eight.  They  met  all  the  youngsters, 
but  I think  the  Niven  boys  were  their 
favorites.  When  the  time  came  to  go,  they 
hated  to  leave,  and  yet,  they  were  glad, 
too — a mixed-up  emotion.  That  old  pull 
of  home  and  Mother  is  very  strong.” 

There  is  both  a difference  in  age  and  a 
difference  in  backgrounds  between  Jean 
and  her  Jimmie.  He  admits  he  was  a 
spoiled  brat — there  was  just  himself  and  a 
sister.  He  had  begun  training  for  a medical 
life  but  abandoned  it. 

“I  had  an  uncle  who  was  a saint,  a gen- 
eral practitioner,”  he  said.  “I’d  seen  the 
slavery  of  all  that,  so  I wanted  to  be  a 
specialist.  But  one  day  my  father  told  me 
he  couldn’t  afford  to  let  me  specialize,  as 
it  would  take  years  and  years  before  I 
was  earning  money. 

“I  got  into  the  theatre  in  a strange  sort 
of  way.  I cut  my  finger  and  went  to  a 
doctor;  the  doctor’s  wife  was  teaching 
acting.  That’s  how  it  began.  Ellen  O’Malley 
talked  me  into  it  and  got  me  a scholar- 
ship at  the  Webber-Douglas  school  of 
dramatic  art. 

“I  was  eight  years  in  the  theatre  before 
I made  my  first  film.  I’d  worked  in  various 
repertory  theatres  and  at  the  Old  Vic, 
and  I’d  played  ‘Rebecca’  on  the  West  End 
stage.  Then  I tore  up  a forty-pound-a- 
week  contract  with  Basil  Dean  to  play 
Lord  Ivor  Cream,  in  ‘Serena  Blandish,’ 
with  Vivien  Leigh,  for  a salary  of  three 
pounds  a week.  It  was  the  best  move  I 
ever  made.  Now,  Mike  (Wilding)  comes 
from  a family  of  actors.  His  grandfather 
was  a singer  and  an  actor,  but  the  two  of 
us  worked  extra  in  films  because  someone 
told  us  it  was  a fine  way  to  meet  beau- 
tiful girls.  Mike  was  really  out  to  be  an 
art  director.” 

And  we  spoke  of  Vivien  Leigh,  her 
beauty,  talent  and  the  tragedy  of  her  life. 
“Vivien  was  getting  three  pounds  a week 
in  England  when  she  persuaded  Laurence 
Olivier  to  accept  the  role  in  ‘Wuthering 
Heights,’  which  he  wasn’t  very  eager  to 
do.  Vivien  had  made  up  her  mind  she  was 
going  to  play  Scarlett  O’Hara  and  laid  her 
plans  well.  It  was  priceless  the  way  she 
put  it  over.  She’d  practiced  the  Southern 
accent  until  she  had  it  to  perfection,  and 
then  she  maneuvered  to  meet  David  O. 
Selznick.  She  simply  poured  on  that  Deep 
South,  and  of  course,  Selznick  immediate- 
ly suggested  she  test  for  the  role  of  Scar- 
lett. Vivien  told  him  precisely  what  scene 
she  wanted  to  make  and  that  she  already 
knew  it.  The  rest  was  history. 

Then  Jimmie  left  for  a conference  with 
Rushton  in  the  stainless  steel  kitchen  be- 
yond a screen  of  tropical  plants,  and  Jean 
and  I were  alone. 

“I’ll  never  forget  Vivien  Leigh,”  Jean 
said.  “The  last  time  she  was  here,  she  was 
such  a tragic  figure,  ill  and  all.  She  took 
me  off  in  a corner  and  we  had  a long 
talk  about  life  in  general.  She  said:  ‘If 
you’re  happy,  don’t  give  up  anything  be- 
cause of  a career.’  I guess  you  might  say 
I’ve  made  that  my  rule  for  living.” 

Winding  down  the  perilous  path  from 
the  Granger’s  house,  I discovered  I thought 
of  Jean  as  a happy  woman,  with  a calm, 
quiet  capacity  for  enjoying  the  solitude 
forced  upon  her  by  separations  from  her 
husband,  the  music  that  fills  her  every 
waking  hour,  the  fast  friendships  that  she’s 
formed  in  Hollywood.  For  her  the  words 
in  the  dictionary  apply. 

The  End 


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Now,  after  using  it  for  months  and  months, 

I can  say  it’s  the  most  wondertul  beauty  soap 
I’ve  ever  used !” 


WOMEN  EVERYWHERE  love  Camay  with  cold  cream- 
extra  luxury  at  no  extra  cost ! And  Camay  is  the  only 
leading  beauty  soap  that  contains  this  precious  ingredient. 


TRY  IT  YOURSELF!  Whether  your  skin  is  dry  or  oily, 
Camay  with  cold  cream  will  leave  it  feeling 

exquisitely  cleansed  and  refreshed.  In  your  daily 
Beauty  Bath,  too,  you’ll  enjoy  Camay’s  famous 
skin-pampering  mildness,  satin-soft  lather,  and  delicate 
fragrance.  There’s  no  finer  beauty  soap  made! 


NOW  MORE  THAN 


V E R 


THE  SOAR  OF  BEAUTIFUL  WOMEN 


TERRY 

MOORE 


Marilyn  Monroe 

Good  to  be  Loved 


Virginia  Mayo’s 

Miracle  Diet 


Terry  Moore’s 

Life  Story 


j\l(y  (^OrKci0/u  /scy  uyovvi^vu  qji&  ~[jcy  C '^cx/w^Qxij  j 


n^pte- 


~fii CX/V^y 


eu&i/ . 


the  soar  of  beautiful  women 


NEW  LUXURY  AT  NO  EXTRA  COSTI 

Women  everywhere  tell  us  they  love  the  added 
elegance  of  cold  cream  in  Camay — the  only  leading 
beauty  soap  with  this  precious  ingredient. 


TRY  it  YOURSELFI  Whether  your  skin  is  dry 
or  oily,  new  Camay  with  cold  cream  will  leave  it 
feeling  exquisitely  cleansed,  marvelously 
refreshed.  And,  of  course,  you  still  get  everything  you’ve 
always  loved  about  Camay — that  skin-pampering 
mildness,  silken-soft  Camay  lather  and  exquisite 

Camay  fragrance,  f ry  exciting  new  Camay  tonight. 
There’s  no  finer  soap  for  your  beauty  and  your  bath ! 


HU  /vv\Oit  (VcnUeUefi- 
4o  cxyv*]pQgyicn^  ocxas^  l ^ 


Mrs.  Robert  Steller,  an  exquisite  new 
Camay  Bride  says,  “New  Camay  with 
cold  cream  is  so  luxurious!  I love  it! 
It’s  the  only  beauty  soap  for  me!” 


f 


New.  better  way  to  reduce  decay 
after  eating  sweets 

ALL-NEW  IPANA  with  WD-9  blocks  tooth-decay  acids  for  hours.* 
Always  brush  after  eating... the  way  your  dentist  recommends. 


i 


j 


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if  you,  like  most  people,  eat  sweets 

— or  if  your  children  do — here’s  good 
news!  After  eating  sweets,  you  can  do  a 
better  job  of  preventing  cavities. . .with 
new  lpana  Tooth  Paste.  Here’s  why: 

Many  foods  team  up  with  mouth  bac- 
teria and  their  enzymes  to  form  tooth- 
decay  acids.  But  WD-9  now  in  lpana 
blocks  formation  of  these  acids  for 
hours  — because  it  is  an  active  anti- 
enzyme and  bacteria  destroyer. 


For  best  results,  use  new  lpana  regularly 
after  eating  (the  way  most  dentists  rec- 
ommend) before  decay  acids  can  do 
their  damage.  In  a 2-year  clinical  test 
with  hundreds  who  ate  their  normal 
amount  of  sweets,  brushing  this  way 
prevented  new  cavities  for  most  people. 

So  remember,  while  no  dentifrice  can 
stop  all  cavities — you  can  protect  teeth 
from  sweet  foods  better  by  brushing 
this  way  with  new  lpana. 

*Tests  prove  that  WD-9  in  new  lpana  blocks  acid  formation  for  hours 


Your  whole  family  will  love 
Ipana's  new  minty  flavor.Men, 

women  and  children  definitely 
preferred  it  in  taste  tests.  And 
new  lpana  makes  your  mouth 
so  clean  that  one  brushing  can 
stop  most  unpleasant  mouth 
odor  all  day. 


AFTER  BRUSHING  — Ipana’s  WD-9 
blocks  acid  formation  for  hours, 
helps  prevent  cavities. 


AFTER  EATING  — Dangerous  decay 
acids  form  on  the  teeth,  attack  the 
enamel. 


Product  of  Bristol-Myers 


Try  all- new  IPANA  ! New  taste,  new  cleaning,  new  anti-decay  WD-9 


p 


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NEW] 

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discovery*  safely 

STOPS  ODOR 
24  HOURS 
RORY! 


New  Mum  withM-3 
won’t  irritate  normal  skin 
or  damage  fabrics 


Proved  in  underarm  comparison  tests  made 
by  a doctor.  Deodorant  without  M-3,  tested 
under  one  arm,  stopped  perspiration  odor 
only  a few  hours.  New  Mum  with  M-3, 
tested  under  other  arm,  stopped  odor  a 
full  24  hours. 


1 . *Exclusive  deodorant  based  originally  on  doc- 
tor’s discovery,  now  contains  long-lasting  M-3 
( Hexachloro  phene) . 

2.  Stops  odor  all  day  long  because  invisible 
M-3  clings  to  your  skin  — keeps  on  destroying 
odor  bacteria  a full  24  hours. 

3.  Non-irritating  to  normal  skin.  Use  it  daily. 
Only  leading  deodorant  containing  no  strong 
chemical  astringents— will  not  block  pores. 

4.  Won’t  rot  or  discolor  fabrics  — certified  by 
American  Institute  of  Laundering. 

5.  Delicate  new  fragrance.  Creamier  texture- 
new  Mum  won’t  dry  out  in  the  jar. 

6.  Gentle,  safe,  dependable  — ideal  for  sanitary 
napkins,  too.  Get  new  Mum  today. 

HBHMUNL 

cream  deodorant 
with  long- 
lasting  M-3 

( hexachlorophene) 

A PRODUCT  OF  BRISTOL-MYERS 


PHOTOPLAY 

AUGUST,  1954  • favorite  of  America’s  moviegoers  for  over  forty  years 


HIGHLIGHTS 

Keel’s  Kingdom  (Howard  Keel) Corinne  Bailey  8 

It’s  No  Secret  Any  More  (Taylor-Thiess) Fredda  Dudley  29 

Inside  Stuff Cal  York  30 

260,000  Minutes  of  Marriage  (Marilyn  Monroe)  ......  Sidney  Skolsky  32 

Tony’s  Days  of  Decision  (Tony  Curtis) Helen  Bolstad  34 

Sleeping  Beauty  Wakes  Up  (Pier  Angeli) Gladys  Hall  36 

Soft-hearted  Menace  (Burt  Lancaster) Ruth  Waterbury  38 

Trouble  on  Cloud  9 Sheilah  Graham  42 

Non-stop  Terry  (Terry  Moore) Ralph  Edwards  44 

Tab — and  They  Call  Him  Dreamboat  (Tab  Hunter) Dick  Clayton  48 

Virginia  Mayo’s  Miracle  Diet Lee  Travers  50 

By  Dawn’s  Early  Light  (Debra  Paget)  54 

Richard,  the  Light-hearted  (Richard  Widmark) Pauline  Townsend  56 

Reaching  for  a Star  (Rock  Hudson) 58 

Mom’s  No  Quitter!  (Susan  Hayward) . .Maxine  Block  60 

Photoplay  Fashions  . . 


Debbie  Reynolds  . 

Jeanne  Crain  ........ 

Barbara  Rush 30 

Jeff  Hunter 

Virginia  Mayo  and  Mike  O’Shea  . 


Pier  Angeli 


FULL  COLOR 

. ...  63 

30 

Burt  Lancaster  .... 

....  39 

30 

June  Allyson 

....  42 

30 

Dick  Powell 

....  42 

30 

Janet  Leigh 

....  42 

31 

Tony  Curtis 

....  42 

31 

Rory  Calhoun 

....  42 

31 

Jean  Simmons  .... 

....  42 

31 

Stewart  Granger  .... 

....  42 

33 

Terry  Moore 

....  45 

36 

Tab  Hunter 

....  48 

Virginia  Mayo 51 

SPECIAL  EVENTS 

. Erskine  Johnson  4 


Laughing  Stock 

Readers  Inc 6 

Hollywood  Parties  . . Edith  Gwynn  10 

Let's  Go  to  the  Movies  . Janet  Graves  14 


That’s  Hollywood  . . Sidney  Skolsky  19 

Casts  of  Current  Pictures 26 

Hollywood  Whispers  Florabel  Muir  91 
Brief  Reviews 100 


Cover:  Terry  Moore,  20th  Century-Fox  star,  is  in  “King  of  the  Khyber  Rifles.” 
Terry  wears  Rose  Marie  Reid  swimsuit.  Color  Portrait  by  Powolny 

Ann  Higginbotham — Editor 

Ann  Mosher — Supervising  Editor  Ron  Taylor — Art  Director 

Sumner  Plunkett — Managing  Editor  Norman  Schoenfeld — Asst.  Art  Director 

Rena  Firth — Associate  Editor  Lillian  Lang — Fashion  Director 

Janet  Graves — Contributing  Editor  Jane  Marcher — Fashion  Editor 


HOLLYWOOD  EDITORIAL  STAFF:  Sylvia  Wallace— Editor 
CONTRIBUTING  STAFF:  Maxine  Arnold,  Jerry  Asher,  Ruth  Waterbury,  Beverly  Ott 
HOLLYWOOD  ART  STAFF:  Phil  Stern,  Sterling  Smith 


Fred  Sammis,  Editor  iti-Chief 


AUGUST.  1954 


VOL.  46,  NO.  2 


PHOTOPLAY  IS  PUBLISHED  MONTHLY  by  Maefadden  Publications.  Inc.,  New  York,  N.  Y. 

EXECUTIVE,  ADVERTISING  AND  EDITORIAL  OFFICES  at  205  East  42nd  Street,  New  York  17,  N.  Y.  Editorial 
branch  office,  321  South  Beverly  Drive,  Beverly  Hills,  Calif.  Harold  A.  Wise,  Chairman  of  the  Board;  Irving  S. 
Manheimer,  President;  Lee  Andrews,  Vice-President;  Meyer  Dworkin,  Secretary  and  Treasurer.  Advertising  offices 
also  in  Chicago  and  San  Francisco.  ^ 

SUBSCRIPTION  RATES:  $2.00  one  year,  U.  S.  and  Possessions,  Canada  $2.50  one  year,  $4.00  per  year  all 
other  countries.  , , , 

CHANGE  OF  ADDRESS:  6 weeks’  notice  essential.  When  possible,  please  furnish  stencil-impression  address 
from  a recent  issue.  Address  change  can  be  made  only  if  we  have  your  old  as  well  as  your  new  address.  Write 
to  Photoplay,  Maefadden  Publications,  Inc.,  205  East  42nd  Street,  New  York  17,  N.  Y. 

MANUSCRIPTS,  DRAWINGS  AND  PHOTOGRAPHS  will  be  carefully  considered,  but  publisher  cannot  be  responsible 
for  loss  or  damage.  It  is  advisable  to  keep  a duplicate  copy  for  your  records.  Only  material  accompanied  by 
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FOREIGN  editions  handled  through  Maefadden  Publications  International  Corp.,  205  East  42nd  Street,  New 
York  17,  N.  Y.  Irving  S.  Manheimer,  President;  Douglas  Lockhart,  Vice  President.  . ^ 

Re-entered  as  Second  Class  Matter,  May  10,  1946,  at  the  Post  Office  at  New  York.  N.  Y.,  under  the  Act  of 
March  3,  1879.  Authorized  as  Second  Class  mail,  P.  O.  Dept.,  Ottawa,  Ont.,  Canada.  Copyright  1954  by  Mae- 
fadden Publications,  Inc.  All  rights  reserved  under  International  Copyright  Convention.  All  rights  reserved 
under  Pan-American  Copyright  Convention.  Todos  derechos  reservados  segun  La  Convention  Panamericana  de 
Propiedad  Literaria  y Artistica.  Title  trademark  registei*ed  in  U.  S.  Patent  Office.  Printed  in  U.  S.  A.  by  Art 
Color  Printing  Company. 

Member  of  True  Story  Women’s  Group 


2 


In  the  ominous  shadow  of  the  Sphinx... 


A c/esperate  search  for  the  lost 
treasures  of  the  Pharaohs l 
A forbidden  love  that  burns 

like  the  desert  sands!  A fabulous 
9^  adventure  that  conies  to  its 
climax  in  the  jeweled 
|k  tombs  of  the  Pyramids! 


actually  filmed  it  in 
the  valley  of  the  Nile  amid 
the  wonders  of  the  ages . . . 
nilicent 


in  magi ; 


Starring 


COLOR! 


Sandstorm!  Terror  of  the  Sahara! 


With  KURT  KASZNAR  • VICTOR  JOR)L„a  SAMIA  GAMAL 


Written  by  ROBERT  PIROSH  n„d  KARL  TUNBERG  * Suggested  by  Historical  Data  in 

^Gods,  Graves  and  Scholars”  by  C.  W.  Ceram  • Photographed  in  EASTMAN  COLOR  • Print  by  TECHNICOLOR 

Directed  by  ROBERT  PIROSH  * An  M=G=M  Picture 


BY  ERSKINE  JOHNSON 


Top  Designers  Agree: 

Slim  summer  fashions  start 
with  a Playtex  figure/ 


Emilio  of  Capri: 

summer,  to  be  in  style  you’ve 
got  to  be  in  Playtex  first/ 
Slims  anrl  trims  like  magic. 


See  how 


Playtex 

Fabric  Lined 


narrows  your  silhouette  in  new  freedom  . . . widens 


your  choice  of  new  sun  clothes,  new  fun  clothes/ 

You  don’t  have  to  be  tiny  to  shine  in  the  briefest  sun  dress, 
lounge  in  skin-tight  slacks,  swim  in  a shape-showing  suit. 

Not  when  there’s  Playtex  Fabric  Lined  Panty  Brief  to 
trim  away  the  inches,  slim  away  those  little  “extras”/ 

And  Playtex  performs  its  wonders  in  such  comfort - 
thanks  to  that  cloud-soft  fabric  lining/  In  such  free 
dom,  too— since  it  hasn’t  a seam,  stitch,  stay  or  bone/ 

Just  a smooth  latex  sheath —invisible  under  the  most 
figure-hugging  fashions. 

Wear  it  from  dawning  to  dancing,  wash  it  in  sec- 
onds—see  how  fast  it  dries/  At  department  stores 
and  better  specialty  shops  everywhere. 


PLAYTEX  . . . 
known  every- 
where as  the 
girdle  in  the 

SLIM  tube. 

Playtex  Fabric  Lined 
Panty  Brief,  $4.95 
Other  PlaytexGirdles 
from  $3.50  to  $7.95 

(Prices  slightly  higher 
outside  U.S.A.) 


@1954  International  Latex  Corporation  ...  PLAYTEX  PARK  ...  Dover  Del 

In  Canada:  Playtex  Ltd. . . . PLAYTEX  PARK  . . . Arnprior,  Ont. 


LAUGHIIVG 

STOCK 


Old  Hollywood  proverb : When  a woman 
meets  a man  who  looks  her  straight  in  the 
eye,  she’d  better  do  something  about  her 
figure. 

First  movie  doll:  “What  a unique  charm 
bracelet  you’re  wearing.” 

Second  movie  doll:  “Yes,  it’s  made  out 
of  my  old  wedding  rings.” 

Two  actresses  with  meow-meow  instincts 
were  clawing  up  each  other  at  a Hollywood 
party  until  one  of  them  said: 

“Let’s  have  fun,  darling.  We  only  live 
nine  times.” 

There’s  a sign  on  one  of  the  10-cent  slot 
machines  at  the  Flamingo  Hotel  in  Las 
Vegas.  It  reads: 

“Jack  Benny  Fainted  Here.” 

A gunman,  it’s  being  told,  walked  up  to 
a theatre  cashier,  stuck  a gun  in  her  face 
and  growled: 

“The  picture  was  horrible — give  me 
everybody’s  money  back.” 

Two  catty  movie  queens  were  at  a Holly- 
wood beauty  parlor  when  a former  child 
actress,  who  is  fighting  maturity,  walked  in 
for  the  works. 

“Ah,”  said  one  feline  beauty.  “A  per- 
manent wave  for  a permanent  waif.” 

Greer  Garson  about  her  future: 

“I  hope  I’ll  always  have  wide  horizons 
and  narrow  hips.” 

Talking  about  seeing  a couple  of  rival 
movie  dolls  in  conversation  at  a night  club, 
someone  said: 

“They  sat  there  chatterboxing.” 

Movie  starlet  to  a fur  coat  salesman : “I 
want  a drop-dead  mink.” 

Salesman:  “A  what?” 

Starlet:  “A  coat  that  will  make  all  my 
girl  friends  drop  dead  with  envy.” 

Overheard:  “She  took  him  for  better  or 
worse  but  he  was  worse  than  she  took  him 
for.” 

Herb  Shriner  after  a night-club  visit: 
“This  place  had  a minimum.  I don’t  know 
what  it  was,  but  the  girls  were  wearing  it.” 

A movie  queen  wailed  it  to  her  latest 
hubby: 

“I  made  a terrible  mistake.  You  don’t 
match  any  of  my  clothes.” 

Overheard:  “She  has  long  blond  hair 
with  short  black  roots.” 

Ray  Bolger  said  it  about  a wealthy 
friend:  “His  father  was  so  rich  they  lived 
on  both  sides  of  the  railroad  tracks.” 

•See  Brskine  Johnson’s  "Hollywood  Reel"  on  you t 
local  TV  station 


THE  LOVERS... 

Mrs.  Leslie’s  secret 
saved  them . . .from 
their  own  shame  ! 


SHIRLEY  BOOTH 
ROBERT  RYAN 
HAL  WALLIS' 

production 

"ABOUT  MRS.  LESLIE” 

Co-starring 

MARJIE  MILLAR  - ALEX  NICOL 

Directed  by  DANIEL  MANN 
Screenplay  by  KETTI  FRINGS  and  HAL  KANTER 
From  the  novel  by  vina  delmar 
A PARAMOUNT  PICTURE 


Sdlaiout 

Mu.LeAtii..  .qm/L 


PIXIE  . . .Only  sixteen,  but 
she  knew  there  never  was 
a Mr,  Leslie...  and  said  so! 


“MR.  LESLIE”... 

He  gave  her  only  half 
his  name . . .and 
six  weeks  of  ecstasy! 


SHIRLEY  BOOTH  TOPS 
HER  GREAT  ACADEMY  AWARD 
TRIUMPH  IN  " COME  BACK 
LITTLE  SHEBA”! 


Address  letters  to  Readers  Inc.,  PHOTOPLAY,  205  East 
42  Street,  New  York  17,  New  York.  Much  as  we  would  like 
to,  we  cannot  promise  to  publish,  return  or  reply  to  all  letters. 


Watch  this  luxury  lather  make  your 
hair  exciting  to  behold!  Suddenly 
glowing  clean ...  silky .. . amazingly 
manageable!  That’s  the  magic  touch 
of  fresh  whole  egg!  Conditions  any 
hair!  Try  it!  29<t,  59<t  and  $1 


SOAP  BOX: 

Recently  my  family  and  I went  back  to 
Detroit  to  visit  relatives,  and  while  we  were 
there,  I overheard  a conversation  between 
my  mother  and  a friend.  “How  in  the 
world  have  you  managed  to  keep  Piper 
happy  at  home?”  my  mother’s  friend  asked. 
“My  Gail’s  going  through  an  independent 
stage.  All  she  can  think  about  is  getting 
an  apartment  of  her  own.” 

Well,  I think  I’m  as  independent  as  any- 
one I know,  but  I prefer  to  be  with  my 
family.  My  mother  and  father  and  I live 


Piper  Laurie:  Living  alone  would  be  lonely 


in  a house  that  is  far  from  pretentious.  It’s 
comfortable.  And  so  is  our  life. 

I remember  a line  from  a play  that  goes 
“ . . . hold  close  with  open  arms.”  I can 
appreciate  that  line,  because  that’s  the  way 
my  folks  have  always  held  me  close.  There 
has  been  a certain  amount  of  discipline,  of 
course,  but  I’ve  never  been  smothered  by  it. 

Privacy?  I have  lots  of  it.  I have  my 
own  bedroom  and  a small  sitting  room  and 
when  I want  to  read  or  study — to  be  alone 
— they’re  all  mine  and  mine  alone. 

Like  other  girls  I know — Debbie  Reyn- 
olds and  Lori  Nelson,  for  instance — I’d 
shudder  at  the  thought  of  coming  home  to 
a dark,  lonely  apartment.  I like  to  see  a 
light  in  the  window  and  know  that  in  my 
house  there’s  a warm,  friendly  welcome 
waiting.  I love  that  home.  And,  until  I 
marry,  I don’t  want  to  leave  it. 

Piper  Laurie 

I wish  to  congratulate  Ruth  Waterbury 
for  writing  and  Photoplay  for  publishing 
the  beautiful  story  about  John  and  Patti 
Derek. 

It  is  refreshing  and  relieving  to  read  a 
story  of  a real  marriage. 

And  congratulations  to  John  and  Patti 
for  the  outstanding  example  they’re  setting. 

Mary  Pat  Braun 
St.  Paul,  Minnesota 

After  seeing  “Saskatchewan,”  my  friends 
and  I went  crazy  over  Hugh  O’Brian.  Hol- 
lywood needs  more  guys  like  him. 

Patricia  Barker 
Houston,  Texas 


After  reading  Robert  Wagner’s  article, 
we  came  to  the  sad  conclusion  that  he  is 
looking  for  a robot,  not  a girl.  Come  down 
to  earth.  R.  J.! 

Beverly  and  Joan 
Johnstown,  Pennsylvania 

If  you  were  in  love  with  me  . . . you 
would  be  a living  doll.  (In  my  opinion 
you  already  are!)  You  would  be  good- 
natured  and  humorous,  probably  slightly 
crazy,  but  not  too  ridiculous.  You  would 
be  sensible,  practical  (to  an  extent)  and 
understanding. 

You  would  like  music,  period — particu- 
larly the  Hilltoppers  and  I’m  definitely 
with  you  on  Glenn  Miller.  You  would  en- 
joy dancing  (with  me)  and  be  pretty  good. 
You  wouldn’t  mind  spending  an  evening  at 
home  (probably  it  would  be  raining  out) 
in  front  of  the  fire  just  dancing,  listening 
to  records  and  maybe  I’d  cook  dinner.  You 
wouldn’t  make  fun  of  me  when  I cry 
in  movies.  You  would  love  children.  And 
don’t  worry  about  cooking.  I’m  pretty  good. 

As  for  clothes,  I do  prefer  simple  ones 
and  I would  dress  according  to  your  likes 
and  dislikes — but  I do  not  like  two-piece 
bathing  suits  and  would  not  wear  one. 
Sorry. 

You  mentioned  age  wasn’t  important.  I 
hope  you’re  on  the  level  about  that — I’m 
only  15,  so  I’m  glad  you’re  not  ready  for 
marriage  yet. 

A Robert  Wagner  Fan 
Kenosha,  Wisconsin 

Here  is  a snapshot  of  Christy  Winner, 
probably  your  youngest  reader — age  three. 

Mrs.  Farold  Winner 
Los  Angeles,  California 


Christy’s  not  too  young  to  like  the  best! 


CASTING: 

Why  didn’t  some  studio  bring  to  life  the 
story  about  the  Brink’s  robbery  which  ap- 
peared in  Collier’s?  Playing  the  lead  might 
bring  Jeff  Chandler  the  Oscar  he  really 
deserves. 

B.  J. 

Hollywood,  California 

Universal-International  agrees.  Jeff  has 
the  role,  opposite  Julia  Adams. — ED. 

(Continued  on  page  18) 


MICKEY  SPILLANE’S  A MOVIE  STAR  NOW! 


actually  performing  death -defying  feats 
™ against  his  man-devouring  jungle  beasts! 


bringing  you  every  bullet-and-blonde  thrill 
in  the  sensational  way  he's  famous  for1 


☆ 

☆ « 

☆ 

☆ ☆ ☆ ☆ 


PINGoFFEAt^ 


PAT  O'BRIEN 


SEAN  McCLORY  MARIAN  CARR  ■ JOHN  BROMFIELO  written  e.  PAUL  FIX  PHILIP  MacDONAlD  JAMES  EDWARD  GRANT  proouced  e.  ROBERT  M.  FELLOWS 

oiREciEo e»  JAMES  EDWARD  GRANT  oisi.ieuuo  B.  WARNER  BROS. 


WAYNE  FELLOWS  production 


7 


KEEL’S  KINGDOM 


p 


Success  has  enabled  him  to  give 
Helen,  their  girls,  things  he'd  missed 


8 


It  is  bounded  by 
a man  s love 
for  his  family 
and  nothing 


not  even 
Howard’s  career 
can  invade  it 


'!  BY 

CORINNE  BAILEY 

1 


Home,  to  Howard,  is  a two- 
story  Connecticut  farmhouse 


1 t’s  late  afternoon  and  the  man  behind  the 
wheel  of  the  red  sportscar  is  tired  from  a 
long  day  in  front  of  blinding  hot  lights  and 
the  exacting  demands  of  the  cameras.  But  the 
car  handles  easily  as  he  swings  it  through 
the  comfortable  neighborhood  of  redwood 
fences,  green  terraces,  and  stately  eucalyptus 
trees.  A neighborhood  warmed  by  the  last 
coral  rays  of  the  setting  sun  and  cooled  by 
the  fresh  ocean  breeze,  echoing  with  the 
happy  shouts  of  chubby  pig-tailed  girls  and 
freckled  boys  whistling  and  running  and 
laughing.  A family  neighborhood. 

As  he  swings  the  red  car  up  the  steep 
driveway  toward  the  delightful  two-story 
Connecticut  farmhouse,  his  eyes  light  up  with 
a glow  of  anticipation  and  pleasure  that  il- 
luminates his  whole  face.  Howard  Keel  has 
come  home. 

At  the  other  end  of  the  driveway  is  the 
reason  for  his  anticipation — his  wife  kneeling 
with  her  arms  around  their  two  daughters — 
a welcoming  household  of  women  who  smile 
up  at  him  and  can  hardly  wait  until  he  gets 
out  of  the  car  before  they  leap  all  over  him 
with  laughter  and  kisses. 

This  to  Howard  Keel  is  the  beginning  and 
the  end  of  a perfect  day,  a day  during  which 
he  has  been  a perfectionist  at  the  studio  and 
satisfied  himself  that  he  has  done  the  best 
job  that  he  could  possibly  do.  Now  he  is 
home  again,  hungry  and  a little  tired  but 
happy  and  relaxed,  confident  that  in  his  life 
hard  work  is  rewarded  by  love  and  affection. 
His  pretty  blond,  brown-eyed  wife,  Helen, 
junior  misses  Kaiya  and  Kristine,  and  their 
good-natured  helper,  Bessie,  all  radiate  the 
love  and  affection  that  can  come  only  from 
serene  happiness. 

Despite  his  own  insistence  that  when  lie’s 
working  he  tends  to  be  tense  and  preoccu- 
pied. everything  about  his  home  reflects  har- 
mony. Living  is  easy,  and  obviously  this 
harmony  is  meant  to  last.  The  house  is  fur- 
nished in  a mellow  mood — with  the  richness 
of  mellowed  alderwood  in  king-sized  and 
demi-sized  furniture  designed  by  Howard. 

It’s  then  made  up  especially  for  the  Keels 
by  a cabinet  maker  in  Culver  City.  The  gleam 
of  silver,  lovingly  polished.  The  deep  com- 
fortable floral-patterned  chairs  and  ottomans. 
The  favorite  chairs  pulled  close  like  the  Four 
Bears  to  the  den’s  brick  fireplace.  A small  red 
chair  close  to  an  over-sized  brown  one.  A 
well-scribbled  child’s  blackboard. 

Howard  is  admittedly  a sentimental  man. 
He  treasures  old  things — a worn  leather 
chair.  Personal  things — a tile  table  telling 
the  story  of  his  life  which  was  painted  for 
him  by  one  of  his  closest  friends,  Louis  Cal- 
hern.  Milestone  markers — a scroll  signed  by 
the  stars  and  crew  of  “Annie,  Get  Your  Gun.” 
his  first  M-G-M  picture.  Family  souvenirs — 
an  oil  painting  of  a golden-haired  child  in  a 


blue  dress,  Kaiya,  as  painted  by  her  dad. 

Like  parts  in  a jigsaw  puzzle  that’s  been 
assembled,  everything  fits  together  so  per- 
fectly it’s  impossible  to  imagine  things  any 
other  way. 

And  to  Howard  Keel,  there  could  be  no 
other  way  that  would  be  right.  This  is  a goal 
toward  which  he  has  been  working  his  entire 
life.  Not  just  his  adult  life.  This  is  what  he 
has  wanted  from  his  earliest  recollections, 
when  he  was  a boy  in  the  grim  coal-mining 
town  of  Gillespie,  Illinois,  and  yearning  to  be 
like  other  kids.  What  made  him  different  was 
poverty.  Howard  knew  poverty  well,  real 
poverty,  and  he  knew  shame. 

To  a sensitive  boy — too  thin,  too  shabbily- 
dressed,  too  rebellious — there  was  an  unfor- 
gettable anguish  in  the  early  death  of  his  fa- 
ther, a death  brought  on  by  the  man’s  despair. 
And  there  was  heartbreak  in  the  heroic  battle 
his  mother  waged — running  a paper-hanging 
business,  taking  in  washing  and  ironing — to 
keep  her  two  sons  clad  and  fed. 

Howard,  born  Harry,  Keel,  has  come  a 
long  way  since  then.  He  has  hewed  out  a 
career  that  has  won  him  wealth  and  fame. 
This  success  has  meant  even  more  to  Howard, 
perhaps,  than  it  would  to  most  people.  It  has 
given  him  an  opportunity  to  provide  his  chil- 
dren with  the  things  he  has  missed. 

Not  so  much  the  financial  things — although 
certainly  these  are  important— as  the  emo- 
tional things,  the  security  and  the  warmth 
that  comes  from  a family  in  which  there  is 
time  for  love  and  affection — and  an  under- 
standing of  its  necessity. 

When  Howard  Keel  first  came  to  Holly- 
wood, he  made  a set  of  solemn  vows:  No  mat- 
ter what  the  glittertown  did  to  others,  he 
was  determined  to  have  a real  marriage 
and  a normal  home,  a home  complete  in 
itself,  a happy  home.  Above  all,  he  was 
not  going  to  allow  his  career  and  its  obliga- 
tions to  turn  the  lives  of  his  children  topsy- 
turvy with  publicity  and  an  exaggerated 
sense  of  their  own  importance.  They  were 
to  be  treated  as  if  their  father  were  a 
plumber  or  a lawyer  or  a streetcar  con- 
ductor. 

He  lives  in  constant  fear  of  their  being 
spotlighted  and  singled  out  and  cheated  of 
their  carefree  years,  much  the  same — al- 
though for  exactly  the  opposite  reason — 
as  he  was  spotlighted  and  singled  out  and 
cheated  of  his  own  childhood  years  that 
should  have  been  carefree  and  happy. 

“We  live  in  a family  neighborhood  where 
there  are  a lot  of  normal  little  kids,”  How- 
ard says,  “kids  who  are  all  growing  up 
with  every  chance  for  the  future — the 
chance  to  live  their  own  lives.  I want  my 
kids  to  have  that  same  chance. 

“I  don’t  want  them  to  feel  any  different 
from  the  other  ( Continued  on  page  70) 


New  sure  way  to 

LOVELIER 

HANDS 

IN  ONLY  9 DAYS 


(onrefouched 
photo ) 


(unretouched 

photo) 


The  best  protection  is 
prevention.  And:  The  first 
manicure  you  save  can 
pay  for  your  gloves. 


f 1.  BEFORE. 
Skin  dried  out  from 
# SOAPS  AND 
f DETERGENTS/ 


2.  Protect  with 

PLAYTEX 

GLAMOROUS 

HOUSEWORK 

GLOVES 


f 3.  AFTER. 
Softer,  smoother  skin 
IN  ONLY 
k 9 DAYS' 


PLAYTEX*  ‘l3’ 

Prices  slightly 

LIVING  GLOVES 

P FABRIC-LINED  LATEX 

©1954  International  Latex  Corp'n,  PLAYTEX  PARK, 
Dover  Del.  In  Canada:  Playtex  Ltd.,  Arnprior,  Ont. 


HOLLYWOOD 


PARTY 

LINE 


Cute  Pat  Crowley  makes  happy,  music  for  singer 
Vic  Damone  in  rustling  striped  taffeta  gown 

Fans  keep  favorites  Debbie  Reynolds  and  Tab 
Hunter  busy  at  big  “Executive  Suite ” preem 

Date  duo:  Gene  Nelson,  definitely  separated 
from  Miriam,  and  France’s  Christiane  Martel 


BY 

EDITH 

GWYNN 


H ollywood  guys  and  dolls  have  been 
livin’  it  up  with  an  assortment  of 
parties,  preems,  openings — as  usual. 
But  this  month  things  were  a bit  more 
varied  than  usual!  One  of  the  more 
colorful  events  was  the  weekend  junket 
Dean  Martin  and  Jerry  Lewis  staged  at 
the  Apple  Valley  Inn  for  private  and 
press  chums.  It  was  a two-and-a-half- 
day  shindig  that  started  with  a wonder- 
ful outdoor  western  steak  fry.  Dean 
and  Jerry  and  Janet  Leigh  donned 
chef’s  outfits  and  personally  helped 
feed  guests  made  extra-hungry  by  sniff- 
ing that  “charcoal-broiled-filled  air!” 
Later  the  boys  previewed  their  picture, 
“Living  It  Up,”  the  real  reason  for  the 
weekend  wingding.  Added  guests  that 
eve  included  airmen  from  nearby 
George  Air  Force  Base. 


Photogs  had  a field  day  all  the  way 
to  goodbye  time,  wot  with  Dean  and 
Jerry’s  mad  capers  in  and  around  the 
swimming  pool  and  at  the  tennis  courts 
that  almost  blew  away  in  a sudden 
high  wind.  The  zanies  (in  full  western 
regalia)  also  did  a lot  of  singing  with 
the  Bel  Air  Trio,  danced  and  clowned 
together.  I’m  sure  they  rightly  figgered 
this  co-operative  nonsense  would  end 
the  goshawful  rumors  of  their  splitting 
up.  Personally,  I don’t  believe  they  will 
split.  Dean  said,  “We  have  a different 
set  of  friends.  We  go  our  separate  ways. 
But  that’s  nothing.  We’ve  always  done 
so — ‘after  hours.’  ” 

Jerry  Lewis  says  he’s  having  a tur- 
rible  time  with  son,  Gary,  aged  9.  The 
moppet  is  (Continued  on  page  12) 


10 


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Then  think  how  much  more  beautiful  you  can  be,  when  you  change  to  Lilt  with  its 

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■ 

HOLLYWOOD  PARTY  LIRE  Continued, 


embarrased  about  Jerry!  Never  looks  at 
M and  L’s  tv  shows  because  he  thinks 
the  whole  country  is  laffing  at  his  father! 
P.S.  Gary’s  favorite  comic  is  Lou  Cos- 
tello. 

It  wasn’t  till  Kirk  Douglas  tossed  a 
big  party  for  Ann  Buy  dens  (a  French 
lass  he  met  there  a few  months  ago) 
that  anyone  knew  he  was  even  slightly 
interested.  (And  then  very  soon  after 
that  came  the  surprise  word  of  their 
sudden  marriage  in  Las  Vegas.)  Eleanor 
Parker  was  at  Kirk’s  with  portrait 
painter,  Paul  Clemens — and  they’re 
at  the  serious  stage.  Susie  Hayward 
was  with  her  manager,  Ned  Madin. 
He’s  the  only  guy  she’s  gone  anywhere 
with  since  her  marital  troubles  began. 
The  Fred  Astaires,  Clifton  Webb, 
Joan  Crawford  with  Chuck  Walters, 
Mari  Blanchard,  the  Peter  Lorres, 

I 

' others  on  hand.  Also  the  James  Masons, 
who  brought  their  five-year-old  dotter 
Portland. 


Few  nights  later,  Joan  Crawford  took 
over  the  private  dining  room  (with 
small  dance  floor)  at  Chasens  and 
tossed  a big  bash  for  some  hundred 
guests.  Among  them  were  Donald 
O’Connor  who  sang  and  performed 
with  his  pal,  Sidney  Miller;  June  Ally- 
son  and  Dick  Powell,  who  put  on  a 
cute  act  of  their  own.  Doris  Day  said 
she  couldn’t  sing  because  she  was  “too 
nervous!”  Jane  Wyman,  who  wasn’t 
nervous  at  all,  sang  and  sang.  Fred 
MacMurray  and  June  Haver,  who 
could  be  one  as  you  read  this,  were 
there  as  a two.  Also  Jeff  Chandler, 
stag;  Rock  Hudson,  stag;  George 
Burns  and  Grade  Allen;  Jane  Greer 
and  Ed  Lasker.  Joan  wore  another  of 
the  “little-girl”  type  semi-evening 
dresses  she’s  long  adored,  but  that 
enormous  diamond  clip  of  hers  at  the 
throat  took  some  of  the  naive  look 
away,  however.  Her  daughter,  Chris- 
tina, now  a tall,  willowy  teen-ager, 
charmed  ( Continued  on  page  71) 


Good  friends  get  together!  Dick  Clayton 
and  Lori  Nelson  at  “Magnificent  Obsession ” 

Lana  gave  fans  something  to  shout  about 
when  she  showed  up — a beauty  in  black 

Lots  happier  nowadays , Janie  Powell  takes 
coffee  break  during  Toast  of  Town  tv  show 


12 


hudsoh 


LLOYD  C.  DOUGLAS 


BY  THE 
AUTHOR  OF 


COLOR  BY  Technicolor 


with  AGNES  MOOREHEAD  • OTTO  KRUGER  • GREGG  PALMER 

Directed  by  Douglas  Sirk  • Screenplay  by  Robert  Blees  • Produced  by  Ross  Hunter 


THE 


LET’S  GO  TO 


l\/l 


EXCELLENl  /t^/VERV  GOOD  //  GOOD  fc/FAIR 


WITH  JANET  GRAVES 


The  Caine  Mutiny  COLUMBIA,  technicolor 

I'WV'  The  film  version  of  the  remarkable  best-seller  about 
the  wartime  Navy  is  sparked  by  several  high-powered  per- 
formances. Van  Johnson,  given  the  best  chance  of  his 
career,  stands  out  as  the  steady,  loyal  Lt.  Maryk,  goaded 
to  deliberate  mutiny.  Fred  MacMurray  runs  him  a close 
second  as  the  sophisticated  Lt.  Keefer,  likable  most  of  the 
way,  but  eventually  exposed  by  defense  counsel  Jose  Ferrer 
as  the  real  villain  of  the  piece.  In  Humphrey  Bogart’s  hands, 
Capt.  Queeg  is  at  once  hateful  and  pitiable.  Though  the 
youthful  romance  of  Robert  Francis  and  May  Wynn  some- 
times seems  to  interrupt  the  progress  of  the  story,  in  itself 
it’s  affecting.  Not  so  well-knit  and  forceful  as  “From  Here 
to  Eternity,”  the  picture  still  has  plenty  of  punch.  family 


Bob  Francis,  Van  and  Fred  face  a final  accusation  of  guilt 


Best  Acting:  Dorothy  McGuire 


» . mm 

IN 

Three  Coins  in  the  Fountain  20th;  cinemas«>pe. 

DELUXE  COLOR 

I^VW’  Ever  wanted  to  see  Rome,  Venice?  Ever  hoped  you 
could  find  romance  during  your  travels?  Now  you  may,  via 
spacious  CinemaScope  views  of  the  ancient  cities  and  the 
Italian  countryside,  against  which  the  romances  of  three 
American  girls  are  lightly  interwoven.  New  arrival  Maggie 
McNamara  finds  herself  sharing  a luxurious  apartment 
with  fellow  secretaries  Jean  Peters  and  Dorothy  McGuire. 
Seen  first  in  “The  Moon  Is  Blue,”  Maggie  now  gives  a 
second  lesson  in  how  to  trap  a wolf — this  time  an  Italian 
prince  (Louis  Jourdan).  Jean  loses  her  cynicism  when 
she’s  wooed  by  the  charming,  penniless  Rossano  Brazzi. 
And  Dorothy’s  silently  in  love  with  her  boss,  a sardonic 
novelist  (Clifton  Webb).  It  all  works  out  neatly.  family 


With  Dorothy  and  Jean.  Maggie  attends  her  first  Rome  parly 


The  High  and  the  Mighty 


WARNERS; 
CINEMASCOPE,  WARNERCOLOR 


V'SV'V  The  courage  of  airline  employees,  confronting  a pro- 
fessional emergency  and  personal  problems,  animates  the 
strongest  sequences  of  John  Wayne’s  latest.  He’s  a veteran 
flyer,  co-pilot  on  a Honolulu-to-San  Francisco  plane  cap- 
tained by  Robert  Stack.  When  the  craft  is  crippled  by  fire, 
the  crew  begins  a stubborn  fight  to  reach  land.  Scenes  in- 
volving the  passengers  are  not  as  well  dialogued;  it  takes 
the  skill  of  a fine  cast  to  bring  these  near-caricatures  to  life. 
They  include  two  fancy  ladies  (standard  equipment  is  just 
one),  two  honeymooners,  a feuding  couple,  a would-be 
murderer  and  his  intended  victim.  Their  behavior  in  the 
crisis  provides  a load  of  emotional  drama,  while  the  crew’s 
work  and  the  rescue  efforts  supply  terrific  tension.  family 


From  experience,  John  understands  the  fear  that  grips  Bob 


FOR  COMPLETE  CASTS  OF  NEW  FILMS  SEE  PAGE  26  • BRIEF  REVIEWS  OF  CURRENT  FILMS  ON  PAGE  100  • M OR  E R EVI  EWS  ON  PAG  E I 6 

P 


14 


Bobbi  is  perfect  for  this  new  “Stewardess”  hairdo.  Bobbi  is  the  permanent 
designed  to  give  soft,  casual  looking  curls.  No  nightly  settings  necessary. 


NO  TIGHT,  FUSSY  CURLS  ON  THIS  PAGE! 

These  hairdos  were  made  with  Bobbi 
...the  special  home  permanent 
for  casual  hair  styles 


Yes,  Bobbi  Pin- Curl  Permanent  is 
designed  to  give  you  lovelier, 
softer  curls  . . . the  kind  you  need 
for  today’s  casual  hairdos.  Never 
the  tight,  fussy  curls  you  get  with 
ordinary  home  or  beauty  shop 
permanents.  Immediately  after 
you  use  Bobbi  your  hair  has  the 
beauty,  the  body,  the  soft,  lovely 
look  of  naturally  wavy  hair.  And 
your  hair  stays  that  way  — your 
wave  lasts  week  after  week. 


Bobbi’s  so  easy  to  use,  too.  You 
just  put  your  hair  in  pin  curls. 
Then  apply  Bobbi  Creme  Oil  Lo- 
tion. A little  later  rinse  hair  with 
water,  let  dry,  brush  out  — and 
that’s  all.  No  clumsy  curlers  to 
use.  No  help  needed. 

Ask  for  Bobbi  Pin- Curl  Perma- 
nent. If  you  like  to  be  in  fashion 
— if  you  can  make 
a simple  pin  curl  — Guaranteed  by 
you’ll  love  Bobbi, 


l Good  Housekeeping  . 


Just  simple  pin-curls  and  Bobbi  give  this  far  easier  home  permanent.  When 
hair  is  dry,  brush  out.  Neutralizing  is  automatic.  No  curlers,  no  resetting. 


Bobbi's  soft  curls  make  a casual  wave 
like  this  possible.  Notice  the  soft,  natu- 
ral look  of  the  new  “Sweet  Heart”  style. 
Bobbi  is  so  easy— no  help  is  needed. 


Only  Bobbi  is  designed  to  give  the  soft 
waves  needed  for  the  “Bettina”  hairdo. 
With  Bobbi  you  get  curls  and  waves 
exactly  where  you  want  them. 


Casual,  carefree— that’s  the  “Chantilly” 
hairdo— thanks  to  Bobbi.  Bobbi  Pin- 
Curl  Permanents  give  you  soft,  carefree 
curls  and  waves  right  from  the  start. 


Everything  you  need!  New  Creme  Oil 
Lotion,  special  bobby  pins,  complete 
instructions  for  use.  $1.50  plus  tax. 


15 


CONTINUED 


N/l 


p 


I'WV'  EXCELLENT 


KW  VERY  GOOD 


^GOOD  iX  FAIR 


Men  of  the  Fighting  Lady  m-g-m,  ansco  color 

Carrier-based  jet  bombers  range  Korean  skies  in  an 
excellent  picture  of  modern  warfare.  Realistic  without  bein° 
unduly  barrowing,  done  almost  in  documentary  style  the 
story  presents  its  expert  actors  not  as  stars,  going  in  for 
heroics  and  emoting,  but  as  genuine  airmen,  intent  on  tac- 
tics and  the  reason  for  the  fight.  Van  Johnson  believes  sin- 
cerely he  s engaged  in  long-range  defense  of  his  own 
country.  Retread  Keenan  Wynn  and  the  younger  Dewey 
Martin  claim  they  11  always  take  care  of  themselves  first. 

rank  Lovejoy,  leader  of  the  bomber  squadron,  rouses  argu- 
ment with  his  insistence  on  risky  low-level  bombing  Action 
sequences  are  first-rate,  climaxed  by  the  factual  incident 
in  which  a blinded  pilot  is  "talked”  to  a landing.  family 


Shipmates  at  odds:  Dewey , Van.  Walter,  Keenan  and  Frank 


Apache 

^lat  ^am^lar  movie  figure,  the  proud  Indian  warrior 
unwilling  to  concede  victory  to  the  whites,  here  becomes  a 
real  unglamorized  person  for  the  first  time.  In  a shaggy 
hack  wig,  dark  make-up,  shabby  clothes  that  never  suggest 
operetta  costumes,  Burt  Lancaster  is  an  imposing  hero  a 
young  Apache  who  rebels  when  the  beaten  tribe  heads  for 
the  reservation.  The  movie  is  full  of  violent  action:  an 
escape  from  a prison-bound  train;  a wild  journey  across 
country,  through  the  white  man’s  overwhelming  cities;  the 
fight  against  white  treachery;  flight  to  the  lonely  life  of  out- 
lawry. But  the  story  does  express  the  true  tragedy  of  a 
whole  people.  Jean  Peters,  as  authentically  garbed  as  Burt, 
is  his  partner  in  a touching,  unorthodox  love  story.  family 


Injuries  can't  keep  Jean  from  following  Bun  in  his  exile 


Johnny  Dark  u-i.  technicolor 

With  Tony  Curtis  and  Piper  Laurie  as  the  exuber- 
ant young  stars,  a tale  of  sports-car  racing  gives  you  a 
lively  entertainment  session.  Tony’s  an  engineer  at  an 
ultra-conservative  car  factory.  He  has  designed  a new  sports 
model;  but  Sidney  Blackmer,  the  firm’s  owner,  opposes 
such  a departure,  while  Paul  Kelly,  Tony’s  immediate  boss, 
backs  it.  Piper.  Blackmer’s  granddaughter,  works  incognito 
at  the  factory  and  also  sympathizes  with  Tony’s  dream — 
partly  for  personal  reasons.  Without  authorization.  Tony 
enters  his  car  in  a race  down  the  west  coast  from  the 
Canadian  border  to  the  Mexican.  Don  Taylor,  his  ex-buddy 
and  rival  in  romance,  is  his  chief  competitor.  Suspense  is 
kept  at  a high  pitch  throughout.  family 


Tony  tries  to  convince  Fiper  that  cars  aren’t  his  only  love 


FOR  COMPLETE  CASTS  OF  NEW  FILMS  SEE  PAGE  26 


BRIEF  REVIEWS  OF  CURRENT  FILMS  ON  PAGE  100  • M OR  E R EVI  E WS  ON  PAG  E 22 


16 


[ 


14  imuMi... 


...keep  it  sunshine  bright 


with 


You  know  it’s  true  — the  most  delightful  beauty  asset  you  can  have  is 
lovely  hair.  Hair  that’s  bright  to  see,  soft  to  touch,  as  fresh  as  a playful  spring 
breeze  — the  kind  of  hair  you  have  when  you  use  the  new  lotion  shampoo  that  gives 
you  results  like  softest  rain  water.  For  White  Rain  sprinkles  your  hair  with 
dancing  sunlight.  And  with  sunshine  all  around  you  — love  and  laughter 
follow  after.  Love  and  laughter  . . . the  essence  of  romance. 

Use  New  /(J////e  /^/t/W  Shampoo  tonight 

and  tomorrow  your  hair  will  be  sunshine  bright! 


1/ 


FABULOUS  LOTION  SHAMPOO  BY  TONI 


p 


Wahli  your  skin  thrive  oil 
Cashmere  Bouquet  Soap! 


(fVirs.  Harry  Conover) 

Conover  School  Beauty  Director 


“I’ve  seen  this  soap  help 
girls  from  11  different 
countries— with  every  type  of 
skin— dry,  normal  and  oily  ” 


44 It’s  such  wholesome  beauty  care!”  says  chic  Paris  stylist, 
Georgette.  44No  wonder  American  complexions  are  so  pretty!” 


“French  women  are  wise  in  the 
ways  of  beauty,”  says  glamor- 
ous Georgette,  “but  I must  say 
I’ve  learned  a lot  about  com- 
plexion care  since  I started 
using  Cashmere  Bouquet.  My 
skin  tends  to  be  oily,  so  Candy 
taught  me  to  beauty-wash  by 
creaming  this  rich,  mild  lather 
over  my  face  with  my  finger- 
tips. It  leaves  a fresh  glow,  a 
softer,  smoother  feel.  And  I 
love  the  flowery  fragrance!” 


“Cake  make-up  helps  oily  skin  keep 
thatglowing,  Cashmere  Bouquet  look 
all  day.  Cream-base  foundations  lend 
the  same  perfection  to  dry  skin." 


Readers  Xno... 

Continued  Irani  page  6 

I've  just  learned  that  a studio  has  bought 
the  rights  to  Samuel  Shellabarger’s  “Lord 
\ anity."  I can  just  see  the  following  stars 
doing  a wonderful  job:  Rick  Jason  as 
Richard  Morendi;  Elizabeth  Taylor  as 
Maritza  V enier ; and  Ava  Gardner  as 
Countess  Amelie. 

Mrs.  C.  Vai.davino 
Walnut  Grove,  California 

When,  oh  when,  are  they  going  to  make 
the  life  story  of  that  colorful  hockey  great 
Howie  Morenz,  or  today’s  more  familiar 
greats,  Gordie  Howe  or  Maurice  Richard? 
What  would  be  more  thrilling  and  inspir- 
ing than  Tab  Hunter  as  the  star! 

Dorothy  Kral 
Berwyn,  Illinois 

I have  just  finished  “Not  as  a Stranger,” 
and  I believe  this  book  would  make  an 
excellent  movie.  William  Holden  or  Victcr 
Mature  would  he  perfect  for  the  male  leap, 
with  either  Jean  Peters  or  Ann  Blyth  play- 
ing opposite. 

Libby  Fischer 
Brooklyn,  New  York 

So  did  Columbia,  and  Stanley  Kramer’s 
set  to  produce  it  with  Frank  Sinatra  and 
Rob  Mitt  hum  already  cast. 

I would  like  to  see  “With  All  My  Heart,” 
by  Margaret  Campbell  Barnes,  turned  into 
a movie  that  would  retain  the  true  feelings 
of  two  spirited  people  in  a complicated 
situation.  Ann  Blyth  should  play  the  part  of 
Catherine  of  Braganza  and  Steve  Forrest 
should  be  the  handsome  and  magnetic 
Charles  II. 

Marilyn  Conyers 

San  Francisco,  California 

Why  isn’t  Rhonda  Fleming  cast  in  more 
singing  and  dancing  roles?  She  certainly 
has  the  beauty  and  sex  appeal  for  them. 

B.  K. 

Great  Falls,  Montana 


QUESTION  BOX 

Could  you  please  tell  me  whether  Burt 
Lancaster  has  a fan  club,  and  if  so,  how 
do  I go  about  joining  forces  with  same? 
1 have  just  seen  “From  Here  to  Eternity” 
and  think  it’s  one  of  the  best  . . . 

Ruth  H.  Harrison 
Hulmeville,  Pennsylvania 

Suggest  you  write  directly  to  Mr.  Lan- 
caster for  information.  Address  him  in  care 
of  the  Screen  Actors  Guild. — ED. 

For  lack  of  something  to  do  this  evening, 
a few  of  us  started  arguing  about  the  height 
of  various  movie  stars  and  we  disagreed 
about  Alan  Ladd.  How  tall  is  he?  If  he’s 
under  6'1"  and  185  lbs,  I’m  going  to  be 
mighty  disappointed. 

Jude  Petrie 
Notre  Dame,  Indiana 

Alan  Ladd  is  5'9"  and  weighs  160. — ED. 

Could  you  please  tell  me  who  played 
Elaine’s  brother  in  "Knights  of  the  Round 
Table”?  And  where  can  1 write  to  him? 

Carol  W.  Chura 
Chicago,  Illinois 

That  was  Gabriel  Woolf.  Suggest  you 
write  him  at  M-G-M. — ED. 


How  tall  is  Marlon  Brando? 

Phyllis  Casey 
Newark,  New  Jersey 

He’s  5'10"  and  weighs  170  lbs. — ED. 
Continued  on  page  20 


18 


SY  SIDNEY  SKOLSKY 


THAT’S  HOLLYWOOD 
FOR  YOU 


Grace  Kelly , with  Bing  Crosby , has  Sidney  wondering  out  loud 


I wonder  if  Grace  Kelly  knew  she  had 
so  much  S.A.  for  movie  heroes  before 
she  started  in  pictures  . . . Debbie 
Reynolds  is  a fooler.  She  giggles,  ap- 
pears demure  but  knows  the  score  and 
is  determined  . . . I’m  for  the  Zsa  Zsa 
Gabor-Rubirosa  romance  ( ? ) because 
I think  they  deserve  each  other  ...  If 
it  weren’t  for  Grauman’s  Chinese,  the 
Beachcomber,  Musso-Franks  and  the 
Pickwick  Bookshop,  Hollywood  Boule- 
vard would  be  nothing  . . . I’m  tired  of 
reading  Mary  Murphy  used  to  wrap 
packages  before  she  was  an  actress  . . . 
Somehow  I always  find  myself  rooting 
for  Frank  Sinatra  . . . Rock  Hudson’s 
real  name  is  Roy  Fitzgerald,  and  what’s 
wrong  with  that? 

“Women  have  a better  break.  It 
doesn’t  matter  whether  they  act  or  not.” 
John  Wayne  said  it,  and  by  the  dough 
he’s  shelling  out,  he  knows  what  he’s 
talking  about  ...  I don’t  object  to 
pictures  having  a message  if  the  pic- 
ture and  the  message  are  good  . . . 
Lauren  Bacall  should  make  another 
movie  in  which  she  tells  a guy  to  go 
whistle  for  her  . . . I’m  waiting  for  them 
to  give  Charlotte  Austin  the  chance  in 
pictures  she  deserves. 


My  favorite  character,  Mike  Curtiz, 
told  Jean  Simmons:  “What’s  the  mat- 
ter? You  don’t  believe  a word  I make 
up.”  . . . Burt  Lancaster  is  the  only 
actor  who  combs  his  hair  with  his 
fingers  ...  I like  Joan  Crawford  much 
better  with  her  shoes  off  . . . Liz  Taylor 
and  Michael  Wilding  met  in  a most 
unusual  manner  for  Hollywood:  They 
were  introduced  to  each  other  ...  I 
wish  Clark  Gable  and  Jeff  Chandler 
would  get  movies  worthy  of  them  . . . 
What’s  wrong  with  the  movies?  The 
most  intelligent  answer  came  from  an 
unknown  couple  sitting  behind  me  in  a 
neighborhood  theatre.  During  the  trail- 
er, she  said : “Always  is  coming  next 
week  a good  picture.” 

I don’t  buy  Lana  Turner  when  she 
has  to  be  a lady  on  the  screen  . . . Most 
of  the  new  movie  heroes  look  alike  to 
me.  They  are  either  Tony  Curtis  or 
Rory  Calhoun,  who  is  a tall  Tony  Cur- 
tis ..  . Funny,  but  I never  get  tired  of 
hearing  Bing  Crosby  and  Judy  Garland 
sing.  . . . Robert  Taylor  once  told  me: 
“The  first  thing  I notice  about  a woman 
is  her  voice.  If  that’s  pleasant,  then  I’ll 
notice  her  complexion  and  hair.”  Must 
listen  to  Ursula. 


Elaine  Stewart  always  assumes  a 
graceful  pose,  whether  standing,  sitting 
or  lounging  ...  I think  it’s  too  long 
a wait  between  Gene  Kelly  musicals 
. . . There  must  be  something  to  work- 
ing as  assistant  to  a movie  dance  di- 
rector. First  Gwen  Verdon  clicked  in 
“Can-Can,”  and  now  Carol  Haney  is  a 
hit  on  Broadway  in  “The  Pajama 
Game.”  . .. . “I  never  fight  for  a better 
dressing  room.  You  can’t  see  it  in  a 
movie.”  Deborah  Kerr  said  it  and  be- 
lieves it. 

I question  whether  Audrey  Hepburn 
will  be  as  popular  when  she  becomes 
a fine  actress  . . . Girls  tell  me  Jerry 
Lewis  has  more  S.A.  than  Dean  Martin 
. . . Van  Johnson  is  the  biggest  movie 
fan  of  all  the  movie  stars.  He's  apt  to 
ask  himself  for  an  autograph  ...  I 
goofed  with  Greta  Garbo.  Can’t  get  her 
to  make  another  movie  . . . Kirk  Doug- 
las prefers  a shower  to  a bath  because 
he  likes  the  beat  of  the  water  on  him. 

While  wandering  through  the  ward- 
robe department  at  Fox,  in  the  section 
where  falsies  are  kept,  I noticed  this 
sign:  “Our  Definition  of  ‘Space  Fic- 
tion.’ ” That’s  Hollywood  for  you. 


r 


spray  net 

keeps  your  kair  in place... 

ness?  stiffness? 


MAm  Qm  spray  net 


contains  exclusive  spray-on  Lanolin  Lotion  . . . 
can’t  ever  dry  your  hair!  keeps  your  hair  set  all  day ...  softly! 


Do  you  put  up  with  wispy,  "fly-away”  hair  because 
you  shy  away  from  the  usual  hard  hair  fixative? 

Then  please  try  Helene  Curtis  spray  net. 

Just  spray  it  on.  See  how  soft  and  "touchable”  it 
keeps  your  hair  while  keeping  it  in  place  . . . all  day  long. 

SPRAY  NET  can  never  dry  your  hair  because  SPRAY  NET 
contains  exclusive  spray-on  Lanolin  Lotion. 

And  notice  the  lovely,  lively  lustre  it  gives  your  hair. 

No  stuck-in-place  look  or  sticky  feel  when  you  use 
Helene  Curtis  spray  net.  It  keeps  end  curls  in  curl  and 
wisps  from  wisping  even  in  damp,  droopy  weather. 

Housewives,  debutantes,  and  girls-on-the-job  all  say 
that  spray  net  is  the  joy  of  a career. 

Whatever  you  do  ...  do  take  just  a minute,  and  try 
wonder-working  Helene  Curtis  spray  net  today. 


Regular  size  (4lA  oz.) 


$j25 


New  large  economy  size  (11  oz.)  $ 1.89  both  prices  plus  tax 


FOR  QUICK  “HAIR-DOS” 

Put  hair  up  in  pin  curls  in  your 
usual  fashion,  then  spray  with 
spray  net,  and  in  a few  minutes 
you're  ready.  No  waiting  for 
water  or  wave  set  to  dry! 

*T.  M.  REG.  U.S.  PAT.  OFF. 


BRUSHES  OUT  INSTANTLY 

Just  a few  brush  strokes  and 
spray  net  disappears ! It  doesn’t 
flake,  linger  on  the  scalp,  or 
necessitate  washing  your  hair 
more  often  than  you  like 


WON’T  SHOW  EVEN  ON 
BLONDE  OR  WHITE  HAIR 

spray  net  is  absolutely  color- 
less, completely  invisible  on  the 
hair.  Adds  a sheen,  but  won't 
change  the  hair  color  a bit. 


only  Helene  Curtis  Spray  Net  contains  spray -on  lanolin  lotion... 


( Continued  from  page  18) 


Would  you  please  tell  me  ...  if  the  songs 
from  the  movie  “Calamity  Jane”  starring 
Doris  Day  and  Howard  Keel  have  been  re- 
corded ? 

Mardell  Harbaugh 
Johnson,  Pennsylvania 

Long-playing  discs  have  been  put  out  by 
Columbia  records  on  this  score. — ED. 

Could  you  tell  me  the  name  of  the  movie 
starring  Shelley  Winters  and  Elizabeth  Tay- 
lor? Who  was  the  male  star  in  that  pic- 
ture? Did  Shelley  Winters  and  Farley 
Granger  ever  co-star  in  a movie? 

Lucille  Meyer 
Dickinson,  North  Dakota 

Shelley  and  Liz  played  opposite  Mont- 
gomery Clift  in  “A  Place  in  the  Sun." 
Fes,  Shelley  and  Farley  Granger  co-starred 
in  “ Behave  Yourself.” — ED. 

In  the  May  issue  of  Photoplay  your 
story  about  Jean  Simmons  and  Stewart 
Granger  said  that  Jean  was  seventeen  years 
old  in  1935  . . . This  makes  her  thirty-six 
...  I didn’t  think  she  was  over  twenty-five. 

Pat  Neff 
Onsted,  Michigan 

This  was  an  error.  Jean  is  just  twenty- 
five  years  old. — ED. 

My  husband  and  I are  having  a little 
argument.  He  says  Charlton  Heston  played 
Rory  Calhoun’s  blond  friend  in  “Rogue 
River,”  and  I say  he  didn’t  play  in  this 
picture  at  all.  Who  is  right? 

Mrs.  Ella  Mae  McMillin 
Bedford,  Indiana 

Peter  Graves  portrayed  Rory’s  fair-haired 
buddy  in  this  one. — ED. 

I don’t  know  whether  or  not  you’ve 
noticed  it,  but  I sure  have.  What?  Why 
the  fact  that  Debbie  Reynolds  and  that 
terrific  newcomer  Ben  Cooper  look  quite  a 
bit  alike.  I’m  wondering  ...  if  these  two 
are  related. 

Marge  Dineen 
Berkeley,  California 

Debby  and  Ben  are  not  related. — Ed. 


Man  in  question:  Harold  Russell 


In  “The  Best  Years  of  Our  Lives”  was 
the  actor  who  player  Homer  really  an  amp- 
utee? . . . What  has  happened  to  him?  I 
haven’t  seen  him  in  any  other  pictures  . . . 

Barbara  Ferrell 
Charlotte,  North  Carolina 

Navy  veteran  Harold  Russell,  who  ac- 
tually lost  both  hands  in  W orld  War  II, 
played  the  role  of  Homer.  Since  then  he 
has  been  the  National  Commander 
Amvets,  and  is  now  a representative 
World  Veterans  Federation. — ED. 


of  the 
for  the 


20 


why  Dial  soap 
protects  your  complexion 
even  under  make-up 


Dial  clears  your  complexion  by  removing  blemish- spreading 
bacteria  that  other  soaps  leave  on  your  skin. 


No  matter  how  lavishly  or  sparingly  you  use  cosmetics,  when 
you  wash  beforehand  with  Dial,  the  fresh  clearness  of  your  skin  is 
continuously  protected  underneath  your  make-up. 

For  mild,  fragrant  Dial  washes  away  trouble-causing  bacteria  that 
other  soaps  (even  the  finest)  leave  on  your  skin.  Dial  does  this  because 
it  contains  AT-7,  known  to  science  as  Hexachlorophene.  And 
there’s  nothing  else  as  good.  It  clears  the  skin  of  unseen  bacteria 
that  often  aggravate  and  spread  surface  blemishes. 

Until  Dial  came  along,  no  soap  could  remove 

these  trouble-makers  safely  and  effectively. 

1 2 These  photomicros  prove  it.  No.  1 shows 

thousands  of  bacteria  left  on  skin  after  washing  with  ordinary 
soap.  (So  when  you  put  on  make-up,  they’re  free  to  cause 
trouble  underneath).  No.  2 shows  how  daily  washing 
with  Dial  removes  up  to  95%  of  them.  And  Dial’s  AT-7 
clings  to  your  skin,  so  it  continually  retards  the  growth 
of  new  bacteria. 

When  you  first  try  this  beauty -refreshing  soap, 
you’d  never  guess  it  gives  you  such  benefits. 

Doctors  recommend  it  for  adolescents.  With 
Dial  your  skin  becomes  cleaner  and  clearer 
than  with  any  other  type  of  soap.  Let  mild, 
fragrant  Dial  protect  your  complexion  — 
even  under  make-up. 


P.  S.  Shampoo  a Diamond  Sparkle  into  your  hair  with 
new  Dial  Shampoo. 


21 


MON/ 1 ES 


p 


cashmere 

bouquet 

talconi  oovoe* 


Ponover  Girls  P'ck 

C°i«e  Bouvet 

•wr'yt 

grooming  Coreer 
oUr  Con  -sj 

School  s'“d  . 

A qfkere  Bouquet  to'c 

C°ShT  hot  chafed 
,-PW  Tn helps  9-icdles, 

59^ 

29^43^  eose  on  smoothly. 

Plus  Tax  Say«  ^— + — 

Onudu 


WARNERS;  3-D,  I 

Dial  M for  Murder  warnercolor  <1 

V'V'V'V  Here’s  a suave,  consistently  satis- 1 
fying  tale  of  suspense,  with  Ray  Milland  j 
pacing  a small  but  select  cast.  Ray  is  ] 
early  revealed  as  a complete  scoundrel,  ] 
blandly  blackmailing  an  old  school  chum  \ 
into  an  attempt  at  the  murder  of  Ray’s  I 
rich  wife,  as  this  unhappy  lady,  Grace  j 
Kelly,  gives  a spirited  performance,  with  j 
more  emotion  and  color  than  she’s  shown ' 
before.  She  upsets  Ray’s  plans  by  fighting  ! 
off  the  assassin,  killing  him  in  the  strug-  ] 
gle.  Undiscouraged,  her  husband  con- ; 
cocts  a neat  frame-up  that  renders  her ! 
unable  to  prove  she  killed  in  self-defense, 
and  it  looks  as  if  the  hangman  will  make  j 
Ray  a wealthy  widower. 

Robert  Cummings  gives  too  much  of  his  I 
familiar  farce  style  to  the  role  of  a who- 1 
dunit  writer  in  love  with  Grace.  But  ele-  j 
gantly  underplayed  comedy  is  contributed  I 
by  John  Williams,  as  a dogged  Scotland  j 
Yard  inspector.  Talky  but  tense,  the  film  I 
is  Alfred  Hitchcock’s  best  directing  job  in  j 
years,  with  shrewd  use  of  3-D.  (It  may  j 
also  be  shown  in  2-D.)  family! 


Adventures  of  Robinson  Crusoe  u.a.. 

PATHECOLOB 

The  classic  castaway  story  has  i 
been  filmed  with  integrity  and  poignancy.! 
Though  it’s  high ’adventure,  tbe  picture! 
shows  in  believable  terms  just  what  twen-i 
ty-eight  years  on  a desert  island  would  do 
to  a man.  There  are  no  big  names,  but 
Dan  O’Herlihy,  the  only  human  being  ini 
sight  for  most  of  the  footage,  makes  a 
deeply  sympathetic  figure  of  Crusoe.  In] 
the  17th  Century,  he  comes  ashore  on  a 
desert  island  after  a shipwreck,  provides 
himself  with  food,  shelter  and  clothing,  I 
eventually  finds  companionship  by  res- 
cuing a savage — the  original  “My  Man 
Friday ” (James  Hernandez) — from  can- 
nibals visiting  the  island  for  a sort  oi 
beach  picnic.  This  is  fascinating  physical 
action,  shot  in  Mexico.  But  it’s  the  psy- 
chological angle  that  gives  the  movie  dis- 
tinction. FAMILY 


Flame  and  the  Flesh  m-g-m,  technicoloh 

/ W The  dark-haired  Lana  Turner  does! 
a nice  job  as  a lazy  opportunist,  short  on 
conscience  and  morals,  though  she’s  not  so  I 
convincing  as  an  Italian.  Tossed  out  by  a j 
disapproving  landlady,  Lana  latches  on  to  I 
Bonar  Colleano,  a surprisingly  naive  musi- 
cian who  gives  her  shelter  in  his  apart- 1 
ment,  asking  nothing  in  return.  Bui 
Bonar’s  roommate,  night-club  singer  Car  , 
los  Thompson,  quickly  arouses  Lana’s  in- 
terest,  and  she  sets  about  taking  him  away  t 
from  his  fiancee.  Beautiful  Pier  Angeli  I 
keeps  this  good-girl  role  from  being  sac- 
charine, playing  it  with  vigorous  simplic-  > 
ity.  The  unassuming  little  story  is  set  in 
picturesque  Italian  locations.  It’s  all 
Lana’s,  and  she’s  at  her  best,  making  nc 
attempt  to  glorify  a shoddy  character  : 
even  giving  some  lines  a Mae  West  in- 
tonation. ADUL1 


22 


CONTINUED  FROM  PACE  16 


The  Student  Prince  m-g-m; 

CINEMASCOPE,  ANSCO  COLOR 

V'V'V'  Ann  Blytli  teams  with  newcomer 
Edmund  Purdom  in  the  sweet  old-fash- 
ioned operetta  about  a mythical-kingdom 
prince  and  a lovely  commoner.  Purdom, 
a Rock  Hudson  type  minus  a few  inches 
and  plus  an  English  accent,  starts  out  as 
a stuffy,  stiff-necked  lad  who  repels  his 
intended  bride,  princess  Betta  St.  John. 
So  his  kingly  father  (Louis  Calhern)  ships 
him  off  to  Heidelberg  University  to  get 
humanized.  This  he  does  so  thoroughly 
that  he  falls  in  love  with  Ann,  a barmaid 
at  dad  S.  Z.  Sakall’s  inn.  The  music  is  as 
charming  as  ever,  though  Mario  Lanza’s 


robust  voice  on  the  sound  track  doesn’t 
quite  match  Purdom’s  more  reserved  per- 
sonality. FAMILY 


In  a duet  with  Ann  Blyth.  Edmund  Purdom 


| embarks  on  a gay  new  life  at  a university 

Demetrius  and  the  Gladiators  20th; 

CINEMASCOPE,  TECHNICOLOR 

V'W  The  sequel  to  “The  Robe,”  tracing 
the  further  adventures  of  Victor  Mature 
as  the  Greek  ex-slave,  has  all  the  spectacu- 
lar qualities  of  its  predecessor,  but  the 

[theme  of  Jesus’  garment  here  loses  much 
of  its  strength.  Mature’s  effort  to  guard 
the  robe  from  pagan  hands  dooms  him  to 
the  existence  of  a gladiator,  and  scenes  in 
the  arena  are  full  of  excitement.  Jay  Rob- 
inson again  plays  the  mad  Caligula,  while 
Susan  Hayward  joins  the  cast  as  the 
wicked  Messalina,  wife  of  the  intellectual 
Claudius  (Barry  Jones),  heir  to  the 
throne.  Her  seductive  ways  lure  Victor 
from  his  faith,  but  only  temporarily.  Debra 
Paget  appears  briefly  as  his  sweetheart, 
also  a Christian.  family 


Black  Horse  Canyon  u-i,  technicolor 

V'Vv'  An  ingratiating  Western  starring 
Joel  McCrea  gives  Race  Gentry  his  first 
leading  role.  Race,  who  scored  a hit  in  a 
minor  part  in  “The  Lawless  Breed,”  now 
graduates  to  a lead,  again  showing  prom- 
ise. He’s  a sort  of  adopted  kid  brother  of 
Joel’s,  and  the  two  one-time  saddle  tramps 
are  starting  a small  ranch.  Race  is  dis- 
tracted from  his  chores  by  a hunt  for  a 
magnificent  wild  stallion,  also  coveted  by 
Mari  Blanchard  and  by  a ruthless  neigh- 


Your  Second 

(/so  imc$l  p tietbei).  Skin! 


Umm-mmm— what  a complexion! 

It  looks  all  yours— only  prettier 
than  it's  ever  looked  before.  Because 
this  silk-textured  powder  clings  close 
as  your  own  skin  . . . never  flakes, 
shines  or  streaks.  And  there’s  a 
Cashmere  Bouquet  shade  that’s 
twin  to  your  skin— whether  your  basic 
skin  color  is  pink,  ivory,  olive 
or  any  tone  in  between! 


Conover 

Girls 


“All  our  Conover  students  use 
this  silky  Cashmere  Bouquet 
Face  Powder,”  says  the  Beauty 
Director  of  the  Conover  School. 
“We  teach  them  to  pat  it  on 
lavishly,  press  in  well,  then  brush 
off  the  excess  for  a velvet  finish.” 


7 Cover  Girl  Colors 


29( 


plus  tax 


I r (Mrs.  Harry 
JCM  Conover) 


cashmere  bouquet 


FACE  POWDER 


p 


23 


K/ION/I  ES 


CONTINUED 


P 


24 


don’t  deprive  yourself  of  the  fun 
of  going  swimming  just  because  it’s 
“rime  of  the  month”  for  you.  Be  smart! 
Be  modern!  Be  a Tampax  user!  Tampax 
is  internal  sanitary  protection  that  never 
“shows”  under  a wet  or  dry  bathing  suit. 

do  enjoy  all  the  other  summer  advan- 
tages of  Tampax.  Be  glad  it  prevents 
chafing.  (Tampax  can’t  even  be  felt,  once 
it’s  in  place.)  Rejoice  in  the  way  it  pre- 
vents odor  from  forming.  And  remember 
the  fact  that  it’s  easy  to  dispose  of  when 
you’re  away  from  home.  No  wonder  so 
many  women  find  Tampax  so  convenient 
all  year  round— so  ideal  during  warm 
weather. 


because  honestly! — Tampax  can 

be  worn  by  any  normal  woman.  It’s 
simple  to  insert!  Get  your  supply  this  very 
month  at  any  drug  or  notion  counter. 
Choice  of  3 absorbencies:  Regular,  Super, 
Junior.  Month’s  supply  goes  into  purse. 
Tampax  Incorporated,  Palmer,  Mass. 


Accepted  for  Advertising 
by  the  Journal  of  the  American  Medical  Association 


bor.  Murvyn  Vye.  There’s  a wistful  touch 
of  love  interest,  Race  yearning  after  the 
somewhat  older  Mari.  The  horses  are 
beautiful  to  watch,  and  the  whole  film  has 
a pleasant  lightness.  family 


About  Mrs.  Leslie  wallis,  paramount 

VV  Shirley  Booth’s  warm  personality  and 
superb  acting  are  the  mainstays  of  a some- 
what rambling  love  story.  She’s  the  own- 
er of  a rooming  house,  taking  a sympa- 
thetic interest  in  the  problems  of  her 
guests — among  them  two  young  people 
(Marjie  Millar  and  Alex  Nicol)  trying  to 
get  into  show  business.  Shirley’s  own 
great  love  is  past,  but  she  recalls  it  in 
flashbacks.  Her  heart  was  given  to  a mar- 
ried man  (Robert  Ryan),  with  whom  she 
could  spend  only  six  weeks  of  each  year. 
Ingratiating  as  the  two  players  are,  it  is 
hard  to  find  much  sense  or  romance  in 
such  a relationship.  adult 


Silver  Lode  rko,  technicolor 

VV  This  action  story  offers  substance 
along  with  thrills.  In  a small  Western 
town,  John  Payne’s  about  to  be  married 
to  Lizabeth  Scott — when  he’s  threatened 
with  arrest  for  a murder  two  years  before. 
Dan  Duryea,  brother  of  the  dead ' man, 
represents  himself  as  a U.  S.  marshal,  and 
John  has  trouble  proving  that  Dan’s  real 
aim.  once  he’s  gotten  his  captive  out  of 
town,  is  quick  vengeance.  At  first,  the 
townspeople  defend  John,  but  gunplay 
turns  them  against  him,  landing  him  in  a 
mighty  tough  spot.  family 


Make  Haste  to  Live  republic 

V'V  Several  capable  players  make  the 
most  of  this  slender  suspense  picture,  set 
in  today’s  Southwest.  Dorothy  McGuire 
is  a small-town  newspaper  editor,  whose 
past  suddenly  catches  up  with  her.  It’s 
personified  by  Stephen  McNally,  her  gang- 
ster husband,  just  out  of  jail.  She  dreads 
his  influence  on  their  daughter  (Mary 
Murphy),  who’s  been  brought  up  in  the 
belief  that  her  father  is  dead.  Two  ro- 
mances are  threatened : Dorothy’s  with 
scientist  John  Howard ; Mary’s  with  young 
Ron  Hagerthy.  family 


PARAMOUNT, 

Secret  of  the  Incas  technicolor 

VV  A standard  treasure-hunt  story  gets  a 
considerable  lift  from  vivid  location  shots 
of  Peruvian  villages,  mountains,  natives 
and  Inca  ruins.  Charlton  Heston  is  an  un- 
scrupulous adventurer  hungry  for  Inca 
gold.  Thomas  Mitchell  is  his  competitor, 
further  along  in  years  and  greed.  As  a 
fugitive  from  Red  Roumania,  pretty  Nicole 
Maurey  is  involved  only  accidentally, 
while  Robert  Young,  as  an  archaeologist, 
seeks  the  treasure  for  unselfish  reasons. 
Yma  Sumac  does  two  native  songs  in  her 
unique  voice.  family 


1 

Johnny  Guitar  republic,  trucolor 

VV  Joan  Crawford’s  the  dashing  star  of 
a Western  so  determinedly  off-beat  that 
the  heroine  and  the  female  menace  end  by 
shooting  it  out,  as  the  men  merely  look  on. 
The  efforts  of  the  jealous  Mercedes  Mc- 
Cambridge  to  close  down  Joan’s  gambling 
house  set  off  the  action.  Sterling  Hayden, 
a reformed  gunfighter,  once  Joan’s  lover, 
must  take  up  his  guns  again.  Scott  Brady’s 
also  featured  as  a not  very  tough  young 


The  Diamond  u.a.,  3-d 

VV  Shot  in  England  with  American  stars 
(Dennis  O’Keefe  and  Margaret  Sheridan), 
this  thriller  is  distinguished  by  an  unusual 
chase  scene  near  the  finish  and  by  its  new 
shape.  The  picture  is  coyly  scalloped  at 
top  and  bottom!  Dennis  is  a U.  S.  Treas- 
ury agent  trailing  a thief  who  robbed 
Uncle  Sam  of  $1,000,000.  The  money,  it’s 
suspected,  will  be  used  to  manufacture 
synthetic  diamonds.  Margaret’s  seen  as 
the  daughter  of  the  inventor,  held  captive 
by  the  gang.  family 


Gog  U.A.;  3-D,  EASTMAN  COLOR 

VV  The  latest  in  the  science-fiction  cycle 
is  full  of  spectacular  gadgets,  but  its  peo- 
ple aren’t  too  convincing.  Richard  Egan 
makes  a security  check  on  a secret  desert 
laboratory,  where  the  country  conducts 
experiments  aimed  toward  the  building 
of  a space  station.  A giant  mechanical 
brain  directs  all  the  machines — which  sud- 
denly go  haywire,  killing  scientists.  Egan 
and  Constance  Dowling  share  the  love 
interest.  family 

The  French  Line  rko;  technicolor,  3-d 

VV  With  all  her  new  comedy  craft,  Jane 
Russell  manages  to  put  sparkle  into  a 
tired  farce  about  a Texas  multi-million- 
airess off  on  an  incognito  husband-hunting 
trip  to  Europe.  She  contrives  to  look  love- 
ly in  dowdy  costumes  designed  only  to 
show  off  the  already  well-known  Russell 
chest.  Gilbert  Roland’s  the  debonair 
Frenchman  who  loves  her  in  spite  of  her 
money.  As  for  that  dance,  it’s  a conven- 
tional burlesque  routine,  weirdly  .placed 
in  a Paris  fashion  show.  Like  the  above 
two  films,  this  3-D  may  also  be  shown  in 
2-D;  check  your  theatre.  adult 


Tanganyika  u-i,  technicolor 

VV  Though  supposedly  set  in  Africa,  this 
adventure  story  is  a converted  Western,  in 
which  a misguided  tribe  is  stirred  to  war 
by  an  ornery  white  man.  Lumberman  Van 
Heflin,  his  business  threatened,  goes  gun- 
ning for  the  renegade.  His  safari  acquires 
unexpected  travelers;  Ruth  Roman  and  her 
orphaned  niece  and  nephew;  Howard  Duff, 
wounded  by  the  hostile  tribe.  As  it  turns 
out,  Duff  is  the  innocent  brother  of  Jeff 
Morrow,  the  madman  who  has  become  a 
jungle  dictator.  Dynamite  blasts  provide  a 
lively  finale.  family 


At  last  on  the  screen  ! 


as  QUEEG... 
the  captain  and 
the  cause  of 
‘The  Caine 
Mutiny.” 


COLOR  BY 

TECHNICOLOR 

A COLUMBIA  PICTURE 
A STANLEY  KRAMER  PROD. 


and  Introducing 


ROBERT  FRANCIS  MAY  WYNN 

Screen  Play  by  STANLEY  ROBERTS 
Based  upon  the  Pulitzer  prize  winning  novel  by  HERMAN  WOUK 
Directed  by  EDWARD  DMYTRYK 


P 


25 


ENRICHES  YOUR  HAIR  WITH  BEAUTY! 

Twice  as  much  lanolin  gives  your 
hair  twice  the  twinkle!  Leaves 
it  amazingly  manageable.  So  soft, 
so  clean  . . . radiant  to  behold ! 


lanolin 
'feme  jhamp4' 


lanolin 

lotion 

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lanolin 

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Lanolin  Lotion  Shampoo  — 29t,  59t,  $1 
Lanolin  Creme  Shampoo  — 49t,  89t,  $1.69 


CASTS  OF  CURRENT  PICTURES 


ABOUT  MRS.  LESLIE — Paramount.  Directed  by 
Daniel  Mann:  Mrs.  Vivien  Leslie,  Shirley  Booth; 
George  Leslie,  Robert  Ryan;  Nadine  Roland,  Marjie 
Millar;  Lan  McKay,  Alex  Nicol;  Harry  Willey, 
Sammy  White;  Mr.  Poole,  James  Bell;  Pixie,  Eilene 
Janssen;  Mort  Finley,  Philip  Ober;  Fred  Blue,  Henry 
Morgan;  Marion  King,  Gale  Page;  Mrs.  Poole,  Vir- 
ginia Brissac;  Mr.  Pope,  Ian  Wolfe;  Mrs.  Croffman, 
Ellen  Corby;  Barney,  Ray  Teal;  Jim,  Isaac  Jones; 
Camilla,  Maidie  Norman;  Felice,  Laura  Elliot; 
Gilly,  Amanda  Blake;  Hackley,  Percy  Helton;  Rick, 
Ric  Roman. 

ADVENTURES  OF  ROBINSON  CRUSOE— U.A. 
Directed  by  Luis  Bunuel:  Robinson  Crusoe,  Dan 
O’Herlihy;  Friday,  James  Fernandez;  Captain  Ober- 
20,  Felipe  De  Alba;  Bos’n,  Chel  Lopez;  Leaders  of 
the  Mutiny,  Jose  Chavez,  Emilio  Garibay. 

APACHE — U.A.  Directed  by  Robert  Aldrich: 
Massai,  Burt  Lancaster;  Nalinle,  Jean  Peters;  Al 
Sieber,  John  Mclntire;  Hondo,  Charles  Buchinsky; 
Weddle,  John  Dehner;  Santos,  Paul  Guilfoyle; 
Glagg,  Ian  MacDonald;  Lt.  Col.  Beck,  Walter 
Sande;  Dawson,  Morris  Ankrum;  Geronimo,  Monte 
Blue. 

BLACK  HORSE  CANYON—  U-I.  Directed  by 
Jesse  Hibbs:  Rock,  Joel  McCrea;  Aldis,  Mari 
Blanchard;  Ti,  Race  Gentry;  Jennings,  Murvyn 
Vye;  Doc  Spain,  Irving  Bacon;  Sheriff  Whitney, 
Ewing  Mitchell;  Duke,  John  Pickard;  Juanita,  Pilar 
Del  Rey;  Jim  Graves,  William  J.  Williams;  Haley, 
Henry  Wills. 

CAINE  MUTINY , THE — Columbia.  Directed  by 
Edward  Dmytryk:  Captain  Queeg,  Humphrey  Bo- 
gart; Lt.  Barney  Greenwald,  Jose  Ferrer;  Lt.  Steve 
Maryk,  Van  Johnson;  Lt.  Tom  Keefer,  Fred  Mac- 
Murray;  Ensign  Willie  Keith,  Robert  Francis;  May 
Wynn,  May  Wynn;  Captain  DeVriess,  Tom  Tully; 
Lt.  Cdr.  Challee,  E.  G.  Marshall;  Lt.  Paynter, 
Arthur  Franz;  Meatball,  Lee  Marvin;  Captain  Blake- 
ly, Warner  Anderson;  Horrible,  Claude  Akins;  Mrs. 
Keith,  Katharine  Warren;  Ensign  Harding,  Jerry 
Paris;  Chief  Budge,  Steve  Brodie;  Stilwell,  Todd 
p Karns;  Lt.  Cdr.  Dickson,  Whit  Bissell;  Lt.  Jorgen- 
son, James  Best;  Ensign  Carmody,  Joe  Haworth; 
Ensign  Rabbit,  Guy  Anderson;  Whittaker,  James 
Edwards;  Urban,  Don  Dubbins;  Engstrand,  David 


DEMETRIUS  AND  THE  GLADIATORS—  20th 
Directed  by  Delmer  Daves:  Demetrius,  Victor  Ma- 
ture; Messalina,  Susan  Hayward;  Peter,  Michael 
Rennie;  Lucia,  Debra  Paget;  Paula,  Anne  Bancroft; 
Caligula,  Jay  Robinson;  Claudius,  Barry  Jones;  Gly- 
con,  William  Marshall;  Dardanius,  Richard  Egan; 
Strabo,  Ernest  Borgnine;  Cassius  Chaerea,  Charles 
Evans;  Kaeso,  Everett  Glass;  Macro,  Karl  Davis; 
Albus,  Jeff  York;  Slave  Girl,  Carmen  de  Lavallade; 
Varus,  John  Cliff;  Specialty  Dancers,  Barbara 
James.  Willetta  Smith. 

DIAL  M FOR  MURDER — Warners.  Directed  by 
Alfred  Hitchcock:  Tony,  Ray  Milland;  Margot, 
Grace  Kelly;  Mark,  Robert  Cummings;  Inspector 
Hubbard,  John  Williams;  Capt.  Lesgate,  Anthony 
Dawson;  The  Storyteller,  Leo  Britt;  Pearson,  Pat- 
rick Allen;  Williams,  George  Leigh;  1st  Detective, 
George  Alderson;  Police  Sergeant,  Robin  Hughes. 

DIAMOND,  THE- — U.A.  Directed  by  Dennis 
O’Keefe:  Joe  Dennison,  Dennis  O’Keefe;  Marlene 
Miller,  Margaret  Sheridan;  Inspector  McClaren, 
Philip  Friend;  Thompson  Blake,  Allan  Wheatley; 
Yeo,  Francis  de  Wolff;  Hunziger,  Eric  Berry; 
Hoxie,  Michael  Balfour;  Sergeant  Smith,  Ann 
Gudrun;  Dr.  Eric  Miller,  Paul  Hardmuth;  Castle, 
Cyril  Chamberlain;  Lascelles,  Seymour  Green. 

FLAME  AND  THE  FLESH— M-G-M.  Directed  by 
Richard  Brooks:  Madeline,  Lana  Turner;  Lisa,  Pier 
Angeli;  Nino,  Carlos  Thompson;  Ciccio,  Bonar  Col- 
leano;  Mondari,  Charles  Goldner;  Peppe,  Peter  111- 
ing;  Francesca,  Rosalie  Crutchley;  Filiberto,  Marne 
Maitland;  Marina  Proprietor,  Eric  Pohlmann;  Dress- 
maker, Catharina  Ferraz. 

FRENCH  LINE,  THE — RKO.  Directed  by  Lloyd 
Bacon:  Mary  Carson,  Jane  Russell;  Pierre  Duquesne, 
Gilbert  Roland;  Waco  Mosby,  Arthur  Hunnicutt; 
Annie  Far  ell,  Mary  McCarty;  Myrtle  Brown,  Joyce 
MacKenzie;  Celeste,  Paula  Corday;  Bill  Harris, 
Scott  Elliott;  Phil  Barton,  Craig  Stevens;  Katherine 
Hodges,  Laura  Elliot;  George  Hodges,  Michael  St. 
Angel;  Francois,  Steven  Geray;  First  Mate,  John 
Wengraf;  Donna  Adams,  Barbara  Darrow;  Kitty 
Lee,  Barbara  Dobbins. 

GOG — U.A.  Directed  by  Herbert  L.  Strock:  David 
Sheppard,  Richard  Egan;  Joanna  Merritt,  Constance 
Dowling;  Dr.  Van  Ness,  Herbert  Marshall;  Dr. 


'9 

Zeitman,  John  Wengraf;  Dr.  Elzevir,  Philip  Van 
Zandt;  Madame  Elzevir,  Valerie  Vernon;  Major 
Howard,  Steve  Roberts;  Dr.  Carter,  Byron  Kane; 
Peter  Burden,  David  Alpert;  Dr.  Hubertus,  Michael 
Fox;  Engle,  William  Schallert;  Helen,  Marian 
Richman;  Marna,  Jeanne  Dean;  Senator,  Tom  Daly. 

HIGH  AND  THE  MIGHTY,  THE— Warners.  Di- 
rected by  William  A.  Wellman:  Dan  Roman,  John 
Wayne;  May  Holst,  Claire  Trevor;  Lydia  Rice, 
Laraine  Day;  Sullivan,  Robert  Stack;  Sally  Mc- 
Kee, Jan  Sterling;  Ed  Joseph,  Phil  Harris;  Gus- 
tave Pardee,  Robert  Newton;  Ken  Childs,  David 
Brian;  Spalding,  Doe  Avedon;  Nell  Buck,  Karen 
Sharpe;  Milo  Buck,  John  Smith;  Flaherty,  Paul 
Kelly;  Humphrey  Agnew,  Sidney  Blackmer;  Lil- 
lian Pardee,  Julie  Bishop;  Gonzalez,  Gonzalez-Gon- 
zalez;  Howard  Rice,  John  Howard;  Wilby,  Wally 
Brown;  Hobie  Wheeler,  William  Campbell;  Mrs. 
Joseph,  Ann  Doran;  Jose  Locota,  John  Qualen; 
Frank  Briscoe,  Paul  Fix;  Ben  Sneed,  George 
Chandler;  Dorothy  Chen,  Joy  Kim;  Toby  Field, 
Michael  Wellman;  Alsop,  Douglas  Fowley;  Gar- 
field, Regis  Toomey;  Ensign  Keim,  Carl  Switzer; 
Lt.  Mowbray,  Robert  Keys;  Roy,  William  DeWolf 
Hopper;  Dispatcher,  William  Schallert;  Susie,  Julie 
Mitchum. 

JOHNNY  DARK — U-I.  Directed  by  George  Sher- 
man: Johnny  Dark,  Tony  Curtis;  Liz  Fielding,  Piper 
Laurie;  Duke  Benson,  Don  Taylor;  Scotty,  Paul 
Kelly;  Abbic  Binns,  Ilka  Chase;  Fielding,  Sidney 
Blackmer;  Miss  Border-to-Border,  Ruth  Hampton; 
Emory,  Russell  Johnson;  Svenson,  Joe  Sawyer; 
Smitty,  Robert  Nichols;  Winston,  Pierre  Watkin; 
Morgan,  Ralph  Montgomery. 

JOHNNY  GUITAR — Republic.  Directed  by  Nicho- 
las Ray:  Vienna,  Joan  Crawford;  Johnny  Guitar, 
Sterling  Hayden;  Emma  Small,  Mercedes  McCam- 
bridge;  Dancin’  Kid,  Scott  Brady;  John  M elvers, 
Ward  Bond;  Turkey  Ralston,  Ben  Cooper;  Bart 
Lonergan,  Ernest  Borgnine;  Old  Tom,  John  Carra- 
dine;  Corey,  Royal  Dano;  Marshal  Williams,  Frank 
Ferguson;  Eddie,  Paul  Fix;  Mr.  Andrews,  Rhys 
Williams;  Pete,  Ian  MacDonald. 

MAKE  HASTE  TO  LIVE — Republic.  Directed  by 
William  A.  Seiter;  Crystal  Benson,  Dorothy  McGuire; 
Steve,  Stephen  McNally;  Randy  Benson,  Mary 
Murphy;  Josh,  John  Howard;  Sheriff  Lafe,  Edgar 
Buchanan;  Hack,  Ron  Hagerthy;  Rudolf o Gonzales, 
Pepe  Hern;  Mrs.  Gonzales,  Argentina  Brunetti; 
Bud  Kelly,  Eddy  Waller;  Mary  Rose,  Carolyn  Jones. 

MEN  OF  THE  FIGHTING  LADY— M-G-M.  Di- 
rected by  Andrew  Marton:  Lt.  ( JG ) Howard  Thayer, 
Van  Johnson;  Comdr.  Kent  Dowling,  Walter  Pid- 
geon;  James  A.  Michener,  Louis  Calhern;  Ens. 
Kenneth  Schechter,  Dewey  Martin;  Lt.  Comdr.  Ted 
Dodson,  Keenan  Wynn;  Lt.  Comdr.  Paul  Grayson, 
Frank  Lovejoy;  Ens.  Neil  Conovan,  Robert  Horton; 
Lt.  ( JG ) Andrew  Szymanski,  Bert  Freed;  Comdr. 
Michael  Coughlin,  Lewis  Martin;  Cyril  Roberts, 
George  Cooper;  Lt.  Wayne  Kimbrell,  Dick  Simmons. 

SECRET  OF  THE  INCAS — Paramount.  Directed 
by  Jerry  Hopper:  Harry  Steele,  Charlton  Heston; 
Dr.  Stanley  Moorehead,  Robert  Young;  Elena  An- 
tonescu,  Nicole  Maurey;  Kori-Tica,  Yma  Sumac;  Ed 
Morgan,  Thomas  Mitchell;  Mrs.  Winston,  Glenda 
Farrell;  Pachacutec,  Michael  Pate;  Anton  Marcu, 
Leon  Askin;  Phillip  Lang,  William  Henry;  Man 
with  Rifle,  Kurt  Katch;  Col.  Emilio  Cardoza,  Ed- 
ward Colmans;  Mr.  Winston,  Grandon  Rhodes;  Mrs. 
Richmond,  Geraldine  Hall;  Mr.  Richmond,  Harry 
Stanton;  Juan  Fernandez,  Booth  Colman;  Ocllo,  Rosa 
Rey;  Dr.  Carlos  Mendes,  Robert  Tafur;  Dr.  Cesar 
Perez,  Martin  Garralaga. 

SILVER  LODE — RKO.  Directed  by  Allan  Dwan: 
Dan  Ballard,  John  Payne;  Rose  Evans,  Lizabeth 
Scott;  McCarty,  Dan  Duryea;  Dolly,  Dolores  Moran; 
Sheriff  Woolley,  Emile  Meyer;  Judge  Cranston, 
Robert  Warwick;  Mitch  Evans,  John  Hudson;  John- 
son, Harry  Carey,  Jr.;  Kirk,  Alan  Hale,  Jr.;  Wicker, 
Stuart  M.  Whitman;  Paul  Herbert,  Frank  Sully; 
Zachary  Evans,  Morris  Ankrum;  Rev.  Field,  Hugh 
Sanders;  Mrs.  Elmwood,  Florence  Auer;  Dr.  Elm- 
wood, Roy  Gordon. 

STUDENT  PRINCE,  THE — M-G-M.  Directed  by 
Richard  Thorpe:  Kathie,  Ann  Blyth;  Prince  Karl, 
Edmund  Purdom;  Count  Von  Asterburg,  John  Eric- 
son;  King  of  Karlsburg,  Louis  Calhern;  Prof.  Jutt- 
ner,  Edmund  Gwenn;  Joseph  Ruder,  S.  Z.  “Cud- 
dles” Sakall;  Princess  Johanna,  Betta  St.  John; 
Lutz,  John  Williams;  Queen,  Evelyn  Varden;  Prime 
Minister,  John  Hoyt;  Lucas,  Richard  Anderson; 
Von  Fischtenstein,  Roger  Allen;  Feuerwald,  Steve 
Rowland;  Richter,  Chris  Warfield;  Von  Buhler, 
Gilbert  Legay;  Head  Corps  Servant,  Archer  Mac- 
Donald; Hubert,  Charles  Davis;  Willie  Klauber, 
John  Qualen. 

TANGANYIKA — U-I.  Directed  by  Andre  de  Toth: 
John  Gale,  Van  Heflin;  Peggy  Merion,  Ruth  Ro- 
man; Dan  Harder,  Howard  Duff;  Abel  McCracken, 
Jeff  Morrow;  Andolo,  Joe  Comadore;  Andy  Merion, 
Gregory  Marshall;  Sally  Merion,  Noreen  Corcoran; 
Paul  Duffy,  Murray  Alper. 

THREE  COINS  IN  THE  FOUNTAIN— 20th.  Di- 
rected by  Jean  Negulesco:  Sliadwell,  Clifton  Webb; 
Miss  Frances,  Dorothy  McGuire;  Anita,  Jean 
Peters;  Prince  Dino  Di  Ccssi,  Louis  Jourdan ; Maria, 
Maggie  McNamara;  Giorgio,  Rossano  Brazzi;  Bur- 
goyne,  Howard  St.  John;  Mrs.  Burgoyne,  Kathryn 
Givney;  Principessa,  Cathleen  Nesbitt;  Dr.  Martin- 
elli,  Vicente  Padula 


. . . even  your  best  friend  wont  fell  you ! 


It  was  big-date  night  again  for  Dora, 
but  for  Sarah  it  was  just  another  Sat- 
urday night  . . . alone.  Why  was  it, 
Sarah  wondered,  that  Dora  got  all  the 
dates  and  she  got  none.  Dora  might 
have  given  her  the  answer*  but  she 
simply  couldn’t  bring  herself  to  do  it. 
After  all,  the  subject  is  so  delicate 
that  even  your  best  friend  won’t  tell 
you. 

The  merest  hint  of  *halitosis  (bad 
breath)  and  you’re  out  of  the  running. 
Nobody  wants  you  around  . . . no- 
body wants  to  date  you. 

Isn’t  it  foolish  to  risk  bad  breath 
when  Listerine  Antiseptic  will  rid  you 
of  it  instantly,  and  usually  for  hours 
on  end?  Listerine  is  the  extra-careful 
precaution  against  offending  . . . four 
times  better  than  any  tooth  paste. 

Listerine  Antiseptic  does  for  you 


what  no  tooth  paste  does.  Listerine 
Antiseptic  instantly  kills  bacteria  . . . 
by  millions. 

No  Tooth  Paste  Kills  Odor  Germs 
Like  This... Instantly 

You  see,  far  and  away  the  most  com- 
mon cause  of  offensive  breath  is  the 
bacterial  fermentation  of  proteins 
which  are  always  present  in  the  mouth. 
And  research  shows  that  your 
breath  stays  sweeter  longer , de- 
pending upon  the  degree  to 
which  you  reduce  germs  in  the 
mouth. 

No  tooth  paste,  of  course, 
is  antiseptic.  Chlorophyll 
does  not  kill  germs  . . . but 
Listerine  Antiseptic  kills  bac- 
teria by  millions,  gives  you 
proven  lasting  antiseptic  pro- 
tection against  bad  breath. 


Listerine  Clinically  Proved 
Four  Times  Better  Than  Tooth  Paste 

Is  it  any  wonder  Listerine  Antiseptic 
in  recent  clinical  tests  averaged  at 
least  four  times  more  effective  in 
stopping  bad  breath  odors  than  the 
chlorophyll  products  or  tooth  pastes 
it  was  tested  against?  With  proof  like 
this,  it’s  easy  to  see  why  Listerine 
belongs  in  your  home.  Every 
morning  . . . every  night . . . 
before  every  date,  make 
it  a habit  to  always  gargle 
Listerine,  the  most  widely 
used  antiseptic  in  the  world. 


Every  week  on  television  — 

“THE  ADVENTURES  OF  OZZIE  & HARRIET" 


LISTERINE  ANTISEPTIC  STOPS  BAD  BREATH  , 

4 times  better  than  any  tooth  paste 


27 


Lustre  - Creme 
Shampoo... 


“Yes,  I use  Lustre-Creme 
Shampoo,”  says  Virginia  Mayo.  It’s 
the  favorite  of  4 out  of  5 top 
Hollywood  movie  stars! 

It  never  dries  your  hair!  Lustre- 
Creme  Shampoo  is  blessed  with 
lanolin  . . . foams  into  rich  lather, 
even  in  hardest  water  . . . leaves 
hair  so  easy  to  manage. 

It  beautifies!  For  soft,  bright,  fra- 
grantly clean  hair — without  special 
after-rinses — choose  the  shampoo  of 
America’s  most  glamorous  women. 
Use  the  favorite  of  Hollywood  movie 
stars— Lustre-Creme  Shampoo. 


Never  Dries 


M 

co-starring  in 

“KING  RICHARD 
AND  THE  CRUSADERS" 

A Warner  Bros.  Production 
in  CinemaSeope  and  WarnerColor. 


V 


t/t 


IT’S  NO  SECRET  ANY  MORE 


For  two  years , Bob  and  Ursula  kept  Hollywood  waiting  for  this  story 

BY  FREDDA  DUDLEY 


• Ursula  Thiess  is  now  Mrs.  Robert  Taylor. 
In  a simple  ceremony  performed  by  a justice 
of  the  peace  aboard  a boat  owned  by  Bob’s 
friends,  Jess  and  John  Wort,  Ursula  and  Bob 
said  their  “I  do’s”.  The  setting  was  Jackson 
Lake,  Wyoming,  indeed  a romantic  setting  for 
two  people  who  had  waited  more  than  two  years, 
during  which  they  tested  the  love  they  felt  in 
their  hearts  for  each  other. 

It  all  started  on  April  24,  1952,  when  Ursula 
and  Bob  were  guests  at  the  same  party.  She  was 
wearing  a black  taffeta  frock  with  a discreet 
bodice  and  a yards-rich  skirt.  (Bob  thinks  that 
a woman  always  looks  her  smartest  in  black: 
black  suits  for  the  street,  black  dresses  for  the 


theatre,  black  evening  gowns  for  gala  occasions.) 
Her  masses  of  black  hair  curled  softly  about 
her  heart-shaped  face,  and  Bob  noticed  at  once 
that  she,  like  himself,  had  a deep  cleft  in  her 
chin. 

As  people  will,  at  a party  that  flows  through 
gracious  rooms  like  a tide,  Ursula  and  Bob 
found  themselves  deposited  on  a small  island  of 
calm  in  a window-seated  corner  and  started  a 
typical  buffet-party  conversation.  At  first  they 
talked  about  Europe  and  the  cities  each  enjoyed. 
Ursula  loved  Salzburg,  Bob  had  never  been 
there.  Bob  loved  Firenze  (Florence),  Ursula  had 
never  been  there.  The  only  city  they  both  knew 
aside  from  New  York  ( Continued  on  page  98' 


i 


29 


nug 

K9|IR 

Hflfl 

Debbie  Reynolds  wrote  singer  Bill  Shirley  a 
fan  letter — now  they  hear  music  together! 


Paul  matches  Jeanne  Crain’s  elegance  with 
latest  “after  six  in  Hollywood”  dress  suit 


IP  hen  it’s  the  Jeff  Hunters'  night  to  howl. 
Chris  doesn’t.  Granny’s  his  guardian  angel 


CAL  YORK’S  GOSSIP  OF  HOLLYWOOD 


Beauties  of  the  Night:  Jane  Powell 
has  one  answer  to  all  inquiries  about 
marriage  plans  with  Pat  Nerney.  “Ask 
me  in  August” — which  is  when  her 
divorce  is  final.  But  Janie,  who  learned 
a lesson  from  talking  too  much  about 
her  short-lived  romance  with  Gene 
Nelson,  still  shares  all  dates  with  Pat 
Nerney  only  . . . Young  son  Christo- 
pher’s safe  and  sound  when  Barbara 
Rush  and  Jeff  Hunter  go  out  for  an 
evening.  And  Barbara’s  mother  who 
lives  with  them,  continues  guard  duty 
while  the  actress  is  in  Ireland  making 


“Captain  Lightfoot”  with  Rock  Hud-  j 
son.  Looks  like  disappointed  Jeff’s 
completely  recovered  from  losing 
“Prince  Valiant”  to  good  friend  Bob 
Wagner.  New  term  deal  at  20th  rates 
him  huge  hike  in  salary  . . . It’s  a 
standing  date  every  opening  night  of 
the  light  opera  season  for  music  lov- 
ers Debbie  Reynolds  and  Bill  Shirley. 

He’s  the  sensational  singing  voice  of 
Prince  Charming  in  Walt  Disney’s 
CinemaScope  cartoon,  “Sleeping  Beau- 
ty.” Before  meeting  Bill,  Debbie  sent 
him  a fan  letter  after  hearing  his  songs 


jinny  s gown  by  Amelia  Gray  If  hen  Ginny  Mayo  dolls  up  jor  Mike,  baby 

Mary  O’Shea  does  too — in  ruffled  panties! 


Jane  Pouiell  has  a dreamy  answer  to  those 
i/ttestions  about  marriage  with  Pat  Nerney 


STUFF 


on  radio  . . . Virginia  Mayo  and  Mike 
O'Shea  refer  to  Sarah  Young  as,  “The 
nurse  who  came  to  dinner!”  Origi- 
nally hired  for  two  weeks,  she  became 
so  attached  to  now  nine-months-old 
Mary  Catherine,  she  just  stayed  on 
and  on!  Next  to  loving  parties  and 
pretty  party  dresses  herself,  Ginny 
loves  to  put  ruffled  panties  on  her 
daughter  to  make  her  feel  like  she’s 
stepping  out  too!  . . . Three-year-old 
Romina  Francesca  and  one-year-old 
Taryn  Stephanie  are  “shot”  each 
month  by  Tyrone  Power  for  a perma- 


nent film  library  on  his  daughters. 
Columbia's  “Long  Grey  Line,"  inci- 
dentally. fulfills  Ty’s  great  ambition 
to  be  directed  by  realistic  John  Ford 
. . . “No  more  separations  from  my 
children,”  declares  devoted  Jeanne 
Crain,  who  made  a recent  movie  in 
Africa.  And  while  we’re  with  Jeanne, 
her  short-cropped  bright  red  hair  and 
sophisticated  wardrobe  just  fools  fans 
and  they  fail  to  recognize  her  in  per- 
son. At  U-I  where  she  has  a new 
three-picture  deal,  they  plan  to  present 
Jeanne  as  a ( Continued  on  page  84) 


Goodnight,  ladies:  The  Ty  Powers  with 
their  nursery  charmers.  Tarvn  and  Romina 


To  Marilyn  marriage  means 
candlelight  on  bridge  tables, 
planning  budgets  and  dreaming 
of  babies.  It  means  all  the  things 
a woman  knows  who  has  grown 
ivise  through  loneliness 


of  Marriage 


The  DiMaggios.  “With  Marilyn.  Joe  is  Number  One " 

260,000 

Minutes 

BY  SIDNEY 
SKOLSKY 

Mrs.  DiMaggio  surprised  even  best  friend  Sidney! 


• There  are  two  Marilyn  Monroes. 

When  I first  mentioned  this,  it  caused  much  excitement. 

This  is  easily  understandable  to  all  people  who  had  td  be 
content  previously  with  only  one  Marilyn  Monroe. 

However,  I was  wrong.  I should  have  said  that  there 
is  a Marilyn  Monroe  and  a Marilyn  DiMaggio. 

You  know  about  everything  there  is  to  know  about 
The  Monroe,  and  I’d  like  you  to  become  acquainted  with 
Mrs.  DiMaggio,  who  is  kind  of  new.  I admit  that  it’s  often 
difficult  to  know  where  Marilyn  ends  and  Mrs.  DiMaggio 
begins,  or  vice  versa.  But  either  way  you  can’t  lose. 

Come  along  with  me  and  meet  them  both  in  action. 

Time:  Late  afternoon  in  June. 

Place:  Bungalow  Four — 20th  Century-Fox  Studio. 

The  small  bungalow  is  partly  hidden  in  the  back  section  of 
the  studio.  Marilyn,  wearing  tight-fitting  pedal  pushers, 
a not-too-tight  gray  sweater  buttoned  in  the  front  and 
loafers,  is  rehearsing  her  songs  for  “No  Business  Like  Show 
Business.”  She  hasn’t  any  make-up  on  except  for  lipstick, 
and  this  is  wearing  off  as  she  continues  to  sing. 

She  sings  “Lazy”  again  . . . again  . . . again  . . . 

Hal  Schaefer,  her  voice  coach,  is  at  the  piano.  She  looks 
toward  him  for  instruction,  ( Continued  on  page  92) 

Blackwell  • Marilyn  Monroe  is  in  “No  Business  Like  Show  Business" 


32 


. • 8.1  ■■ 


wamife  was  tough 
Tony  in  his  teens— and  it 
could  easily  have  been 


a dead-end  street.  Except  for  the  courage 
no  poverty  could  kill 


Tony  and  Janet  Leiqh  will  be  seen  in  “Black  Shield  of  Falworth ” 


Tony,  age  3,  with  jmrents.  They  With  Scout  Troop,  Tony,  11  [fourth  it  arm  welcome  was  given  Tony,  boy  who 

gave  him  assurance  of  being  loved  from  left) , found  outlet  for  growing  pains  made  good,  on  visit  to  old  neighborhood 


TONY’S  DAYS 
OF  DECISION 


BY  HELEN  BOLSTAD 


• He  had  a driving  need  to  be  noticed.  The  New  York  streets  were 
his  playground  and  constantly  he  felt  the  pressure  of  the  big  city.  Near 
him,  he  saw  opulent  wealth  while  his  own  family  lived  in  poverty. 

To  many  a sensitive  kid,  this  combination  has  been  dangerous  as 
a fuse  attached  to  dynamite.  Any  sudden  shock  can  explode  it  into 
juvenile  delinquency  and  a life  of  crime. 

For  him,  such  a shock  did  occur.  It  was  a shock  so  devastating 
that  it  threw  his  father  into  a serious  illness  and  for  a time  broke 
up  their  home,  their  family. 

Why,  then,  did  Tony  Curtis  grow  into  a man  who  not  only  is  a 
talented  motion-picture  star  but  who  also  is  a responsible  citizen 
whose  public  and  private  life  is  directed  toward  good? 

Why  didn’t  he  swing  in  the  reverse  direction  and,  propelled  by 
this  same  driving  energy,  become  an  underworld  character  chal- 
lenging all  rivals  for  the  title  of  Number  One  hoodlum? 

Tony  knows.  He  says  crisply,  “I  met  a settlement  worker  named 
Paid  Schwartz.” 

Tony’s  wife,  the  lovely  Janet  Leigh,  knows.  Since  theirs  is  a 
marriage  where  each  has  shared  past  as  well  as  present,  she  knows 
the  turning  point  in  his  life  as  certainly  ( Continued  on  page  75) 


Years  of  dodging  city  traffic  trained 
Tony  for  nimble  footwork  in  swordplay 


? 


She’d  closed  her  eyes  to  the  things  she’d  feared. 


The  Pier  of  yesterday  wore  hair  down,  hat-heeled  shoes.  Today,  she  . 


BY 

GLADYS 

HALL 


• “Only  last  year,”  Pier  said,  “I  really, 
really  grew*  up.  On  June  nineteenth, 
nineteen  fifty-three,  I became  twenty- 
one.  And  when  you  become  twenty-one 
your  growing  pains — as  it  is  called  in 
America  when  you  change  from  a child 
to  a woman — are  said  to  be  over. 

“It  is  a very  interesting  story,  the 
story  of  my  growing  pains,  because  so 
many  people  helped  me  become  not  a 
child  but  a woman,  and  also  because 
my  growing  pains,  they  were  different 
from  those  of  many  teen-age  girls. 

“Some  of  these  growing  pains  that 
cause  suffering  to  other  girls  come 
from  the  embarrassment  of  not  having 
pretty  clothes  to  wear,  or  embarrass- 
ment because,  for  a time,  their  skin 
does  not  look  nice,  or  they  have  to 
wear  braces  on  their  teeth,  or  they  are 
too  fat  or  too  thin,  or  they  have  not  a 


Apger.  Pier's  last  is  " Flame  and  the  Flesh” 


Now  Pier  Angeli  is  gloriously  awake! 


nice  home  in  which  to  entertain  their 
friends. 

“I  did  not  suffer  these  kinds  of  pains. 
When  I lost  my  first  teeth  I was,  I re- 
member, a little  unhappy  then.  But 
soon  others  came  and  I was  happy 
again.  And  once  I was  ashamed  be- 
cause my  legs  were  so  thin  I had  to  be 
helped  to  walk  on  them.  But  this,  too, 
passed  too  soon  to  leave  a scar.  I did 
not  suffer  from  the  self-consciousness 
of  adolescence  either.  I had  always  the 
feeling  of  loving  everybody  and  of 
everybody  loving  me. 

“My  father,  Luigi  Pierangeli,  whom 
I so  dearly  loved,  was  an  architect. 
The  best.  In  Sardinia  where  I was 
born  (quite  a few  seconds  before  my 
twin  sister  Maria  Luisa,  so  that  I am 
the  elder  and  like  to  be  the  boss!)  my 
father  was  (Continued  on  page  81) 


has  sleek  new  hairdo,  wears  "beautiful  spiky  heels!" 


It  was  what  happened  last  year  that  helped  Pier  say,  "I'm  not  afraid  any  more” 


37 


' 

BY  RUTH  WATERBURY 


He  likes  to  believe  he’s  hard 
and  stern.  But  when 
Big  Burt’s  around  home, 
any  resemblance  to  a tough  guy 


is  purely  coincidental! 


OFT  HEAm  MENACE 


With  Gary  Cooper  in  “Vera  Cruz.”  Film  was  shot  in  Mexico 


• Burt  Lancaster  was  so  pleased  with  himself 
over  the  present  he  was  giving  his  wife  Norma 
last  Christmas  that  he  couldn’t  quite  wait  for  the 
big  day. 

He  was  in  that  happy  pre-Christmas  state  of 
mind  that  even  the-  most  devoted  of  husbands 
rarely  attains.  He  was  positive  he  knew  exactly 
what  his  wife  wanted. 

It  was  a super-terrific  Somali  leopard  sports 
coat.  Norma  already  had  her  minks — the  full- 
length  job  so  expensively  brown  it  was  prac- 
tically black.  Then  she  had  the  short  chic 
“breath-of-spring”  mink  scarf.  One  was  for 
coldish  weather;  the  other,  for  cocktail  parties. 

Norma,  however,  is  an  essentially  practical 
girl.  So  she  wanted  something  sturdy  yet  dashing 
for  those  moments  when  she  dropped  the  four 
kids  off  at  their  various  schools  and  she  herself 
went  on  to  lunch  or  some  such,  via  the  station 
wagon.  That’s  how  Burt  hit  upon  the  leopard. 

It  would  take  a beating,  yet  complement  his 
wife’s  golden-haired,  brown-eyed  beauty,  plus 
the  black  dresses  she  always  wears  daytimes. 

The  reason  for  that  Burt  very  well  knew : Black’s 

(Continued  on  page  41) 


How  to  handle  a tough  character!  Burt’s  family  joined  him 
in  Mexico.  Left,  Jimmy,  Joanna,  a friend,  Susan,  Billy 


He  calls  wife  Norma  “girl” — a word  of  endearment  to  Burt. 
His  nickname  is  “H.B.L.”  ( Handsome  Burt  Lancaster!) 


When  the  “kidlets”  were  told  they  could  name  the  expected 
baby,  pandemonium  reigned!  They  all  had  different  ideas 


Burt  figures  he  was  lucky  in  love.  Because  if 
it  hadn't  been  for  his  ''girl”  and  his  " kidlets 
his  might  have  been  a different  story 


the  only  color  he  likes  her  in  daytimes.  White’s 
all  he  likes  in  the  evenings. 

Thus,  Mr.  L.,  after  ten  years  of  being  passion- 
ately in  love  with  the  girl,  flipped  on  December 
23rd  and  stood  forth  with  his  Christmas  offering. 
But,  knowing  every  shade  of  his  wife’s  reactions, 
he  caught  the  little  cloud  that  passed  over  her 
face,  to  be  quickly  replaced  by  a polite  smile. 

“Why  don’t  you  like  it?”  he  asked,  before  she 
could  speak. 

Norma  suddenly  began  laughing.  For  your 
information,  Norma  is  a doll  whose  sense  of 
humor  is  always  at  the  ready,  but  on  this  par- 
ticular day  there  was  something  like  a note  of 
hysteria  in  her  laughter.  “Oh,  H.B.L.”  said 
Norma,  “don’t  be  angry,  but  I won’t  be  able 
to  wear  that  coat  for  long.  You  see,  I’ve  just 
discovered  that  something  has  happened  . . .” 

And  that  was  the  way  that  Burt  learned  he 
was  becoming  a father  for  the  fifth  time.  Which 
was  not  according  to  plan.  He  learned  it  on  the 
tide  of  Norma’s  golden  laughter,  which  is  the 
way  he’s  learned  so  many  other  things.  Learned 
it  by  way  of  her  calling  him  H.B.L.  Learned  it 
with  the  four  “kidlets,”  as  Norma  calls  them. 


They  tumbled  down  the  stairs  to  find  out  what 
all  the  laughter  was  about  and  then  shouted 
among  themselves,  “Mommy’s  going  to  have 
another  baby.” 

The  newest  Lancaster  will  probably  be  here 
by  the  time  you  read  this.  And  oddly  enough 
July  is  the  birthday  month  of  three  of  the 
others,  Jimmy,  Susan  and  Joanna.  And  there 
is  even  the  lively  possibility  that  the  baby  could 
be  doubles,  since  Mrs.  L.  is  a twin. 

Burt  himself  now  rocks  with  laughter  as  he 
tells  how,  a few  nights  later,  he  and  Norma,  try- 
ing to  be  such  very  advanced  parents,  told 
Jimmy,  Billy,  Susan  and  Joanna  that  they  could 
decide  on  the  new  baby’s  name  among  them- 
selves. “It  led  to  the  damnedest  battle  you  ever 
saw,”  Burt  says,  grinning.  “In  five  minutes  they 
were  all  hitting  each  other  over  the  head.  Each 
one  of  them  owned  the  new  baby.  Each  one  had 
the  only  perfect  name  for  it,  whether  male  or 
female.  Norma  and  I had  to  put  on  quite  a show 
of  parental  dignity  before  we  calmed  things 
down.” 

And  that’s  the  way  it  is  with  the  Lancasters — 
the  family  acts  as  ( Continued  on  page  78) 


His  earlier  heartache  over  Jimmy , Billy’s  brush  with  polio, 
made  an  important  change  in  Big  Burt’s  outlook  on  life 


Daddy’s  a softie  about  his  little  girls.  All  Susan  has 
to  do  to  get  Burt  to  play  is  roll  her  big  eyes  at  him! 


Ornitz 


ossips  look  for  the 


Ornitz 


IF  hen  the  Powells  quarreled,  Hollywood  couldn't 
believe  its  ears.  Neither  could  June  or  Dick— 
it  was  their  first  fight  in  nine  years! 


Cynics  said  it  couldn't  last.  But  Tony  Curtis 
and  Janet  Leigh  refuse  to  let  any  differences  in 
temperament  spoil  their  happy  marriage 


Lita's  Latin  temperament  often  leads  to  fire- 
works— but  the  only  thing  that  burns  up  the  Rory 
Calhouns  is  talk  that  they're  divorcing 


Stem 


Bernard 


42 


worst — but  these  spats  are  just  ripples  on  the  sea  of  matrimony 


ON  CLOUD 


By  SHEILAH  GRAHAM 


• Barbara  Rush  was  on  the  other  end  of  the  tele- 
phone saying,  “There  isn’t  a word  of  truth  in  it, 
Sheilah,  but  come  on  over  and  Jeff  and  I will  talk 
to  you  about  it.” 

Fifteen  minutes  later,  watching  these  two  serious 
youngsters  as  they  attempted  to  explain  away  a 
rumor  that  there  was  trouble  in  their  marriage,  I 
was  struck  by  the  fact  that  no  matter  what  happened 
in  the  future,  here  were  two  people  earnestly  trying 
to  stay  married  to  each  other.  Barbara  and  Jeff  had 
married  for  love  and  they  were  hanging  on  for  dear 
life  to  that  love. 

These  two  have  everything  that  it  takes  to  make 
their  marriage  work.  They  are  mad  about  each  other, 
love  their  little  boy  Christopher.  Day  by  day  they 
are  attempting  to  finish  furnishing  their  home.  Both 
have  wonderful  careers — and  along  with  these  ca- 
reers come  the  same  problems  confronting  most 
young  marrieds  who  are  struggling  to  work  and 
raise  a family.  In  common,  too,  with  the  rest  of  us, 
they  have  the  same  shortcomings. 


“Of  course,  we  have  arguments,”  admitted  Jeff. 

“We’re  normal  people,”  said  Barbara,  de- 
terminedly. 

“And  all  this  is  a bit  frightening,”  Barbara  con- 
tinued, her  big  brown  eyes  wide  open.  “We  can’t  let 
ourselves  down — and  sometimes  it  seems  that  no 
matter  what  we  do  we  have  the  added  responsibility 
of  not  letting  anyone  else  who  believes  in  us  down. 
Not  just  our  family  and  our  friends — but  total 
strangers,  too!” 

“Tell  Sheilah  about  the  letter  you  received,”  Jeff 
urged  her. 

“I  had  a letter  from  a woman  who  said  she  was 
glad  to  read  we  were  so  happily  married,”  Barbara 
continued.  “She  hoped  it  was  true,  and  from  now  on. 
she’d  be  watching  us  like  a hawk.  That’s  the  part 
that’s  so  scarey  to  Jeff  and  me. 

“With  everyone  watching  you,  you  smile  out- 
wardly when  maybe  you  don’t  feel  like  it  and  that 
makes  your  behavior  in  public  kind  of  unreal.  And 
Jeff  and  I have  to  be  careful  ( Continued  on  page  85) 


What  they  say  to  each  other  in  public  sounds 
like  fighting  words  to  Hollywood.  But  it’s  the 
Stewart  Grangers’  way  of  saying.  “I  love  you” 


I’m  going  to  be 


a star ” she  announced. 


Seven-year-old  Miss  Koford  wasn’t  kidding! 


TERRY.  TWO  MONTHS MORE  ROUNCE  TO  THE  OUNCE! 


AT  FOUR,  A CHUBBY  COQUETTE 


SEVEN — PIGTAILS  AND  PINAFORES 


# Yours  is  a famous  face  and  figure.  Your  sunny  smile  and 
vivacious  personality  are  pinned  up  in  the  huts — and  in  the 
hearts — of  GI’s  in  every  far-flung  outpost  of  Uncle  Sam’s. 

But  in  your  life  there  have  been  many  shadows  behind  that 
smile,  and  your  story  is  as  poignant  as  your  own  childhood 
favorite — “The  Princess  Who  Couldn’t  Cry.” 

Yours  has  always  been  a divided  dream  and  destiny  as 
divided  as  the  conflicting  desires  and  hopes  and  hurts  of  a 
famous  and  ambitious  actress  and  an  everyday  All-American 
girl.  Your  triumphs  have  been  tempered — and  clouded — by 
your  younger  tears. 

Here  is  that  untold  story.  Read — and  recall  with  us — as 
we  unfold  pages  as  revealing  as  those  deep  in  the  heart  of  any 
young  girl’s  diary.  Pages  from  your  story,  Terry  Moore — for 
this  is  your  life.  . . . 

It  begins  January  7,  1929,  at  the  Lutheran  Methodist 
Hospital  in  Los  Angeles  when  a bouncing  baby  girl  is  born  to 
Luella  and  Lamar  Koford,  an  investigator  for  the  Retail  Credit 
Company.  But  let’s  let  your  “producer”  supply  the  details. 

“Terry  was  a bouncing  baby,  all  right,  Ralph.  Take  her 
mother’s  word  for  that.  She  was  the  fattest  little  thing  I’ve 
ever  seen.  It  was  the  fad  then  to  name  girl  babies  Betty  or 
Shirley — but  we  chose  Helen — because  I insisted  on  a more 
substantial-sounding  name.  She  had  the  prettiest  big  blue 
eyes — but  she  had  no  hair  at  all  until  she  was  three  years  old. 
Not  even  enough  to  put  a ribbon  on.  In  spite  of  the  fluffy 
bonnets  I made  her  and  the  big  ribbon  bows  I used  to  put  on 
her  baby  carriage — people  w'ould  still  say,  ‘He’s  a nice  healthy 
fellow,’  or  ‘My,  what  a big  husky  boy.’  I could  have  killed 
them!” 

But  the  following  year  you  need  every  ounce  of  that  strength. 
You  have  lobar  pneumonia,  and  in  the  hospital  the  tense  hours 
tick  by  . . . the  hours  that  will  decide  whether  you  live  or  die. 
Outside  a glass  window,  your  parents  stand  watch  and  pray. 

“Yes,  Ralph,  w'e  nearly  lost  our  girl  that  year.  The  doctors 

( Continued  on  page  46  ) 


Ornitz  • Terry  Moore  was  last  in  "King  of  the  Khyber  Rifles" 


THIS  IS 
YOUR  LIFE 

BY 

RALPH  EDWARDS 


usronsr-STOiE*  tehry 

Continued 


These  were  the  important  times  for  Terry, 


didn’t  give  us  much  hope.  They  did  all  that  medicine 
could  do.  But  her  father  and  I will  always  feel  that  prayer 
— not  only  our  own,  but  the  prayers  of  all  our  friends 
and  the  members  of  our  church — helped  pull  Helen 
through.” 

Out  of  near-tragedy  often  comes  some  measure  of 
good.  Because  of  a bronchitis  condition  which  results, 
your  parents  move  to  a higher  altitude  in  Eagle  Rock 
where  you  are  to  meet  the  neighbor  and  landlady  who 
will  some  day  “stake”  you  in  the  first  step  of  your 
motion-picture  career. 


Age  14,  with  high  school  date.  Love  versus 
a career  was  beginning  to  be  a big  problem! 


Front,  center,  as  cheerleader  at  Glendale  High.  Even  at  sixteen  Terry  had 
advice  for  the  boys — crusaded  in  school  paper  for  “less  sloppy  male  attire!” 


(OVER) 


U.  S.  DEPARTMENT  OF  COMMERCE 
Civil  Aeronautics  administration 

AIRMAN  IDENTIFICATION  CARD 


This  is  to  certify  that  the  person  whose  picture, 
fingerprint,  signature,  and  descriptive  data  appear 
hereon  has  registered  with  the  Civil  Aeronautics 
Administration  and  otherwise  complied  with  the 
procedure  prerequisite  to  the  issuance  of  this  card. 


AIRMAN'S  NAME  AND  ADDRESS 


AIRMAN'S  SiGNATMRE 


ACA-S136  (12-50) 


Terry,  17,  with  parents,  brother  Wally. 
School,  movies,  modelling  kept  her  busy 


It’s  no  publicity  stunt  when  Terry  takes 
to  the  air.  She  is  a licensed  pilot 


who  was  fast  approaching  the  joys — and  heartaches  of  stardom 


At  three  you’re  a chubby  Calamity  Jane,  listening  to 
“The  Lone  Ranger,”  and  riding  the  prairies  of  your 
backyard  on  your  fiery  Shetland  steed. 

At  seven  you’re  the  darling  of  the  pigtails  and  pina- 
fore set.  And  determined  to  some  day  be  a motion-picture 
star.  From  infancy,  your  mother  has  recited  readings, 
instead  of  singing  you  to  sleep,  and  soon  you  commit 
them  to  memory.  You  try  them  out  on  an  uncomplaining 
audience — your  adoring  younger  brother,  Wally,  your 
dolls,  two  ducks  named  Donald  and  Clara  Cluck  and  a 
dog  of  somewhat  doubtful  parentage,  Prancer,  a refugee 


from  the  Pasadena  dog  pound.  When  the  other  girls  play 
nurse,  you’re  always  a motion-picture  star.  Jane  Withers 
is  your  favorite.  You  play  movie-star  hopscotch — putting 
the  initials  of  stars  in  the  squares.  When  you  visit  Brig- 
ham City,  Utah,  in  the  summer,  your  cousin  goes  you  one 
better — for  one  cent  he  sells  your  autograph. 

January,  1939 — you  go  with  your  parents  to  see 
Shirley  Temple  in  the  Rose  Parade.  She’s  wearing  the 
white  ermine  costume  and  muff  from  her  last  picture, 
“The  Little  Princess,”  and  to  you,  Terry  Moore,  she’s 
the  most  glamorous  creature  ( Continued  on  page  72) 


Terry  made  her  first  movie  at  11,  landed  on  the  cutting  room  floor! 
Above,  at  16,  on  radio  show  “Those  We  Love”  with  M.C.  William  Sloan 


Despite  the  ermine  bathing-suit  episode,  Terry 
got  a certificate  of  esteem  from  the  Army  (at 
top).  Her  years  of  hard  work  paid  off  with  an 
Oscar  nomination  for  her  vivid  acting  with  Dick 
Jaeckel,  left,  in  “Come  Back  Little  Sheba” 


47 


TAB- 


Tab’s  no  Mr.  Perfection 


or  Sir  Galahad — and  he  cant  hang  on 
to  a dime  or  a dollar. 

But  for  my  money,  he’s  a Blue  Ribbon 
winner  in  the  charm  department 


they  call  him 

Dreamboat! 


BY  DICK  CLAYTON 

• The  hurdle  at  the  riding  academy  was  high.  It  was  also 
a little  dangerous  if  you  didn’t  have  the  coordination  and 
skill  it  took  to  jump  a horse  over  it.  But  the  blond  kid, 
sitting  his  horse  like  a professional  equestrian,  would  have 
been  any  horseman’s  equal  as  he  collected  his  mount  and  took 
him  over.  I had  to  admire  the  skill  with  which  he  lifted  his 
weight  from  the  animal  at  the  proper  moment  and  helped 
the  horse  jump,  and  the  courage  this  kid  displayed  in  trying 
it. 

I’m  the  kind  of  guy  who  likes  to  tell  people  when  I think 
they’ve  done  something  to  be  congratulated  about,  so  I rode 
up  to  him. 

He  gave  me  a quick  shy  smile  of  thanks  and  a nod  of 
appreciation  toward  the  horse  I was  riding.  We  started  to 
talk  horses. 

I was  an  actor  at  the  time,  serving  my  hitch  in  the  Navy. 
He  was  a blond  twelve-year-old.  Just  a kid.  But  there  was 
a certain  poised  certainty  about  the  way  he  moved,  the 
way  he  discussed  horses  that  made  you  forget  how  young 
he  was.  ( Continued  on  page  88) 


Dick  Clayton.  Tab's  long- 
time friend,  and  adviser 


• Tab’s  in  “Return  to  Treasure  Island “Battle  Cry'’ 


49 


One  evening  shortly  after  the  birth  of 
her  baby  Mary  Catherine,  Virginia 
Mayo  walked  into  her  living  room 
and  found  herself  the  object  of  a 
searching,  and  not  altogether  approving,  scrutiny 
by  her  husband.  Michael  O'Shea. 

While  she  stood  there  uncomfortably  wonder- 
ing what  this  was  all  about,  her  husband  turned 
and  began  to  stare  just  as  hard  at  the  larger-than- 
life  painting  which  showed  Virginia  as  Lady 
Barbara  in  “Captain  Horatio  Hornblower,”  a 
beautiful  gift  from  her  studio. 

Virginia  looked  at  the  painting,  too,  and  then 
she  looked  down  at  herself.  Mike  had  been  teas- 
ingly  calling  her  “Fatso,"  but  now  she  suddenly 
knew  he  was  no  longer  teasing.  Comparing  her 
present  figure  to  the  lithe,  glamorous  one  she  had 
had  before  the  baby  came,  she  realized  how  much 
she  had  been  cheating  her  husband— and  herself 
—by  allowing  herself  to  become  overweight  and 
to  lose  that  magnetic  allure  that  had  been  so  im- 
portant a part  of  her  charm. 

Recalling  that  incident  now,  Virginia  says, 
“Right  then  and  there  I decided  it  was  time  to 
take  steps.”  Then  she  grins  mischievously  and 
adds  with  purely  feminine  logic,  “Besides,  I had 
a whole  closet  full  of  wonderful  clothes  I wanted 
to  wear  again.” 

And  with  characteristic  enthusiasm,  making  up 
her  mind  was  actually  the  same  thing  as  getting 
started.  First  thing  the  next  morning,  she  sat 
down  with  her  doctor  and  really  listened  to  his 
explanation  of  the  calories  in  the  different  types 
of  food  and  in  the  various  methods  of  preparing 
foods — the  theory  of  dieting.  She  had  heard  it  all 
before,  but  this  was  the  first  time  she  really 
listened. 

All  during  her  pregnancy  Virginia  had  been 
simply  famished.  It  was  her  first  vacation  in  years, 
and  she  was  in  a deepening  state  of  wonder  and 
excitement  and  inner  peace  and  a miraculous 
sense  of  fulfillment — all  brought  on  by  the 
knowledge  of  a new  life  stirring  deep  within 
her.  She  didn’t  require  any  special  dishes — 
nothing  exotic  as  some  mothers-to-be  report.  Just 
food.  She  loved  staying  home.  She  was  content 
to  become  more  and  more  indolent. 

And  the  calmer  and  more  lethargic  lovely 
Virginia  became,  the  more  pounds  appeared. 
At  each  visit  to  her  doctor  he  counseled  mod- 
eration and  urged,  as  every  modern  obstetrician 
does,  that  Virginia  try  to  limit  her  weight 
gain  to  around  twenty  pounds.  She  did  everything 
the  doctor  said — the  calcium,  the  milk,  the 


“Fatso!”  Mike  teased  her.  But 
it  wasn’t  any  fun  when  she  looked  in  the 
mirror.  That’s  when  Ginny  Took  Steps — 
and  lost  those  extra  pounds! 


BY  LEE  TRAVERS 


Six  • Virginia  Mayo  is  m 
"King  Richard  and  the  Chisaders" 


( Continued  on  page  52 ) 


Diet  and  exercise  not  only 
restored  Ginny's  gorgeous 
figure  but  whittled  another 
inch  from  her  waistline 


vitamins — but  her  body  seemed  to  need  extra  food 
in  ever-increasing  quantities.  And  the  only  time 
she  could  restrict  herself  was  the  day  before  the 
dread  appointment  for  the  monthly  visit  to  her 
doctor  rolled  around  again. 

Then  she’d  diet  like  mad.  But  of  course  it  didn’t 
do  any  good  when  she  stepped  on  the  scales  in  the 
doctor’s  office.  And  she  even  made  her  appoint- 
ments for  right  after  breakfast  because  she  knew 
she’d  weigh  less  then  than  after  lunch.  By  the 
time  the  baby  was  born  she’d  climbed  to  a figure- 
shattering  157 — a full  37  pounds  above  her  normal 
weight! 

But  it  wasn’t  until  husband  Mike  made  the  un- 


-O 

—O 

-O 

-O 

-o 
— o 
— o 
-o 
-o 
-o 
-o 

"O 

-o 

-o 

-o 

-o 


PHOTOPLAY  PRESENTS 

VIRGINIA  MAYR’S 
MIRACLE  DIET 

• Following  this  remarkably  varied  diet  conscientiously 
after  she  had  her  baby,  Virginia  regained  the  magnificent 
figure  that  helped  make  her  famous.  To  understand  this 
diet  more  fully,  read  also  the  explanatory  footnotes. 

NOTE:  Consult  your  doctor  before  following  this  — or 
any  other  — diet  that  has  not  been  made  especially  for 
you.  This  one  was  tailor-made  for  Virginia  Mayo  and  her 
particular  needs  and  requirements  — not  for  yours.  Show 
it  to  your  doctor  and  ask  him  to  make  necessary  changes. 


Mike  and  Ginny:  Mom  was  always  hungry! 


Breakfast 

1 serving  of  10%  fruit 
(see  below) 

1 egg,  boiled  or  coddled 
% slice  rye  or  brown  toast 
fat-free  milk,  tea  or  coffee 


Lunch 

1 medium  serving  meat,  fish  or  fowl, 
lean,  broiled  or  baked 

1 serving  5%  vegetable  (see  below) 

2 tablespoons  cottage  or  pot  cheese 
1 serving  10%  fruit  (see  below) 

% slice  rye  or  brown  toast 
fat-free  milk,  tea  or  coffee 


Dinner 

1 medium  serving  meat,  fish  or 
fowl,  lean,  broiled  or  baked 
1 serving  5%  vegetable  (below) 
1 serving  10%  vegetable 
% slice  rye  or  brown  toast 
1 serving  10%  fruit 
tea  or  coffee 


10%  vegetables  include  beets,  carrots,  dandelion 
greens,  canned  green  peas,  green  olives,  onions, 
oyster  plant,  canned  pumpkin,  winter  squash  and 
white  turnips. 

5%  vegetables  include  all  others  except  fresh  green 
peas,  lima  beans,  parsnips,  corn,  potato,  baked 
beans  and  navy  beans,  which  are  forbidden. 

10%  fruits  include  blackberries,  cantaloups,  cran- 


berries, gooseberries,  fresh  grapefruit,  grapefruit 
juice  (unsweetened),  honeydew  melon,  lemon, 
orange,  orange  juice,  fresh  peach,  fresh  pineapple, 
strawberries,  tangerine,  watermelon.  All  other 
fruits,  including  dried  varieties,  were  forbidden. 

One  multiple  vitamin  tablet  daily  as  well  as 
saccharin  for  sweetening  tea  or  coffee  at  each  meal 
was  permitted. 


52 


Virginia  Mayo’s  MIRACLE  DIET 

—continued 


flattering  comparison  between  the  Virginia  in 
front  of  him  in  their  living  room  and  the  Virginia 
in  the  painting  that  she  saw  herself  as  others  were 
seeing  her  and  decided  to  do  something  about  it. 

And  by  the  time  the  doctor  was  through  ex- 
plaining the  facts  of  a diet  to  her,  Virginia  was 
beginning  to  realize  the  penalties  she  was  going 
to  pay  for  having  indulged  herself.  “What  Price 
Food?”  she  sighed,  inappropriately  paraphrasing 
the  movie  title  on  glory. 

As  everyone  knows,  the  trick  of  dieting  is  not 
just  a matter  of  getting  on  one — it’s  staying  on 
one!  How  did  Virginia  feel  about  this  necessarily 
strict  diet  her  doctor  prescribed  for  her  (which 


we  have  presented  complete  for  your  convenience) , 
especially  after  she  had  been  on  it  long  enough 
for  the  first  flush  of  her  enthusiasm  to  be  worn  off? 

“Fine,”  Virginia  says.  “The  dieting  had  to  be, 
done — and  I did  it.  I ate  in  tiny  bites,  chewed 
my  food  completely  and  very  slowly  and  thus  the 
meal  lasted  longer  and  made  me  feel  more  filled 
up.  You  know,  most  overweight  people  eat  too 
fast — hardly  know  what  they’re  eating.  The  diet 
provided  a wide  variety  for  me  to  choose  from.  It 
wasn’t  monotonous.  And  I stayed  on  it  until  I 
was  at  my  normal  weight — one  hundred  and  twenty 
pounds.  Come  to  think  of  it,  let’s  see  what  I weigh 
now.”  ( Continued  on  page  70) 


Glamour  girls,  Ginny  and 
Mary  Catherine  O'Shea : 
“ Little  Darlin'  ” as  Mike 
calls  his  daughter,  has 
round  blue  eyes  and  a 
touch  of  daddy's  blarney! 


5:00  One  sleepy  star  and  a wide-awake  sister 
start  the  act — getting  Debra  Paget  up  for  work! 


I > ww  s 


54 


5:35  A last  cup  ot  cottee  gives 
Cuddles  the  monkey  a chance  to  cuddle! 


5:05  Meg’s  mission  is  accom- 
plished— Debra’s  in  her  shower 


5:17  Weighing  in.  Debra’s 
lucky — she  rarely  has  to  diet 


5:23  Everyone’s  up  at  Deb’s  house — Mom,  Pop,  niece  Jeneene  and,  of  course,  Meg. 
Lisa,  who  works  at  another  studio,  gives  sister  Deb  a helping  hand  with  breakfast 


5:40  Deb  believes  in  dressing  like  a star — 6:00  And  so  Deb,  who’s  in  “Princess  of  the  Nile,” 

even  at  dawn!  “I  always  meet  people  I know”  begins  her  star  day — by  the  light  of  a very  dim  dawn!  55 


He’s  of}  to  a new  start — 
but  Hollywood  will  always  be 
home  to  Richard  Widmark 


BY  PAULINE  TOWNSEND 


• In  the  summer  of  1947  in  New  York  in 
an  off-beat  motion  picture  called  “Kiss  Of 
Death,”  a young  actor  named  Richard 
Widmark  pushed  an  old  lady  down  the 
stairs. 

It  was  his  film  debut,  and  even  in  radio 
and  the  Broadway  theatre  where  he  had 
been  plugging  away  for  upwards  of  ten 
years  he  was  relatively  unknown.  The 
options  appended  to  his  first  picture  con- 
tract were,  he  felt,  so  unlikely  to  be  picked 
up  that  he  didn’t  even  bother  to  tell  his 
wife  that  the  possibility  of  further  film 
work  existed. 

He  should  have  told  her;  Jean  could 
have  had  a head  start  on  the  packing. 

Fox  released  “Kiss  of  Death”  in  the  fall 
of  the  year,  people  went  to  see  it  in  droves 
and  came  away  limp  and  raving  about 
Richard  Widmark.  And  then  the  phone 
was  ringing  in  the  little  house  where  the 
Widmarks  lived  with  their  toddler  daugh- 
ter Ann,  and  it  was  the  studio  saying 
hurry  on  out  to  Hollywood  and  go  to 
work. 

Today,  seven  years  and  twenty-two  pic- 
tures later — Fox  having  exercised  every 
one  of  its  periodic  options  on  the  Widmark 
services — Dick  is  once  more  his  own  boss, 
free  to  go  where  he  pleases,  work  at  what 
and  for  whom  he  chooses.  With  “Broken 
Lance”  completed  last  April,  he  completed 
his  commitment  to  Fox. 

He  is  a free  man,  a happy  man,  and 
bursting  with  plans. 

Even  now  in  (Continued  on  page  80) 

Richard  Widmark  is  in  " Broken  Lane t 


IT  hen  Dick,  now  his  own  boss,  took  his  family  to  London, 
where  he’s  filming  “Prize  of  Gold,”  daughter  Annie 
agreed  to ■ go  “if  he’d  get  her  back  in  time  for  school!” 


There  was  something  about 
her — the  tense,  unsmiling 
little  girl  in  the  vast  crowd 
watching  the  celebrities 
arrive  at  the  brilliant 
premiere  of  “ Prince 
Valiant .”  Something  that 
caught  the  photographers’ 
eyes  as  their  cameras 
registered  the  night’s  events. 
Suddenly,  she  came  to  life — 
she  was  shouting,  waving 
her  arms.  “Rock!  Rock!” 
she  was  screaming  . . . 


But  Rock  Hudson  didn’t 
hear  her.  She  tried  to  break 
through  the  crowd.  There 
were  too  many  people.  The 
girl  stood  still,  silent  again, 
her  eyes,  straining  to  keep 
him  in  view,  slowly  filling 
with  tears.  Maybe  he’d 
turn  around  . . . see  her  . . . 


But  the  crowd  was  taking 
him  further  away!  For  a 
miraculous  moment  Rock 
turned — but  only  to  smile 
at  the  eager  faces  around 
him.  The  next  moment  he 
was  gone  . . . For  a moment 
the  girl  stared  unbelievingly 
— then  burst  into  tears  . . . 


PHOTOS  BY  LOUIS  HOCHMAN  AND  PHIL  STERN 


58 


REACHING  FOR  A STAR 


camera  are  the  principals  in  this  unrehearsed  hit  of  drama  at  a Hollywood  premiere 


Rock  Hudson  is  in  “ Magnificent  Obsession ” 


Then  the  miracle  happened.  One 
of  the  photographers  had  dashed 
after  Rock,  told  him  about  the 
sobbing  girl.  And  now  she  was 
talking  to  him,  he  teas  telling  her 
hoiv  sorry  he  was,  signing  his  name 
in  her  book— to  Susan  Meredith 
from  Rock  Hudson 


! 


< 

Susan  Hayward  is  next  in 
“ Demetrius  and  the  Gladiators ” 


Close  as  Susan  has  always 
been  to  her  twins,  she  is 
even  closer  now  since  the 
break-up  of  her  marriage. 
“1  don’t  want  Timmy  and 
Greg  hurt  by  our  prob- 
lems,” says  Susan.  “They 
need  love  more  than  ever” 


MOM’S 

NO  QUITTER  ! 


BY  MAXINE  BLOCK 


With  her  eyes  wide  open, 
Susan  Hayward  is  making  new 
plans  for  the  future — 
and  learning  that  twins 
can  be  a rollicking 
remedy  for  heartache 


• This  is  a Friday  night  at  the  home  of  Susan  Hayward. 

Dinner  is  over;  the  hands  of  the  clock  are  creeping  towards 
seven  and  red-haired,  freckle-faced  Greg,  already  dressed  in  his 
Cub  Scout  uniform,  goes  to  the  foot  of  the  stairs  and  yells 
up  to  his  twin  brother,  Timmy. 

“Hey,  Tim,  aren’t  you  ready  yet?  You’ll  make  us  late  for 
the  meeting.  Come  on,  Mommy  and  I are  waiting.” 

“Aw,  hold  your  horses — hold  your  horses,”  Timmy  yells 
back,  and  eventually  he  comes  ambling  down  the  stairs  from  the 
big  second  floor  room  he  shares  with  his  brother. 

There’s  a last-minute  tapping  of  pockets  to  make  sure  they 
have  everything  and  then  the  two  boys  are  ready  to  pile  into 
the  car  with  their  mother  and  set  off  for  the  weekly  meeting  of 
their  Cub  pack.  But  there’s  one  thing  more. 

“Jackets,  men,”  says  Susan.  “It’s  a little  cool  outside.” 

“Aw,  Mom,”  the  twins  protest  in  unison,  “we  don’t  need 
jackets.  We’ll  be  warm.” 

“Jackets,  please,  and  no  arguments,”  Susan  insists,  smiling 


61 


MOM’S  NO  QUITTER  ! 

continued 


but  firm.  “See,  I’m  wearing  a coat.  And  tell  Cleo 
(Cleo  is  the  housekeeper)  good  night.” 

So  the  black  Cadillac  convertible  heads  out  the 
driveway  and  the  three  of  them — Susan  and  her 
lively  and  full-of-mischief  twins  are  off  for  another 
happy  Friday,  one  of  many  since  the  little  Barker 
Brothers  became  Cubs  and  Susan  joined  the  neigh- 
borhood Den  Mothers. 

“It’s  been  a wonderful  experience  for  all  of  us,” 
Susan  says.  “At  first,  when  I started  coming  with 
the  boys  to  the  Cub  meetings,  the  other  parents 
were  a little  shy  and  unsure  of  me.  But  then  we  all 
started  warming  up  and  before  long  we  were  mak- 
ing and  sharing  the  lemonade,  comparing  the  ex- 
ploits— and  the  mischief — of  our  offspring  and 
having  a really  fine  time.” 

Close  as  Susan  has  always  been  to  her  twins,  she 
is  even  closer  now  since  her  separation  from  Jess 
Barker.  Jess,  of  course,  takes  the  boys  out  one  night 
a week  and  has  them  on  alternate  weekends;  Susan 
wouldn’t  have  it  any  other  way.  “I  don’t  want 
Timmy  and  Greg  hurt  by  our  problems,”  says 
Susan.  “They  need  love  now  more  than  ever.” 

So  the  weekends  Susan  has  with  the  twins  are 
devoted  to  barbecues  and  cookouts  in  the  back 
yard,  exuberant  swimming  parties  around  the  pool 
with  a bunch  of  the  neighborhood  kids  invited  over, 
or  fun-packed  trips  to  nearby  vacation  spots.  There 
was  the  Saturday  and  Sunday  Susan  and  her  boys 
spent  at  the  nearby  Long  Beach  amusement  park — 
a miniature  Coney  Island;  garish,  noisy  and 
crowded,  echoing  with  the  strident  call  of  the 
barker’s,  “Three  balls  for  a.  dime!”;  the  heady 
aroma  of  broiling  hot  dogs,  cotton  candy  and 
potato  chips;  the  enticements  of  roller  coaster, 
merry-go-round  and  mirrored  Crazy  House.  Greg 
and  Timmy  were  in  a high  state  of  excitement 
debating  the  rival  merits  of  the  chute-the-chute 
against  the  Space  Ship  ride — and  just  as  excited 
was  their  red-haired  mother,  a tomboy  at  heart. 

“What  an  outing!”  laughed  Susan.  “By  the  time 
it  was  over  I was  limp,  and  the  boys  fell  sound 
asleep  in  the  car.” 

There  was  the  solemn  Sunday,  too,  when  the  boys 
were  baptized  in  their  church,  with  Susan  watching 
with  a full  heart,  and  grandmother,  uncle  and  all 
the  family  around;  and  the  famous  night  of  the 
school  play,  when  Susan  sat  proudly  with  the  other 
parents,  submerging  all  thoughts  of  self  at  the  sight 
of  their  children  on  the  stage. 

“Greg  is  the  real  ham,”  said  Susan,  remembering. 
“He  spoke  his  lines  So  bravely.  But  poor  Timmy 
became  self-conscious  and  did  his  entire  part  with 
his  back  to  the  audience.” 

Yet  both  boys  were  praised  equally  and  hugged 
alike,  with  Timmy  perhaps  getting  an  extra  kiss 
just  to  keep  things  even.  That’s  Susan’s  way,  just  as 
it  is  to  give  the  twins  a special  award  when  an  out- 


of-the-ordinary  chore  is  asked  of  them.  Posing  for 
magazine  layouts  is  one  such  chore,  as  Susan  ex- 
plained; it’s  not  at  all  part  of  the  twins’  regular 
program,  and  so  Susan  decided  that  Timmy  and 
Greg  deserved  a slight  addition  to  their  weekly 
allowance. 

“I  told  them  that  if  they  would  pose  for  the 
pictures  with  me,  as  the  studio  requested,”  Susan 
explained,  “I’d  give  them  each  an  extra  fifty  cents, 
since  this  was  extra  work.  And  they  were,  very 
good  about  it.  They  came  home  from  school 
promptly,  changed  into  play  clothes  and  did  every- 
thing the  photographer  asked.  The  whole  thing  must 
have  bored  them — Timmy,  especially,  because  a 
little  neighbor  girl  came  over  and  watched,  then 
threw  her  arms  around  him  and  said,  ‘You  are  the 
man  I’m  going  to  marry.’  But  Timmy  took  it  all 
very  calmly;  he  just  wanted  to  finish  the  job,  collect 
his  pay  and  run  down  to  the  store  to  spend  it.” 

What  Susan  didn’t  add,  proud  mother  though  she 
is,  is  that  the  evident  happiness  of  her  youngsters  is 
proof  of  the  love  and  affection  that  envelopes  them. 
“Susan,”  said  a studio  publicity  woman  who  has 
been  at  the  house  frequently,  “is  really  doing  a fine 
job  with  the  boys.  They’re  courteous,  polite  and 
well-behaved.  They  did  everything  Susan  and  the 
magazine  photographer  asked  them  to  do.  And  it’s 
plain  to  see  that  Timmy  and  Greg  adore  their 
mother.  They  have  a favorite  gag  they  love  to  play 
with  Susan.  In  New  York  they  watched  people  come 
up  to  her  and  ask  for  her  autograph,  so  now  they 
pretend  they,  too,  are  autograph  fans.  They  both 
walk  over  to  her  with  a twinkle  in  their  eyes  and 
very  solemnly  say,  ‘Please,  Miss  Hayward,  may  we 
have  your  autograph?’  Then,  convulsed  with  laugh- 
ter, they  dash  away.” 

But  it’s  not  all  laughter,  as  Susan  can  tell  you. 
There’s  the  sadness  at  the  breakup  of  a long-time 
marriage  and  there’s  a huge  void  to  be  filled  after 
the  divorce.  And  other  things,  too — like  the  day 
Susan,  busy  rehearsing  for  “The  Conqueror,”  got  a 
phone  call  telling  her  that  Timmy  had  been  hurt 
when  a rock,  thrown  accidentally  at  play,  hit  him 
in  the  eye.  Without  bothering  to  change,  Susan  sped 
home  immediately,  to  find  Timmy’s  eye  bruised  and 
lacerated  and  swollen  to  twice  its  size.  “Fortunate- 
ly,” she  said  later,  “the  X-rays  didn’t  show  any 
permanent  injury,  but  I didn’t  close  my  own  eyes 
until  five  that  morning.” 

All  during  the  months  following  her  separation 
from  Jess  Barker,  there  was  little  in  Susan’s  life 
besides  her  children.  Though  she  had  to  leave  them 
to  go  to  Mexico  for  “Garden  of  Evil,”  they  were 
left  in  the  care  of  Susan’s  mother  and  her  brother 
Wally.  This  was  “family,”  and  the  twins  were  con- 
tent. There  were  letters  from  Susan  every  day,  long 
distance  phone  calls  several  times  a week,  and  at 
Christmas  time,  a flying  ( Continued  on  page  95) 


PHOTOPLAY  STAR 


FASHI 

AUTUMN  PREVIEW 


PRESENTING  PHOTOPLAY 


You  con  moke  your  own  modern  adaptation  of  the 
costume  Cyd  Charisse  wears  in  M-G-M’s  "Brigadoon."  De- 
signed as  separates,  the  blouse  and  skirt  are  easy  to 
and,  you'll  find,  just  as  easy  to  wear.  We  made  them 
Security  Mill's  matching  coral  wool  jersey.  Advance  Pattern 
provides  for  a self-belt,  we  added  a black  velvet  belt  to 
coordinate  with  bib  of  jet  beads.  Three  60"  ropes  of  beads, 
Rose  Sweet.  $2  each.  Suede  gloves.  Alexette  Bacmo,  $5.95. 
Pattern  available  at  local  dealers  or  may  be  ordered 
mail  through  coupon  below.  Pattern  sizes  are  10-16. 


PHOTO  BY  CHRISTA  • CYD  CHARISSE  IS  IN  M-G-M's 


Name. 


Address.. 


City Zone State 


Advance  Pattern  Co.,  Inc. 

P.O.  Box  #21,  Murray  Hill  Station 
New  York  14,  New  York 


Please  send  me  pattern  #4842,  Photoplay's  Cyd 
Charisse  dress,  in  size Enclosed  is  Sty  in  cash. 


PHOTOPLAY  STAR  FASHIONS 


AUTUMN  PREVIEW 


Continued 


NANCY  OLSON  IS  IN  WARNERS'  "THE  BOY  FROM  OKLAHOMA"  • SALLY  FORREST  IS  IN  RKO'S  "SON  OF  SINBAD"  • PHOTOGRAPHS  ON  PAGES  63- 68  BY  RICHARD  LIT  WIN 


The  all-around  coal  ...  in  Stroock's 
camel  hair,  is  Nancy  Olson's  choice 
to  take  her  from  the  first  cool  days 
of  fall  through  early  spring.  Perfect 
for  town  wear,  suburban  living  or 
after-dark  dates.  It's  ideal  cover  for 
any  suit  and  dress!  The  sleeves  are 
full  and  deeply  cuffed,  the  tailored 
cardigan  neckline,  softly  stitched  to 
give  a collar  effect.  8-16.  Also  in 
navy.  By  Ronnette.  $119.  Beige  chif- 
fon scarf,  by  Symphony,  $3.  Camel 
hair  bag,  by  Coronet,  about  $12.95 

For  " Whereto  Buy" 
turn 

to  page  gg 


The  beautiful  brightness  of  Fall  cotton 

. . . new  and  exciting,  wonderfully 
washable!  Sally  Forrest  models  a full- 
skirted  coat-dress  style,  gaily  splat- 
tered with  tiny  flowers  and  delicately 
outlined  with  crisp  white  rickrack. 
Front  is  boldly  punctuated  with  a 
steady  line  of  white  buttons.  White 
print  on  red,  also  white  on  black.  For 
after-dark  glamour,  unbutton  the 
last  few  buttons  and  show  a pretty 
can-can  petticoat  underneath.  By  Lanz 
Originals.  In  sizes  7-17.  About  .$25 


More  fashions 


65 


PHOTOPLAY 

ST^R 

FASHIONS 

AUTUMN 

PREVIEW 

Continued 


The  little  boy  look  in  shirt  and  shorts  . . . Phyllis  Kirk  en- 
joys the  casual  comfort  of  classic  Bermuda  sjiorts,  which 
for  fall  and  winter  wear,  are  made  of  Anglo's  100%  wool 
in  brown  speckled  tweed,  are  luxuriously  lined  for  extra 
comfort.  With  them,  Phyllis  wears  wool  knee  socks.  Shorts 
also  in  black  and  white  tweed.  Perfect  mate  is  an  all- 
wool  black  jersey  shirt.  Shorts,  $22.75.  Blouse,  $15.  10-16. 
Both  by  Cabana.  Sandler  of  Boston  Shoes,  $8.95 

For  "Where  to  Buy " see  page  89 


The  always-perfect  knit  dress  ...  is  a fall  favorite  with 
Nancy  Olson  who  chooses  a one-piece  wool  chenille 
shirtwaist  style,  competently  tailored  to  take  any  occasion 
in  its  stride.  Its  easily  adaptable  neckline  can  be  worn 
buttonhigh  and  simple  or,  open  and  dressed  with  a 
favorite  pin  or  pearls.  The  sleeves  stop  comfortably 
just  below  the  elbow.  Black  and  beige,  charcoal  and 
navy.  10-16.  By  Rita  Jacobs  for  Joseph  Suttman.  $39.95 


PHYLLIS  KIRK  IS  CURRENTLY  IN  "RIVER  BEAT" 


More  fashions 


67 


PHOTOPLAY  MAR  FASHIONS 


AUTUMN 

PREVIEW 

Continued 


"For  Where  lo  Buy" 
turn 

lo  page  tjg 


The  flattering  fullness  of  the  prin- 
cess look  . . . for  dancing  after 
dark  and  very  special  dates.  Sally 
Forrest,  looking  like  a dream, 
wears  a black  and  white  empire 
dress  of  cotton,  with  softly 
rounded  neckline  met  halfway  by 
twin  curves  of  velvet.  Velvet  ac- 
centuates a young  and  tiny  waist- 
line that  flares  gracefully  into  a 
full  waltz-length  skirt.  For  stand- 
out fullness  of  the  skirt,  wear  stiff 
petticoats.  7-15.  By  Mr.  Mort.  $35 


these  three  hours 


your  skin  'dies  a little 


Your  most  troublesome  skin  problems  are  apt  to  start  in  daily  1 to  3 horn* 
"danger  periods,”  dermatologists  say.  This  is  immediately  after  you  wash 
your  face.  In  washing  away  dirt,  you  also  remove  natural  skin  protectors. 
Your  skin  takes  1 to  3 hours  to  re-establish  its  defenses.  Mean  while, 
your  skin  is  "un-balanced,”  open  to  troubles  like  these: 

Dryness  . . . cracking  . . . "shriveling” 

Enlarged  pores,  coarseness 


Read,  hoiv  women  noted  for  their 

beautiful  complexions  keep  free  of  these  skin  problems  , , , 

After  each  washing — 

"re-balance”  your  shin 


60  times  faster  than  nature  does.  It 
combats  dryness  and  flaking.  Keeps 
pore-openings  clear — skin  texture 
fine  and  smooth.  Always  leave  on 
a trace  of  Pond’s  Cold  Cream  for 
continuing  skin  "balance”  beneath 
your  make-up. 

A deep  clearing  at  bedtime 

Besides  a 7-second  "re-balancing” 
after  each  washing,  most  skins  need 
a thorough  clearing  at  night.  A deep 
creaming  with  Pond’s  Cold  Cream 
dislodges  stubborn,  water-resistant 
dirt  from  the  pores.  Keeps  your 
skin  looking  young,  vibrant. 

Today,  begin  this  simple  beauty 
care  with  Pond’s  Cold  Cream.  It  will 
become  second  nature  to  you  with- 
in a week.  Soon  your  friends  will 
be  telling  you,  "Your  skin  looks 
really  wonderful  lately!” 

Among  social  leaders  ivho 
use  Pond's 

S.A.R.  LA  PRINCESSE  MURAT 

MRS.  NICHOLAS  RIDGELY  DU  PONT 
THE  DUCHESS  OF  RUTLAND 
MRS.  WILLIAM  RHINELANDER  STEWART 
MRS.  ANTHONY  J.  DREXEL  III 

LA  MARQUISE  DE  LEVIS  MIREPOIX 

The  world's  most  famous  beauty 
formula — never  duplicated,  never 
equalled.  That’s  why  more  women  use 
Pond’s  Cold  Cream  than  any  other 
face  cream  ever  made!  Get  a large 
jar  today. 


A member  of  two  distinguished  Philadelphia 
families — Mrs.  Lawrence  W.  Earle  is  noted 
for  her  lovely  complexion.  She  says,  "The 
instant  I’ve  washed  my  face,  I reach  for 
my  Pond’s  Cold  Cream.  And  every  nighty 
of  course,  I give  my  skin  a deep  Pond’s 
Creaming.” 


Some  signs  of  skin  "un-balance” 
show  up  right  after  washing: 

A stiff  drawn-tight  feel  to  your  skin. 
Flakiness . . . splotchy  color 
These  are  the  more  obvious  signs  of 
skin  "un-balance.  ’ But  in  the  1 to  3 
hour  period  that  nature  takes  to  re- 
protect skin,  more  distressing  prob- 
lems can  take  root.  Tiny  dry  lines 
deepen.  The  inside  moisture  evapo- 
rates away.  Outer  skin  "shrivels.” 
Skin  secretions  harden  in  pore- 
openings — cause  stretched  pores, 
blackheads. 

Should  you  avoid  washing  your 
face?  "Of  course  not,”  say  leading 
skin  specialists.  "But  after  each 
washing,  're-balance’  your  skin  in- 
stantly ...” 

60  times  faster  than  nature 

A quick  Pond’s  Cold  Creaming  right 
after  washing  "re-balances”  your 
skin  within  one  minute — at  least 


p 


69 


( Continued  frovi  page  9) 
neighborhood  children,  to  feel  they’re  on 
exhibition  and  apart.  When  their  play- 
mates come  to  our  house,  I don’t  want 
those  kids  to  feel  they’re  coming  to  a 
circus  grandstand.  That  might  be  fun 
for  a short  time,  but  not  for  long.  I’ve 
seen  it  happen  with  other  families.  After 
a while,  everyone  gets  sick  of  the  circus, 
even  the  kids,  and  the  only  friends  they 
could  have  would  be  other  childi’en  in  the 
same  predicament.” 

Howard  Keel’s  is  a tough  iron  mind  and 
an  iron  will.  A will  as  iron  as  his  heart 
is  warm.  His  convictions  are  as  deep  down 
as  his  basso  voice.  And  on  this  subject — 
until  somebody  can  show  him  sufficient 
reason  to  change — he’s  as  unshakeable  as 
the  Canadian  Mountie  he  plays  in  M-G-M’s 
“Rose  Marie.”  But  his  is  not  temperamen- 
tal star-stand.  He’s  always  felt  this  way, 
and  he  voiced  it  long  before  he  became 
a star.  When  he  first  signed  with  M-G-M, 
he  wanted  one  thing  clear.  He  would  keep 
his  home  life  separate  from  his  career. 
"If  I can’t — I won’t  be  in  motion  pictures,” 
he  said  then.  “I’ll  go  back  to  musical 
comedy.”  Success  has  only  strengthened 
this  resolve. 

It’s  characteristic  of  Howard  Keel  that 
he  is  a perfectionist  about  his  work.  The 
part  of  the  romantic  roue  who  knocked 
Kathryn  Grayson  around  and  spanked  her 
in  violent  3-D  in  “Kiss  Me  Kate”  was  by 
far  the  best  part  he’s  had. 

But  what  isn’t  generally  known  is  that 
“Kiss  Me  Kate”  was  also  the  biggest  chal- 
lenge Howard  Keel  has  faced  in  pictures 
to  date.  Only  two  people  in  the  whole 
studio  thought  he  could  do  it,  since  he  had 
never  done  any  Shakespeare,  and  even  in 


Keel's  Kingdom 

modern  dress  Shakespeare  is  still  Shake- 
speare and  a challenge  to  the  greatest 
actors.  He  made  two  tests,  the  first  of 
which  was  so  terrible  that  for  weeks  he 
buried  himself  studying  with  Lillian  Burns, 
the  studio  dramatic  coach.  The  next  test 
was  good  enough  to  get  him  the  part. 

Whatever  the  challenge,  the  dimension 
or  the  scope,  one  thing  is  sure — his  career 
couldn’t  be  going  any  better  than  it  is 
today. 

Howard  was  still  dubbing  “Rose  Marie,” 
his  seventh  picture  in  a year,  when  “Seven 
Brides  for  Seven  Brothers,”  co-starring 
Jane  Powell,  started  production.  Far  from 
complaining,  Howard  leaped  at  the  oppor- 
tunity to  keep  working  steadily.  Where 
another  man  might  have  complained  that 
he’d  only  had  three  days  off  in  a year  and 
a half,  Howard  just  grinned  and  made  like 
Leo  the  Lion.  His  life  is  built  upon  hard 
work  at  a trade  he  finds  satisfying,  fol- 
lowed by  love  and  relaxation  at  a home 
he  likes  to  feel  is  his  castle,  and  one 
without  the  other  would  make  that  life 
incomplete. 

Howard’s  a handy  man  to  have  around 
the  house.  He’s  the  official  carver  for  their 
crowd  and  thinks  nothing  of  it  when  a 
harried  dinner-hostess  calls  anxiously, 
“Harry,  would  you  mind  coming  over  a 
little  early  tonight?”  But  try  to  put  a 
hoe  or  rake  in  his  hand — and  nothing  hap- 
pens. He  hates  mowing  lawns  and  work- 
ing the  yard,  he  admits,  so  he  doesn’t  do 
it.  That  is  one  of  the  reasons  he  works 
so  hard  at  the  studio.  It  gives  him  a 
freedom  that  otherwise  he  could  never  be 
able  to  enjoy. 

On  the  other  hand,  give  him  a wrench 
and  he’s  good  for  a solid  Sunday  afternoon 


( Continued  from  page  53) 

Virginia  excused  herself,  returned  with 
the  news  that  she  weighed  119 — after  lunch 
and  dressed!  Her  breathtaking  curved  5- 
feet-4y2-inch  figure  was  set  off  by  slim- 
fitted  black  broadcloth  toreador  pants 
tastefully  sprinkled  with  glittering  copper 
pennies,  a cream-colored  form-fitting  cash- 
mere  sweater,  wide  black  belt  and  gold 
crocheted  ballerina  slippers  which  re- 
echoed the  gold  of  her  softly  curling  hair, 
worn  pony-tail  fashion.  At  the  moment, 
Ginny  could  have  posed  for  a “Petty  Girl” 
painting.  And  looking  at  her,  it  was  easy 
to  see  why  she’s  been  dubbed  the  “world’s 
most  beautiful  blonde.” 

Just  then  the  nurse  brought  in  Mary 
Catherine,  ready  for  her  afternoon  airing 
in  her  pram  around  the  one-acre  O’Shea 
grounds.  “Little  Darlin’,”  as  her  Daddy 
calls  her,  was  all  frantic  motions,  smiles 
and  soft  baby  sounds  at  the  sight  of  her 
lovely  mother;  her  fuzz  of  red-gold  hair 
half  hidden  under  a jaunty  yellow  knitted 
beret,  her  round  blue  eyes  twinkling  with 
a touch  of  blarney,  as  she  tried,  at  only 
five-and-a-half  months,  to  stand  up  in  her 
mother’s  arms. 

Virginia’s  eyes  lovingly  followed  her 
first-born  to  the  door,  and  then  she  re- 
turned to  the  subject  at  hand.  “Normally 
I never  have  a weight  problem,  because 
long  ago  I taught  myself  to  form  the  habit 
of  eating  a well-rounded  diet  of  high  pro- 
tein meats,  eggs,  cheese,  vegetables,  fruit 
low  in  sugar — a diet  which  gives  me 
energy,  vitality,  an  ideal  weight,  good 
f muscle  tone  and  also  provides  for  healthy 
hair,  skin  and  teeth.  It’s  not  easy  to  stick 
to  a sound  diet  because  our  country  is  such 
a land  of  plenty  that  it’s  hard  to  limit  our- 


Virginia  Mayo's  Miracle  Diet 

selves  to  eating  for  beauty  and  health. 

And  what  does  Virginia  put  into  her 
pretty  mouth  daily,  now  that  she’s  back 
to  her  normal  weight? 

“For  breakfast  I have  grapefruit,  two 
soft-boiled  eggs,  a slice  of  whole-wheat 
toast  and  coffee;  broiled  hamburger  or 
steak,  sliced  tomatoes,  grapefruit  and  milk 
for  lunch;  meat  or  fish  or  chicken,  vege- 
tables, salad,  a slice  of  bread  and  butter 
for  dinner.  I love  vegetables,  but  Mike 
hates  ’em — all  except  potatoes.  Imagine! 
Potatoes,  ugh  . . . 

“Dieting  all  starts  in  the  mind,”  Vir- 
ginia declared.  “It’s  a simple  question  of 
whether  you  want  a good  figure,  whether 
you  want  to  feel  youthful  and  enjoy  a long 
life  or  whether  you’ll  settle  for  the  tran- 
sient pleasure  of  eating  too  much.  Before 
deciding  to  diet,  check  with  your  doctor. 
Then  once  the  decision  is  made  to  change 
your  way  of  eating,  you’ve  got  to  call  on 
self-discipline  and  will  power.  For  in- 
stance, I knew  I was  babying  myself  by 
eating  too  much  while  I was  waiting  for 
Mary  Catherine’s  arrival.  And  when  I 
finally  made  up  my  mind,  began  to  use  my 
will  power  and  stopped  babying  myself 
and  actually  followed  the  doctor’s  instruc- 
tion, the  extra  weight  melted  away  because 
I’d  had  it  such  a short  time. 

“Some  people  don’t  understand  diets,” 
Virginia  continued.  “They  go  on  one  and 
follow  it  conscientiously  until  they  have 
lost  their  excess  weight.  Then  they  go  right 
out  and  ruin  everything  by  eating  the  very 
foods  that  made  them  overweight  in  the 
first  place.  They  go  on  an  eating  spree  to 
celebrate  having  lost  weight  and  gain 
everything  right  back  again — sometimes 


working  on  his  car,  which  seems  to  relax 
him  as  much  as  a Turkish  bath. 

One  Sunday  afternoon  recently,  Howard 
was  dressed  in  overalls  and  tinkering  wher 
a group  of  little  girls  wandered  up  the 
drive.  They  were  carrying  autograph  books 
and  one  of  them  had  a wilted  bouquet  ol 
flowers. 

“Does  Howard  Keel  live  here?”  asked 
the  girl  with  the  bouquet. 

Howard  grinned  and  said,  “Yes,  he  does.’  > 

The  girls  waited  expectantly  for  the 
grease-streaked  man  to  call  the  movie 
star  to  the  door.  And  they  looked  startled 
when  he  added,  “What  do  you  want,  kids?” a 
and  started  signing  their  books,  feeling  a 
bit  like  a small  boy  after  his  prank. 

One  of  the  few  things  that  plague  How- 
ard Keel’s  life  is  that  he  can’t  spend 
enough  time  with  Helen,  his  wife.  She  is 
a very  womanly  person,  once  a dancer  in 
the  ballet  of  “Oklahoma.”  Sweet,  warm, 
wholesome,  with  a very  good  head  on  her 
shoulders.  And  he’s  concerned — probably 
more  even  than  he  shows — because  his 
busy  picture  schedule  means  that  vacation 
trips,  social  evenings  and  the  like  must 
be  continually  postponed.  This  doesn’t 
bother  Howard  as  much  as  he  thinks  it 
cheats  Helen.  But  soon  he  hopes  to  be  able 
to  do  something  about  it. 

In  the  meantime,  Howard  Keel  is  one  of 
the  happiest  men  in  Hollywood.  He  has 
worked  incredibly  hard  to  build  a life  that 
is  as  perfect  as  any  life  can  be,  and  he’s 
willing  to  work  just  as  hard  to  keep  it  that 
way,  gradually  erasing  as  completely  as 
possible  the  fears  that  still  haunt  him  from 
his  childhood,  and  seeing  to  it  that  his 
children’s  lives  are  rich  in  all  the  real  and 
solid  gifts  of  normalcy.  The  End; 


even  more  than  they  had  lost.  It  doesn’t] 
make  much  sense,  but  that’s  the  way 
plenty  of  people  do  it.” 

The  next  step  came  when  Virginia’s  doc- 
tor suggested,  along  with  the  diet,  that  she 
exercise  to  tighten  her  muscles  after  the 
baby’s  birth.  That  was  an  easy  assignment 
for  Virginia.  For  she  has  known  about  the 
value  of  exercise  ever  since  she  was  little 
Virginia  Jones  of  St.  Louis,  studying  danc-| 
ing  at  her  Aunt  Alice  Wientge’s  drama 
school.  This  constant  pattern  of  exercise  all 
her  life  has  conditioned  Miss  Mayo,  given 
her  the  enviable  proportions  that  elicit 
wolf  whistles  and,  furthermore  made  it 
easier  for  her  to  regain  her  figure  quickly 
following  her  pregnancy.  But  if  you’ve  no 
pattern  set  for  exercising,  we  suggest  you 
talk  to  your  doctor  and  have  him  recom- 
mend some  exercises. 

In  addition  to  the  exercises  prescribed 
by  her  doctor,  Virginia  rides  horseback 
and  plays  tennis.  At  present  she  is  trying 
to  improve  her  already  good  game  by  tak- 
ing lessons  from  the  renowned  Alice 
Marble. 

Returning  to  the  studio  to  fit  her  cos- 
tumes for  “King  Richard  and  the  Cru- 
saders,” Virginia  discovered  a curious  fact. 
Her  figure  was  exactly  the  same  as  it  had  i 
been  pre-maternity — except  that  her  waist- 
line had  dropped  an  inch  lower!  The  ward- 
robe department  pondered  this  for  a long 
time,  unable  to  come  up  with  an  answer, 
but  Virginia  knew.  The  stretching  move- 
ments she  had  so  faithfully  followed  in 
her  exercises  had  lengthened  her  torso! 

And  that  was  the  only  change  in  this] 
glamorous  blond  while  she  trod  the  long 
road  From  Here  to  Maternity! 

The  End 

- 


Hollywood  Party  Line 

( Continued  from  page  12) 

Joan’s  friends  with  her  lovely  manners. 

Let’s  skip  from  parties  to  a preem.  “The 
Magnificent  Obsession”  had  a magnifique 
bow  at  an  off-beat  spot.  It  opened  at  the 
Westwood  Village  Theatre  (just  beyond 
Beverly  Hills),  where  usually  hordes  of 
;een-agers — in  Levis,  weird  hair-do’s, 
noccasins  and  bright  red  jackets — hang 
jut.  This  night,  though,  a beautifully 
Iressed  crowd  streamed  across  the  premi- 
ses. Rock  Hudson,  who  came  into  his  own 
as  a big-time  star  in  this  film,  brought  his 
oest  girl,  Betty  Abbott.  Jane  Wyman,  top 
'emme  in  the  flicker,  was  in  a lovely  bouf- 
fant gown  of  pink  and  black  net — with  a 
aleated  band  of  flesh-colored  net  across 
:he  line  that  counts  most  these  days — the 
oust  line!  Jane’s  costume  was  topped  by 
I la  black-fox  cape  stole.  She  wore  heavy 
pearl  and  diamond  earrings  and  pearl 
-hoker.  Joan  Crawford,  who  sported  a 
lew  combo  of  red  dress,  pink  roses  and 
pink  mink  last  month,  showed  up  in  a 
!|*ray  gown,  grayish  tinted  hair,  gray  be- 
ewelled  sandals — and  natch! — a blending 
Ifolue-gray  mink  cape.  Similar  to  a get- 
l ip  la  Crawford  sported  some  time  ago 
with  great  success.  Curb-cheerers  didn’t 
go  for  Lana  Turner’s  dark  hair  (again!) 
—but  Lana  likes  it  that  way — and  besides 
chat  could  look  bad  on  her???  Lex  Barker 
cept  beaming  upon  Lana,  and  Lana  kept 
i jieaming  back.  These  two  are  really 
i iglow!  Others  applauding  the  picture 
were  Gregg  Palmer  with  Bobbie  Bond,  a 
oelle  with  practically  white  hair;  Lori  Nel- 
son with  Dick  Clayton;  Corinne  Calvet, 
n much  too-glittering  white  crepe,  with 
Jeffrey  Stone;  Barbara  Rush  in  a charming 
1 ’own  of  white  and  green  starched  chiffon 
ind  Jeff  Hunter  by  her  side.  Jeff  Chandler, 
fag  again,  wore  a pale  blue  dress  shirt 
vith  his  tux.  (D’you  suppose  he  knows 
hose  shirts  just  match  his  eyes?)  Gene 
kelson  was  with  beauty -contest  winner 
?hristiane  Martel;  Mamie  Van  Doren  (still 
loing  the  Marilyn  Monroe  “act”)  was  with 
Steve  Crane;  Vera  Ellen  with  Richard  Gul- 
y;  Tom  Morton  with  Joan  Vohs  (they’re 
lutz  about  each  other) ; Joanne  Gilbert 
with  on-again  off-again  fiance,  Danny 
; \rnold.  Movita,  who  used  to  be  Marlon 
Brando’s  “heart  trouble,”  was  with  Tony 
£ent;  Susan  Cabot  with  Richard  Ander- 
son. Also  glimpsed:  Ida  Lupino  and  How- 
mi  Duff;  Jeanne  Crain  and  Paul  Brink- 
nan;  the  Spike  Joneses  and  Annie-pie 
Sheridan. 

One  of  the  loveliest  at  the  Toast  of  the 
Town  tv  show  was  Lana  Turner  who 
showed  up  in  a stunning  figure-hugging 
i gown  of  black  crepe  cut  wide  and  low  in 
he  front  with  a daring  over-drape  skirt 
hat  opened  everytime  she  took  a step, 
showing  off  those  million-dollar  Turner 
egs.  All  eyes  were  glued  on  her!  Janie 
Powell  was  there,  looking  ever  so  lovely 
n a very  soft  chiffon  gown  that  was  a 
nass  of  tiny,  tiny  pleats  except  for  the 
•vaist  which  was  sparkling  jeweled  chiffon. 

Another  star-studded  group  came  to  the 
‘Executive  Suite”  premiere  and  walked 
hrough  the  Egyptian  Theatre’s  floral  motiff 
iecor,  replete  with  big  baskets  of  spring 
and  summer  blooms,  hundreds  of  potted 
azaleas,  rhododendrons — and  giant  vases 
rf  mixed  flowers.  Debbie  Reynolds  with 
Tab  Hunter;  Esther  Williams  and  Ben 
Tage;  Bob  Stack,  stag;  Dick  Anderson, 
stag;  Aldo  Ray  and  Jeff  Donnell;  cute 
Pat  Crowley  with  Vic  Damone;  Leslie 
Caron  with  ever-lovin’  ballet-master 
Roland  Petit;  Marilyn  Maxwell  with  Carl 
Neubert;  the  Dennis  Morgans;  the  Ronnie 

t Reagans — just  a few  of  the  celebs  I saw. 
Star  Bill  Holden  couldn’t  be  there  on  ac- 
count of  he  and  his  Mrs.  were  in  Florida 
3n  a well-earned  fishing  trip. 


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CHANS  YOUR  BREATH 


• • • 


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One  brushing  with  New  Colgate  Dental 
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guard  your  teeth  all  day  — all  night.  In  this 
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clock  to  stop  the  action  of  decay-causing 
enzymes.  In  full-year  clinical  tests,  X rays 
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of  people  in  the  group  using  Colgate  Dental 
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71 


Non-Stop  Terry 


( Continued,  from  page  47) 
and  the  most  talented  who  ever  lived. 

Yours  is  the  typical  life  of  almost  any 
ten-year-old.  You  proudly  join  the  Camp- 
fire Girls,  and  with  your  customary  drive, 
whatever  the  chore,  you  win  more  wooden 
beads  than  any  of  them.  One  such  achieve- 
ment is  cooking,  and  your  family  gets 
plenty  sick  of  “Apple  Betty”  before  you 
"bead”  that  one  line.  You  attend  Mor- 
mon Church  and  Sunday  school  faithfully. 
You’re  still  torn  between  Dick  Tracy  and 
The  Lone  Ranger.  But  now,  significantly, 
you  begin  to  hang  on  every  word  of  radio 
serials  like  “Our  Gal  Sunday”  and  “Helen 
Trent.” 

In  1939,  too,  you  realize  beauty  must  pay 
a price — when  the  dentist  insists  on  braces 
and  corrects  a couple  of  twisted  teeth  and 
changes  a bite  plate  to  your  own  bite.  But 
it  has  its  compensations  when  you  fall,  at 
this  tender  age,  for  the  boy  who  shares  his 
scooter  and  skates  with  you.  To  your 
diary  you  confide,  “I’ve  got  a boyfriend. 
His  name  is  Robert  MacDougal.  He  likes 
me,  too,  cause  he  said  so.  Today  he  came 
over  looking  for  his  skate  wheel.”  As  good 
an  excuse  as  any — at  ten. 

January  26,  1940 — you  pass  into  the  sixth 
grade — and  into  what  is  to  be  perhaps  the 
most  important  year  in  your  life.  Your 
lucky  eleventh  year.  But  it  has  its  bad 
moments  too.  For  this  year  your  class- 
mates start  calling  you  “skinny” — and 
you  really  suffer.  How  much — only  one 
Terry  Moore  can  tell. 

“The  limit,  Ralph,  the  absolute  limit. 
For  a girl  who  started  out  so  fat — I’d  really 
thinned  down.  I was  the  last  girl  to  de- 
velop in  our  crowd.  When  all  the  other 
girls  were  shyly  concerned  about  con- 
cealing what  they  had,  I was  still  wearing 
loose  blouses  under  loose  sweaters,  in  the 
hope  of  concealing  what  I didn’t  have.  I 
was  so  self-conscious  about  being  skinny, 
and  the  boys  were  always  kidding  me 
about  it  and  pointing  to  my  legs.  I was 
thoroughly  crushed  about  the  whole  thing. 
Funny— how  acutely  you  remember— but 
I’ll  never  forget  the  day  my  whole  world 
fell.  I can  still  see  the  classroom — and  the 
desks  we  all  had.  My  girl  friend,  Barbara 
Metzler,  sat  across  the  aisle  from  me,  and 
one  day  when  Robert  MacDougal  came 
down  the  aisle,  she  put  her  leg  across  to 
my  desk,  blocking  him.  “Put  those  million- 
dollar  legs  down,”  he  said  admiringly. 
Well,  I just  about  died.  It  seems  funny 
now.  But  I remember  vowing  right  then 
that  some  day,  some  way,  ‘He’s  going  to 
say  the  same  thing  to  me.’  I felt  so  hu- 
miliated. And  since  I was  planning  on 
being  a movie  star  anyway,  I also  resolved 
to  have  the  most  photographed  legs  in  the 
world.  I sat  there  dying  and  really  dream- 
ing it  up.  ‘Million-dollar  legs,  huh?  I’ll 
show  him.’  Funny  how  those  things  stick 
with  you.  That’s  why  I’ve  always  been 
so  willing  to  pose  for  cheesecake— until 
now.” 

But  yours  is  a victory  in  1940,  too,  Terry 
Moore,  for  this  is  the  year  your  star  is 
born.  One  day  your  neighbor  and  land- 
lady, Mrs.  Annie  Lorraine  Jensen,  encloses 
a ten-dollar  bill  with  your  pinafored  pic- 
ture and  sends  them  to  the  Welles  Casting 
Directory.  Why  did  you  take  that  gamble, 
Mrs.  Jensen? 

“I’d  had  my  eye  on  Helen  since  she  was 
two  years  old,  Ralph.  Whenever  Mrs. 
Koford  came  over  to  pay  the  house  rent, 
she  always  brought  her  little  girl  with  her. 
Sitting  on  a stool,  her  feet  not  even  touch- 
ing the  floor,  Helen  would  raise  those  big 
blue  eyes  and  recite.  She  had  a lot  of 
poise  too.” 

February  10,  1940 — the,  day  you  first 
stepped  inside  that  world  of  make-believe 
you’ve  long  dreamed  is  your  own — will  be 


engraved  forever  in  your  memory.  The 
studio  casting  agent,  looking  for  a child  to 
portray  Brenda  Joyce  as  a child,  saw  your 
picture  in  the  casting  directory  and  called 
your  home  in  Glendale.  You  weren’t  home 
for  that  first  magic  ring,  but  your  father, 
Lamar  Koford,  filled  in. 

“You  might  say  they  filled  me  in,  Mr. 
Edwards.  ‘Do  you  have  a little  girl,  blond, 
with  big  teeth?’  they  said.  I was  startled 
for  a minute,  never  having  exactly  thought 
of  Helen  that  way.  Finally  I said,  ‘Why, 
yes,  we  do.’  And  when  her  mother  and 
Helen  got  home,  they  rushed  right  to  the 
dentist  to  have  the  braces  taken  off  her 
teeth.  When  they  got  to  the  studio,  the 
casting  fellow  looked  at  her  and  said, 
‘Would  you  object  to  her  wearing  braces 
for  this  part?’  And  they  rushed  back  and 
had  Helen’s  own  put  back  on.”  Your 
mother  says,  ‘Helen  seemed  to  sense  she 
belonged  right  there.’  When  we  left  the 
studio,  she  said,  ‘I  don’t  know  why,  but  I 
wasn’t  a bit  afraid.  I read  the  lines  and 
I could  answer  everything  they  asked  me, 
and  I wasn’t  afraid  at  all.’  ” 

You  live  on  wings — as  the  magic  land  of 
make-believe  you’ve  envisioned  unfolds 
before  your  excited  blue  eyes.  It’s  your 
fairy  tale  come  true,  but  you’re  the  little 
Princess  and  it’s  all  happening  to  you. 
That  first  night  a happy  little  girl  scribbles 
in  her  diary,  “I  got  chosen.  I’m  one  of  six 
for  a screen  test  tomorrow.  Oh  boy!” 

Then  the  long  wait  begins. 

You’re  eleven  years  old  now,  Terry 
Moore,  and  you  play  with  paper  dolls  and 
listen  for  that  phone  to  ring.  Only  you 
and  your  diary  know  how  hard  you  listen. 

Finally,  on  March  9,  you  report  to  the 
studio  at  8 a.m.  A big  limousine  takes  you 
out  on  location  but  it’s  too  windy  and  you 
don’t  work.  Four  days  later  you  work 
before  the  cameras  for  the  first  time.  Your 
director  is  Henry  King,  who  will  direct  a 
star  named  Terry  Moore  in  “King  of  the 
Khyber  Rifles”  thirteen  years  from  now. 
You  ride  a horse  bareback  in  the  scene 
and  the  studio  pays  you  $125  for  the  week 
and  you  leave  the  studio  gate  that  night 
starry-eyed  and  dreaming  of  wonderful 
things  to  come. 

You’re  Walter  Brennan’s  granddaughter 
in  the  picture.  You’ve  gone  to  Studio 
School  with  Peggy  Ann  Garner  and  Linda 
Darnell,  still  not  eighteen.  You’re  in  the 
movies  now. 

It’s  so  thrilling  you  can’t  wait  to  get 
back  to  school  and  tell  the  other  kids  all 
about  your  new  world  of  make-believe 
and  share  all  your  exciting  experiences 
with  them.  But  you  are  to  find  sadly, 
Terry  Moore,  that  few  want  to  listen. 
There’s  a world  separating  you  now — -a 
world  of  make-believe  they  cannot  enter. 
And  there’s  a wall,  a magic  studio  wall 
that  is  strengthened  by  envy  and  a natural 
jealousy  through  the  years.  This  heart- 
breaking wall  you  can  never  break  down. 

You  live  in  a half-world  now,  Terry 
Moore,  a divided  world — of  a child  and  an 
actress.  A world  of  highs  and  lows,  tri- 
umphs and  tears.  How  divided  your  world 
is  your  own  diary  tells. 

“Mother  bought  me  a new  yo-yo.  Big 
geography  test  tomorrow.  We  don’t  know 
yet  about  the  interview.” 

You’re  thrilled  when  you  audition  at 
NBC  for  “One  Man’s  Family”  and  when 
you  go  on  a picnic  with  the  Campfire  Girls. 
You’re  heartbroken  when  you  fail  to  get 
an  “A”  in  typing  and  when  you  miss  a 
studio  call.  You’re  ecstatic  when  Fox  calls 
you  for  retakes — and  full  of  despair  when 
you  can’t  find  “the  wire  that  goes  on  my 
teeth.”  And  your  eleven-year-old  heart 
is  torn  between  love  for  Cary  Grant,  whose 
daughter  you  portray  in  “The  Howards  of 


Virginia,”  and  a half-shepherd  dog  named 
Tillie  a neighbor  gives  you. 

The  phone  rings  and  you’re  excited 
about  an  interview  for  “Cinderella,”  but  i 
you  hear  words  that  will  become  very 
familiar.  “You’re  not  the  type.”  The  call 
is  for  one  of  the  wicked  stepsisters  and 
you’re  “too  pretty”  for  the  part.  This  hap- 
pens again  and  again.  It  seems  this  is  the 
year  for  little  freckle-faced  girls  who 
stick  out  their  tongues — the  female  Butch 
Jenkins.  You  watch  the  mirror  wistfully 
for  freckles  that  won’t  appear.  But  pro- 
fessionally, 1940  is  still  a busy  year.  You’re 
chosen  on  your  first  call  for  photographer’s 
model,  and  Natalie  Graske,  then  Mrs.  Tom 
Kelley  and  now  a client  of  the  agency, 
remembers  that  afternoon  well. 

“We’d  interviewed  some  twenty  chil- 
dren for  a color  shot  of  a little  girl  trying 
to  bake  cookies  for  the  magazine  The 
Country  Gentleman.  Tom  took  Terry  im- 
mediately. She  didn’t  look  like  a profes- 
sional model.  She  looked  like  any  typical 
little  American  girl  with  flour  on  her  face 
trying  to  bake  cookies.  Then,  too,  the 
other  kids  didn’t  have  Terry’s  intelligence.' 
After  that  first  sitting,  I remember  Tom 
said,  ‘She’s  got  it.  That  kid  will  get  some- 
place some  day.’  I was  impressed.  Tom 
doesn’t  say  that  about  too  many  models.” 

You  will  get  there  all  right,  Terry  Moore. 
Your  fresh  wholesome  All-American  face 
will  show  upon  the  covers  of  every  na- 
tional magazine.  But  every  step  up  in 
this  exciting  new  world  will  alienate  you 
more  from  the  other  world  and  the  class- 
mates who  mean  so  much  to  you. 

At  school  they  call  you  “Spitfire”  be- 
cause of  that  drive  and  ambition,  that 
quick  mind  of  yours  going  a mile  a minute' 
with  always  a million  ideas.  They  nick- 
name you  “Two  Tongue”  for  that  tongue 
of  yours  that’s  always  going  a mile  a 
minute  too.  They  resent  a little  the  spot- 
light that,  wherever  you  are,  is  always  to 
be  inescapably  yours.  And  they  shrug  off 
with  seeming  disbelief  any  mention  of 
your  being  in  the  movies. 

Anxiously  you  wait  for  your  first  movie 
to  come  out.  Then,  you  think,  they  will 
be  convinced  and  they’ll  be  excited  too. 
When  you  see  in  the  paper  that  “Mary- 
land” is  opening,  you  run  to  show  your 
mother.  She  cries  and  tells  you  what 
Walter  Brennan  had  told  her  months  ago 
— that  you  have  been  cut  completely  out 
of  the  picture.  It  isn’t  your  movie  any 
more.  And  you  can’t  make-believe  this 
hurt  away. 

At  school  the  next  day  you  face  the  cold 
eyes  of  classmates  who  went  to  see  the 
movie  the  night  before.  They  accuse  you 
of  lying.  You  weren’t  in  the  picture  at 
all.  Or  else  you  must  be  pretty  bad  for 
them  to  cut  you  out.  You’re  no  actress  if 
they  cut  you  out.  The  Little  Princess 
can’t  cry.  And  in  front  of  them  you  don’t, 
but  that  night  at  home  in  your  bed  your 
diary  knows. 

“December  4,  1940.  The  kids  weren’t  a 
bit  nice  to  me.” 

It’s  1941,  and  you’re  in  Wilson  Junior 
High  now,  Terry  Moore,  and  this  is  your 
life. 

Studying,  swimming,  horseback  riding, 
miniature  golf  and  netting  one  dollar  a 
week  for  helping  your  mother  with  the 
housework.  And,  of  course,  the  boys. 

Those  who  previously  called  you  “Skin- 
ny” are  giving  you  the  eye  now.  Puppy 
love  is  rampant.  And  you’re  “number 
one”  again  with  your  old  friend,  “Mac.” 
You’re  really  living  when  he  invites  you 
to  meet  him  at  the  Alex  Theatre  and 
promises,  in  addition,  to  buy  you  a candy 
bar.  The  prevailing  custom  heretofore 
has  been  for  girls  to  attend  together,  leave 
one  empty  seat  beside  each  of  them  and 


be  joined  by  the  gentlemen  when  the 
lights  come  on. 

These  are  important  times  for  the  young 
in  heart.  And  Robert  MacDougal  who 
was  one  of  your  gang  remembers  it  well. 
He’s  now  head  of  the  MacDougal  Door 
and  Frame  Manufacturing  Company.  Let 
him  get  a word  in  here. 

“That  was  always  the  trouble,  Ralph. 
I’ve  known  Helen  Koford  since  the  third 
grade.  And  I haven’t  gotten  in  a word 
yet.  Her  tongue  was  always  going  a mile 
a minute,  even  with  her  bite  plate  in  when 
she  was  having  her  teeth  straightened. 
I’ll  never  forget  one  Saturday  when  I in- 
11  vited  her  to  have  lunch  at  our  home.  I 
wasn’t  old  enough  to  have  a car  or  drive. 
So  Helen  took  the  bus  over.  During  these 
days  her  dentist  was  changing  her  bite, 
I and  in  the  course  of  luncheon,  she  said 
suddenly,  ‘Bob,  you’ll  just  have  to  excuse 
me.’  And,  turning  her  head,  she  swiftly 
removed  the  plate.  She  forgot  and  left  it 
on  the  window  sill,  and  late  that  night 
j when  we  found  it,  I had  my  mother  and 
dad  drive  me  over  to  Helen’s  house  so  I 
could  return  her  plate.” 
j I-  He’ll  never  know  either,  will  he,  Terry, 
I how  embarrassed  you  were  when  you  an- 
jswered  the  door  and  found  your  plate 
I carefully  packed  in  a box  of  cotton? 

And  what’s  this  entry  in  your  diary? 

“Bill  Chambers  and  I quit  going  steady 
tonight  on  the  telephone.” 

“This  one  really  hurt,  Ralph.  Bill  was 
my  first  steady.  He  never  had  a dime  to 
'spend  on  a date.  Every  penny  he  had  he 
l|  put  in  a car  he  was  stripping  down  into  a 
hot  rod.  Once  in  a while  he’d  borrow  a 
relative’s  car.  And  we’d  ride  down  in  the 
i|  evening  and  watch  the  trains  come  in. 
When  he  finished  his  work  on  that  car,  we 
broke  up.” 

Yes,  these  are  the  tender  years.  For  the 
first  time  you’re  torn  with  the  problem 
of  love  versus  career.  Your  heart’s  heavy 
when  you  get  a crush  on  a boy  named 
“Hughey,”  a stable  boy  at  a resort  where 
you’re  vacationing.  You  have  to  leave 
him  to  test  for  a part  with  Ingrid  Berg- 
man in  “Gaslight,”  but  the  show  must  go 
on. 


And  the  show  does.  At  20th  Century- 
Fox  you  play  Victor  Mature’s  sister  in 
“My  Gal  Sal.”  Your  face  covers  many 
magazines,  and  you  get  the  part  of  Little 
White  Cloud,  Little  Beaver’s  romantic  in- 
terest on  the  “Red  Ryder”  radio  show. 
You  and  Tommy  Cook  are  so  small  the 
studio  gives  you  stools  to  stand  on  to 
reach  the  mike.  You  test  for  “Jane  Eyre” 
but  Elizabeth  Taylor  gets  the  role.  You 
test  for  “Remember  the  Day”  and  Ann 
Todd  gets  this  one.  The  real  heart- 
breaker,  however,  is  when  you’re  prom- 
ised a big  part  in  “True  to  Life”  at  Para- 
mount with  Mary  Martin  and  Dick  Powell. 
This  seemed,  at  first,  to  be  the  best  break 
yet,  Terry  Moore.  You’re  to  get  fifth  bill- 
ing in  the  picture  and  $250  a week  for 
three  months’  work.  Also  you  get  to 
r wear  an  evening  gown  once  worn  by 
Veronica  Lake.  You  check  your  books 
out  at  school  to  study  on  the  lot.  Then  the 
night  before  you’re  to  report  on  the  set 
the  phone  rings  with  the  word  that  the 
producers  have  decided  the  part  should  be 
funnier  and  they’re  using  a “homelier 
girl.” 

This  is  the  worst  blow  yet  in  your  make- 
believe  world.  To  your  diary  you  lament, 
“They  wanted  a real  homely  girl  with 
freckles.  I think  that’s  just  what  I am.” 
Then  there’s  a later  postscript  that  same 

1 night,  “I  really  don’t  even  think  of  it 
now.”  But  you  both  know  you’re  just 
whistling  in  the  dark. 

The  toughest  part  is  walking  into  school 
the  next  morning  with  bowed  head, 
carrying  all  your  books  back  again.  An 
actress?  Not  much.  Not  if  they  replace 
you  in  the  part.  By  now,  you  seldom 


I dreamed 


J played  lawn  tenms  m my 

maiden/brm  bra 


Tennis  anyone?  Such  lift, 
such  high-rounded  curves... 
from  Wimbledon  to  Forest  Hills, 
no  one’s  a match  for  my  form! 
Only  Maidenform 
can  make  a "strapless" 

so  wonderfully  secure, 
with  such  beautiful  support. 

I'll  admit  I don’t  care  a fig 
what  the  score  is. 

My  figure's  always  ahead 
in  my  Maidenform  bra! 

Maidenform’s  new  "under-wire" 
Pre-lude*  Strapless  in 
fine  white  embroidered 

broadcloth.  Cups  are 
lined  lightly  with 

foam  rubber. 
A,  B and  C.  3.50 


P 


73 


speak  of  movie  work.  As  an  old  school 
friend,  Bob  Wast,  today  president  of  your 
fan  club,  can  well  recall. 

“She  did  tell  me  when  she  got  a part  in 
‘The  Clock’  with  Judy  Garland  and  Bob 
Walker,  Mr.  Edwards,  but  she  cautioned 
me  not  to  tell  the  others.  They  wouldn’t 
be  interested  anyway,  she  said.” 

It’s  a happy  day  when  you’re  elected 
cheerleader  and  when  as  you  scribble 
happily,  "We’re  putting  on  my  play,  ‘The 
Princess  Couldn’t  Cry.’  Oh  boy,  Oh  boy.” 

During  your  senior  year,  Terry  Moore, 
you  get  a column  in  the  school  paper, 
The  Explosion,  and  it’s  typical  of  your 
all-out  approach — whatever  the  problem — 
that  you  use  the  column  to  crusade  for 
less  sloppy  male  attire.  You  turn  it  into 
a boy’s  fashion  column,  using  the  football 
stars  for  models,  and  you  designate  one 
day  a week  to  be  observed  officially  as 
“Slacks  Day”  at  Glendale  High.  The  boys 
begin  dressing  better,  but  the  girls  mis- 
judge your  motives.  They  suspect  aloud 
that  you’re  using  an  unfair  advantage  to 
become  better  acquainted  with  the  school 
athletes.  Your  journalism  teacher,  Mrs. 
Eva  Litchfield,  has  a few  why’s  for  this. 

“Helen  always  put  her  whole  heart  into 
whatever  she  did,  Mr.  Edwards.  She  was 
doing  a lot  of  fashion  modeling  then  and 
she  was  trying  to  give  the  other  students 
the  benefit  of  her  own  experience.  The 
boys  had  been  living  in  blue  jeans  and  I 
must  say  their  dress  improved.  But  that 
year  Helen  was  on  21  Magazine  and,  well, 
some  of  the  students  never  quite  accepted 
her  one  hundred  per  cent.  But  then  you 
pay  for  what  Helen  has.  Talent  always 
pays  a price.  Genius  in  whatever  form 
has  to  climb  the  hard  way.  And  talent 
like  Helen’s,  which  showed  itself  even  in 
youth,  always  pays  a price.” 

That  price  for  you,  Terry  Moore,  in  the 
years  to  come  will  seem  high. 

January,  1947.  You  graduate  midterm 
from  Glendale  High  School  with  mixed 
emotions.  Now  you  can  really  work  full 
time  in  your  world  of  make-believe.  You 
can  become  the  actress  you’ve  hoped  to 
be.  But  you’re  leaving  half  of  your  life 
behind.  This  girl  now  named  Jan  Ford — 
what  will  her  future  be? 

It’s  September,  1947,  and  you  sign  with 
Columbia  Studios  for  the  lead  in  “The  Re- 
turn of  October,”  a part  you’ve  won  over 
many  more  famous  actresses  who  tested 
for  it. 

You  take  the  name  of  the  girl  in  the 
film,  Terry,  and  the  last  half  of  your 
mother  s name,  Bickmore.  And  now  you’re 
stardom-bound.  It’s  evident  to  James 
Gleason,  who  portrays  your  beloved  Uncle 
Willie  in  the  picture  and  who  is  supposed- 
ly reincarnated  in  the  form  of  a race 
horse.  We  have  it  right  from  the  “horse’s 
mouth,  too. 

“Yes,  sir,  Ralph.  With  Terry’s  talent  I 
had  no  doubt  about  her  future.  She 
showed  great  promise  then,  not  only  as 
an  actress  but  as  a person.  That  ermine 
bathing-suit  thing.  All  that  uproar  was 
a typhoon  in  a thimble  if  you  ask  me.” 

On  January  1,  1951,  you  have  your  first 
date  with  football  star,  Glenn  Davis.  And 
your  whirlwind  romance  catches  the  eye 
of  cinema  cupids  everywhere.  When  he 
goes  to  Hawaii  with  a ball  team,  you  and 
your  mother  go  along  and  vacation  there. 
Amid  the  romantic  lush  island  atmosphere, 
with  musicians  playing  Hawaiian  love 
songs  to  you,  he  proposes.  He’s  the  famous 
All  American  football  hero,  the  story-book 
prince  on  a white  horse  and  you  agree  to 
marry  him. 

February  8— five  weeks  after  that  first 
date— you’re  married  in  Glendale  in  the 
p room  adjoining  the  Mormon  Church 
Chapel  where  you’ve  worshipped  for  so 
many  years.  You  honeymoon  in  romantic 
74  Acapulco,  and  on  February  24,  1951,  leav- 


ing half  your  life  behind  you,  you  go  to 
Lubbock,  Texas,  where  your  husband  is 
employed  by  an  oil  company.  You  have 
a small  apartment  right  next  door  to  the 
local  movie  theatre. 

Try  as  you  will,  Terry  Moore,  you  can- 
not fit  into  this  new  life.  You  feel  a 
stranger  in  this  new  far-flung  land.  You 
don’t  understand  the  world  of  oil.  Nor  do 
they  understand  that  which  has  been  your 
world  since  you  were  eleven  years  old. 
There  are  personal  problems  between  two 
who  married  on  such  short  acquaintance 
that  no  story-book  wedding  and  no  strains 
of  “Sweet  Leilani”  could  ever  solve. 

August  18,  1951 — you  announce  your 
separation  and  you  plunge  with  feverish 
energy  back  to  work  in  your  familiar 
world. 

December,  1951— you  get  your  CAA 
Pilot’s  license  to  pilot  a single-engined 
aircraft.  Some  call  it  a publicity  stunt. 
Some  others  still  today— Pilot  No.  1226668 
— doubt  whether  you  can  really  fly.  They 
should  have  been  out  at  Clover  Field 
that  afternoon  when  your  mother  and  your 
flying  instructor,  Ray  Pignet  of  the  20th- 
Century  Flying  Service  and  a former  test 
pilot,  sweated  out  your  second  solo  while 
scanning  the  sky  for  the  speck  that  means 
you.  Ray  Pignet  tells  about  it  now. 

“She’d  been  instructed  to  land  in  Ox- 
nard, California,  and  there  was  no  indica- 
tion on  our  weather  maps  of  trouble  there. 
But  when  Terry  got  to  Oxnard,  she  found 
she  was  caught  in  a rough  north-and-south 
crosswind.  If  she’d  landed,  she  could  have 
cracked  up  easily.  Tell  some  students  to 
land  in  Oxnard  and,  come  what  may, 
they’ll  land  there.  But  not  Terry.  She 
went  on  to  Santa  Barbara  and  landed 
there  instead. 

It’s  another  year  now,  Terry  Moore, 
and  you  test  with  twenty-one  others  for 
the  sexy  college  girl  in  “Come  Back  Little 
Sheba,”  although  it’s  far  from  the  sweet 
young  things  you’ve  been  playing.  Direc- 
tor Daniel  Mann  is  sold  and  he  gives 
you  the  part. 

February  17,  1953 — You’re  making  per- 
sonal appearances  in  San  Francisco  when 
you  get  the  happy  word  that  for  your  fine 
performance  in  “Come  Back  Little  Sheba” 
you’ve  been  nominated  for  Hollywood’s 
highest  honors,  the  Academy  Award.  This 
is  more  than  even  you  had  hoped  for 
from  your  world  of  make-believe.  This 
seems  almost  too  good  to  be  true.  But 
for  you,  Terry  Moore,  even  this  is  a di- 
vided victory.  Triumph  for  Terry  the 
actress,  and  tears  for  Terry  the  girl. 
You  re  so  good  in  the  part  you  convince 
many  you  really  are  that  girl  and  they 
identify  you  with  the  little  sexy  siren 
from  now  on. 

September.  1952— Ace  director  Elia 
Kazan  gives  you  the  romantic  young  lead 
in  “Man  on  a Tightrope.”  On  January  2, 
1953,  the  fairy  tale  finally  comes  true.  You 
sign  a long-term  contract  at  20th  Century- 
Fox,  where  a little  girl  in  pinafore  and 
pigtails  ventured  in  the  magic  world  of 
make-believe  thirteen  years  ago.  You’re 
given  star  billing  in  “Beneath  the  12- 
Mile  Reef”  with  Robert  Wagner  and  then 
you  co-star  with  Tyrone  Power  in  “King 
of  the  Kyber  Rifles,”  directed  by  Henry 
King,  who  directed  that  first  scene  cut 
out  of  “Maryland”  in  that  long-ago  first 
assignment. 

Your  name  is  news  now,  Terry  Moore, 
big  news,  and  rumor.  Sometimes  mis- 
taken rumor  that  hits  to  the  heart  of  Helen 
Luella  Koford,  not  so  long  ago  of  Glen- 
dale High.  The  little  girl  who  suffered 
when  she  was  called  “Skinny”  is  avenged. 
She  s the  queen  of  cheesecake  now,  and 
her  legs  are  among  the  most  photographed 
in  the  land,  but  again  hers  is  a divided 
triumph.  You’re  a top  target  today  and 


on  Christmas — even  in  Korea — your  whole 
world  crashes  around  you  and  the  Little 
Princess  has  feet  of  clay. 

“You  pay  for  what  Helen  has,”  your 
teacher  said.  Talent  pays  a price  and  for 
you  the  price  seems  finally  almost  too 
high. 

Christmas  Eve,  1953,  on  a cot  in  a hut 
in  Korea,  you’re  sobbing  your  heart  out. 
The  setting  is  far  removed,  but  for  you  it’s 
the  same  old  story. 

You’re  heartbroken  that  you  can  be  so  i 
misjudged.  Again  every  stab  hits  an  old 
and  familiar  wound.  You’re  a big  girl 
now.  Today  there’s  no  diary  to  talk  to, 
but  the  hurt  is  still  the  same.  You  wonder  > 
where  you  have  failed.  And  why.  You’ve 
worked  toward  today’s  stardom  for  four-  \ 
teen  long  years.  And  you’ve  gotten  there 
without  ever  stepping  on  anybody  else. 

You’ve  also  gotten  jobs,  many  jobs,  for 
others  who  will  never  know  they’re  in- 
debted to  you.  And  for  a few  like  Darryl 
Hickman  who  discover  it,  but  not  from 
you.  “I  found  out  a year  and  a half  ago 

when  I got  a call  out  of  the  blue  from 

director  Elia  Kazan,  he  says.  “I’d  never 
met  him  and  you  can  imagine  my  surprise 
when  he  told  me  many  of  the  nice  things 
Terry  had  said  about  me.  When  I make 
‘East  of  Eden,’  there’s  a part  in  it  for  you’ 
Kazan  said.  One  other  day  I got  another 
call  from  him.  Back  in  Hollywood  again 
to  cast  the  picture,  he’d  called  Terry  and 
agam  she’d  put  in  a plug  for  me.  How 

many  people  will  go  out  of  their  way 

these  days  to  do  this?  How  many  people 
ever  have?  About  Terry  I could  tell  you 
so  much,  Ralph.  This  is  only  one  of  many 
things.” 

So  many  things,  Darryl  Hickman,  and  so 
many  voices,  Terry,  from  your  past  and 
present  who  want  to  speak  for  you. 

Two  years  ago  a beautiful  talented  girl 
with  everything  to  live  for,  Yvonne  Lohn, 
with  whom  you  worked  as  a child  in 
pictures,  was  stricken  with  polio.  Today 
she  is  completely  paralyzed.  Her  mother, 
Mrs.  Winifred  Lohn,  can  tell  how  much 
you  mean  to  her.  “No,  I can’t  tell  you 
how  much,  Mr.  Edwards.  How  can  you 
measure  the  will  to  live?  Or  faith  in 
God?  That’s  what  Terry  means  to  my 
Yvonne.  On  Saturday  nights  when  a 
pretty  star  like  Terry  should  be  out  danc- 
ing she  takes  Yvonne  to  a drive-in  and  to 
the  show.  She  always  sees  there’s  a friend 
along,  a husky  athlete,  big  enough  to 
carry  my  daughter’s  wheel  chair  in  and 
out.  On  Sunday  mornings  she  takes  her 
to  church.  After  church  she  invites  people 
over  to  her  home  to  meet  Yvonne.  It’s 
hard  for  a girl  not  to  ask  herself  why  this 
should  happen  to  her.  It’s  hard  for  her 
to  want  to  live.  But  Terry’s  determined. 
How  can  a mother  measure  what  Terry 
means  to  my  daughter?” 

Yes,  you’re  pinned  up  in  the  hearts  of 
many  people  whom  the  public  will  never 
know.  By  many  deeds  no  one  can  measure. 
And  on  April,  1954,  Terry  Moore,  you  are 
honored  by  a vast  gathering  of  veterans 
of  the  Air  Force.  By  fighter  pilots  and 
bombers  who’ve  fought  our  skies  free 
wherever  war  clouds  gather.  You  sit  be- 
side General  Kenney.  You  hear  yourself 
introduced  as  the  “Army’s  own  Terry 
Moore,  the  girl  who’s  done  so  much  to 
further  the  aims  to  which  we  are  pledged.” 

There’s  a plaque  for  you,  too.  A pair 
of  bronze  boots.  Your  boots  from  the 
Korean  tour.  The  Princess  can’t  cry  but 
you  do.  For  these  are  no  silver  slippers. 
These  are  real  and  they  fit. 

This  is  your  life,  Terry  Moore,  and  your 
destiny.  Talent  pays  a price  for  what  you 
have.  You  pay.  What  you  give  to  others 
someday  will  light  the  way  to  your  own 
deserved  happiness. 

The  End 


■ 


Tony's  Days  of  Decision 


( Continued  from  page  35) 
as  if  she  had  spent  those  trying  childhood 
years  beside  him. 

Eagerly,  her  face  aglow  with  love,  she 
says,  “Tony  could  have  gone  either  way. 
I respect  him  because  even  as  a child  he 
chose  the  right  way.  He  had  the  courage 
to  face  a crisis.” 

Tony’s  boyhood  friends,  Sidney  Schul- 
man  and  Sam  Negrin,  know. 

Sidney  Schulman,  who  helps  manage 
his  own  family’s  prosperous  supermarket, 
says,  “His  folks  never  failed  him.  They 
gave  him  love  and  freedom.” 

Sam  Negrin,  who  has  chosen  as  his  own 
career  the  work  of  social  service  among 
■troubled  juveniles,  nods  in  agreement  with 
all  three,  but  casts  his  vote  for  Tony  him- 
self, saying,  “You  can’t  discount  the  guy’s 
own  effort.  No  family  can  give  more  than 
assurance.  No  social  worker  can  do  more 
than  open  a door.  After  that,  it’s  up  to  the 
kid  himself  to  walk  through  it.” 

But  while  his  childhood  was  passing 
slowly  into  adulthood,  things  didn’t  seem 
quite  that  simple  to  a sensitive  kid.  These 
three  persons  who  hold  Tony  Curtis  in 
respect  and  affection,  unfold  a story  which 
rivals  a film  plot.  Janet,  particularly,  feels 
its  excitement.  To  her,  Tony’s  choice  of 
which  life  to  lead  is  more  thrilling  them 
any  adventure  which  either  of  them  has 
ever  brought  to  the  screen. 

Tony  was  Bernie  Schwartz  in  those  days, 
a youngster  with  dark  hair  and  bright  blue 
eyes.  Born  in  New  York’s  Flower  Hospital 
on  June  3,  1926,  he  was  the  first  son  of 
Mono  and  Helen  Schwartz,  Hungarian  im- 
migrants. 

In  Budapest,  his  father  Mono  had  been 
a light-hearted,  handsome  young  actor. 
In  New  York  during  the  moneyless  Thir- 
ties, his  alien  tongue  barred  him  from  the 
stage.  To  support  his  family,  he  worked  as 
a tailor  and  operated  his  own  cleaning  and 
pressing  business. 

Times  were  hard  for  everyone,  but  for 
the  Schwartzes  they  were  bitter.  They 
knew  what  it  was  to  go  hungry  and  to  be 
dispossessed.  Too  often  they  saw  their 
pitifully  meager  belongings  dumped  into 
the  street  when  they  could  not  pay  their 
rent.  Mono,  laboring  under  the  double 
handicap  of  learning  a new  trade  during 
a period  of  financial  distress,  hadn’t  a 
chance  to  provide  the  comforts  he  wanted 
to  give  his  family. 

When  their  second  son,  Julius,  was 
born,  things  got  even  tougher.  Proud  Mono 
Schwartz  had  to  swallow  his  pride  and 
build  Bernie  a little  shoeshine  box.  The 
nickels  and  dimes  the  child  could  earn  on 
the  street  were  needed  to  help  Mono  feed 
the  family. 

Only  in  love  of  each  other  was  the 
Schwartz  family  rich.  However  bad  things 
got,  that  never  wavered. 

The  bright  spots  of  those  grim  times 
were  the  Sundays  when  they  could  walk 
in  Central  Park.  There,  while  Papa 
Schwartz  told  him  of  the  colorful  days  of 
the  theatre  back  in  Budapest,  little  Bernie 
learned  to  dream  and  to  try  to  act  out  his 
dreams.  His  parents  were  his  indulgent 
audience — an  audience  which,  in  watch- 
ing him,  found  brief  escape  from  their  own 
troubles. 

Mono  Schwartz,  forgetful  that  his  young 
son  at  the  age  of  eight  still  spoke  Hungar- 
ian, would  watch  the  mimicry  and  see  the 
boy  replacing  him  on  the  stage.  To  Mama, 
he  would  repeat  his  favorite  prophecy, 
“Our  Bernie  will  be  a fine  actor.” 

But  at  the  same  time,  the  city  itself  was 
teaching  Bernie  a different  kind  of  acting. 
The  shabbier  he  looked  and  the  more 
eagerly  he  sought  customers,  the  more  he 
earned  with  his  shoeshine  box. 


How  would  you  rate  this  dipper  gal? 

I | Shy  Q Fun  Q Dracula’s  daughter 

For  parched  gullets,  nothing  beats  a cold 
draught  of  aqua,  country  style — but  who 
wants  a cascade  down  his  back?  That’s 
Minnie  the  Ha-Ha  for  you.  Up  to  another 
practical  prank.  Funny?  Ask  Pete  (of  the 
drenched  shirt) ! How  can  Minnie’s  victims 
know  that  such  buffoonery  conceals  shy- 
ness; a need  for  notice?  Being  herself  is  a 
gal’s  better  bet.  And  on  "those”  days,  com- 
fort helps.  Remember,  Kotex  gives  softness 
that  holds  its  shape . . . doesn’t  chafe ! 


Just  met — what’s  your  chatter  cue? 

I I Take  over  Q Proceed  with  caution 

Maybe  you  point  out  another  newcomer, 
and  coo:  "What  a creep!  Hope  he  doesn’t 
cut  in!”  He  won’t.  Neither  will  the  lad 
you’re  talking  to — who  happens  to  be  the 
creep’s  brother!  Lesson:  be  kind,  or  be 
quiet  ! You  can  be  confident  (at  calendar 
time),  with  Kotex.  Those  flat  pressed  ends 
prevent  outlines.  And  here’s  an  added  worry- 
saver  : Kotex  can  be  worn  on  either  side! 


More  women  choose  KOTEX* 
than  all  other  sanitary  napkins 


Should  a back-to-school  shopper  be  — 

I I Label-conscious  Q Loaded  with  lucre 

Budgeteen  or  million  dollar  baby — look  for 
labels  on  togs  before  you  buy!  Little  tags 
that  tell  about  shrinkage,  fade-resistance; 
whether  a fabric’s  sudsworthy  or  should  be 
dry  cleaned.  Helps  you  choose  what’s  best 
for  you.  So  too,  when  choosing  Kotex,  look 
for  the  labels  Regular,  Junior,  Super.  Of 
these  3 sizes  there’s  one  exactly  suited  to 
you;  gives  the  complete  absorbency  you  need. 


— — *T.  M.  RES.  U.  S.  PAT.  OFF. 

Which  of  these  "steadies”  does  most  for  you? 

I I Romeo  & Juliet  Q Kotex  & Kotex  belts  Q Moon  V June 
Made  for  each  other  — Kotex  and  Kotex  sanitary  belts  — and  made  to 
keep  you  comfortable.  Of  strong,  soft-stretch  elastic,  they’re  designed 
to  prevent  curling,  cutting  or  twisting.  So  lightweight ! And  Kotex  belts 
stay  flat  even  after  many  washings.  Buy  two  . . .for  a change! 


P 


75 


And  then  there  was  the  neighborhood 
gang,  kids  from  families  as  hard  pressed 
as  Bernie’s  own.  In  the  excitement  of  their 
games,  they,  too,  could  forget  the  empty 
cupboards  at  home. 

Says  Janet,  “You  know  the  way  kids 
are.  Tony  wanted  their  approval,  but  he 
was  just  a kid  on  the  edge  of  the  gang. 
He  didn’t  really  belong.  So  he’d  try  a little 
harder  to  excel.  There’s  always  a challenge 
to  make  the  game  a little  more  exciting  by 
making  it  a little  more  real.” 

Bernie,  by  then  age  twelve,  had  one 
game  where,  because  of  his  acting  ability, 
he  did  excel.  The  dangerous  game  of  “vic- 
tim.” 

It  was  an  invention  born  of  the  East  Side 
where  truck  drivers,  intent  on  making  the 
next  light,  roared  along  the  arterial  streets 
at  a terrific  pace. 

Nimble  Bernie  and  his  pals  made  it  pro- 
duce both  thrills  and  profit.  Dodging  in 
and  out,  they  would  pretend  to  be  hit  and 
fall  moaning  to  the  street.  Bernie  tri- 
umphed when  he  could  make  a driver  pull 
up,  thrust  some  money  into  his  hand  and 
rush  away,  calling  over  his  shoulder,  “I  m 
sorry,  kid.” 

The  fact  that  he  never  once  encountered 
a conscientious  driver  who  would  call  the 
police  or  offer  to  take  him  to  the  hospital 
gave  Bernie  an  extra  measure  of  cynical 
daring.  Playing  “victim”  was  both  more 
fun  and  more  lucrative  than  shining  shoes. 

Then  came  the  day  when  Bernie’s  gang 
followed  a parade.  They  were  having  a ball 
when  friends  ran  up  to  tell  them  a child 
had  been  hit  by  a truck.  One  shouted  to 
Bernie,  “It  looks  like  your  brother.” 

A minute  later  a traffic  cop  yelled  at^him, 
“Get  over  here  and  identify  this  kid.” 

That  was  the  shock.  In  that  crisis,  not 
only  his  brother’s  life,  but  also  Bernie  s 
future,  balanced  on  a knife  edge. 

It  is  still  in  the  front  of  Tony’s  mind. 
He  says,  “That  was  the  worst  moment 
ever.  Julie  had  always  been  more  sensi- 
tive than  I.  I had  planned  how  to  help  him 
over  the  rough  spots  so  he  wouldn  t have 
it  so  tough  as  I’d  had.  Now  the  worst  had 
happened.” 

Sharply,  he  recalls  exactly  how  he  felt. 
“I  wanted  to  run  for  my  folks.  I wanted 
to  scream  for  my  mother.  Then  I knew 
I couldn’t  do  it.  I had  to  act  grown  up.  I 
think  maybe  I did  grow  up  right  then.  I 
certainly  was  never  really  young  again 
after  I looked  down  and  saw  it  was  Julie.” 

The  streets,  which  nimble  Bernie  had 
regarded  as  his  own  playground,  had  this 
time  claimed  a real  victim.  In  two  days, 
Julie  was  dead. 

Soon  hate  filed  a sharp  new  edge  to 
Bernie’s  grief.  In  offering  a two-thousand- 
dollar  settlement,  the  lawyer  for  the 
trucking  company  said,  “Too  bad  the  boy 
didn’t  live.  That  way  you  would  have  had 
a steady  income  for  life.  Not  big,  but  con- 
tinuing.” 

Glaring  at  the  man,  Bernie  promised 
himself  that  some  day  he  would  kill  him. 

Two  months  later,  disaster  again  drove 
deep.  Mono’s  store  was  robbed  and  they 
lost  everything. 

It  was  too  much  for  his  father.  Mono 
had  a breakdown.  Helen,  Mono’s  wife, 
overwhelmed  by  the  tragic  series  of  events, 
tried  desperately  to  provide  for  her  family. 
But  her  struggle  went  unrewarded  and 
she  was  forced  to  put  Bernie  into  a home. 
By  the  time  his  father  recovered  and  re- 
united his  family,  young  Bernie  was  carry- 
ing a heavy  load  of  bitterness. 

Says  Janet,  sharing  that  long-ago  trial, 
“What  does  a boy  do  in  a case  like  that? 
Whom  should  he  blame?  He  could  blame 
the  trucking  company.  He  could  blame  the 
city.  He  could  blame  society  in  general.” 

There’s  both  sorrow  and  pride  in  her 
voice  as  she  continues.  “Right  then,  Tony 
found  that  wonderful  quality  which  he 


has  had  to  depend  upon  so  many  times. 
He  faced  up  to  the  fact  that  his  little 
brother  had  seen  him  play  ‘victim.’  For 
Julie’s  death,  Tony  blamed  himself.” 

But  such  self-blame  also  holds  danger. 

The  feeling  that  he  had  brought  death 
to  his  brother  and  sorrow  to  his  beloved 
parents  imposed  a weight  which  not  even 
their  love  for  him  could  fully  lift.  Many  a 
lad,  bearing  such  a guilt,  has  concluded 
his  own  life  is  worthless  and  turned 
fanatically  reckless. 

Janet,  recognizing  how  heavily  the 
scales  were  tipping  against  Tony,  says, 
“The  gang  was  getting  too  old  to  act  out 
a simple  game  of  cops  and  robbers.  That 
temptation  to  make  it  more  real  was  creep- 
ing up  on  them.  They  hadn’t  yet  done  any- 
thing seriously  wrong,  but  they  were  close. 
Tony,  wanting  to  find  from  the  gang  the 
companionship  he  had  lost  with  the  death 
of  his  brother,  was  ready  to  try  anything 
to  win  from  the  gang  the  approval  he  could 
not  give  himself.  I think  he  was  close  to 
doing  something  desperate.  That’s  why  we 
bless  Paul  Schwartz.” 

With  the  advent  of  Paul  Schwartz  (who 
was  no  relation)  those  tilted  scales  of 
fate  got  a man-sized  heave  in  the  other 
direction. 

For  Paul  Schwartz,  then  program  di- 
rector at  Henry  Street  Settlement  House, 
was  a dedicated  man  who  had  both  ex- 
cellent professional  social-work  training 
and  also  an  inspired  way  of  dealing  with 
kids.  Warm  and  friendly,  he  recognized  the 
same  thing  Janet  later  identified — that 
many  pranks  are  simply  an  attempt  to  act 
out  an  adventure.  Paul  Schwartz  believed 
that  a healthy  session  of  dramatics  on 
stage  could  eliminate  a dangerous  amount 
of  malicious  mischief  on  the  streets.  He  let 
Bernie’s  gang  know  they  would  be  wel- 
come at  Henry  Street. 

Bernie  was  then  about  fifteen  and 
alarmingly  quiet.  His  grieving  over  Julie’s 
death,  the  separation  from  his  parents 
while  his  father  was  ill  had  taken  all  the 
bounce  out  of  him.  He  was  frigidly  with- 
drawn on  the  outside  while  seething  with 
hurts,  puzzlement,  anger  inside. 

Says  his  friend  Sam  Negrin,  “In  the  be- 
ginning, we  had  to  needle  him  into  com- 
ing out  of  his  shell  to  try  to  do  anything.” 

Sam  and  Bernie  met  the  day  both 
turned  up  at  Paul  Schwartz’s  office  looking 
for  the  summer  jobs  which  East  Side  kids 
regarded  as  fabulous. 

Says  Sam,  “The  official  designation  was 
‘kitchen  boy  and  counselor-in-training.’ 
In  terms  of  work  it  actually  meant  that 
we  went  up  to  Henry  Street’s  camp  at 
Mahopac  Falls,  New  York,  to  wash  dishes 
for  one  hundred  and  twenty-five  people, 
scrub  floors  and  ride  herd  on  the  smaller 
kids.  The  important  thing  to  us  was  that 
we  got  a summer  in  the  country,  but  we 
didn’t  lose  sight  of  the  fact  that  we  also 
were  paid  twenty  dollars  for  those  ten 
weeks’  work.” 

Competition  for  the  jobs  was  terrific 
and  both  boys  felt  as  though  they  had  just 
been  knighted  when  they  were  among  the 


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complete  and  authoritative  in 
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“ This  Is  Your  Life” 
in  the  September  issue  of  Photoplay 

MUST  READING  FOR  ALL  FANS! 


lucky  ones  chosen.  They  were  sent  up  to  | 
open  the  camp  and  get  it  ready  for  the  i 
other  kids. 

Sam’s  recollection  of  that  first  night  in 
the  woods  provides  a capsule  picture  of 
fifteen-year-old  Bernie  Schwartz,  his  I 
hopes,  fears,  anxieties. 

This  advance  crew  was  small.  To  bed 
down  for  the  night  they  set  their  cots  in 
close  formation  in  the  dining  hall,  and  as 
they  prepared  for  bed  even  the  toughest 
in  the  group  was  homesick. 

Kids  who  had  learned  to  sleep  with  neon 
signs  glaring  in  their  windows  stared  wide 
awake  into  the  darkness;  those  who  ig- 
nored the  roar  of  the  Third  Avenue  El 
jumped  at  the  chirp  of  a cricket;  boys  who  [ 
prowled  vicious  streets  without  thought 
were  scared  to  set  foot  outside  the  door. 

They  were  so  jittery  about  the  emptiness 
of  the  country  that  Bernie  found  no  com- 
panions when  he  inquired  timidly,  “Don’t 
you  want  to  go  down  to  wash  up?” 

The  washing-up  shack  was  at  least  fifty 
yards  down  an  unlighted  path.  One  by  one 
each  of  the  kids  answered,  “Not  me.” 
Bernie  set  out  alone. 

Sam  grins  ruefully  as  he  recounts  Act 
II  of  their  little  drama.  “I  should  have  had 
my  ears  pinned  back,”  he  confesses,  “but  i 
I set  up  a gag.  We  agreed  that  when  : 
Bernie  returned,  we’d  give  him  a real 
scare.” 

The  youngster  was  literally  whistling  in  I 
the  dark  as  he  approached  the  door.  That  i 
was  their  signal  to  pile  into  bed  and  pre- 
tend sleep.  Frightened  and  lonely,  Bernie 
went  from  cot  to  cot  whispering,  “Hi,  Joe. 
You  asleep,  Sam?”  No  one  answered. 

He  bent  to  untie  his  shoes.  That  was  the 
signal  for  all  to  jump  up  and  yell  “Boo!” 

Says  Sam,  “I  was  no  more  than  six  inches 
from  his  ear  and  no  one  was  further  than 
a few  feet  away.  We  thought  it  hilarious 
when  we  yelled,  but  in  a minute,  we  knew 
it  wasn’t  funny.  Bernie  fell  back  on  his  | 
bed,  his  heart  pounding  so  hard  we  could 
see  it.  For  a half  hour,  he  couldn’t  get  his 
breath.  We  thought  he  was  going  to  die. 
That’s  when  I gave  up  practical  jokes.” 

But  when  it  came  to  work,  Bernie  proved 
he  was  no  weakling.  He  did  more  than  his  I 
share  of  the  scrubbing  and  never  com- 
plained about  blistered  hands  or  sore  mus- 
cles. 

When  the  athletic  program  was  started, 
Bernie  came  into  his  element.  Says  Sam,  i 
“He  was  our  best  tumbler,  a sort  of  Doug-  1 
las  Fairbanks,  j.g.  He  was  so  limber  you  ; 
wondered  if  he  had  a bone  in  his  body,  h 
We  spread  our  mattresses  out  on  the  grass  ! 
so  he  could  teach  his  tricks  to  the  other 
kids.” 

Bit  by  bit,  Bernie  Schwartz  was  coming  i 
out  of  his  shell,  but  it  was  in  the  dramatic 
program  that  he  really  found  himself. 

Says  Sam,  “Paul  Schwartz  was  hipped 
on  dramatics.  Putting  on  a musical  show 
became  the  great  project  of  the  camp.  We 
all  pitched  in  to  do  everything.  We  wrote 
it,  we  rigged  up  costumes,  we  built  sets.” 

For  Bernie,  this  was  a realization  of 
both  his  own  dreams  and  his  father’s.  The 
theatre,  which  until  then  had  seemed  as 
distant  and  as  impossibly  unattainable  as 
Mars,  was  suddenly  alive  and  he  was  a 
part  of  it. 

He  was  no  star  in  that  first  camp  pro- 
duction. In  fact,  the  boy  who  was  to  be- 
come Tony  Curtis,  a big  boxoffice  attrac- 
tion, never  had  a starring  role  at  Henry 
Street  Settlement. 

But  that  never  bothered  him.  Sam,  with 
his  present  perspective,  says,  “He  did  find 
an  opportunity  to  express  himself.  Besides 
that,  he  discovered  in  working  on  produc- 
tion  that  dreams  could  be  turned  into  I 
reality.  He  had  the  excitement  of  opening 
night  and  the  satisfaction  of  doing  a job 
well.” 

Bernie  Schwartz  was  a changed  boy  1 


3 minute 
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RICHARD  HUDNUT 
ENRICHED  CREME  SHAMPOO 


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RICHARD  HUDNUT 


OF  FIFTH  AVENUE 


when  he  came  back  from  camp  that  year. 
Sidney  Schulman,  who  met  him  when  both 
went  to  Seward  Park  High  School,  has  a 
far  different  impression  from  that  of  the 
too-quiet,  withdrawn,  old-before-his-time 
kid  whom  Sam  Negrin  first  saw. 

Says  Sidney,  “Bernie  was  always  acting, 
always  clowning.  We’d  be  riding  the  El 
home  and  he’d  get  his  coat  up  over  his 
head,  pull  his  arms  half  out  of  his  sleeves, 
waggle  them  and  announce,  ‘Look,  I’m  a 
rabbit.’  He’d  do  anything  for  a laugh.” 

Bernie  continued  to  go  to  Henry  Street 
Settlement  House.  His  second  year  at 
camp  he  was  a full  counselor.  During  the 
winter,  there  were  always  plays  to  work 
on  under  the  inspired  direction  and  exam- 
ple of  Paul  Schwartz. 

Says  Sam,  “Bernie  carried  his  own 
weight  and  worked  well  with  the  group. 
I was  the  real  ham.  I would  have  raised 
the  devil  if  I hadn’t  got  lead  roles,  but  not 
Bernie.  He’d  like  as  not  be  backstage 
pulling  the  curtain  or  going  on  in  a half- 
dozen  bit  parts  in  each  show.” 

It  was  a proud  night  for  Bernie 
Schwartz,  son  of  Mono  Schwartz,  Buda- 
pest actor,  when  he  first  was  able  to  in- 
vite his  parents  to  see  a show.  Whatever 
his  roles,  he  was  able  through  them  to 
breathe  life  into  both  his  father’s  dreams 
and  his  own.  That  was  important  to  both 
of  them,  but  an  even  more  significant 
thing  was  happening  so  gradually  that  it 
was  imperceptible  at  the  time. 

Bernie  Schwartz  was  learning  the  give- 
and-take  of  living.  He  was  able  to  accept 
guidance  because  he  also  had  discov- 
ered that  he,  himself,  had  something  to 
give  back.  He  had  started  to  find  his  place 
in  the  world.  The  danger  of  delinquency 
was  past. 

Sam  Negrin,  whose  conversation  blithely 
mixes  jive  talk  with  social-work  terms, 
says,  “He  had  begun  to  integrate — to  ac- 
cept his  responsibilities  as  a young  adult. 
He  could  make  plans  for  his  future.  His 
parents  had  given  him  the  assurance  of 
being  loved,  and  Paul  Schwartz,  who  in- 
fluenced us  both  so  strongly,  had  opened 
the  door,  but  it  was  Bernie  alone  who 
walked  through  that  door  and  carried  on 
from  there.  In  fact,  that  cat  was  solid.” 

Janet  says,  “It’s  because  of  what  Paul 
Schwartz  and  Henry  Street  did  for  Tony 
that  we  both  believe  so  strongly  in  boys’ 
clubs  and  girls’  clubs.” 

She’s  too  modest  to  add  that  their  belief 
also  turns  into  practical  support.  They 
have  presented  scholarships  to  Henry 
Street’s  dramatic  department,  both  to  fur- 
ther the  work  that  is  being  done  for  all 
the  youngsters  who  need  a healthy  outlet 
for  their  pent-up  emotions  and  to  provide 
an  opportunity  for  some  really  talented 
kid  from  the  slums  to  have  more  advanced 
studies. 

Even  more  important,  both  Tony  and 
Janet  give  of  their  own  free  time  when- 
ever they’re  needed.  They  manage  to  turn 
up  at  community  houses  in  California  to 
lend  what  is  perhaps  more  valuable  than 
money — the  inspiration  that  comes  from 
their  example  of  the  rewards  of  acting, 
both  the  financial  rewards  and  the  emo- 
tional rewards.  Tony  talks  to  the  boys, 
giving  tips  on  acting  and  on  reading  their 
lines.  But  most  of  all  at  these  gatherings, 
Tony  is  remembering  back  a few  years  to 
the  time  when  he  too  stood  at  the  turning 
point  of  his  life,  a confused  bundle  of 
seething  energy  in  a world  that  was  too 
big  for  him  to  tackle  and  yet  too  small  to 
help  him  try.  And  he’s  wondering  how 
many  of  these  kids  will  find  a solution  as 
perfect  as  the  one  he  has  found.  Not  neces- 
sarily as  an  actor,  although  of  course  that 
would  please  him.  And  he’s  hoping  for  the 
best,  rooting  for  these  kids  the  way  his 
friends  rooted  for  him  not  so  long  ago. 

The  End 


1 minute 
beauty-finish 


Easier-to-manage, 
shinier  hair  with 

RICHARD  HUDNUT 
CREME  RINSE 

It  takes  just  a minute 
to  pour  this  pretty  pink 
Creme  Rinse  through  your 
hair  after  your  shampoo ! 

It  seals  in  the  lovely 
shampoo-shine,  and  gives 
hair  the  “slip”  it  needs 
for  easy,  tangle-free  combing. 
Helps  prevent  drying  and 
splitting,  too.  And  leaves 
hair  with  a fragrance 
fresh  as  the  West  Wind ! 

P.  S.  Mothers  find  Creme 
Rinse  wonderful  for 
children’s  hair!  No  more 
snarls  to  fuss  with!  In  60c 
and  $1  sizes,  plus  Fed.  tax. 


RICHARD  HUDNUT 

OF  FIFTH  AVENUE 


77 


Soft-Hearted  Menace 


1 


( Continued,  from  page  41) 
a unit.  And,  like  many  parents  before 
them,  Burt  and  Norma  often  discover  that 
when  they  try  to  be  most  “advanced”  they 
have  to  react  in  the  old-fashioned  man- 
ner. In  their  attempt  to  teach  the  “kid- 
lets,”  they  discover  they,  themselves,  are 
the  ones  being  taught. 

But  to  get  back  to  the  Lancasters  as 
parents — as  you  undoubtedly  know,  they 
met  in  Montecatini,  Italy,  during  the  war 
year  of  1944.  Burt  was  the  tall,  handsome, 
unknown  sergeant.  And  Norma  was  the 
pretty  stenographer,  who,  by  accident,  had 
been  sent  to  Italy  with  a USO  troupe. 

How  are  some  lucky  people  able  to  tell 
at  a glance  that  they  are  right  for  one 
another?  What  divine  sixth  sense  lets 
them  know  they  can  fulfill  each  other’s 
highest  ideals?  Burt  Lancaster  and  Nor- 
ma Anderson  weren’t  one  bit  alike.  He 
was  the  rough,  tough  city  boy.  She  was 
the  pretty  little  country  girl. 

His  has  always  been  the  serious  touch. 
It  showed  there  in  wartime  Italy  when,  at 
their  first  meeting,  he  told  her  that  he 
wanted  four  children— two  boys,  two  girls. 

Hers  has  always  been  the  light  touch. 
She  nicknamed  him,  then  and  there, 
H.  B.  L.  That  means,  you  see,  Handsome 
Burt  Lancaster,  which  she  still  calls  him 
to  this  day,  particularly  in  moments  of 
deep  emotion. 

Yet  they  were  in  love,  in  that  instant. 
You  know  the  stories  about  Burt  being 
AWOL,  trying  to  follow  her,  and  her  being 
AWOL,  trying  to  get  back  to  him.  And  it 
wasn’t  just  because  it  was  springtime  and 
wartime  and  they  both  were  hungry  for 
the  sight  of  members  of  the  opposite  sex. 
A hundred  thousand  other  war  marriages 
as  hastily  performed  as  theirs  cracked  up 
the  moment  the  couple  met  again,  state- 
side. But  Burt’s  and  Norma’s  did  not.  This 
marriage  was  for  real.  This  still  is. 

Burt  came  out  of  uniform,  penniless  and 
without  prospects.  “We’ll  eat,”  said  Nor- 
ma serenely.  “I’m  working.” 

“This  girl  of  mine,”  Burt  will  tell  you 
now,  ten  years  later,  “this  girl  of  mine  is 
like  a rock  when  she  makes  up  her  mind 
to  a thing.  Nothing  shakes  her.”  Coming 
back  from  the  war,  it  must  have  been  both 
a shock  and  a delight  for  Burt  to  discover 
his  girl  was  not  the  frivolous,  light-hearted 
creature  that,  on  the  surface,  she  seems 
to  be  to  this  moment.  Incidentally,  Burt’s 


word  “girl”  is  his  warmest  term  of  en- 
dearment. He’s  an  absolute  mush  of  senti- 
ment for  his  daughter  Susan.  He  loves  to 
believe  that  he’s  stern  and  hard,  but  all 
Susie  has  to  do  is  turn  her  big  eyes  his 
way  and  he’s  down  on  all  fours  before  her. 
“Oh,  you  little  girl,  you  little  girl,”  he 
says,  whereupon  Joanna  always  cries,  “Me, 
too,  me,  too,  Daddy.” 

But  that’s  getting  ahead  of  this  story. 

He  did  actually  find  himself  very  quickly 
after  the  war,  of  course.  He  stood  out  like 
a flag  in  the  flop  play  “The  Sound  of 
Hunting,”  which  didn’t  last  a week  on 
Broadway  but  which  got  him  his  movie 
contract  with  Hal  Wallis.  He  really  didn’t 
want  to  go  to  Hollywood.  He  was  quite 
haughty  about  movies  in  those  days.  In 
fact,  like  many  a young  person  without 
a dime,  he  was  quite  haughty  about 
everything. 

He  needed  the  money,  though,  because 
there  was  Norma,  already  putting  a family 
pattern  into  effect.  “No,  I won’t  go  out 
there  with  you,”  Norma  said.  “We  can’t 
afford  that  and  you’ll  need  to  keep  your 
mind  on  your  work.  Anyhow,  goodness 
knows,  I’ll  be  busy  enough  producing  your 
first  son.” 

“How  are  you  so  sure  he’ll  be  a son?” 

“That’s  what  you  ordered  first,  H.  B.  L.” 

So,  then  and  there,  they  decided  to  name 
him  Jimmy,  and  the  father-to-be  sped 
West,  sure  he’d  be  back  in  New  York  be- 
fore the  stork.  But  the  Wallis  picture  in- 
tended for  his  debut  wasn’t  ready.  He  sat 
and  fretted  and  fretted.  Then  “The  Kill- 
ers” came  along.  Midway  through  it,  he 
got  that  call  from  Norma.  She  was  in  the 
hospital. 

Burt  hates  flying,  but  he  flew  that  night. 
He  hurtled  into  the  New  York  hospital, 
unshaven  and  red -eyed  from  sleepless- 
ness. On  his  way  to  his  wife’s  room,  he 
had  to  pass  the  big  window  behind  which 
the  new  babies  were  displayed. 

“There  was  an  absolute  throng  of  women 
around  the  window,”  Burt  told  me  this 
spring  in  Mexico.  We  were  sitting  to- 
gether on  the  set  of  “Vera  Cruz.”  There 
was  a throng  of  extras  on  the  set  and 
movement  everywhere.  Music  was  blar- 
ing and  the  lights  were  up,  but  Burt  was 
ignoring  it  because  he  was  reminiscing. 

“I  saw  that  crowd  and  I had  only 
one  thought — to  push  my  way  through  and 
get  to  see  Norma.  But  just  then  I heard 


one  woman  cry  to  another,  ‘Oh,  look.  Over 
there.  That’s  the  handsomest  baby,’  and 
my  curiosity  got  the  better  of  me.  Over 
those  women’s  heads  I glanced  down.  And 
there  was  my  own  face  looking  back  at 
me,  only  so  small  and  red  and  with  a 
crown  of  Norma’s  yellow  hair  all  around  it. 
I just  stood  there  and  gulped.  That  was 
my  son.  And  with  that,  one  of  the  women 
turned  and  saw  me,  gasping  like  a fish,  I 
suppose.  She  gave  a yell.  ‘Look,  it’s  the 
father,’  she  said  and  when  I saw  all  those 
women  turn  to  look  at  me,  I’m  telling  you, 
I just  took  to  my  heels  and  ran.” 

But  within  another  hour,  his  ecstasy  was 
tempered,  for  he  knew  then  what  Norma 
already  knew:  Small  Jimmy  had  been  born 
with  a club  foot. 

He  had  to  return  to  Hollywood  at  once, 
of  course.  He  was  not  important  enough 
for  production  to  be  held  up  for  him.  But 
before  he  left,  he’d  made  his  first  serious 
acquaintance  with  medical  science.  It 
would  take  care  and  money  and  time,  but 
his  son  would  emerge  as  strong  as  every 
other  boy  by  the  time  he  got  ready  to 
walk. 

“The  Killers”  did  it.  Burt  Lancaster 
was  a star  overnight.  He  rented  his  first 
house,  at  the  beach  at  Malibu,  the  morn- 
ing after  the  preview.  He’s  always  been 
a man  of  great  social  consciousness.  But 
right  then  he  went  overboard.  He  not  only 
phoned  Norma  to  come  out  at  once  with 
the  baby.  He  called  his  dad,  too,  and  his 
widowed  sister-in-law,  and  Nicky  Cravat, 
his  old  carnival  partner,  and  Nicky’s  wife 
and  a couple  of  chums  from  the  Army. 
They  all  arrived  and  moved  in.  And 
stayed. 

Until  the  day  when  Norma  told  him 
their  second  son  was  impending.  “Brute 
Force”  was  behind  him  then  and  “I  Walk 
Alone”  and  a couple  of  other  movies — but 
he  didn’t  have  a dime.  He  looked  at  Norma 
and  again  he  was  overjoyed  and  also 
worried. 

“I  guess  we’ll  have  to  have  a bigger 
house,”  he  said. 

“Or  smaller?”  said  Norma.  “Maybe  a 
lot  smaller  and  not  on  a beach  or  acces- 
sible, too  easily,  by  car?” 

And  suddenly  they  were  laughing  to- 
gether, and  she  was  in  his  arms.  “How 
lucky  can  a guy  be?”  Burt  asked  her. 

Bill  came  into  the  world  a little  ahead 
of  schedule,  a wonderful  golden  boy,  look- 
ing as  much  like  Norma  as  Jimmy  looks 
like  Burt.  But  two  small  babies  under- 
foot proved  a bit  too  much  for  the  old 
Army  buddies.  They  dropped  off.  And 
when  Susan  made  her  appearance  about 
twenty  months  later,  Nicky  Cravat  and 
his  wife  saw  that  the  Lancasters  were 
definitely  crowded.  So  they  took  a house, 
not  too  far  away,  from  which  they  could 
all  be  old  friends  without  any  strain  on 
anybody.  Bert’s  father,  whom  they  all 
adore,  stuck  it  out  until  he  heard  Joanna 
was  due.  “Three  I can  stand,”  Pop  said, 
“but  four  is  an  awful  lot  of  babies  to  be 
around  when  you’re  an  old  man.  You- un- 
derstand, son?” 

Son  understood  so  well  he  went  out  and 
bought  Pop  a house  and  a car — and  even 
brought  together  Pop  and  an  old  pal  who 
also  was  a widower,  to  share  it  with  him. 

And  then  the  real  blow  fell.  Billy,  the 
second  son,  contracted  polio.  Jimmy,  for 
whom  the  Lancasters  had  felt  such  con- 
cern, was  long  since  brought  to  full  physi- 
cal vigor.  Susibet  has  always  been  sturdy 
as  a little  tree.  Joanna  was  about  to  be 
born — but  they  forgot  everything  under 
the  devastating  knowledge  that  Bill  might 
not  even  live — and  if  he  did  he  might  al- 
ways be  crippled. 

Burt  and  Norma  did  not  sleep  that  first 
terrible  night.  All  parents  ol  all  such 


They  were  talking  about  ME! 

Countless  listeners  have  been  amazed  to  find  their  own 
problems  dramatized  on  radio's  “My  True  Story.”  You  see, 
these  vivid,  emotion-packed  stories  are  taken  right  from 
the  files  of  “True  Story  Magazine.”  They  deal  with  true-to- 
life  situations  of  love  and  fear,  jealousy  and  hope  . . . 
the  lives  of  people  as  real  as  the  people  you  meet  every 
day.  This  is  why  you  may  very  well  hear  your  problem 
dramatized  and  find  the  help  you  need  to  solve  it. 

TUNE  IN 

MY  TRUE  STORY 

American  Broadcasting  Stations 

Don’t  miss — “Despised” — dramatic  story  of  a wrong  love  in  August  TRUE  STORY  magazine  on  sale  now. 


A 


78 


afflicted  children  must  endure  the  same 
hing— the  first  night  when  you  watch  the 
'ever  curve  to  see  if  it  is  rising  or  falling, 
;he  difference  between  life  and  death.  Bill’s 
fever  left,  but  not  soon  enough.  If  it  does 
*o  soon  enough,  a child  can  escape.  But 
Bill’s  fever  persisted  too  long. 

Personally,  I think  that  was  the  turning 
joint  of  Burt  Lancaster’s  life.  That  night 
jf  family  travail  was  the  night  that  trans- 
formed him  from  just  another  talented  and 
landsome  actor  into  a mature  human 
being.  That  night  set  his  feet  on  the  path 
to  becoming  a great  artist. 

It  humanized  him  so.  Burt’s  a great, 
wonderfully  human  man,  make  no  mis- 
take about  it.  I met  him  first  while  he  was 
shooting  “The  Killers,”  and  I was  very 
ileased  the  first  time  he  asked  me  to  come 
and  meet  Norma,  because  he  had  an 
obsession  at  that  time  about  keeping  “his 
I irivate  life  his  own.”  But  at  the  time  of 
‘The  Killers”  he  really  was  pretty  sure 
that  he  had  the  answers  to  everything — 
and  anybody  who  disagreed  with  him  was 
wrong,  that  was  all.  One  thing  he  was 
nost  positive  about  was  that  many  people’s 
attitudes  toward  social  problems  weren’t 
right.  Most  sincerely,  he  wanted  equal 
rights  for  everybody,  particularly  regard- 
less of  race,  creed  or  color.  He  still  wants 
that,  and  he  definitely  practices  what  he 
preaches.  (He  puts  it  on  film  too;  his 
rurrent  U.A.  picture,  “Apache,”  realisti- 
cally shows  injustices  done  to  the  Indians.) 
But  now  he  knows  other  people  may  want 
;o  solve  these  problems,  too,  yet  have  a 
iifferent  approach  to  working  them  out. 

He  perceived  this  that  night  when  Billy’s 
ife  hung  in  the  balance.  It  was  his  first 
close-up  of  the  impersonal  kindness  of 
doctors.  He  saw  then  the  impersonal  gen- 
erosity of  a big  city.  He  saw  how  ambu- 
lances and  nurses  and  medical  science 
would  all  swing  in  together  to  try  to  save 
ane  small  boy.  This  particular  little  boy 
was  a movie  star’s  son,  but  he  could  just 
is  well  have  been  a pauper’s  son.  The 
:are  would  have  been  the  same. 

The  Lancasters  started  their  swimming 
pool  the  next  morning.  This,  said  the 
doctors,  would  be  therapy  for  Bill.  Burt 
mmediately  began  making  personal  ap- 
pearances for  all  the  medical-fund  drives. 
\nd  week  by  week,  and  month  by  month, 
Billy  got  better.  The  brace  that  went  to 
lis  hip  was  replaced  by  one  that  went  to 
lis  knee,  then  only  to  his  ankle.  And  now 
:he  good  news  is  that  this  summer  he  can 
I lave  a muscle  transplanted  that  will  let 
lim  run  as  easily  as  other  kids. 

Which  just  about  brings  the  Lancaster 
family  story  up  to  date,  for  nothing  has 
aver  happened  to  those  sturdy  little  girls, 
Busan  and  Joanna.  They  are  just  the  most 
beautiful,  that’s  all. 

■ And  what  will  happen  when  the  newest 
: paby  comes?  Well,  there  will  be  moments 
ike  this,  undoubtedly.  Moments  like  the 
me  last  winter  when  we  adults  were  all 
alaying  bridge  and  Burt  went  upstairs  to 
lined  the  light  burning  in  Jimmy’s  room. 
Ihere  was  Jimmy,  drawing  a mural  all 
around  four  sides  of  the  room.  It  ruined 
;he  wallpaper,  of  course,  but  we  all  had 
;o  stop  and  go  up  and  see  the  mural.  It 
really  was  a wonderful  mural,  for  a boy 
ess  than  eight. 

Or  moments  when  Susie  and  Joanna 
:limb  up  on  their  father  and  push  the 
buttons  on  his  jacket.  Sometimes  the  but- 
:ons  on  the  left  stand  for  “down”  and  the 
auttons  on  the  right  mean  “up.”  They  are 
lever  sure.  But  “up”  one  of  the  girls  goes 
ligh  in  the  air,  and  “down”  the  other  goes, 
almost  to  the  floor.  But  always  they’re 
' quite  safe  in  Daddy’s  arms.  The  shower  of 
giggles  testifies  to  this. 

“But  a fifth,”  says  Burt  and  then  he 
smiles.  “In  my  wildest  dreams,  I never 
jireamed  I could  have  it  so  good.” 

The  End 


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79 


Richard  the  Light-hearted 


(Continued  from  page  57) 

Sarrat,  outside  London,  the  Widmarks  are 
living  in  an  ancient  and  wonderful  house 
called  “The  House  Under  the  Heavens” 
while  Dick  works  in  Warwick  Productions’ 
“Prize  of  Gold”  which  Mark  Robson  is  di- 
recting in  Berlin,  Hamburg  and  London. 

But  don’t  get  the  idea  that  Dick  is  run- 
ning away  from  Hollywood.  It  was  coin- 
cidence that  his  first  venture  on  his  own 
took  him  so  far  away.  He  is  not  one  of 
those  actors  who  agonize  throughout  their 
Hollywood  labors  as  though  they  were  do- 
ing penal  servitude.  He  resents,  he  says, 
actors  who  moan  that  they  must  get  away, 
get  back  to  the  theater,  back  to  art  and 
away  from  crass  commercialism. 

“This  is  home,”  he  said,  looking  about 
the  pleasant  gardens  of  his  Mandeville 
Canyon  ranchhouse  just  before  he  sailed 
for  England  late  last  May. 

“No  matter  what  I do  from  now  on” — 
and  he  expects  to  do  six  pictures  in  the 
next  two  years,  then  a play — “If  a good 
one  comes  up,”  perhaps,  ultimately,  even 
some  television — “This  will  always  be 
home  base.  We  have  more  roots  here  now 
than  anywhere. 

“I  like  it  here.  I like  the  life — we  all  do. 
I like  the  work  itself  . . . and  not  just  the 
material  rewards.” 

He  is  challenged  by  the  opportunity  to 
choose  his  own  vehicles,  but  you  will  be 
disappointed  if  you  expect  from  him  any 
scornful  denunciations  of  the  people  who 
have  guided  his  career  for  seven  years. 

“Fox  did  a lot  for  me,”  he  says.  “I  hate 
the  word,  but  they  made  me  a saleable 
‘property.’  They  had  the  courage  to  give 
me  a variety  of  roles — resisted  the  tempta- 
tion to  type  me,  even  after  the  success  of 
my  psychopath  in  ‘Kiss  of  Death.’  They 
let  me  do  a lot  of  pictures  ...  an  average 
of  better  than  three  a year.  Occasionally 
we  came  through  with  a pretty  good  one. 
But  good  or  bad,  I learned  something  from 
every  one  of  them.” 

Gratitude  is  a sentiment  all  too  seldom 
voiced  by  the  frequently  self-pitying  hu- 
man “properties”  of  the  film  factories,  and 
when  it  is  it  comes,  usually,  in  the  nature 
of  a bow  to  the  security  which  accompa- 
nies a major  studio  contract. 


This,  Richard  Widmark  believes,  is  non- 
sense. “The  only  real  security  comes  from 
a belief  in  oneself — and  that  goes  for  every 
man,  whatever  he  does  to  make  a dollar.” 

He  himself,  radiating  self-confidence, 
will  make  quite  a few  dollars  in  the  com- 
ing months — for  “Prize  of  Gold,”  for  in- 
stance, as  many  dollars  as  he  was  paid, 
under  contract,  for  an  entire  year’s  work! 

But  even  if  he  shouldn’t,  “I’ll  have  some 
fun  for  a while,”  he  says.  “I  may  be  broke, 
but  I’ll  enjoy  it.” 

Enjoying  life,  you  begin  to  feel  after  a 
few  minutes  in  the  relaxed  Widmark 
home,  is  pretty  important  to  the  three 
people  who  live  there. 

The  big  living  room  is  warm  with  sun- 
light and  bright  with  a good  collection  of 
modern  paintings  on  the  pale  gray  walls 
and  bowls  of  spring  flowers.  The  room 
looks  lived  in — and  loved. 

From  a guest  house  across  the  garden 
comes  the  sound  of  a typewriter. 

“Jean  is  writing  a play,”  her  husband 
explains.  “She  works  every  morning,  and 
again  after  lunch  until  Annie  gets  home 
from  school.  It’s  a pretty  good  play.  Jean 
really  has  talent.” 

He  sounds  almost  envious  and  promptly 
admits  that  he  is. 

“I  would  love  to  write,  but  I can’t.  I’m 
just  terrible.” 

About  as  terrible,  he  indicates,  as  he  was 
as  an  instructor  in  the  dramatics  depart- 
ment at  Lake  Forest  University,  in  Illinois, 
where  he  taught  after  his  own  graduation. 

“I  was  the  world’s  lousiest  teacher,”  he 
confesses,  but,  having  wooed  and  won  a 
wife  during  his  college  years,  he  was  hard 
pressed  for  a job.  “And  Lake  Forest,  ap- 
parently, was  equally  hard  pressed  for  an 
instructor.” 

The  newlyweds  came  to  understand  the 
true  nature  of  security  during  those  four 
years,  and  Dick  quit  his  job  to  go  on  his 
own.  In  New  York,  he  went  the  rounds  of 
casting  offices  while  Jean  attended  the 
American  Academy  of  Dramatic  Art.  (The 
writing  urge  came  later.) 

Dick  made  “enough”  money,  and  they 
had  fun.  When  Ann  came  along  they  had 
“everything” — and  they  had  never  set  foot 
in  Hollywood. 


“Annie  is  quite  a girl,”  her  father  says, 
and  the  look  of  pride  on  his  face  indicates  1 
that  it  is  a prime  understatement. 

“She’ll  be  along  in  a few  minutes” — the 
school  bus  brings  her  to  the  door  from  the 
Santa  Monica  Canyon  school  she  attends— 
“and  when  she  comes  we’ll  have  to  get  out 
of  here.  She  has  to  practice  for  her  piano 
lesson.” 

Annie  arrived  as  predicted,  a pigtailed 
charmer  in  a pinafore  and  starched  petti- 
coats, confidently  displayed  her  “beautiful 
map  of  Australia”  and  a new  arithmetic 
book  and  then  marched  determinedly  to 
the  piano.  We  got  out  of  there. 

“Annie  is  staging  a small  revolution 
about  going  to  England,”  Dick  reported. 
“She  went  with  us  in  nineteen  hundred- 
and -forty-nine  when  I went  over  to  do 
‘Night  in  the  City’  and  she  hated  it.  She 
missed  her  pony  and  her  pals  on  the 
block,  and  this  time  it  will  be  worse — the 
Brownies  back  here  at  home  will  be  hav- 
ing picnics  and  beach  parties  while  all  she 
has  to  do  is  to  look  at  a lot  of  old  castles, 
and  in  addition  to  her  horse — the  poor 
old  tired  pony  is  almost  too  old  to  ride  by 
now — she’ll  have  her  two  dogs,  Trigger 
and  Choo  Choo,  to  worry  about.” 

Only  when  the  Widmarks  induced  their 
friend,  Ollie  Carey,  to  take  over  their 
house — and  their  pets — during  their  ab-  I 
sence  did  Ann  soften  her  attitude,  Dick 
says.  “Annie  knows  Ollie  is  as  silly  about 
animals  as  she  is.” 

But  she  relented  only  to  a point.  She 
insists  that  she  will  not  go  to  school  in 
England,  and  her  father  has  promised  to 
get  her  back  home  in  time  to  go  to  school 
with  her  friends,  even  if  he  and  Jean  de- 
cide to  stay  in  Europe  for  a few  weeks 
after  the  picture  for  a long-awaited  vaca- 
tion. 

Vacations  figure  as  largely  as  work  in 
the  plans  Dick  is  making  for  his  life  now 
that  he  is  running  it. 

The  family  owns  a “joint  back  in  Massa- 
chusetts”— actually  a wonderful  old  house 
in  the  center  of  a hundred  acres,  mostly 
woods — in  which  they  have  never  had  a 
chance  to  live.  They  may  decide  to  furnish 
it — their  furniture  from  the  old  New  York 
house  has  been  in  storage  since  their  hasty 
departure  for  Hollywood  seven  years  ago 
— and  spend  some  time  there  when  Dick  is 
between  projects.  That  is,  if  they  can  gain 
Annie’s  consent. 

Annie  is  a powerful  lot  of  person  for  her 
scant  nine  years,  and,  her  parents  are  cer- 
tain, loaded  with  talent.  What  kind  of 
talent  no  one  knows  just  yet.  Her  father 
is  hoping  that  it  won’t  be  acting. 

“This  business,  especially  movies,  is  too 
rugged  for  a girl,”  he  feels.  “It’s  so  com- 
petitive, so  ego-maniacal  that  it  makes  a 
woman  more  aggressive  than  the  most 
masculine  man.  Whatever  she’s  selling— 
whether  it’s  a personality  or  a big  bust— 
she  can’t  relax  for  a moment.” 

And  without  relaxation,  this  relaxed 
man  implies — and  if  he  is  ego-maniacal  he 
conceals  the  fact  skilfully — there  can  be 
no  “fun.”  No  security.  No  happiness. 

It  was  time  to  go.  Almost  time  for  Rich- 
ard Widmark  to  go  away  from  Hollywood, 
now  home  base. 

He  was  excited  about  the  big  new  pro- 
gram on  which,  as  an  actor,  he  was  em- 
barked, you  could  see  that.  But,  as  an  ac- 
tor, he,  like  Annie,  seemed  to  be  resisting 
progress  just  a bit. 

The  sun  was  bright,  and  the  garden  was 
full  of  flowers,  and  he  looked  at  his  home 
with  pleasure  and  pride. 

“I’ve  been  very  happy  here.”  he  said. 

And,  you  can  bet  on  it,  he’ll  be  back. 

The  End 


What’s  in  a Name? 

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80 


( Continued  from  page  37) 
engaged  in  public  works  projects.  In 
Rome,  where  we  moved  when  I was  two, 
he  built  beautiful  apartment  houses  all 
over  the  beautiful  city,  and  we  lived  in 
one  of  the  beautiful  apartments  my  father 
built. 

“My  father  spoiled  me.  He  even  cut  up 
my  meat  for  me!  And  all  the  things  there 
are  to  do  in  the  home  and  for  the  children, 
my  mother  shouldered.  My  mother  al- 
ways had  the  most  beautiful  taste,  so  that 
we  were  always  really  beautifully  dressed, 
Maria  Luisa  and  I,  and  later  our  baby 
sister,  Patrizia,  who  is  now  six.  We  were 
dressed  always  in  full  skirts,  flying  and 
floating  around  us,  and  little  soft  slippers, 
and  our  hair  was  always  nice  and  combed. 
Until  I was  sixteen  I wore,  always,  a little 
crown  of  flowers  in  my  hair.  I was  always 
very  fond  of  dresses,  as  I am  now.  I love 
clothes,”  Pier  said,  a glint  in  the  green 
eyes  under  the  fall  of  light  bronze  hair. 
“I  love  them!  Every  bit  of  money  my 
mother  gives  me  I spend  on  clothes,  so  I 
have  never  a nickel  in  my  pocket!  So  this 
being  always  beautifully  dressed  made  me 
very  happy,  too. 

“My  home  was  my  world,  and  for  as 
long  as  I was  in  my  home,  I did  not  suffer 
from  a growing  pain,  not  one.  I was  happy. 
I wanted  to  stay  always  in  my  home,  and 
always  a child.  It  was  this,  this  wish  to 
stay  always  a child  that  became  my  pain. 

“At  thirteen,  on  my  thirteenth  birthday, 
I remember  thinking  how  all  the  things 
were  on  my  mother’s  shoulders.  So  I had 
a long  talk  with  myself:  ‘Anna  Maria 
Pierangeli,  you  are  changing,’  I said.  'At 
thirteen,  you  are  coming  to  be  a woman. 
My  goodness,  stop  running  around  and 
being  a little  baby.  Playing  with  dolls 

J 


Sleeping  Beauty  Wakes  Up 

any  more  is  no  good!  You  must  grow  up!’ 

“But  soon  I forgot  this  talk  with  myself. 
I wanted  to  forget  it.  I wanted  not  to 
be  a woman.  I was  happy — and  then  the 
war  started  and  I was  unhappy.  I suf- 
fered very  much.  So  much  that  I was 
sick  in  my  bed  for  four  months.  I had 
no  fever.  I had  no  marks  on  me  of  a 
sickness  a doctor  could  cure.  I was — I 
now  understand — in  shock.  I had  so  many 
shocks  from  seeing  friends  of  mine  killed, 
shot  down  by  Germans  in  the  streets. 
One,  a young  mother  with  her  little  baby, 
and  she  was  screaming  to  me  for  help. 

“I  am  strong,  but  sensitive,  too.  At 
school  I was  always  trembling.  I was 
fainting  all  the  time,  too.  When  I’d  see  a 
German  person,  I’d  faint. 

“It  was  shock.  It  was  also  not  having 
the  proper  foods.  We  didn’t  have  any 
meat  or  sugar  or  milk.  And  we  couldn’t 
do  anything  about  it.  There  was  money, 
but  money  couldn’t  buy  what  wasn’t  in 
the  city  to  be  bought. 

“Soon  I just  couldn’t  move.  I lay  in 
my  bed  more  motionless  than  the  dolls  I 
had  played  with.  One  day  I heard  the 
doctor  talking  to  my  mother  in  the  kitchen. 
‘I  don’t  think  she  is  going  to  live,’  he  said. 

“I  didn’t  care.  Then  my  father  built 
me  a little  room  in  the  apartment.  All 
pink  and  blue,  with  all  pink  and  blue 
flowers  on  the  walls  and  the  floor  all  made 
of  green  glass,  lighted  underneath.  And 
every  day  he  brought  me  violets.  My 
father,  who  couldn’t  get  me  anything  else, 
brought  me  every  day  a little  bunch  of 
violets,  the  same  as  this  little  bunch,” 
Pier  touched  her  breast,  “I  wear  today  and 
every  day. 

“All  the  professors  from  my  school  came 
to  see  me,  too.  And  my  girl  friends  from 


the  art  school  where  I was  studying  to  be 
a sculptor.  And  so,  at  last,  little  by  little, 
I started  smiling,  and  speaking,  and  mov- 
ing. Maybe  it  was  a miracle — a little  one. 
I think  so.  I think  it  was  God. 

“At  just  the  time  I am  beginning  to  smile 
again,  there  is  a big  party  at  our  house 
and  all  these  people  are  there  and  it  was 
so  awful  for  a girl,  fourteen,  with  legs  so 
thin  she  had  to  be  held  up!  This  makes 
me  able  to  feel  sympathy  with  the  grow- 
ing pains  of  girls  who  have  legs  too  thin, 
or  too  fat,  or  not  a good  skin  or  some- 
thing that  makes  them  embarrassed  with 
themselves. 

“But  for  the  most  part  my  growing  pains 
were  not  caused,  as  I have  told  you,  by 
these  problems.  What  caused  me  pain  as 
I grew  was  that  in  my  childhood  I did 
not  know,  was  not  permitted  to  know,  did 
not  want  to  know  what  is  in  the  world. 
Until  the  war  came,  I saw  people  all  like 
my  mother  and  father,  all  kind  and  tender 
and  taking  care  of  me.  I wanted  not  to 
see  the  world  and  people  any  different. 
I fought  not  to.  I had  always  my  hands 
in  front  of  me,  in  front  of  my  face.  I 
didn’t  want  to  face  reality.  What  is  in 
the  world  I didn’t  want  to  know. 

“One  of  the  first  to  help  me  come  out  of 
my  childhood  was  Leonide  Moguy,  who 
directed  me  in  my  very  first  picture,  ‘To- 
morrow Is  Too  Late.’  Moguy,  who  is  a 
French  director,  saw  me  one  night  in  the 
home  of  friends.  Instantly  he  said  to  his 
wife,  ‘There  is  the  girl  for  my  picture!’ 
In  the  park  where  I often  walked  with  my 
girl  friends,  a lot  of  people  were  often 
asking  me,  ‘Why  aren’t  you  in  the  films?’ 
I told  them,  ‘I  don’t  want  to  be.’  I meant 
this.  I was  happily  studying  at  my  art 
school.  I didn’t  ever  want  to  be  in  the 


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movies.  I wanted  to  concentrate  on  art. 

“But  then,  this  night,  Moguy  asked  my 
mother,  please,  to  bring  me  to  his  house 
so  he  could  talk  to  me  about  his  picture. 
And,  although  my  father  said  violently, 
‘NO!’  to  the  very  idea  of  a film  career  for 
me,  my  mother — who  had  always  dreamed 
of  being  an  actress  and  had  been  a very 
successful  actress  in  amateur  productions 
— encouraged  me  to  take  this  chance  now 
it  had  come. 

“The  day  we  went  to  his  home  Moguy 
took  me  in  a room  to  talk  and  I had  never 
been  alone  with  a man  before  and  I was 
scared.  I sat,  I remember,”  Pier  smiled, 
“on  the  small  point  of  the  chair.  So  then 
he  told  me  the  story  of  ‘Tomorrow  Is  Too 
Late’  and  the  story  was  all  about  a girl 
who  is  kissed  by  a boy  and  thinks  she  is 
going  to  have  a baby.  And  as  Moguy  was 
telling  me  this  story  he  suddenly  sees  that 
I,  too,  believe  the  same  as  this  girl,  that 
his  story  and  my  story  are  the  same  story. 
He  stopped  then. 

“ ‘Anna  Maria,’  he  said,  ‘when  a boy 
kisses  a girl,  she  does  not  have  a baby.’ 

“‘Oh,  really,  is  that  so?’ 

“ ‘It  is  so.  It  is  not  by  kissing  a boy 
that  a girl  has  a baby.’ 

“We  went  home,  soon  after,  in  the  bus. 
In  the  bus  my  mother  asks,  ‘What  is  the 
matter  with  you?  You  look  strange.’  I 
think  I did.  I felt  like  a new  life  had 
opened  to  me.  I wasn’t  afraid  to  stop  be- 
ing a child.  I didn’t  want  to  stop,  but — I 
wasn’t  afraid  any  more. 

“So  then,  all  at  once,  I am  in  the  films 
and  growing  up.  But  not  enough.  I was 
so  embarrassed  when  on  the  set  in  front 
of  the  cameras  we  started  the  scene  in 
which  the  boy  is  to  kiss  me. 

“We  stayed  two  days  on  that  set,”  Pier 
said  and  laughed.  “I  didn’t  want  him  to 
kiss  me.  A little  boy  of  sixteen  he  was, 
too,  and  I was  now  seventeen! 

“ ‘Please,  Anna  Maria,’  the  boy  would 
say  so  nicely,  ‘let  me  kiss  you.’ 

“ ‘Please,  Anna  Maria,’  Moguy  would 
say,  and  the  cameramen  would  say,  ‘let 
him  kiss  you!’ 

“ ‘No,  no,’  I would  whisper. 

“When  I knew  I could  delay  no  longer, 
‘Turn  around  then,  turn  around,’  I said  to 
Moguy  and  the  cameramen.  ‘Turn  your 
backs  on  me!’ 

“ ‘How  can  we  turn  our  backs,’  they 
asked,  ‘when  we  have  to  photograph  you?’ 

“So  then  I let  him  kiss  me.  It  was  my 
first  kiss.  At  seventeen,  my  first  kiss 
and— I fainted  completely! 

“The  worst  of  my  growing  pains  came, 
it  is  plain  to  see,  from  my  wanting  not  to 
grow  up,  from  my  fighting,  which  was 
fierce,  to  stay  a child. 

“Another  part  of  my  growing  up  started, 
so  sadly  it  hurts  me  to  tell  of  it,  when  my 
father  died  three  years  ago.  Before  he 
died,  he  took  me  in  his  room,  only  me,  and 
he  said,  ‘I  am  going  to  go.  You,  who  are 
so  like  me,  are  going  to  take  care  of  the 
family.  Please  have  your  mother  always 
with  you.  You  are  the  boss.’ 

“Thinking  then  for  the  first  time,  really, 
of  shouldering  responsibility  was,  for  me, 
very  hard.  So  hard  for  me,  who  had 
never  bought  a dress  or  ordered  groceries 
or  done  any  practical  thing  at  all,  to  take 
such  responsibility  as  signing  papers  at 
the  consulate  in  Rome.  Papers  that  had 
to  be  signed  before  we  left  for  America, 
which  explained  I could  take  care  of  my 
mother  and  sisters  or  I would  not  have 
been  permitted  to  bring  them  with  me. 

“I  did  all  the  signings  and  other  of  the 
business  things  there  are  to  do  at  such 
heavy-hearted  times.  Yet  even  after  I 
got  to  America,  to  Hollywood,  I had  still 
my  hands  in  front  of  me,  in  front  of  my 
face.  . . . 

“Here  in  America,  in  Hollywood,  Kirk 
Douglas  was  the  first  to  help  me.  Kirk, 


who  is  my  dear  friend,  but  only  my  friend 
and  not  in  love  with  me  nor  I with  him, 
helped  me  more,  I think,  than  anyone  in 
America. 

“He  started  helping  me  when  we  were 
working  together  in  the  circus  sequences 
of  the  film,  ‘The  Story  of  Three  Loves,’ 
and  I,  who  still  love  everybody  and  think 
everybody  loves  me,  was  always  saying, 
‘I  love  her!’  and  ‘Oh,  I love  him!’  And  I 
was  kissing  everybody.  And  Kirk  told 
me,  ‘Please  don’t  throw  yourself  at  people 
like  a baby.  You  can’t  love  everybody. 
If  you  do,’  he  said,  ‘you  will  make  too 
many  people  unhappy.  You  have  to  love 
one  person,’  he  said.  ‘You  have  to  grow 
up.’ 

“But  although  I listened,  and  believed 
him,  I kept  on  saying  ‘I  love  her!’  and  ‘I 
love  him!’  the  same  way  I love  hot  dogs 
and  roller  coasters  and  meeting  movie 
stars  and  cashmere  sweaters  and  boogie- 
woogie  and  classical  music  and  the  records 
of  Perry  Como  and  Frank  Sinatra. 

“So  just  last  year,  even  though  we  no 
longer  see  each  other  very  often,  Kirk 
gave  me  a tiny  doll-house  living  room, 
all  silver.  The  tiny,  tiny  furniture  silver, 
too. 

“ ‘See,  Pier,’  he  said.  ‘It  is  nice  to  have 
little  things  to  look  at,  but  you  are  too  big 
to  sit  in  this  little  room.  Just  look  at  it 
sometimes.’ 

“I  knew  what  he  meant. 

“It  was  in  Palestine,  when  he  was  mak- 
ing ‘The  Juggler’  there,  that  Kirk  found 
the  tiny  doll-house  living  room,  no  bigger 
than  a fifty-cent  piece,  and  bought  it  for 
me.  Such  a delicate  thing  it  is  and  such 
a delicate  way  to  remind  me  I am  not  a 
little  child  any  longer.  . . . 

“Debbie  Reynolds,  who  is  my  best 
American  girl  friend,  she  has  helped  me  a 
lot.  She  talked  to  me  for  hours.  About 
boys  and  dates  and  things.  I thought  boys 
went  out  with  you  for  yourself  alone. 
Debbie  told  me  they  do  it  for  other 
reasons.  Sometimes  for  publicity,  she  said. 
She  gave  me  warnings,  too.  ‘A  boy  who 
dates  a girl  he  knows  has  never  been  out 
before  is  liable,’  she  said,  ‘to  try  anything! 
You  shouldn’t  go  out  with  him,’  she  said 
of  one  boy  who  asked  me  to  date.  ‘I  know 
what  he  is  like.’  ” 

Pier  has  not  had  many  date  problems, 
however,  because — as  she  explained — 
prior  to  June  19,  1953,  she  was  never 
allowed  to  go  out  with  a boy  unless  her 
mother  went  with  her — which  was  some- 
thing of  a problem  and,  Pier  admits,  one 
of  her  growing  pains. 

“To  American  boys,  the  word  chaper 
on,”  she  laughed,  “is  like  the  word  scat  to 
a little  kitten.  ‘You  see,’  I would  try  hard 
to  explain,  ‘my  mother — well,  we  just 
came  from  Italy  so,  if  you  will  please  un- 
derstand, she  will  be  with  us  . . .’  Some 
understood  and  some  didn’t.  ‘Oh  what 
you  mean,’  those  who  didn’t  would  say, 
‘this  is  out  of  this  world!’  So  they  dis 
appear  for  a time,  but  then,”  Pier  shrugged 
slim  shoulders,  “they  come  back!”  she 
said. 

“But,  yes,  it  was  a problem.  An  older 
person  there,  no  matter  how  you  love  her, 
it  is  always  different. 

“When  Gene  Kelly  and  I were  working 
together  in  ‘The  Devil  Makes  Three’  in 
Germany,  Gene  helped  me.  He  knew  my 
mother  is  so  very  strict  and  he  said  to  her, 
‘In  my  opinion,  you  are  very  wrong,  Mrs. 
Pierangeli,  to  be  so  strict.  I know  how 
you  feel.  I have  a daughter  of  my  own. 
But  if  a girl  wants  to  do  something,  she 
will  do  it.  Let  her  be  free,  not  afraid  with 
men.’  One  evening  Gene  and  his  wife  and 
our  director  and  some  others  all  went  to 
a restaurant  in  Berlin.  Gene  taught  me  to 
waltz  and  to  fox  trot  and  on  this  evening, 
the  first  time  I had  ever  been  out  without 
my  mother,  I was  relaxed  with  men. 


82 


“Leslie  Caron,  who  has  been  married,” 
Pier  said  with  the  slight  awe  of  the  un- 
married for  the  married  girl,  “she  helped 
me,  too.  She  came  to  my  house  and  we 
play  records  and  we  talk.  She  is  very 
wise  in  a way  that  is  sweet  and  good. 

“But  it  was  only  last  year  that  I really 
grew  up.  I knew  I was  grown  up  when 
my  mother  let  me  go  out  on  a date  un- 
chaperoned. It  was  in  London  where 
we  were  staying  while  I was  working  in 
‘Flame  and  the  Flesh.’ 

“ ‘You  can  stay  out  now,’  my  mother 
said,  ‘as  long  as  you  want.’  I went  out 
that  evening  for  supper  with  Carlos 
Thompson,  who  is  playing  opposite  me  in 
the  picture  and — at  eleven  o’clock  I was 
home! 

“I  know  I am  grown  up  now  when  I 
have  to  go  to  the  lawyer,  all  by  myself,  and 
sign  things.  All  the  contract  things. 

“I  know  it,  and  I feel  a little  tight  in 
my  throat  when  my  mother  tells  me,  ‘If 
you  want  to  get  married,  I will  express  my 
opinions,  but  the  decision  is  yours.’ 

“Until  last  year  I didn’t  wear  any  make- 
up at  all.  Now  I wear  just  a little  lip- 
stick, but  of  no  color,  only  to  keep  my 
lips  smooth  and  moist.  Until  last  year  I 
wore  only  flats  on  my  feet,  now  I wear 
high  heels — little,  beautiful  spiky  ones! 
Until  that  date  in  June,  nineteen  fifty- 
three,  I always  wore  my  hair  down  and 
the  necks  of  my  dresses  up.  Now  I some- 
times wear  my  hair  up  and  my  neckline 
down.  I have  now  more  sophisticated 
dresses,  a few,  and  since  I am  twenty -one 
my  waistline,  which  was  twenty-three,  is 
also  twenty-one! 

“I  have  not  been  in  love,  but  now  I think 
of  love,  the  kind  of  love  you  talk  about, 
the  kind  of  love  Debbie  and  I talk  about 
and  dream  about  and  the  peace  of  mind 
that  will  come,  when  it  comes,  and  the 
peace  in  the  heart. 

“The  things  that  happen  to  you  are  all 
a part,”  Pier  said,  “of  growing  up.  Joys 
help  you  to  grow  the  same  way  sunshine 
and  rainwater  help  flowers  to  grow.  Suf- 
fering is  a part  of  growing  up,  too,  and  I 
have  done  quite  a lot  of  that.  And  I will 
do  more  of  it.  And  more  of  the  joyous 
things,  too,  because  as  long  as  we  live 
things  and  people  and  feelings  keep  hap- 
pening to  us. 

“So  perhaps  we  never,”  Pier  said  wist- 
fully, “really  stop  growing  up.  Perhaps 
we  are  always  children  with  things  to 
learn  to  hope  for.  . 

“Only  we  must  not  play  with  toys  any 
more.  We  must  have  what  is  called  the 
‘mature  mind.’  We  must  take  our  hands 
from  in  front  of  our  eyes  and  face  respon- 
sibility. 

“This  is  why  the  little  silver  room  is  a 
symbol.  And  I do  not  only  look  at  it 
sometimes,  as  Kirk  asked  me  to  do,  but  all 
the  time  because,  wherever  I go,  the  little 
silver  room  goes  with  me.  To  remind 
me.  . . .” 

The  End 


SHARPEN  YOUR  WITS! 

You’re  going  to  need  them  when 
you  read  the  September  Photoplay 
and  learn  how  you  can 

Win  A Present  From  A Star 

Read  the  exciting  details — on 
sale  the  first  week  in  August 

FIFTY  WONDERFUL  PRIZES 


r 


OPPORTUNITIES 

FOR 

EVERYBODY 

Publisher's  Classified  Department  (Trademark) 


For  advertising  rates , write  to  William  ft.  Stewart , 9 South  Clinton  Street,  Chicago  6 (Aug. -Wo.)  4 

~ OF  INTEREST  TO  WOMEN 


FEMALE  HELP  WANTED 

BEAUTY  DEMONSTRATORS:  UP  to  $5  hour  demonstrating 

Famous  Hollywood  Cosmetics,  your  neighborhood.  Free 
Samples  and  details  supplied.  Write  Studio-Girl,  Dept.  P-84, 
Glendale.  Calif. 

HOME  SEWERS  WANTED— Sew  readi-cut  ties,  aprons. 

You  make  them,  we  sell  them.  Jud  San,  518  E.  105,  Suite 
H61,  Cleveland  8,  Ohio. __ 

MAKE  MONEY  INTRODUCING  World’s  cutest  children's 

dresses.  Big  selection,  adorable  styles.  Low  prices.  Complete 
display  free.  Rush  name.  Harford,  Dept.  M-1359,  Cincinnati 
25,  Ohio. 

WOMEN  NEEDED  TO  work  3-5  hrs.  per  day  at  home  by 

several  national  companies.  Mailers,  4043  St.  Clair  Ave., 
Dept.  G8,  Cleveland,  Ohio,  

HOME-WORKERS.  HELP  fill  demand  for  hand-made 

moccasins.  Good  pay.  Experience  unnecessary.  California 
Handicrafts,  Dept.  66.  Los  Angeles  46.  California. 

AMAZING  EXTRA-MONEY  plan  gives  you  gorgeous  dress 

without  penny  cost.  Rush  name  today  with  dress  size.  Harford, 
Dept.  M-163.  Cincinnati  25,  Ohio. 

BLOUSES,  LINGERIE,  HOSIERY,  brand  new  line.  Sen- 

sational new  money  making  plan.  Write.  American  Mills, 
Dept.  427,  Indianapolis. 

AVIATION 

AIRLINE  HOSTESSES— AIRLINE  Stewards— Needed  18  to 

30 — G.l.  approved — Free  Placement — send  $1.00,  full  infor- 
mation— McConnell  Airline  School,  1030  Nicollet,  Min- 
neapolis,  Minnesota. 

MONEY-MAKING  OPPORTUNITIES 

EARN  EXTRA  MONEY  Weekly  mailing  circulars  for  adver- 

tisers. Complete  instructions — 25c.  Siwaslian,  431 7-F  Gleane, 
Elmhurst  73.  New  York. 

WOMEN  SEW  READY-Cut  Tiesl  No  selling.  Free  Details. 

Fashion  Ties.  P.O.  Box  2066,  West  Inglewood  4,  California. 

FREE  BOO  K "505  Odd,  Successful  Businesses."  Work  home ! 

Expect  something  Oddi  Pacific  T-3,  Oceanside,  Calif. 

PROFITABLE  OCCUPATIONS 

GROW  MUSHROOMS,  CELLAR,  shed.  Spare,  full  time, 

year  round.  We  pay  $3.50  lb.  We  paid  Babbitt  $4165.00  in 
few  weeks.  Free  Book.  Washington  Mushroom  Ind.,  Dept. 
164,  2954  Admiral  Way,  Seattle,  Wash, 

PERSONAL 

PSORIASIS  VICTIMS:  HOPELESS?  New  Discoveryl  Free 

Trial  Offer.  Write  Pixacol,  Box  3583-C,  Cleveland,  Ohio. 

HOLLYWOOD  BEAUTY  SECRETS!  Exposed!  Free  Bookletl 

Box  8621 -B,  Hollywood  46,  Calif. 

EDUCATIONAL  OPPORTUNITIES 

COMPLETE  YOUF)  HIGH  School  at  home  in  spare  time  with 

57-year-old-school.  Texts  furnished.  No  classes.  Diploma. 
Information  booklet  free.  American  School,  Dept.  XC74, 
Drexel  at  58th.  Chicago  37,  Illinois. 

DENTAL  NURSING.  PREPARE  at  home  for  big  pay  career. 

Chairside  duties,  reception,  laboratory.  Personality  Develop- 
ment. Free  Book.  Wayne  School,  Lab:  BA-11,  2521  N.  Shef- 
ficld,  Chicago  14,  III. 

HOME  SEWERS  WANTED 

WOMEN  SEW  RAP-A-Round,  spare  time — profitable. 

Hollywood  Manufacturing  Co.,  Dept.  D,  Hollywood  46,  Calif. 

WOMEN— SEW  BABYWEAR  and  Kiddy  Aprons.  Home, 

Profitable,  Fast,  Easy.  Liebig  Industries,  Beaver  Dam  3, 
Wisconsin. 

SALESMEN  WANTED 

ANYONE  CAN  SELL  famous  Hoover  Uniforms  for  beauty 

shops,  waitresses,  nurses,  doctors,  others.  All  popular  miracle 
fabrics — nylon,  dacron,  orlon.  Exclusive  styles,  top  quality. 
Big  cash  income  now,  real  future.  Equipment  free.  Hoover, 
Dept.  D-119,  New  York  11.  N.  Y. 

INSTRUCTION 

HIGH  SCHOOL — NO  Classes,  study  at  home.  Spare  Time. 

Diploma  awarded.  Write  for  Free  Catalog  HCH-19,  Wayne 
Scnool,  2527  N.  Sheffield,  Chicago  14,  III. 

BUSINESS  OPPORTUNITIES 

MONEY.  TYPING-SEWING1  Details  Free.  Edwards, 
3915-Wd  12th,  Des  Moines  13.  Iowa. 


LADIESI  GET  FAMOUS-Name  Gifts  Freel  Kitchenware, 

Appliances,  Jewelry,  Toys,  etc. — 100’s  of  itemsl  Just  take 
orders  from  friends,  neighbors  for  our  new,  exquisite  gifts, 
Christmas  <S.  other  cards,  spare  time.  No  experience  necessary! 
No  waiting:  your  gifts  shipped  promptly  with  cards.  Write 
bar  Free  Gift  Catalog:  Evergreen  Studios,  Box  846-A,  Chicago 

WANTED  CHILDREN’S  PHOTOS  (All  Ages-Types)  for 

billboards,  calendars,  magazines.  Up  to  $200  paid  by  adver- 
tisers. Send  small  black  and  white  photo  for  approval.  (One 
Only).  Print  child's  full  name  and  parent’s  name  and  address 
on  back.  Picture  returned  60  days.  Spotlite  Photo  Directory, 
Dept.  11,  5864  Hollywood  Blvd.,  Hollywood  28,  California. 
WOMEN  WITH  SPARE  Time.  Here's  a chance  for  Extra 

Money.  Take  orders  for  my  food  and  household  products, 
etc.,  from  Old  Virginia.  I’ll  send  Products  on  Free  Trial.  Write 
today.  Blair,  Dept.  185ML-2,  Lynchburg,  Va. 

SEW  CUT  GOODS  at  Home.  Easy.  We  instruct.  Ron-Son, 

Dept.  P8,  16355  Euclid,  Cleveland  12,  Ohio.  

MAKE  BIG  MONEY  sewing  neckties.  75c  per  hour  minimum. 

All  materials  furnished.  California  Neckwear,  Anaheim  6, 
Calif. 

PROFITABLE  HOME  BUSINESS.  Make  Fast-Selling 
chenille  monkey  trees.  Literature  free.  Velva,  Bohemia  32, 
New  York.  


CHRISTMAS  GREETING  CARDS 

RUN  A SPARE-time  Greeting  Card  and  Gift  shop  at  home. 

Show  friends  samples  of  our  new  1954  Christmas  and  All- 
Occasion  Greeting  Cards.  Take  their  orders  and  earn  up  to 
100%  profit.  No  experience  necessary.  Costs  nothing  to  try. 
Write  today  for  samples  on  approval.  Regal  Greetings,  Dept. 
110,  Ferndale,  Michigan. 


AGENTS  WANTED 

MONEY  FOR  XMASI  Make  $50.  and  more  during  spare 
time.  Friends,  neighbors — everyone  buys  from  Elmira's 
exquisite  New  Sparkling  Line.  Imprinted  Christmas  Cards  for 
as  Little  as  3c.  Personalized  Stationery,  Napkins,  Large  Gift 
Wrappings  with  Free  accessories.  Ribbon  Ties  ...  all  fine 
quality  Money  Saving  Values.  No  Experience  Needed.  Send 
Name  and  Address  for  Free  Portfolios,  Catalog,  Assortments 
on  Approval.  Bonus  Plan.  Elmira’s  "Profitable  Gift  Shop” 
Makes  Money  First  Day.  Write  Today.  Elmira  Greeting  Card 
Co.,  Dept.  C-245,  Elmira,  N.Y. 

INTRODUCING  AMAZING  NYLON  stockings  (guaranteed 

against  runs-snags)  by  giving  away  free  trial  pairs  regardless 
wnether  or  not  final  purchase  is  made!  Earn  to  $3  hour  spare 
time.  Postcard  brings  free  sample  stocking  and  outfits.  No 
obligation.  Kendex,  Babylon  471,  New  York, 

$100  MONTHLY  FOR  wearing  lovely  dresses  given  you  as 

bonus.  Just  show  Fashion  Frocks  to  friends.  No  canvassing, 
investment  or  experience  necessary.  Fashion  Frocks,  Dept. 
P-1570,  Cincinnati,  Ohio. 

NEED  EXTRA  CASH?  Get  it  selling  Blair's  unusual  line  of 

household  and  food  products.  Every  housewife  a prospect. 
Products  sent  on  Free  Trial.  Write  Blair,  Dept.  185ML-1, 
Lynchburg,  Va. 

EARN  EXTRA  MONEY  selling  Advertising  Book  Matches. 

Free  sample  kit  furnished.  Matchcorp.  Dept.  WP-4,  Chicago 
32,  Illinois. 

HELP  WANTED.  MALE 

FOREIGN-U.S.  JOBS.  So.  America,  Alaska,  Spain.  Fare 

Paid.  1000’s  Jobs  Open  U.S.  to  $18,000.  Trades,  Office.  Send 
stamped  self-addressed  env.  Job  Opportunities,  Waseca 
11G,  Minn. 

OLD  COINS  WANTED 

WE  PURCHASE  INDIANHEAD  pennies.  Complete  al'coin 

catalogue  20c.  Magnacoins,  Box  61-XR,  Whitestone  57,  New 
York, 

WORK  AT  HOME 

$30.00  WEEKLY  MAKING  Roses.  Easy.  Write  Studio 

Company,  Greenville  23,  Penna. 


MISCELLANEOUS 

WHOLESALE  NOVELTIESI  FORTY  Samples,  $1.00. 

Sebastian,  10934-L  Hamlin,  North  Hollywood,  Calif. 


Roll  Your  Feet  To  Health! 

A few  minutes  exercise  with  DAVID’S  MAGIC 
FOOT  COMFORTER  followed  by  bathing 
in  DAVID’S  MAGIC  FOOT  COMFORTER 
SOLUTION  is  guaranteed  to  give  abso- 
lute relief  from  hot,  tired,  aching  feet! 

Both  only  $3.00  post  paid 
ORDER  TODAY 

David’s  Magic  Foot  Comforter 

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irVSIHE  STUFF  ( Continued  from  page  31) 


mature,  interesting  young  woman,  which 
she  is — rather  than  a Hollywood  sexpot, 
which  she  definitely  isn’t  l 

Lady  In  The  Dark:  The  most  beautiful 
expectant  mother  in  Hollywood  looked 
bewildered.  “Now  what  could  possibly  be 
wrong  in  your  perfect  life?”  inquired 
nosey  Cal.  Ann  Blyth  smiled  wistfully. 
“I  guess  life  isn’t  perfect  for  anyone.  I 
just  read  the  script  of  ‘Marco  Polo’ 
which  Leo  McCarey  directs  next  Sep- 
tember in  Spain.  It’s  so  beautiful  and  he 
wants  me  to  play  the  Chinese  princess. 
But  I’d  have  to  give  up  my  Las  Vegas 
singing  engagement,  be  separated  from 
my  husband  and  I couldn’t  leave  my  baby 
who  will  be  born  by  then.  What  do  you 
think  I should  do?”  Said  Cal  cryptically: 
“Shoot  me  for  asking!” 

New  Twos:  Leave  it  to  Terry  Moore  who 
has  a direct  line  into  Dan  Cupid!  She 
had  the  first  date  with  handsome  ex- 
baseball player,  Bud  Pennell,  who  signed 
a long-term  contract  with  Paramount  af- 
ter making  a terrific  test  . . . And  Lori 
Nelson  and  Bob  Kenaston  have  been 
running  off  old  Billie  Dove  movies  in  the 
projection  room — with  good  reason  too. 
Neither  Bob  nor  Lori  was  born  when  his 
mother  was  a famous  silent-screen  star. 
So  that’s  why  they  get  such  a kick  out  of 
seeing  beautiful  Billie  on  the  screen  . . . 
No,  it  isn’t  a “hot  romance”  between 
handsome  Richard  Egan  and  Marisa 
Pavan,  as  her  personal  publicist  insists. 
They  are  friends  and  they  do  date.  But 
since  Shelley  Winters  returned  from 
Europe  and  is  about  to  divorce  Vittorio 
Gassman,  she  and  rugged  Richard  have 
been  enjoying  laughs  and  life  too!  . . . 
It’s  a far  cry  from  Piper  Laurie  to  Joan 
Crawford,  but  George  Nader’s  managing 
to  date  both  lovely  ladies — not  at  the 
same  time!  George,  by  the  way,  has  a 
new  U-I  contract  and  the  studio  has  high 
hopes  for  him. 

Life  Begins:  Remember  back  in  “South 
Pacific”  when  Ezio  Pinza  opened  up  a 
whole  new  world  for  middle-aged  lovers? 
Well,  now  it’s  Jeff  Chandler  who’s  blaz- 
ing the  trail  for  gray-haired  men.  He’s 
received  thousands  of  thank-you  letters 
from  grateful  compatriots  who  tell  him 
their  “snow  caps”  are  no  longer  consid- 
ered a handicap  when  pursuing  the 
opposite  sex.  Of  course  Jeff’s  pleased 
and  very  amused!  Still  in  his  middle 
thirties,  he’s  been  prematurely  gray  since 
his  teens.  And  speaking  of  Jeff,  since 
their  divorce,  he  and  Marge  are  even  bet- 
ter friends  than  they  were  before. 

Inside  Hollywood:  Aly  Khan  talking  to 
the  Ray  Millands  at  the  Gary  Cooper 
party:  “Be  sure  and  look  me  up  when 
you  get  to  Paris.  I’d  love  to  show  you  the 


city.”  Gene  Tierney,  sitting  beside  Aly: 
“Yes,  be  sure  and  look  us  up  when  you  1 1 
get  to  Paris,  we’d  love  to  show  you  the  j. 
city.”  Well,  does  that  answer  the  mil- 
lion-dollar  marriage  question— or  not? 

Just  Between  Us:  Terry  Moore’s  now 
watching  for  those  dangerous  curves 
ahead  and  placed  herself  in  the  hands 
of  Hollywood’s  favorite  masseuse  . . . 
And  here’s  a real  switcheroo.  After  years 
of  trying  to  reduce,  Judy  Garland’s  now  | 
underweight — but  she’s  never  looked  bet- 
ter!  ...  Considering  the  spot  he  was  in,  ;■ 
Bob  Mitchum’s  being  doggone  tolerant  j 
of  the  Italian  actress  who  pulled  a fast  i 
strip-tease,  just  as  a cameraman  snapped 
their  picture.  “Everyone’s  trying  to  get 
ahead,”  Bob  laments  laconically.  “I  sup-  : 
pose  she  figured  this  was  the  best  way  ‘ 
to  do  it.” 

True  Confession:  Only  the  inimitable 
Humphrey  Bogart  would  tell  this  story, 
which  he  did  to  the  lunch  crowd  at  ( 
Romanoff’s.  It  seems  he  was  standing  in  : 
line,  waiting  to  have  his  luggage  checked  1 
at  Customs.  “They  finally  got  around  to 
me,”  grinned  Bogey.  “First  the  fellow  ■ 
looked  at  my  face  and  then  my  passport. 
As  he  returned  it  to  me,  he  cryptically  : 
cracked  that  he  was  a great  fan  of  mine 
but  if  I ever  made  another  picture  like 
‘Beat  the  Devil’  he’d  never  let  me  back 
in  the  country!” 

Sfudio  Scuttlebutt:  M-G-M  made  a mint 
loaning  Janet  Leigh  to  other  studios, 
which  is  why  she’s  so  excited  about  se- 
curing a release  from  her  contract.  “Now 
I can  make  more  pictures  with  Tony,” 
beams  Janet,  “and  still  keep  all  that 
magnificent  moola  myself!”  . . . Director 
William  Wellman  tells  everybody  that 
Doe  Avedon’s  test  for  “The  High  and 
the  Mighty”  was  the  most  stimulating 
he’s  directed  in  many  years.  Since  the 
preview  of  this  marvelous  movie,  every 
studio  is  trying  to  sign  this  exciting  New 
York  actress  . . . And  while  we’re  wit- 
nessing exciting  performances.  Tab 
Hunter’s  love  scenes  with  Dorothy  : 
Malone  in  “Battle  Cry”  didn’t  get  by 
the  Breen  office.  When  the  studio  told  . 
him  he’d  have  to  do  retakes.  Tab  al-  :i 
most  suffered  from  shock! 

Change  Of  Heart:  Rhonda  Fleming’s  un- 
expected decision  to  reconcile  with  Dr. 
Lew  Morrill  unleashed  those  typical  Hol- 
lywood rumors.  But  Cal  believes  the 
beautiful  redhead  realized  how  much  the 
good  doctor  meant  to  her  after  his  fall 
when  he  broke  his  leg  in  three  places  . . , I 
And  the  Gene  Nelsons  finally  arrived  at 
a definite  decision — not  to  reconcile! 
According  to  her  close  friends,  Miriam 
Nelson  confides  their  same  problems  still 
exist,  so  why  take  chances? 


84 


Trouble  on  Cloud  9 

' 

( Continued  from  page  43) 
lat  at  home  we  don’t  carry  on  the  same 
ay  and  make  our  marriage  equally  un- 
;al.” 

Jeff  nodded  solemnly. 

“We  believe  in  talking  things  out,  in  not 
iding  things  from  each  other — and  that 
lcludes  our  anger  as  well  as  words  of  af- 
tction.  In  Hollywood,  one  cross  word,  one 
agry  gesture  of  husband  toward  wife  or 
ife  toward  husband  and  the  whole  town 
as  you  seeing  the  family  lawyer.  It’s 
ist  plain  crazy!” 

Jeff’s  right,  it  is  just  plain  crazy.  There 
no  such  thing  as  a perfect  marriage. 
1 the  same  way  as  there’s  no  such  mon- 
er  as  a perfect  human  being.  But  there 
such  a thing  as  a satisfying,  wonderful 
arriage  relationship.  And  Barbara  and 
;ff  are  among  those  movie  couples  who 
;hieve  a happy  marriage  under  some  of 
le  most  difficult  conditions  two  people 
/er  had  to  cope  with.  Barbara  and  Jeff 
-e  among  my  neighbors  and  my  friends, 
le  stars  I talk  with  on  the  set  and  in 
leir  homes,  who  are,  oh,  so  bewildered 
- i how  to  cope  with  the  idealization  of  the 
srfect  marriage  which  is  built  up  in  so 
iany  minds. 

Jeff  just  about  broke  his  heart  when  the 

I icture  he  was  making  in  England  ran  into 
ad  weather  and  he  couldn’t  be  with 
arbara  during  the  first  months  of  their 
>n’s  infancy.  Barbara,  alone  in  Holly- 
ood,  hated  it  and  there  were  plenty  of 
aople  around  to  point  out  to  her  that  it 

Iasn’t  “right”  for  her  husband  not  to  be 
; her  side.  But  Barbara  is  a woman  of 
•notional  fortitude  and  she  understood, 
here  was  a time  when  Jeff’s  career  was 
jirging  ahead  and  Barbara  was  awaiting 
• ler  break. 

Just  prior  to  this,  however,  Jeff  didn’t 
iake  a picture  for  several  months  and 
lere  was  tension  at  home.  This  is  the 
ime  sort  of  tension  any  family  is  under 
hen  the  head  of  the  household  doesn’t 
ork.  And  these  two  are  the  first  to  admit 
ley  are  human  beings  first  and  movie 
;ars  next.  Now  that  Barbara  has  had  her 
reak  in  “Magnificent  Obsession”  and  been 
^signed  to  “Captain  Lightfoot,”  being 
lade  in  Ireland,  it  is  Jeff  who  is  cheering 
er  on,  supervising  the  household  while 
arbara  has  her  turn  at  stardom.  Through 
all,  no  two  people  are  fighting  harder 
>r  a perfect  marriage. 

I must  confess  I was  shocked  almost  out 
f my  skin  when  June  Allyson  and  Dick 
owell  had  a spat  recently  in  public — The 
aptain’s  Table — a restaurant  of  all  places, 
ut  that’s  because  I forgot  for  a few  mo- 
lents  that  Dick  and  June  are  human 
eings  like  the  rest  of  us.  But  June  re- 
linded  me. 

“I  had  just  arrived  back  in  town  from 
)cation  in  Florida,”  she  explained  the  next 
ay.  “I  was  terribly  tired.  But  I asked 
iichard  to  take  me  out  to  dinner.  He  was 
red  too.  He’d  been  working  for  weeks 
reparing  a picture,  and  you  know  how 
3ugh  that  can  be.  So  we  go  to  dinner,  and 
f-  all  things,  we  start  to  argue  about 
dier e we  shall  send  Pammy  (their  six- 
ear-old  daughter)  to  school.  It’s  the  first 
ime  we’ve  had  an  argument  in  the  nine 
ears  we’ve  been  married,  and  I have  to 
ave  it  at  The  Captain’s  Table!  Anyway, 
rushed  out  to  the  car,  then  I went  back, 
ut  Richard  was  so  mad;  he  rushed  out. 
'hen  I rushed  out.  Thank  goodness  we  both 
ave  a sense  of  humor  and  we  started  to 
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The  happy  marriage  of  Dick  and  June 
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conversation  at  Metro  when  June  was 
ating  Dick,  many  years  her  senior,  and 
listened  while  a big  shot  assured  her 


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the  marriage  couldn’t  possibly  succeed. 
He  pointed  to  the  difference  in  their  ages, 
and  the  bigger  difference  in  their  tem- 
peraments. He  was  right.  They  are  different. 
To  me,  Dick  resembles  a colossal  Great 
Dane,  with  June  a frisky  little  puppy.  But 
Dick  is  a patient  guy.  And  he  waited  pa- 
tiently for  June  to  grow  up.  And  she  did, 
the  day  in  the  hospital,  when  the  doctor 
told  her  that  Dick  was  dying.  She  didn’t 
leave  his  bedside,  just  sat  there  hour  after 
hour,  praying  him  into  recovery.  These 
are  the  things  you  don’t  forget  in  mar- 
riage. And  a flaring  of  tempers,  either  at 
home  or  in  public,  is  just  a ripple  in  a 
placid  pond.  (By  the  way,  they  still 
haven’t  decided  on  a school  for  Pammy!) 

Janet  Leigh  had  been  married  twice 
when  she  met  Tony  Curtis,  who  was  real 
scared  of  women.  Tony  was  raised  in  a 
tough  part  of  the  Bronx,  and  he  was  shy 
in  the  presence  of  movie  actresses.  Shy? 
He  was  terrified.  And  thrilled  when  Janet 
fell  for  him.  It’s  been  one  of  those  unex- 
plainable things  that  while  Janet  and  Tony 
have  been  writing  about  their  perfect 
marriage  for  the  magazines  some  of  their 
best  “friends”  have  worked  overtime,  try- 
ing to  sabotage  the  most  attractive  ro- 
mance in  Hollywood.  Talk  of  Janet’s  being 
flirtatious— it’s  true,  but  not  the  way  it  is 
interpreted  by  some  people!  This  was  the 
way  she  was  when  Tony  married  her,  and 
he  wouldn’t  have  her  squelch  her  naturally 
high  spirits  for  any  gossip  in  the  world. 

No  two  people  are  more  in  love  than 
Tony  and  Janet.  He  wasn’t  important  as 
a star  when  they  married.  But  Tony  has 
managed  to  reach  her  rung  of  the  ladder 
without  putting  their  marriage  on  a pre- 
carious footing.  They  even  like  working 
together.  But  Janet  and  Tony  are  as  dif- 
ferent as  ham  and  eggs,  which  also  go  to- 
gether. And  their  happiness  isn’t  a hap- 
hazard affair.  They  work  at  it. 

I was  at  the  party  Universal  gave  for 
Janet  and  Donald  O’Connor  after  they 
completed  “Walking  My  Baby  Back 
Home.”  And  Tony,  wanting  to  take  his 
baby  back  home,  came  on  the  sound  stage 
where  the  party  was  going  great  guns, 
about  two  hours  after  it  started.  “Jan,”  he 
whispered.  “I  called  the  house  and  dinner 
is  ready.  The  maid  is  waiting.”  “I  can’t 
leave  now,”  she  hushed  him,  “this  party 
is  for  me.  You  go  on  and  I’ll  come  home 
when  I can.”  Tony  cased  the  merrymakers, 
then  looked  seriously  at  his  wife.  “All 
right,”  he  said,  “but  promise  me  you’ll 
drive  very  carefully.”  Janet  laughed  aloud 
and  said,  “I  promise  I’ll  drive  carefully 
(then  added  with  a serious  face)  but  on 
the  wrong  side  of  the  road.”  This  time 
Tony  laughed.  Which  was  exactly  the  right 
thing  to  do.  Janet  left  as  soon  as  she  de- 
cently could — to  join  Tony  at  home. 

Janet  is  a sharp  girl.  She’s  the  Joan 
Crawford  of  this  generation — very  co- 
operative. Loves  to  dress  up  and  go  to 
parties.  She  has  a soft  exterior  and  a whim 
of  iron.  Tony  lives  by  his  heart.  Whatever 
Janet  wants,  he  wants.  She  wanted  to 
dance  with  a broken  ankle,  so  they  danced. 
But  it  takes  two  to  tango.  And  two  to 
make  a happy  couple.  Janet  does  her  share. 

She’s  obsessed  with  the  idea — erroneous, 
but  wifely  nonetheless — that  Tony  is  deli- 
cate and  underweight.  She  has  long  con- 
fabs with  his  mother,  whom  she  adores, 
and  the  two  ladies  concoct  fattening  foods 
for  the  man  they  love.  And  when  he’s 
working  in  a picture,  the  most  exciting 
party  isn’t  exciting  enough  to  lure  the 
Curtises  from  early  to  bed.  This,  my 
friends,  makes  a marriage  healthy,  wealthy 
and  wonderful. 

And  you  can  say  it  again  for  Jean  Sim- 
mons and  Stewart  Granger.  When  Stewart 
is  making  a picture,  even  if  the  Queen  of 
England  were  to  call  them  for  a date, 
I’m  sure  Jean  would  reply,  “I’m  sorry, 
Jimmy  (his  real  name)  has  to  relax  so  he’ll 


look  nice  in  the  morning  for  the  came  jjol 
And  he’s  going  to  bed  instead  of  go  ,he 
out.”  jnp 

At  the  beginning  of  this  marriage 
wouldn’t  have  given  any  odds  for  its  la 
ing.  Jean  was  miserable.  She  was  A 
working  and  she  couldn’t  adjust  to  the  Ce  ^ 
fornia  climate.  This  latter  sounds  impi 
sible,  but  it  happens.  Stewart  alw;  . 
seemed  to  be  bawling  Jean  out.  But  Iu  ^ 
derstand  him  better  now.  And  I shoi  |i 
have  known  better.  It’s  sometimes  1 [S 
habit  of  English  people  to  pretend  to  i ^ 
suit  those  they  love.  Now  when  he  calls  ((1 
charming  wife  an  old  bag,  and  she  ce  ija 
him  something  stronger  in  return,  I kn>  ’ 
they’re  not  fighting,  they’re  just  prefaci  Jje( 
some  conversation. 

Jean  can’t  boil  water.  But  hubby  is  ! 
good  cook.  At  first  he  would  chide  h 
Now,  on  cook’s  night  out,  Stewart  tal 
over  in  the  kitchen.  At  the  beginning 
their  marriage,  he  expected  perfecti 
from  Jean.  He  realizes  now  she’s  perf< 
for  him.  He  didn’t  even  wince  when  an  u 
diplomatic  autograph  hound  took  Jea 
signature,  then  turned  to  Stewart  and  d 
manded,  “Who  are  you?”  “I’m  Jean  Sii 
mons’  husband,”  he  replied  gravely.  A 
that’s  how  he  signed  his  name.  But  if  the 
were  any  doubt  about  the  solidity  of  tl 
marriage,  it  was  erased,  from  my  mi 
anyway,  when  Jean  lost  her  great  sen 
of  humor  and  almost  her  mind  when  s 
couldn’t  join  her  husband  in  Englai 
while  he  was  making  “Beau  Brumme 
over  there.  Her  tangled  movie  situati 
with  Howard  Hughes  kept  her  home.  I’ 
never  seen  a girl  miss  her  man  so  much 
even  after  the  story  was  printed  that  ] 
wasn’t  missing  her,  but  having  a ball  wi 
Elizabeth  Taylor  and  Mike  Wilding,  wl 
by  the  way  seem  to  have  solved  the  ridd 
to  happy  marriage  in  Hollywood  by  sta; 
ing  home  with  books  and  music,  appearir 
in  public  only  when  they  absolutely  mu. 

The  fightingest-married  female  in  tov 
is  Lita  Baron,  married  to  handsome  Ro 
Calhoun.  Lita  has  a Latin  temperamei 
And  she  gets  mad  at  Rory  because  1 
won’t  get  mad. 

When  Rory  went  to  Canada  on  loc; 
tion  with  Marilyn  Monroe,  Lita  packt 
her  bag  and  joined  him  there.  It  wasr 
that  she  mistrusted  Monroe.  Besides  Ji 
DiMaggio  was  there.  She  just  believes 
being  with  her  husband.  And  Rory  w 
delighted  to  see  her.  He  adores  this  bund 
of  temperament.  And  he  knows  he  isr 
a saint  to  live  with.  Rory’s  bad  habit 
forgetfulness.  He  can  make  a date  at  nil 
a.m.  for  twelve  noon,  and  unless  you  ce 
him  at  11:30,  he’s  just  as  likely  to  j 
somewhere  else.  But  he’s  striving  to  cu; 
the  annoying  (especially  to  Lita)  black 
outs  with  scribbled  messages  to  himself  . 
strategic  points  in  the  house. 

And  Lita,  an  indoor  girl  from  ’way  bac 
in  Mexico — or  is  it  Spain? — has  learned 
hunt,  shoot  and  fish  because  these  ai 
Rory’s  sports.  And  he’s  very  wisely  intei 
ested  in  her  career.  When  Lita  opened  ; 
the  Mocambo  in  a dance  act  with  Bill 
Daniel,  Rory  packed  the  place  with  h 
pals.  And  during  her  engagement  at  tf 
Maisonette  Room  in  New  York,  Rory  w; 
on  hand,  leading  the  applause.  It’s  thes 
little  mutual  considerations  and  kindness! 
that  make  a marriage  last  longer. 

The  Van  Johnsons  fight  at  the  drop  of  a 
adjective.  But  this  is  the  way  they  get  th 
petty  irritations  out  of  their  system.  An 
brother,  how  this  Eve  protects  her  Adan 
She  won’t  let  anyone  rib  him.  On  the  firs 
day  of  “The  Caine  Mutiny,”  Humphre 
Bogart  kidded  Van  with,  “What’s  all  thi 
so  and  so  about  you  liking  the  Navy.”  Va 
wilted.  But  Evie  flew  at  Bogey  like 
tigress  with  a cub  in  danger. 

They  have  an  arrangement  about  parties 
Van  goes  home  early.  Evie  stays  to  the  eni 
and  gets  a ride  home.  I remember  whei 

A 


! K1 

a took  fright  at  the  Screen  Writers  Din- 
■ where  he  was  to  entertain.  He  saw  all 
important  faces  and  he  couldn’t  go 
ough  with  it.  Evie  quietly  steered  him 
ough  the  crowds,  got  his  car,  sent  him 
ne,  then  she  came  back  to  explain — and 
nt  home  by  cab  to  comfort  him.  That’s 
at  I call  working  at  marriage. 

To  go  back  to  Mr.  Bogart,  the  only 
ious  disagreement  with  his  wife  Lauren 
call  in  their  nine  years  of  marriage  was 
en  she  was  for  Adlai  Stevenson  and  he 
jported  Eisenhower.  But  Bogey  didn’t 
Id  out  long.  He  switched  in  mid-election 
Adlai,  proving  once  again  that  the  wom- 
1 he  marries  wears  the  pants.  He’s  been 
irried  four  times,  but  the  last  time  took, 
gey  called  his  previous  wife,  Mayo 
; thot,  “Sluggy,”  because  they  were  al- 
ys  slugging.  But  Bacall  has  a better 
;tem.  He  calls  her  baby.  But  that’s  how 
> treats  him — like  a baby.  When  he’s 
ughty,  a la  that  panda  incident,  she 
ilds  him.  She  doesn’t  drink  herself,  in 
? way  we  talk  about  drinking.  And  she’s 
ilistic  about  her  man.  You  see  him  very 
en  at  night  clubs  and  cocktail  parties 
thout  her.  Just  as  long  as  Bogey  comes 
me,  that’s  all  that  counts  with  Miss 
call. 

\.nd  mostly  he  tries  to  please  her.  She 
mted  the  big  house  in  Holmby  Hills.  So 
shelled  out  more  than  $200,000  for  the 
autiful  mansion.  But  she  gave  up  her 
iting  ambitions  to  be  a better  wife  and 
)ther  of  his  two  children.  Nowadays, 
b’ll  do  a movie  occasionally,  but  only 
len  it  doesn’t  interfere  with  traveling  to 
irope  when  Bogey  has  to  make  a pic- 
re  there. 

There  are  nonstop  rumors  about  Linda 
iristian  and  Tyrone  Power.  But  the  mar- 
ige  goes  marching  on.  Perhaps  because 
ey  are  so  considerate  of  each  other.  For 
stance,  when  Ty  is  on  tour  and  Linda 
omises  to  call  him,  she  does,  come  hell 
d high  water.  Once  she  was  in  the 
ddle  of  a panel  show  on  tv,  and  she  re- 
;mbered  that  Ty,  in  Florida  with  “John 
own’s  Body,”  was  waiting  for  her  call, 
lis  was  one  time  Ty  had  to  wait.  But 
e put  her  call  through  during  the  com- 
ercial! 

There  are  a lot  of  happy  couples  in 
illy  wood  who  don’t  seem  to  be  working 
I being  happy,  it  comes  so  naturally.  And 
io  mean  the  Alan  Ladds  and  the  Jimmy 
lewarts.  No  one  could  be  more  right  for 
mmy  than  sweet-tempered,  calm  Gloria, 
it  nothing  happens  by  itself.  Especially 
wonderful  marriage.  Sue  Ladd  is  Alan’s 
ght  and  left  arm.  She  was  a professional, 
nd  she  understands  everything  that 
:eps  an  actor  in  the  top  flight  of  popu- 
rity.  Sue  is  more  than  a good  wife  and 
good  mother.  She’s  a genius.  And  she 
in  cook  too! 

If  Jeanne  Crain  and  Paul  Brinkman  ever 
;ht,  which  I doubt,  no  one  would  ever 
low.  She’s  so  poised,  so  controlled.  He’s 
ways  smiling,  always  ready  to  escort 
,:anne  to  the  parties  and  premieres  they 
ith  love.  So  you  see,  marriages  are  made 
i Hollywood  as  well  as  Heaven. 

The  End 

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Tab — and  They  Call  Him  Dreamboat 


(Continued  from  page  49) 

The  career  I was  involved  in  happened 
to  come  up  in  the  conversation  and  I re- 
marked, “With  your  looks,  kid,  you  ought 
to  make  a try  for  the  movies  yourself.” 

He  dipped  his  head  sort  of  shyly,  mum- 
bled a little  and  said,  “I  wouldn’t  want  to 
wear  all  that  make-up  on  my  face  and 
bother  about  learning  lines.  I’d  rather  ride.” 

And  he  meant  it.  Horses  were  his  life, 
and  he  was  willing  to  do  anything  to  ride 
the  best. 

Shortly  after  I met  him  he  wanted  to 
work  out  a certain  jumper.  The  owner 
agreed  if  Tab  would  pay  half  of  the  feed 
bill.  Naturally  the  kid  couldn’t  afford  it. 
It  was  heartbreaking  to  watch  the  yellow- 
haired adolescent  looking  after  the  big 
horse  he  wanted  to  ride  so  badly.  Navy 
pay  didn’t  give  me  much  spare  cash  or  I’d 
have  paid  the  bill  myself.  As  it  was,  Tab’s 
mother  agreed  to  share  the  expense  with 
him  if  he  could  earn  part  of  the  money. 
So  he  took  a job  at  the  orange-juice  stand 
on  Hollywood  Boulevard  to  get  the  funds. 

That  was  the  first  time  I’d  seen  the  de- 
termination to  achieve  whatever  his  heart 
was  set  upon.  I’ve  seen  it  a lot  since  then. 
Tab  has  always  worked  hard  until  he  be- 
came a perfectionist  in  whatever  struck 
his  lasting  interest. 

He  learned  to  become  one  of  the  best 
junior  horsemen  on  the  West  Coast.  After 
he’d  won  a bunch  of  blue  ribbons,  he  lost 
the  drive  temporarily  and  turned  whole- 
heartedly toward  the  silver  blades  of 
amateur  ice  skating  competition. 

At  once,  as  soon  as  the  fancy  had  taken 
him,  Tab  plunged  into  extensive  practice. 
He  spent  countless  hours  at  the  local  ice 
rink,  repeating  basic  figures,  polishing 
techniques,  practicing,  improving  his  form 
and  style.  Along  with  the  actual  repetition 
of  skating,  he  grabbed  up  chunks  of 
theory  and  some  goals  to  shoot  for.  When- 
ever Ice  Capades  hit  town,  he  was  at 
every  performance.  Donna  Atwood  and 
Bobby  Specth,  charmed  by  the  youngster’s 
eagerness  to  learn,  would  spend  hours 
talking  to  him  about  when  they  too  were 
competitors  in  the  sport. 

It  wasn’t  long  before  he  felt  he  was  good 
enough  to  take  a stab  at  competition.  He 
entered  and  won  quite  a few  amateur 
championship  awards.  Tab  is  still  an 
amateur  and  plans  someday  to  get  his  gold 
medal. 

I had  come  back  from  the  Navy  and  was 
working  in  “Our  Very  Own”  when  Tab 
came  into  Los  Angeles  and  visited  me  on 
the  set  one  day.  That  evening  he  even  went 
so  far  as  to  admit,  “You  know,  Dick,  may- 
be pictures  aren’t  so  bad  after  all.”  I had 
a feeling  it  would  be  the  start  of  some- 
thing. Even  that  much  interest,  expressed 
aloud,  meant  he’d  been  thinking  about  it. 
Later,  I learned  he  had  joined  the  dra- 
matic group  at  St.  John’s  Military  Academy 
and  had  a few  parts.  He  was  temporarily 
sidetracked  when  he  decided  to  join  the 
Coast  Guard. 

I didn’t  see  much  of  Tab  in  the  ensuing 
months.  I went  to  New  York  on  business. 
Tab,  who  was  in  boot  camp  in  Connecticut, 
became  a frequent  visitor,  calling  on  me 
when  he  got  leave.  I took  him  to  his  first 
Broadway  play  and  saw  right  then  the 
rekindled  spark  of  interest  in  acting. 

The  New  York  interlude  was  a lot  of 
fun  for  the  kid.  I had  a small  apartment 
which  I told  him  he  could  use  whenever 
I was  out  of  town.  Upon  my  return  from 
a weekend  trip  I usually  found  that  he’d 
been  on  liberty  with  a half  a dozen  of  his 
Coast  Guard  buddies — the  cupboard  was 
always  bare.  They  were  never  fed  at  camp 
— if  the  way  they  cleaned  me  out  was  any 
indication. 


I got  a kick  out  of  seeing  Tab  put 
three  of  his  big  interests  into  practice 
the  same  time.  There  was  horseback  ridi 
in  Central  Park,  ice  skating  in  Rockefel 
Center  and  shows  at  night  along  Broadw 

At  three  thirty  one  morning  I came  ho: 
from  a party  to  find  Tab  forlornly  sitti  :: 
in  the  big  chair. 

“Hiya  buddy,”  I said.  “Thought  you  wi  ; 
due  back  at  the  base  this  evening.” 

Tab  looked  kind  of  sad.  “Yeah.” 

“Get  goin’  boy  or  you’ll  be  sitting  < 
restriction.” 

“Well,  you  see,  it’s  like  this,  Dick.  T 
gal  and  I went  to  a show  and  to  dint 
and  well.  . . .” 

He  didn’t  have  to  say  any  more.  1 
combination  of  being  generous  to  a fa 
and  not  having  the  vaguest  idea  of  how  1 
handle  money  spelled  out  “broke.” 

“That’s  right,”  frowned  Tab,  “I  blew  1 ; 
roll  and  I was  as  far  as  Grand  Cent 
Station  before  I realized  I hadn’t  the  far  * 

Lending  Tab  the  few  bucks  to  make  1 r 
fare  was  no  problem.  What  did  pres*  1 
difficulties  was  the  fact  that  the  last  tr; 
for  the  evening  had  already  pulled  < 
and  there  wasn’t  another  scheduled  : 
several  hours.  And  that  one  didn’t  get  h J 
back  to  the  base  before  roll  call. 

Now  the  punch  line  of  the  story  sho* 
be  that  Tab  was  late,  got  thrown  into  1 ; 
brig  or  at  least  given  company  punishmt 
and  thereafter  became  as  money-conscic  " 
as  old  Midas. 

No  such  thing.  A buddy  covered  up  : 
him,  as  buddies  in  service  often  do,  no  c 
knew  he  was  missing  and  Tab  is  as  careli 
about  the  state  of  his  bankroll  as  ever. 

When  Tab  finally  left  the  service 
came  directly  to  Hollywood  and  looked  j 
up,  for  by  this  time  I’d  returned  to  i 
Coast  and  was  in  the  midst  of  a transiti 
from  actor  to  agent. 

“Dick,”  he  said,  “I  feel  now  that 
honestly  want  to  try  for  a career  in  p 
tures.  Do  you  think  I could?” 

“I  said  it  when  you  were  a twelve-yej 
old  kid,  Tab,  and  I say  it  again.  In  fa 
you  have  more  to  offer  now.  I don’t  s 
how  you  can  miss.” 

He  hit  it  with  all  fours  in  the  sai 
sincere,  hard-driving  way  he’d  done  thir 
all  his  life  and  results  showed.  He  had 

But  it  wasn’t  as  easy  as  some  peo] 
might  think.  Tab  did  Little  Theatre  wc 
and  knocked  on  studio  doors  for  nearly  t' 
years  before  the  big  break  came. 

Paul  Guilfoyal,  whom  he’d  met  at  1 
rehearsal  of  a play,  thought  of  Tab  a 
suggested  him  for  the  role  of  the  se 
young  giant  in  “Island  of  Desire.” 

He  was  tested,  signed  for  the  picture  a 
given  a name-change  from  his  own  Art! 
Gelien.  Tab  said  at  the  time  that  he  did 
like  the  new  one  much  but  that,  after  ; 
a name  is  only  as  important  as  the  owr 
makes  it. 

He  proved  it  by  getting  the  role  in 
land  of  Desire”  and  following  it  with  1 
honors  for  himself  in  Photoplay’s  “Cho* 
Your  Star”  poll  in  1952. 

Then,  one  after  the  other,  came  roles 
“Gun  Belt,”  “Steel  Lady,”  and  “Return 
Treasure  Island.”  And  now  he  has  a c 
starring  part  in  “Battle  Cry.” 

In  any  friendship  certain  things  pop  ii 
mind  that  are  out  of  any  sort  of  sequer 
or  chronology.  Things  that  impress  ) 
about  Tab.  Things  that  are  perhaps  1 
truest  index  to  the  kind  of  a guy  he  is 

For  instance,  he  won’t  simply  run  fi 
a shop  and  take  the  first  thing  at  ha 
when  he  buys  a greeting  card  or  a g 
He  goes  out  of  his  way,  takes  his  tir 
exercises  ■his  taste,  his  sense  of  humor  a 
displays  a real  intent  to  please  someo 
Debbie  Reynold’s  last  birthday  found  J 


In  location  in  San  Diego.  Instead  of  hors- 
ig  around  with  some  of  the  other  guys  in 
le  cast  down  Tiajuana  way  at  night  spots, 
ab  spent  hours  searching  for  something 
propriate.  He  finally  found  just  what  he’d 
een  looking  for.  Something  he  knew 
'ould  please  Debbie.  It  was  a special  kind 
if  hand-carved  bank  shaped  as  a bull, 
[e  had  her  name  engraved  on  it  and  pre- 
snted  it  to  her  along  with  a big  bottle  of 
er  favorite  perfume. 

Tab’s  own  fine  taste  in  clothes  recalls 
nother  act  of  generosity.  When  I’m  ready 
Ip  buy  some  additions  to  my  wardrobe  he 
ften  comes  along  to  heckle  and  to  help 
i the  selection.  On  one  occasion  a cordu- 
py  jacket  caught  my  eye  and  my  fancy, 
ut  the  price  caught  me  with  a thin  wallet, 
couldn’t  afford  it,  so  I forgot  it,  but  when 
ly  next  birthday  rolled  around,  Tab 
lowed  up  early  with  the  selfsame  coat 
nder  his  arm. 

,i  A lot  of  what  Tab  is,  of  what  he’s  been 
file  to  make  of  himself  can  be  credited  to 
ie  hands  and  heart  of  his  mother.  Kind 
nd  understanding,  Mrs.  Gelien,  whose 
ply  other  son,  Walter,  is  married  and 
ving  near  San  Francisco,  unselfishly 
elped  Tab  to  decide  to  go  out  on  his  own. 

|,  After  dinner  one  night  she  said,  “Tab, 
ou’re  twenty-one  now.  I love  you  and 
i want  you  to  be  near  me  but  I think,  for 
fiur  own  sake,  for  your  development  as 
,n  individual,  you  should  be  on  your  own.” 


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Tab  had  been  thinking  of  such  a move 
or  sometime  but  felt  he  should  remain  at 
ome.  His  mother  sensed  this  and  sensed 
he  rightness  of  the  time.  Tab  left  and 
bund  a place  close  enough  so  that  they 
ould  see  each  other  often. 

Mrs.  Gelien’s  wisdom  paid  off  for  her 
on  in  helping  him  achieve  added  poise, 
onfidence,  a fresher,  more  mature  atti- 
ude  toward  people  and  things. 

In  Tab’s  growing  years  he  used  to  be 
xtremely  shy  around  girls  and  older 
ieople,  an  ailment  common  to  most  grow- 
og  kids.  With  his  new  independence  and 
he  broadening  influences  of  his  trip  to 
Europe,  Tab  has  emerged  as  a man  able 

0 meet  the  demands  of  social  activities 
lecessary  to  an  actor.  Now,  at  a party,  Tab 
lolds  his  own,  can  make  small  talk  or 
eriously  discuss  practically  any  subject, 
lirls  like  Debbie,  Lori  Nelson  and  Terry 
doore,  who’ve  always  liked  Tab  but  were 
eserved  in  their  opinion  of  him,  now 
idmit  they  thought  he  had  too  much  kid- 
lish  exuberence  about  him  before,  that 
low  it’s  tempered,  with  maturity. 

As  his  advisor^  Tab  and  I necessarily  see 

1 lot  of  each  other.  But  beyond  the  busi- 
ness relationships,  as  friends  of  long  stand- 
ng,  we  enjoy  each  other’s  company.  Oc- 
casionally we  double  date,  but  more  often, 
when  we  both  feel  like  a quiet  evening, 


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Name 

If  writing  for  organ- 

he’ll  drop  over  to  my  place  for  a game  of 
poker  or  scrabble  or  just  a long  talk  about 
careers,  gals  and  things. 

I don’t  want  to  give  the  impression  that 
Tab  is  Mr.  Perfection  or  a Sir  Galahad.  He 
has  his  failings,  plenty  of  them,  but  he 
has  a certain  charm  even  in  error  that 
prevents  anyone  from  getting  really  angry 
with  him. 

I can  work  up  a pretty  good  bug  on  the 
business  of  money.  Time  and  again  I’ve 
said,  “Tab,  you  must  begin  to  save  your 
money.  You’re  a star  but  you’re  also  a 
free-lance  actor.  You  may  do  five  pictures 
in  a row,  then  all  of  a sudden  a dry  period 
can  set  in.  No  pictures.  No  income  for  a 
while.  There  has  to  be  a reserve  to  fall 
back  on.  It  happens  to  the  biggest  stars  so 
use  the  old  Boy  Scout  motto  and  be  pre- 
pared. Save  some  of  it.” 

Tab  will  look  at  me,  nodding  at  the 
proper  places,  acting  very  conscientious 
and  determined  to  start  salting  it  away. 

“You’re  right,  Dick,”  he’ll  say.  The  next 
day  he’ll  spot  a sport  jacket  he  likes.  He’ll 
buy  it.  A little  later  it’s  a cashmere  sweat- 
er. He’ll  show  them  to  me  all  smiles  and 
I’ll  blow  my  top. 

Then  the  explanations  begin.  “A  bar- 
gain. Got  to  have  this  for  the  party  to- 
morrow night.”  This,  that  or  the  other  thing 
and  the  first  thing  I know,  I’m  at  the  same 
shop  getting  fitted  for  a jacket  or  sweater 
I can’t  afford  any  more  than  Tab  could. 

Then,  too,  he’s  got  a share  of  “ham”  in 
him.  It  seems  to  be  an  occupational  dis- 
ease with  actors.  (I  had  it  myself.) 

At  the  house  in  Palm  Desert,  Tab,  who 
had  never  seen  a can  of  paint  from  the 
business  end  before,  pitched  in  and  was 
splashing  color  around,  sawing  boards, 
hammering  nails  and  topped  it  off  by  mak- 
ing a cornerstone  in  cement  engraved  with 
the  inscription  “God’s  Little  Acre— Dick 
Clayton.”  Then  he  put  “Tab”  in  the  upper 
corner — just  couldn’t  resist  top  billing.  He 
got  such  a kick  out  of  the  gimmick,  though, 
that  I couldn’t  object  to  the  little  hunk  of 
up-staging. 

Tab’s  not  afraid  of  manual  labor,  but  on 
the  house  project  he  had  a tendency  to 
overrate  how  much  sweat  and  strain  he 
actually  put  into  it. 

“I’ve  been  working  like  the  devil,”  he’d 
say  to  anyone  who’d  listen. 

“That  Clayton  is  a real  slave  driver.” 

The  truth  was  that  he  did  work  hard 
and  do  what  he  was  told,  but  whenever 
there  was  a break,  I’d  grab  a snapshot  of 
Tab  asleep  in  the  wheelbarrow  or  grab- 
bing forty  winks  the  other  side  of  the 
wall.  Then  when  I heard  him  boasting,  out 
came  the  snapshots. 

A star’s  adviser  is  sort  of  father,  brother 
friend,  confidant,  mentor,  slave  driver, 
wailing  wall,  lawyer,  financier  and  police- 
man. On  top  of  that,  Tab  and  I have  a 
real  friendship.  Sometimes  I think  he 
takes  advantage  of  the  friendship  part  and 
forgets  I too  have  an  active  interest  in  his 
career.  That’s  when  I have  to  come  down 
hard.  If  he  tries  to  jolly  his  way  out  of  an 
acting  lesson  or  relax  his  training  a bit, 
no  matter  what  the  reason  for  his  lagging, 
I want  to  know  why.  Tab  always  seems  a 
little  surprised  when  I jump  at  these 
things. 

Tab  is  a star,  but  he’s  far  from  being  a 
complete  actor.  He  needs  work,  constant 
attention  to  detail,  roles  to  work  with  and 
absolute  concentration  to  secure  the  posi- 
tion he’s  attained.  It  took  years  and  years 
for  even  such  idols  as  Taylor  and  Power 
to  get  to  their  positions  of  confidence  and 
certain  ability  from  which  they  aren’t 
likely  to  be  shaken.  I tell  this  >to  Tab 
every  time  he  steps  out  of  line  and  lets 
down  more  than  he  should. 

He  ducks  his  singing  lessons  sometimes. 
He’s  got  a good  voice  and  I’ve  told  him  he 
can’t  tell  when  he  might  be  called  upon 


to  use  it  in  a picture.  But  sometimes  h« 
lazy. 

Again,  I get  a little  ruffled  when  Tab  fal 
for  flattery  a bit  too  much.  It’s  a natur  I 
human  trait  and  the  compliments  have  a j 
ways  been  well  meant,  but  when  it  haj 
pens,  I have  to  turn  Dutch  uncle  agai ! 
“It  can  be  ruinous  to  your  career.  I’i 
been  through  the  ropes  myself,  and 
know  how  easy  it  is  to  let  other  people 
kind  words  influence  you  to  the  poii 
where  you  think  you  can  sit  back  on  yoi' 
laurels.  You  can’t.” 

Tab  listens  carefully  and  apparent! 
understands  that  what  I’m  telling  him 
savvy  and  true.  But  a little  too  much  air  j 
the  head  and  I have  to  be  at  him  again.  | 

“There  are  dozens  of  young  guys  wh 
are  ready,  able  and  darned  anxious  1 
have  your  niche,  and  they’ll  knock  them 
selves  out  to  get  it.  The  bigger  you  ge 
the  more  people  are  gunning  for  you.  An; 
the  more  certain  you  have  to  be  of  wh; 
you  really  have. 

“Look  at  me,”  I set  myself  up  as  th! 
horrible  example.  “It  happened  to  m 
Profit  from  my  mistakes  or  you’ll  end  u 
being  an  agent.” 

Tab  smiles  at  that.  “Okay,  boss.” 

With  all  the  temporizing  he  learns. 

One  night  I gave  him  a lecture  about  hi 
not  studying  the  characterization  of  a roll 
enough.  I thought  he  had  a tendency  t 
neglect  thinking  his  part  out  thoroughly 
He  threw  that  one  back  at  me  graphically! 

The  day  before  he  was  to  leave  for  loca 
tion  on  Warners’  “Battle  Cry,”  Tab  cam 
over  with  a twenty-page  manuscript.  1 
was  a complete  character  analysis  of  th 
role  of  Danny,  the  boy  he  was  to  play  i 
the  picture.  From  my  knowledge  of  char1 
acter  delineation  and  motivation  I though 
it  hit  the  part  right  on  the  nose,  but 
withheld  opinion  until  I’d  shown  it  to  hi 
coach  to  see  if  he’d  had  any  help  on  i 
The  coach  said  “No”  and  was  amazed. 

Actually,  and  don’t  tell  him  I said  sc 
he’s  improving  plenty  and  coming  alon 
fine.  Recently  he  got  a little  badly  neede 
stage  experience  under  his  belt. 

When  the  producers  of  “Our  Town”  ap  j 
proached  Tab  to  play  the  lead  of  Georg ' 
Gibbs  in  the  West  Coast  stage  productioi 
of  the  Pulitzer  Prize  play,  Tab  phoned  m 
and  we  discussed  the  pros  and  cons  of  ac 
cepting  the  role  for  hours.  He  realized  th 
challenge,  since  he’d  never  been  on  th 
professional  stage  before.  When  he  ftnall; 
decided  to  do  it,  he  put  everything  els 
aside  and  really  concentrated.  He  worke 
hard  and  took  the  advice  of  his  co-sta 
Marilyn  Erskine. 

Tab  will  be  the  first  to  agree  that  he  wa 
lucky  to  be  associated  with  this  fine  youn; 
actress  who  has  been  in  the  professions 
theatre  since  she  was  four.  She  generous! 
gave  of  her  time  and  talents  to  help  Tal 
with  his  performance,  and  I know  she  fel 
rewarded  when  the  critics  acclaimed  hi 
work.  I’m  certain,  too,  that  he  was  full; 
aware  of  her  contribution  to  the  acclaim 

Many  people,  knowing  of  my  long  asso 
ciation  with  Tab,  ask  me  frankly  if  hi 
success  is  perhaps  more  than  he  can  han 
die. 

Sudden  exictement  around  any  per 
sonality  tends  to  bring  up  that  poser 
There  are  pressures,  of  course.  He  doe 
get  a bit  carried  away  by  the  applause  a 
times,  but  that,  too,  is  part  of  being  ai 
actor. 

As  his  adviser,  I will  say  that  Tab  ha 
the  means  to  solidifying  the  success  he’: 
garnered  and  firmly  establishing  himsel 
in  the  acting  profession. 

As  his  friend,  I can  only  point  out  tha 
if  he  could  handle  a spirited  jumper  whei 
he  was  twelve  there’s  no  reason  under  th< 
sun  why  he  can’t  handle  a spirited  careei 
now. 

The  End 


90 


JOLLY  WOOD 
WHI 


BY  FLORABEL  MUIR 


..  .About  the  wonderful  way  in  which 
iuy  Madison  has  handled  the  whole 
ivorce  situation  with  Gail  Russell, 
iany  men  and  women  who’ve  found 
Jiemselves  in  the  midst  of  public  mud- 
linging  battles  have  admired  these  two 
or  being  able  to  solve  their  difficult 
roblems  in  private.  Many  is  the  prayer 
oat’s  been  said  for  Gail  in  this  situa- 
on — no  one  girl  in  Hollywood  has 
ver  had  so  many  pulling  for  her. 


,... About  Grace  Kelly,  who’s  had  so 
iany  telephone  calls  from  romantic 
oung  men  that  she  had  to  get  an  un- 
sted  phone  put  in.  And  about  Debbie 
ieynolds,  who  seems  breathless  over 
Robert  Dix,  son  of  the  great  Western 
itar,  Richard  Dix. 


..  .About  Bella  Darvi’s  possible  return 
o a European  acting  career.  Bella  fin- 
;hed  “The  Egyptian”  (during  which 
ime  she  acquired  a white  leather-lined 
Cadillac  because  “it  was  such  a bargain 
fith  the  amount  I received  in  trade  for 
tiy  Ford”)  and  hied  herself  off  to 
’ranee  and  Paris  from  whence  she 
ame.  There  is  speculation  among  those 
a the  know  that  she  won’t  return. 


i ...About  Corinne  Calvet’s  teaming 
1 vith  Johnny  Ray.  This  is  one  of  those 
1 mpossible  combinations  that  are  not 
Ireams  but  nightmares! 


...About  Frank  Sinatra’s  new  lease 
m life.  If  his  Oscar  had  come  encrusted 
vith  diamonds  it  couldn’t  have  meant 
nore  to  him  financially  than  the  uplift 
t’s  given  his  career.  With  two  pictures 
ior  United  Artists,  “Not  as  a Stranger” 
tnd  “Suddenly,”  set,  with  two  per  cent 
)f  the  Sands  Club  at  Las  Vegas  in  his 
pocket,  he  can  pick  and  choose  any- 
hing  he  wants  in  the  movie  line.  We 
snew  he’d  arrived  the  other  day  when 
tie  turned  down  a pressman’s  request 
for  a few  minutes  of  his  time  with 
‘drop  dead!”  When  this  happens,  you 
/know  Frankie’s  real  sure  of  himself. 


...  .About  the  unpredictable  Jean 
Peters,  whose  sudden  return  from  years 
of  seclusion  had  Hollywood’s  eligible 
males  crying  in  delight.  Then,  just  as 
suddenly,  she  surprised  everyone  by 
marrying  southern  socialite  Stuart  W. 
Cramer  III  in  a quiet  ceremony  at  the 
New  York  Avenue  Presbyterian  Church 
in  Washington,  D.  C. 


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260,000  Minutes  of  Marriage 


( Continued  from  page  32) 
guidance  and  then  approval.  It  takes  hours, 
weeks  of  preparation  for  a song  which 
will  consume  only  minutes  on  the  Cinema- 
Scope  screen. 

“Madam  is  improving  . . . she  opens  her 
mouth  and  takes  a note  . . . she’s  surer 
of  herself,”  said  Schaefer,  during  a 
breather.  “I  worked  with  the  best  singers. 
The  Madam’s  got  it.” 

I admitted  Marilyn  was  singing  better 
than  ever.  The  piano  playing  resumed. 
The  singing  resumed.  More  and  more  of 
the  same.  It  was  almost  enough  to  make 
me  like  Liberace. 

The  telephone,  on  the  desk  in  the  far 
corner  of  the  room,  rang.  “I’ll  answer  it,” 
said  Marilyn,  who  had  sprinted  to  the 
end  of  the  room  and  was  already  grabbing 
the  phone. 

“Hello,  Joe,”  she  said  softly.  “Gee,  I’m 
glad  you  called.” 

Then  and  there  Marilyn  Monroe  was 
Mrs.  DiMaggio.  The  dialogue  is  placed  in 
evidence.  I couldn’t  hear  Joe,  but  Mrs. 
DiMaggio  listened  bright-eyed.  She  made 
these  remarks  at  intervals:  “Sure,  Joe,  if 
you  think  it’s  best.”  . . . “I’m  getting  along 
fine.”  . . . “I’ve  been  thinking  about  you.” 
...  “I  can  get  there  in  time.”  . . . “Don’t 
worry  about  a thing,  Joe,  please.”  . . . “So 
long,  dear.” 

She  stepped  back  and  became  The 
Monroe.  She  told  Hal  and  me  she  had  been 
talking  to  Joe  on  the  phone — as  if  we  had 
to  be  informed.  She  explained  that  Joe 
had  been  working  hard,  moving  furniture, 
trunks,  etc.,  into  the  Beverly  Hills  house 
they  had  rented.  She  said  she  should  have 
been  helping  him  (“It’s  a wife’s  job”).  But 
Joe  didn’t  want  her  to,  especially  because 
the  picture  was  about  to  go  to  bat.  A pro- 
fessional man,  Joe  understood  the  impor- 
tance of  going  to  bat.  This  in  itself  indi- 
cates how  Joe  and  Marilyn  are  working 
out  the  career  bit  between  them. 

“I’d  like  to  get  over  to  the  house  before 
it’s  dark.  Think  we  can  knock  off  soon?” 
Marilyn  asked  Hal. 

“Soon,”  he  answered.  “Maybe  sooner. 
Depends  on  how  you  do  the  next  half- 
hour.” 

“If  you’d  like  to  see  the  house,”  Marilyn 
said  to  me,  “stick  around.”  The  piano 
started.  The  singing  started.  Except  for 
breathers,  both  didn’t  stop  for  half-an- 
hour. 

“That’s  all,  Madam,”  said  Schaefer.  He 
added  that  he  was  very  pleased  with 
Marilyn.  “Besides  the  singing,  she  stays 
with  it.  She’s  learned  to  concentrate  on  a 
song.  And  that  concentration  can  be 


applied  to  anything.  She  doesn  c goof  off 
any  more.” 

“Thanks,”  said  Marilyn.  From  the  couch 
she  picked  up  her  purse,  quickly  felt 
around  in  it  to  make  certain  she  had  the 
car  keys.  Then  we  were  started  for  the 
car  (a  new  Cadillac)  parked  outside  near 
the  bungalow.  Marilyn  didn’t  even  stop 
to  put  on  lipstick,  which  had  disappeared 
during  the  singing  session. 

Marilyn  drove.  And  when  she  drives, 
she  doesn’t  have  to  look  where  she  is 
going — the  other  drivers  are  all  watching 
her.  Driving  toward  the  house,  Marilyn 
said  we’d  be  able  to  pick  it  out  immedi- 
ately: It  resembled  a haystack.  The  Di- 
Maggios  had  considerable  trouble  renting 
a suitable  house  because  they’d  take  only 
a six  months’  lease;  most  owners  insist  on 
a year’s  lease. 

“We  didn’t  want  to  be  tied  down  for  a 
year,”  explained  Mrs.  DiMaggio.  She  said 
they  wanted  a house  in  town  only  while 
she  was  working  in  a picture.  After  the 
movie  was  finished,  she  and  Joe  would 
liurry  to  San  Francisco.  Joe  owns  a house 
there.  A nice,  large,  roomy,  two-story 
place.  She  and  Joe  regard  this  place  as 
home.  Joe’s  sister,  Marie,  and  her  daugh- 
ter, Betty,  also  live  there.  “Betty’s  two 
years  younger  than  me.  We  get  along 
fine,”  said  Mrs.  DiMaggio.  “Marie  is  older 
than  Joe.  She’s  great  . . . real  great.  I 
couldn’t  get  along  better  with  my  own 
sister.”  Marilyn  beamed,  proud  of  her  ac- 
quired family.  A rarity  indeed:  A wife 
pleased  because  she  had  annexed  relatives. 

“There’s  a house  that  looks  like  a hay- 
stack,” I said,  pointing. 

“That’s  it,”  answered  Marilyn.  “There’s 
Joe’s  car  in  the  driveway.” 

Marilyn  parked  her  car  behind  Joe’s. 
We  got  out.  We  tried  the  front  door. 
Locked.  Marilyn  rang  the  bell.  No  answer. 
“Let’s  try  the  back  door,”  suggested  Mari- 
lyn. Locked.  She  rang  the  bell.  No  an- 
swer. She  shouted  Joe’s  name.  No 
response.  “I  don’t  get  it,”  said  Marilyn. 
Neither  did  I. 

Marilyn  looked  into  a side  window  of 
the  house.  A policeman,  who  had  just 
parked  his  prowl  car  in  the  driveway, 
suddenly  approached.  He  looked  sinister. 
He  wanted  to  know  what  we  were  doing. 
Somehow,  I felt  guilty. 

“This  is  Mrs.  DiMaggio,”  I said,  trying  to 
explain.  “She  was  supposed  to  meet  her 
husband  here.  They  just  rented  the  house 
and  are  in  the  process  of  moving  in.” 

“I  can’t  understand  what  happened  to 
Joe,”  said  Marilyn,  softly.  It  would  have 
won  over  any  cop  in  a movie. 


WHO  ARE  YOUR  FAVORITES? 


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The  policeman  cased  Marilyn,  up  and 
down.  He  gave  no  sign  of  recognition.  He 
didn’t  ask  for  an  autograph.  I didn’t 
understand  it.  He  looked  me  over,  too — 
but  quicker. 

“This  house  is  on  the  patrol.  We’ve  got 
it  marked  unoccupied.  Anyone  seen 
around  is  suspicious.  When  you  two  finally 
move  in,  please  phone  the  Beverly  Hills 
Police  Department  so  we’ll  know.  We 
keep  a close  watch  on  things.” 

“That’s  nice,”  said  Marilyn.  “Thank  you.” 

I thought  it  best  not  to  add  to  the  con- 
fusion and  inform  the  cop  I wasn’t  moving 
in.  We  said  our  goodbyes  and  he  took  off 
to  prowl  elsewhere. 

Marilyn  discovered  the  side  window 
j wasn’t  securely  locked.  She  lifted  the 
screen  and  climbed  into  her  new  house. 
Then  she  opened  the  front  door  for  me. 

“This  won’t  happen  all  the  time.  I’ll 
have  a key,”  said  Marilyn,  smiling.  Then: 
i “I  wonder  what  happened  to  Joe?  . . . 
Well,  what  do  you  think  of  the  place?” 

I replied  that  from  the  little  I had  seen, 
it  looked  compact,  comfortable,  and  was 
in  good  taste.  I had  no  doubts  it  would 
serve  all  intended  purposes. 

“We  didn’t  want  anything  big  or  fancy,” 
explained  Marilyn.  “Joe  and  I like  simple 
things.  Wait  till  you  see  how  I fix  it. 
(It’ll  be  much  better.  Even  a rented  house 
i must  have  some  personal  things  to  be 
really  your  place!” 

I agreed.  Marilyn  then  led  me  to  the 
sun  parlor,  directly  off  the  living  room. 
It  was  an  enclosed  room  and  looked  out 

!(I  guess  that’s  the  expression  used)  on 
the  backyard  and  swimming  pool.  The 
sun  parlor  had  a long  couch,  large  com- 
fortable chairs,  bookshelves  and  a fireplace 
where  steaks,  hamburgers  and  hot  dogs 
could  be  barbecued.  “I  guess  we’ll  spend 
most  of  our  time  here,”  declared  Marilyn. 
“I  think  I’ll  put  the  television  set  here.” 

She  immediately  walked  around,  in- 
vestigating the  room,  seeking  the  best 
vantage  place  to  put  the  tv  set. 

“I  suppose  television  is  important  to 
you  and  Joe?” 

“I  watch  it,  but  not  as  much  as  Joe.  I 
think  I’ll  put  the  tv  set  to  the  right  of 
the  fireplace.  Then  Joe  or  company  can 
sit  on  the  big  couch  and  watch.  And  I’ll 
put  one  of  the  big  chairs  here  (a  little 
in  front  of  the  couch)  so  Joe  can  sit  there 
most  of  the  time.  I must  remember  to 
buy  a footstool  for  in  front  of  the  chair.” 

She  was  completely  Mrs.  DiMaggio.  She 
explained  she  was  going  to  arrange  the 
furniture  so  that  Joe  could  watch  tv 
better  than  anyone  else  in  the  room.  Joe 
usually  watched  the  fights.  Western  mov- 
ies, movies  and  a few  of  the  big  coast-to- 
coast  shows.  “I  never  say,”  continued 
Marilyn,  “ ‘oh,  gee,  I want  to  see  such- 
and-such  a program.’  ” She  added  with  a 
smile,  “We’re  lucky  that  we’ve  got  two 
tv  sets.  If  it’s  really  important,  I can 
turn  on  the  program  I want  in  another 
room.  It  happens  very  seldom,  though.” 

Marilyn  told  me  that  while  Joe  is  watch- 
ing the  fights  and  dinner  is  ready,  she 
doesn’t  say,  “Come  to  dinner.”  She  brings 
the  dinner  to  him.  She  serves  it  quietly, 
quickly  on  a small  folding  table  set  in 
front  of  him.  “Joe  doesn’t  have  to  move  a 
muscle.  Treat  a husband  this  way  and 
he’ll  enjoy  you  twice  as  much,”  advises 
Marilyn. 

Mrs.  DiMaggio  doesn’t  restrict  this  phi- 
losophy to  only  tv  and  dinner.  If  any 
wives  and  future  wives  are  interested, 
I’ll  try  to  set  down,  as  accurately  as  possi- 
ble, more  of  the  Monroe  doctrine. 

She  believes  a man  should  never  have 
to  think  about  his  clothes,  except  to  go  to 
the  closet  and  get  them.  A wife  should  see 
to  it  that  her  husband’s  shoes  are  shined, 
ready  for  him.  “I  don’t  mean,”  said  Mari- 
lyn, “I  have  to  shine  them  myself.  But 


send  them  out  . . . see  that  it’s  done.”  She 
continued,  “I  like  to  iron  Joe’s  shirts.  He 
doesn’t  want  me  to.  And  often  I haven’t 
the  time.  But  I do  once  in  a while.  I like 
to  look  at  Joe  in  a shirt  I ironed,  especially 
the  collar.  There’s  no  one  who  can  iron 
a shirt — especially  the  collar — like  I can.” 

I told  her  she  was  becoming  an  accom- 
plished housewife.  She  said  she  believed 
this  should  accompany  marriage.  She 
thought  people  could  mix  career  and  mar- 
riage successfully.  “When  marriage  is 
right,  it’s  wonderful,”  declared  Mrs.  Di- 
Maggio. “I’d  pick  it  before  everything 
else — because  it  is  your  life.” 

From  this,  you  and  I can  surmise  that 
Joe  is  Number  One,  that  Marilyn  places 
marriage  before  career,  if  it  should  evei 
be  necessary  to  make  such  an  important 
decision. 

As  Marilyn  led  me  into  the  dining  room, 
she  asked,  “I  wonder  what’s  with  Joe? 
This  isn’t  like  him.  I’m  beginning  to  worry. 
You’d  think  he’d  phone!  Oh,  I forgot — 
the  phone  isn’t  connected  yet.” 

“He  probably  thought  you’d  be  late. 
You  know  how  you  are,”  I said.  “What’s 
with  this  room?” 

“It’s  all  right.  I want  to  make  it  more 
cheerful,  though.  A dining  room  should 
be  cheerful.  Not  that  we’ll  always  eat 
here. 

Marilyn  caught  my  puzzled  look.  “I 
don’t  go  for  a set  routine  for  eating,”  she 
explained.  “Having  meals  in  the  same 
place,  at  regular  appointed  hours.  Phooey! 
It’s  good  to  change  things.  We'll  eat  here, 
sometimes;  sometimes  out  by  the  pool. 
Often  in  front  of  the  television  set.  There’ll 
be  mornings  when  we’ll  have  breakfast 
in  bed.” 

IVIarilyn  is  not  just  another  good-looking, 
great-shaped  blonde;  or  she  never  would 
have  become  the  phenomenal  success  and 
tremendous  personally  that  she  is.  Her 
experience,  plenty  of  it  touched  with  lone- 
liness, contributed,  adding  the  dimension 
of  depth  to  character,  a quality  most  of 
the  recruits  in  the  Hollywood  army  of 
blondes  don’t  possess. 

“I  thought  a lot  about  marriage — and 
getting  married — before  I did  it,”  ad- 
mitted Marilyn.  “I  told  myself  this  time 
I’ve  got  to  stay  married.  Joe  helped  me 
decide.  I wonder  where  he  is?  Don’t  you 
think  he  should  be  here  by  now?” 

“How  did  Joe  help  you  decide?” 

“It  wasn’t  anything  he  said  ...  No  speech 
...  It  was  being  with  him,  knowing 
someone  honestly  cared  what  happened  to 
me.  I wonder  if  you  know  how  important 
this  is.” 

I realized  Marilyn  didn’t  expect  an  an- 
swer. I let  her  talk  on.  She  told  me  that 
she  felt  she  had  matured  enough  not  only 
to  get  married,  but  also  to  raise  children 
properly. 

“I  read  where  you  said  you  wanted  six 
children.” 

Marilyn  laughed.  “I  never  said  that.  It 
could  be,  but  I never  said  it.  I want  to 
have  a child  as  soon  as  possible.  I should 
have  two.  So  one  doesn’t  get  lonely,  so 
they  can  grow  up  together.” 

“It  makes  sense  to  me.” 

“I’m  going  to  do  other  sensible  things,” 
said  Marilyn.  “I’m  going  to  put  myself 
on  a budget.  Run  this  house  right.  So 
much  for  food,  for  laundry,  for  a maid. 
How  to  get  all  these  things  done  on  a 
budget  is  stimulating.” 

I admired  Mrs.  DiMaggio’s  intentions. 
Then  I asked  to  see  the  upstairs  part  of 
the  house.  “Certainly,”  she  said,  adding 
she  must  remember  to  buy  candles  and 
order  flowers. 

“I  know  it  sounds  cornball,”  said  Mari- 
lyn, “but  I like  to  dine  by  candlelight, 
even  if  it’s  on  a bridge  table.  People 
shouldn’t  be  ashamed  of  being  romantic 


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because  they’re  married.  People  should 
always  remember  how  they  felt  while 
courting.” 

The  front  door  opened  and  closed.  Joe 
DiMaggio  entered  calling,  “Hey,  Marilyn! 
Marilyn!” 

Marilyn  called  back,  signalling  where 
she  was.  Joe  walked  fast  toward  her. 
They  kissed  quickly.  Joe  explained  his 
absence;  he  had  been  to  the  storage  com- 
pany and  picked  up  some  of  their  personal 
belongings.  Vic  Massi,  Joe’s  pal,  went  with 
him,  and  they  had  used  Vic’s  car.  Vic 
stood  silently  behind  Joe,  and  kept  smiling. 

Marilyn  told  Joe  she  was  about  to  show 
me  the  upstairs  part  of  the  house.  Joe 
said  to  go  ahead.  He  and  Vic  intended  to 
bring  in  the  furniture  they  had  taken  out 
of  storage. 

Climbing  the  stairs,  I asked  Marilyn 
about  her  wedding  presents.  “The  fans 
sent  me  many  gifts,”  she  said.  “They  gave 
me  vases,  linens,  silverware,  things  like 
that.  They  were  swell.  The  soldiers  in 
Korea  gave  me  five  nightgowns  for  a 
wedding  present.  They  made  me  put  on  a 
black  lace  one  while  I was  on  stage — 
over  the  dress  I was  wearing,  of  course.” 

We  were  standing  in  a room  overlooking 
the  yard  and  the  pool.  “I  got  lots  of  let- 
ters of  congratulations,”  continued  Marilyn. 
“Most  of  them  said  ‘My  heart’s  broken 
but  I hope  you’re  happy!’  ” 

The  gifts  and  the  letters  from  fans  are 
proof  that  Marilyn  Monroe  becoming  Mari- 
lyn DiMaggio  hasn’t  affected  her  popu- 
larity. “Did  you  get  any  presents  from 
any  stars?”  I asked. 

“I  didn’t  get  a present  from  anybody  at 
the  studio,  or  from  any  player.”  Marilyn 
said  this  in  a way  which  indicated  she 
hadn’t  expected  any.  She  is  a girl  who  all 
her  life  has  been  accustomed  to  receiving 
nothing. 

Marilyn  changed  the  subject.  “This 
used  to  be  a bedroom,  but  I’m  going  to 
re-do  it  completely.  It’ll  be  Little  Joe’s 
room,  when  he  stays  with  us  weekends. 
(Little  Joe,  about  eleven,  is  Joe  Di- 
Maggio’s  son  from  his  previous  marriage 
to  Dorothy  Arnold.)  I want  to  make  it 
cheerful  and  boy-like.  That’s  why  we  got 
a house  with  a pool.  Mainly  for  Little  Joe.” 

Marilyn  and  Little  Joe  get  along  great. 
She  loves  being  a stepmother.  She  and 
Little  Joe  regard  each  other  as  friends. 

Marilyn  told  of  an  incident  when  Joe 
and  Little  Joe  were  tossing  a football  back 
and  forth  in  a room.  “I  watched,”  said 
Marilyn,  “never  realizing  two  people 
could  have  so  much  fun  throwing  a foot- 
ball at  each  other.  They  insisted  I join 
in.  Little  Joe  told  me  to  get  ready  to 
catch  a forward  pass.  I got  frightened 
and  screamed,  ‘Don’t  throw  that  at  me, 
it’s  pointed!’  You  should  have  heard  them 
laugh.  The  biggest  laugh  I ever  got.” 

I told  Marilyn  that  from  what  she  had 
told  me  and  from  what  I had  observed, 
marriage  was  good  for  her.  “On  you  it 
looks  good,”  I said. 

We  were  walking  toward  another  room. 
“Marriage  is  something  you  learn  more 
about  while  you  live  it,”  said  Marilyn. 
“Joe  and  I have  our  quarrels.  Just  like 
other  married  couples.  You  can’t  outlaw 
human  nature,  no  matter  who  you  are.” 

I couldn’t  argue  with  that. 

“But  there’s  a way  to  handle  a dis- 
agreement,” continued  Mrs.  DiMaggio. 
“Every  wife  should  know  her  man.  When 
I sense  there’s  something  wrong,  I ask, 
‘What’s  the  matter?  Sorry  if  I did  some- 
thing.’ If  Joe  doesn’t  answer,  I don’t  push 
it.  There  are  some  men  who,  when  they 
have  trouble,  become  silent.  You  have  to 
respect  that,  if  that’s  your  man.” 

I couldn’t  argue  with  that  either. 

“Later,  when  what  was  wrong  is  worn 
thin,  Joe  will  come  to  me  and  say,  ‘I’m 
sorry.’  I’ll  look  at  him  and  say,  ‘What’s 
there  to  be  sorry  about?’  You’d  be  sur- 


prised how  nice  it  can  be,  if  done  this 

way.” 

We  were  now  in  the  bedroom.  “Don’t  tell 
me,”  I said  to  Marilyn,  “I’ll  tell  you: 
you’ve  got  to  make  it  more  cheerful.” 

She  laughed  robustly.  “A  bedroom 
should  be  cheerful.  And  that  bed  goes  out 
of  here.  I might  put  in  my  bed  . . . maybe 
buy  even  a larger  bed.  A bed  should  be 
big  enough  so  both  can  have  their  own 
sleeping  independence.  You  know,  some 
people  snore,  some  people  kick  . . 

I reminded  Marilyn  that  most  of  Holly- 
wood’s married  celebrities  maintained 
separate  bedrooms. 

“I  don’t  believe  in  that,”  declared  Mari- 
lyn, firmly.  “Often  in  bed  you  think  of 
something  you  want  to  say  ...  or  some- 
thing you’ve  forgotten.  You’re  not  going  to 
get  out  of  bed  and  chase  down  the  hall 
to  another  room.  I don’t  buy  it.  This 
separate  bedroom  deal  is  not  in  the  Amer- 
ican tradition.  In  the  pioneer  days,  did 
you  ever  hear  of  a man  and  his  wife 
sleeping  in  separate  covered  wagons?” 

You  answer  that  one.  I can’t.  I re- 
turned downstairs  with  Marilyn,  and 
chatted  for  a time  with  Joe.  I told  him  I 
liked  the  house;  that  I could  visualize  the 
improvements  Marilyn  contemplated.  “As 
soon  as  we  get  settled,  you  must  come  for 
dinner,”  said  Joe.  “There  isn’t  anything 
formal  with  us.  Drop  in  any  time  and 
watch  the  fights  with  me.  Make  this  your 
home  away  from  Schwab’s.”  Joe  laughed. 

I thanked  Joe  and  said  goodnight.  Mari- 
lyn walked  me  toward  the  door.  “You 
and  marriage  are  okay,”  I said,  glancing 
back  at  Joe.  “Do  you  figure  it  has  helped 
you?” 

“It  certainly  has  in  my  work.  I con- 
centrate better.  I work  harder,  longer, 
and  get  more  accomplished.  You  watched 
me  rehearse  this  afternoon.” 

Marriage  has  helped  Marilyn  career - 
wise. 

We  said  goodnight  to  each  other.  I was 
closing  the  door  when  Marilyn  said,  “Oh, 
yes,  marriage  makes  a woman  less  neu- 
rotic. Well,  anyway,  it  does  when  I’m  the 
woman.” 

I walked  for  a few  blocks  thinking  about 
Marilyn  and  Joe  and  marriage  . . . About 
looking  at  the  television  programs  you 
want,  while  dinner  magically  appears  . . . 
About  candlelight  on  bridge  tables  . . . 
About  something  sounding  cornball  . . . 
About  a covered  wagon.  It’s  enough  to  j 
make  a fellow  want  to  get  married — to  j 
Marilyn  Monroe. 


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SURVEY  SHOWS  MANY 


Mom's  No  Quitter 


( Continued,  from  page  62) 
visit  home  for  only  a day  and  a half — all 
the  time  she  could  get — just  to  be  with 
the  twins  around  the  Christmas  tree. 
Susan  literally  fought  with  the  studio 
brass  to  be  allowed  to  make  the  trip; 
there  even  had  to  be  a special  dispensa- 
tion from  the  President  of  Mexico  himself 
to  break  the  period  of  her  work  permit, 
get  permission  to  leave  Mexico  and  re- 
enter it  again.  But  Susan  insisted  and  won 
her  battle;  she  had  a few  precious  hours 
with  the  twins,  brought  them  their  pres- 
ents and  then  went  back  to  work  again. 

“It  was  worth  it  all,”  she  said,  “just  to 
be  able  to  hold  Timmy  and  Greg  in  my 
arms.” 

Susan  has  had  to  do  a lot  of  thinking 
during  these  past  months.  She  has  tried 
to  learn  why  her  marriage  failed,  to  gain 
self-knowledge,  to  profit  by  past  mistakes. 
And  if  and  when  she  marries  again,  she 
intends  to  give  up  her  career — to  be  a full- 
time wife  and  mother,  not  a part-time  one. 
As  to  her  hard-and-fast  contract  at  20th 
Century-Fox,  Susan  had  her  answer. 

“If  I should  marry  while  I’m  still  under 
contract,  I expect  to  make  one  picture  a 
year.  My  contract  gives  me  the  right  to  do 
that.  I’m  aware  that  one  mistake  I made 
as  a wife  and  mother  was  continuing  to 
work,  which  developed  into  a career  which 
became  overwhelming  in  its  demands  on 
my  time  and  energy.  It  required  too  many 
sacrifices  of  home  interests,  clashes  with 
the  needs  of  both  husband  and  children.  It 
also  meant  handing  my  children  in  their 
formative  years  to  a nurse  and  house- 
hold help  when  I wanted  to  be  with  them 
myself. 

“In  one  of  Ibsen’s  plays  he  said,  ‘Mar- 
riage is  a thing  you’ve  got  to  give  your 
whole  mind  to.’  And  he  was  so  right.  Be- 
cause for  a woman,  it’s  not  a question  of 
marriage  versus  career,  or  marriage  and 
a career.  Marriage  is  a career. 

“I  know  that  working  women  argue, 
since  men  combine  a career  with  mar- 
riage, they  should  be  able  to  manage  it 
also.  The  answer  is  that  men  can  have 
careers  largely  because  their  wives  make 
a career  of  marriage.  When  wives  and 
husbands  work,  who  is  to  welcome  and 
comfort  whom  after  a demanding  day? 
It’s  a problem.” 

Susan’s  answer  to  that  problem  is  not 
the  expectation  of  immersing  herself  in 
pots  and  pans  and  leading  a dreary  exist- 
ence after  marriage.  She’s  far  too  creative 
and  dynamic  a person  for  that.  And  her 
plans  mirror  her  varied  interests.  She 
hopes  to  study  music  and  languages,  to 
continue  with  her  painting,  possibly  to 
study  law — to  do  any  number  of  things 
she’s  long  dreamed  of  trying. 

“Such  as,”  she’ll  tell  you,  “a  real  work- 
ing ranch  where  we  can  raise  horses  and 
the  boys  really  learn  to  live  an  outdoors 
life.  Not  race  horses,  though.  What  I’d  like 
to  try  is  raising  quarter-horses  for  the 
market.  The  ranch  would  be  in  Arizona 
or  Nevada— not  a place  to  go  weekend- 
ing, but  to  stay  for  long,  happy  weeks. 
But  that’s  in  the  future.” 

Right  now  the  beautiful  red -head  has 
dropped  much  of  her  aloof,  recluse-like 
life  of  the  past  year,  aware  once  again 
that  every  day  is  a fresh  beginning.  In 
Hollywood,  the  curious  custom  holds  of 
announcing  a separation  in  the  morning 
and  joining  a suddenly  materialized  new 
swain  in  the  evening  for  a whirl  at  the 
Strip’s  night  spots.  If  the  town  expected 
that  Miss  Hayward  would  play  the  gay 
divorcee  after  her  painful  parting  with 
Jess,  it  was  severely  disappointed.  Susan’s 
phone  rang  with  invitations,  but  they  were 
all  refused.  Her  private  code  of  conduct 
would  not  allow  this.  She  was  still  a mar- 

' 


ried  woman  and  conducted  herself  as 
such.  When  she  had  to  appear  at  studio 
functions  her  agent,  Ned  Marin,  was  usu- 
ally her  escort. 

Until  she  was  legally  free,  Susan  hugged 
her  loneliness,  her  sense  of  defeat  to  her- 
self, disdaining  the  relief  that  comes  from 
forgetfulness  of  personal  problems  in  the 
company  of  amusing  companions  and  gay 
gatherings.  Work,  Susan  found,  was  her 
only  ally  against  disillusionment  and 
heartache — and  she  plunged  into  “Garden 
of  Evil,”  then  “The  Conqueror.” 

“But  I’ll  never  leave  the  boys  for  loca- 
tion work  again,  if  it’s  up  to  me,”  she 
said.  “After  this,  they’ll  go  with  me — a 
tutor  along  to  keep  up  their  school  work. 
My  contract  stipulates  that.  If  I go  to 
Africa  to  make  ‘Untamed,’  they’ll  go  with 
me.  But  I don’t  dare  mention  it  now — or 
they’d  be  packed  ready  for  a close-up 
view  of  lions,  elephants  and  monkeys.” 

Another  evidence  of  Susan’s  desire  to 
build  a new  life  for  herself  and  her  boys 
is  the  recently-completed  refurnishing  of 
her  Valley  house.  With  the  help  of  a 
studio  decorator,  she’s  evolved  a smart, 
restful,  monochromatic  color  scheme  to 
highlight  her  beloved  reproductions  of 
Picasso,  Van  Gogh  and  Roualt. 

“I  want  to  surround  my  children  with 
beautiful  things,  so  that  they  grow  up  with 
an  appreciation  and  love  for  beauty  and 
good  things,”  said  Susan. 

The  emphasis  is  on  comfort  in  the  Hay- 
ward home,  where  housekeeper  Cleo  is  in 
control,  while  Cleo’s  daughter,  Willy  Mae, 
looks  after  the  boys  during  the  hours  that 
Susan  is  at  the  studio.  The  twins  are  the 
chief  reason  why  Susan  plans  to  do  a lot 
of  thinking  before  she  says,  “I  do”  again. 
“I’ll  want  to  know  a lot  about  how  that 
unknown  man  feels  about  children,”  she 
says,  “and  particularly  my  children.  Until 
he  finds  me,  I’ll  do  the  best  I can  bringing 
them  up  with  the  help  of  my  mother  and 
my  brother  Wally. 

“Despite  what  ‘viewers  with  alarm’  have 
to  say  about  the  children  of  divorce,  I 
think  the  boys  have  come  through  this 
period  of  adjustment  with  few  scars.  Any- 
way, I believe  that  problems  can  be  far 
better  solved  by  viewing  with  faith.  I’ll 
admit  that  when  Jess  and  I first  separated 
I spent  some  sleepless  nights,  wondering 
how  best  to  tell  them.  And  so  I consulted 
a psychologist.  He  said  we  should  both  be 
present  and  that  the  boys’  father  should 
explain  it  to  them.  I asked  Jess,  but  he 
couldn’t  bring  himself  to  do  that.  So  it 
was  up  to  me.  I sat  down  with  them  and 
explained  that  Mommy  and  Daddy  weren’t 
happy  together  and  would  be  living  in 
separate  houses,  but  that  we  both  loved 
them  just  as  we  always  had.” 

Evidence  of  Susan’s  program  to  help 
her  impressionable  boys  over  the  first  con- 
fusion and  shock  of  their  parents’  parting 
was  the  trip  she  planned  for  them  to  the 
High  Sierras  for  fishing  and  hiking.  Later, 
she  took  them  to  Honolulu,  where  they 
quickly  became  expert  in  surf-boarding. 
Still  later,  the  boys  and  Susan  went  East 
for  the  World’s  Series,  visited  museums, 
rode  the  subways  and  helped  her  root  for 
the  Brooklyn  Dodgers. 

After  school,  playtime  includes  ice  skat- 
ing, swimming  in  their  own  pool,  making 
model  airplanes,  games  with  the  huge  ar- 
ray of  toy  soldiers  Susan  brought  back 
from  Mexico,  and  hiking.  This  last,  as 
Susan  explained,  is  not  altogether  prob- 
lem-free. Timmy  recently  returned  from 
an  exploring  excursion  up  in  the  hills  ris- 
ing sharply  behind  the  house.  She  asked 
where  Greg  was.  Timmy  thought  he  had 
returned  earlier.  Susan  rushed  out,  climbed 
halfway  up  the  steep  hill  and  spied  Greg 
on  a ledge,  hesitating  to  move  up  or  down. 


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“I  called  to  him,”  explained  Susan,  “to  sit 
down  and  gradually  inch  his  way  down. 
The  only  damage  was  to  his  blue  jeans — 
no  back-side.  I suppose  from  now  on  we’ll 
lose  more  jeans  that  way.” 

The  boys  attend  a private  school.  But 
next  year  Susan  plans  to  send  them  to 
public  school  where  they’ll  have  a more 
democratic  background.  “They  complain 
bitterly  about  the  school  plays — ‘kid  stuff’ 
they  call  them,”  says  Susan.  “They  ask 
why  they  can’t  be  in  plays  about  Marines 
or  airplanes  or  their  favorite  TV  program. 

“On  their  homework  they  ask  for  help 
only  on  particularly  knotty  problems. 
Wouldn’t  you  know?  I was  more  the  ar- 
tistic type  in  school.  Very  good  at  spelling 
and  such  cultural  subjects.  I try  to  help 
them,  however.  ‘Oh,  no,  Mother,  we  don’t 
do  it  that  way.’  And  they  proceed  to  show 
me  their  method — so  different  from  what 
I learned  in  school.  But  we  get  the  same 
results!” 

Today  Susan  is  more  radiant  than  ever, 
her  beauty  deepened  and  tempered  by  the 
fires  of  emotional  struggle.  The  past  has 
lost  some  of  its  power  to  torment  her,  and 
her  moody  hazel  eyes  turn  impish  more 
frequently.  We  sat  by  the  fire  in  her  com- 
fortable, red-and-brown  den  and  candidly 
Susan  discussed  the  future. 

“Do  I hope  to  remarry?  Frankly,  I do. 
As  an  institution,  I’m  all  for  marriage. 
I wouldn’t  like  to  remain  single  for  the 
rest  of  my  life.  And  I hope  to  have  more 
children.  Once  a woman  has  been  mar- 
ried, it’s  hard  to  live  alone.  I believe  I’ll 
find  out  that  a crowded  social  schedule 
and  a full  date  book  are  no  substitute  for 
marriage.  Doesn’t  every  woman  agree  that 
it’s  nice  to  have  a man  around  the  house? 
I think  a home  looks  happy  when  a man 
lives  in  it;  when  his  chair,  his  books,  his 
fishing  gear  and  his  pipes  are  where  he 
wants  them  to  be;  when  his  meals  are  a 
man’s  meals  and  the  refrigerator  his  to 
raid  when  he  likes;  when  he  can  put  his 
feet  up  wherever  he  wants;  and  most  of 
all,  when  a wife  is  honestly  glad  when 
Sunday  comes  around  and  he  is  home  all 
day.  I want  that  for  myself — but  most  of 
all,  I want  a companion  for  my  boys.” 

Any  special  type  of  man  in  mind? 

“I  haven’t  thought  about  that  too  much,” 
smiled  Susan,  “but  I’d  say  it’s  not  likely 
I’ll  marry  an  actor.  Two  acting  careers  in 
one  family  too  often  becomes  one  too 
many.  But  of  all  the  professions  for  a man, 
that  of  the  writer  interests  me  most.  A 
writer  is  generally  bursting  with  ideas;  he 
is  intelligent,  charming  and  adaptable,  and 
an  amusing  companion.  At  least  that’s  true 
generally  of  those  I’ve  met.  I like  the  law, 
too,  and  even  hope,  some  day,  to  study  it 
myself.  But,  really,  why  should  I try  to 
be  so  definite?  You  know  what  they  say 
about  women.  Like  any  female,  I reserve 
the  right  to  change  my  mind  . . , and 
probably  will.  Some  day  I may  meet  an 
actor  and  forget  all  my  resolves.  But  right 
now,  I don’t  think  so.” 

One  thing,  though,  Susan  knows,  and 
that  is  there  is  no  truth  in  the  frequent 
linking  of  her  name  with  that  of  Jeff 
Chandler.  To  the  irrepressible  gossip  col- 
umnists it  was  all  so  pat — like  putting 
together  the  pieces  of  a crossword  puzzle. 
Jeff  and  Marjorie  Chandler  separated  for 
the  second  and  final  time,  after  seven 
years  of  marriage,  just  as  Susan  and  Jess 
Barker  stormily  wrote  finis  to  their  nine 
years  of  marriage.  And  it  was  recalled  that 
Susan  and  Jeff,  both  34,  had  attended  PS 
181  in  Brooklyn  together.  So  the  columns 
were  filled  with  the  news  that  Jeff  was 
“offering  Susan  his  broad  Brooklyn  shoul- 
der to  cry  on.” 

“The  truth  of  that  fanciful  story,”  Susan 
explained,  “was  that  Jeff  lived  on  38th 
Street  and  I lived  on  35th.  I was  always 
hamming  in  school  plays  and  Jeff,  too, 
wanted  to  act.  He  had  a kid  crush  on  me, 


perhaps,  but  our  paths  separated  at  gradu-  1 
ation.  In  fact,  I still  have  a class  picture  1 
that  shows  him  a plump  and  round-faced  ] 
twelve-year-old  and  me  in  a kind  of  wind-  j 
blown,  homemade  haircut,  looking  pretty  I 
wispy. 

“Once  or  twice  we  exchanged  hurried  < 
greetings  after  we  were  both  in  pictures;  I 
then  once  in  a restaurant  my  husband  and  i 
I ran  into  Chandler,  after  his  first  separa- 
tion. I told  him  I was  sorry  to  hear  about  I 
it  and  hoped  they  could  resolve  their  j 
problems.  I myself  abhor  divorce — con-  j 
sider  it  only  as  a last  resort  measure  when  ’ 
no  hope  of  working  out  differences  re- 
mains, and  when  all  love  has  disappeared. 

“After  my  own  separation,  Jeff  called  me  ' 
and  we  went  out  once  or  twice.  The  col- 
umnists immediately  blew  it  up  into  a 
‘big  thing’ — embarrassing  to  both  of  us. 
Jeff  Chandler  has  his  problems  and  I have 
mine;  he  is  a wonderful  actor  and  a fine 
person,  and  I wish  him  well.  But  linking 
his  name  with  mine  is  pointless.  I hope 
he’ll  find  the  right  girl  for  him — and  I 
hope  the  right  man  will  find  me.” 

Meanwhile  Susan  is  content.  Deeply 
spiritual  by  nature,  she  believes  God  will  - 
look  after  her  children  and  herself.  She 
wants  to  build  memories  for  the  boys — to 
celebrate  traditions  that  belong  in  a fam- 
ily: birthdays,  Christmas,  Easter,  Thanks- 
giving and  all  the  good  holidays.  A child’s 
memories,  as  Susan  knows  from  her  own 
youth,  are  built  of  very  simple  things: 
warmth  and  affection  and  the  coming 
home  to  a house  where  love  is. 

“I  feel  that  the  more  I share  my  life 
with  Greg  and  Timmy,”  says  Susan,  “the 
happier  they  will  be.  And  the  happier  they 
are,  the  more  I’ll  have  to  share.  And  as 
long  as  we’re  really  together,  the  way 
ahead  can  only  lead  to  lasting  happiness.” 

The  End 


TO  REACH  THE  STARS 

In  most  cases  your  letters  will  reach  a star 
if  addressed  in  care  of  the  studio  at  which 
he  made  his  last  picture.  If  you  have  no 
luck  there,  try  c/o  Screen  Actors  Guild, 
7046  Hollywood  Blvd.,  Hollywood  28,  Cal. 

★ ■>  ★ 


Allied  Artists,  4376  Sunset 
Drive,  Hollywood 

Columbia  Pictures,  1438  N. 
Gower  St.,  Hollywood 

Goldwyn  Studios,  1041  N.  For- 
mosa Ave.,  Los  Angeles 

M-G-M,  10202  W.  Washington 
Blvd.,  Culver  City 

Paramount  Pictures,  5451  Mar- 
athon St.,  Hollywood 

RKO  Studios,  780  Gower  St., 
Hollywood 

Republic  Pictures,  4024  Rad- 
ford Ave.,  N.  Hollywood 

20th  Century-Fox,  10201  W. 
Pico  Blvd.,  Beverly  Hills 

United  Artists,  8272  Sunset 
Blvd.,  Hollywood 

Universal-International,  Uni- 
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Warner  Brothers  Studios,  4000 
W.  Olive  Ave.,  Burbank 


★ 1 — * 


IMPERTINENT 

INTERVIEW 


BY  MIKE  CONNOLLY 


Bob  Wagner:  “I  want  to  believe  I’m  really  a star” 


TT 

JL  _M_ow  come,”  I asked  Bob  Wagner, 
“that  everyone  in  and  out  of  Holly- 
wood— except  Bob  Wagner — thinks  of 
you  as  an  honest-to-goodness  Tinsel- 
town star?  Don’t  you  think  you  have 
what  it  takes  to  be  a star?” 

Bob  looked  at  me  for  a second  with- 
out speaking.  Then  he  flashed  his  mil- 
lion-dollar  smile  and  said:  “Eve  made 
eight  pictures  in  two  years,  true,  and 
my  name  seems  to  have  become  a box- 
office  draw,  but  so  far  I haven't  been 
seen  on  the  screen  in  any  roles  that 
required  a great  deal  of  acting.  My 
parts  have  been  so-called  ‘personality’ 
characters.  But  in  my  next  picture. 
‘Broken  Lance,’  I really  get  a chance 
to  show  what  I can  do.  I have  to  play 
the  part  of  an  easy-going  young  man 
who  changes  into  a rabid  killer.  If  I 
put  that  transformation  across  con- 
vincingly— well,  that’ll  be  soon  enough 
to  talk  about  being  a star.” 

One  thing  is  certain.  No  star  works 
harder  or  takes  his  career  more  seri- 
ously than  does  young  Bob.  And  no 
star  is  more  modest. 

“I’ve  never  thought  of  myself  as  a 
terrifically  talented  person.  I’m  not  a 
great  actor.  I think  of  myself  as  a 
fellow  who  has  had  a lot  of  good 
breaks  and  a lot  of  help  from  nice 
people,  and  I am  willing  to  subordin- 
ate everything  to  become  a good  actor. 

“In  addition,  I’ve  had  the  advantage 
of  advice  and  counsel  from  most  of 


the  established  stars  at  20th  Century- 
Fox,  my  home  lot.  Ethel  Merman  is 
living  proof  of  the  value  of  friendli- 
ness and  vitality.  Dan  Dailey  taught 
me  to  enjoy  modern  music.  Barbara 
Stanwyck  showed  me  how  to  co-operate 
with  the  press.  Clifton  Webb  provides 
the  perfect  example  of  poise.  Spencer 
Tracy  gives  me  acting  pointers.  Susan 
Hayward  really  ‘trouped’  when  she 
played  Jane  Froman.  And  who  is  a 
better  actor  than  Dick  Widmark?” 

Bob,  it  seems,  is  the  kind  of  guy 
who  knows  he  doesn't  know  it  all.  His 
is  a constant  effort  to  absorb  new 
skills,  to  learn  all  there  is  to  learn 
about  this  job  of  movie-making.  For 
example,  several  years  ago  before  Bob 
was  ever  in  a movie,  Alan  Ladd  once 
told  him  of  the  tremendous  importance 
of  good  relationships  with  the  fans. 
Bob  has  never  forgotten  that  piece  of 
advice  and  carefully  pores  over  the 
fan  magazines  each  month  to  keep  in 
touch  with  the  boys  and  girls  who  buy 
tickets.  He's  determined  to  make  good. 

As  Bob  himself  puts  it:  “I  don’t 
know  if  I have  what  it  takes  to  be  a 
star,  but  I wouldn’t  have  gone  into 
acting  unless  I thought  I had  a chance 
to  hit  the  top.  I hope  I make  it.  I 
know  one  thing — if  I’ve  got  the  stuff 
in  me.  I’ll  work  like  a demon  to  bring 
it  out.  I’m  determined  to  make  my- 
self believe  what  you  say  my  fans  be- 
lieve— that  I really  am  a star!” 


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( Continued,  from  page  29) 
and  Los  Angeles,  was,  they  discovered, 
London.  That  subject  polished  off,  Bob  said 
that  Ursula  was  one  of  the  few  girls  he 
had  ever  known  who  had  a cleft  in  her 
chin.  “I’ve  often  wondered  how  it  happens 
that  a dozen  men  to  one  girl  will  have  this 
deal,  when  it  should  be  the  other  way 
around.  A girl  doesn’t  have  to  worry  a 
razor  around  the  canyon.” 

This  reminded  Ursula  that  she  had  read 
an  article  compiled  by  European  penolo- 
gists, giving  the  information  that  in  all  the 
history  of  continental  crime,  only  two  or 
three  criminals  had  been  dimple-chinned. 

“Just  goes  to  disprove  the  old  rhyme, 
‘Dimpled  chin,  devil  within,’  ” said  Bob, 
going  on  to  describe  himself  as  a reason- 
able citizen,  inclined  away  from  deviltry 
and  toward  ease.  “Come  right  down  to  it, 
and  I guess  you’d  have  to  say  I’m  a little 
lazy.” 

Ursula  said  she  didn’t  believe  she  was 
especially  lazy,  but  she  certainly  loathed 
getting  up  in  the  morning;  she  loved  to 
sleep  late  and  she  didn’t  want  to  talk  to 
anyone  during  the  morning’s  first  thirty 
minutes  or  until  after  she  had  swallowed 
a cup  of  coffee. 

Somehow  the  mention  of  coffee  brought 
up  the  subject  of  Los  Angeles’  restaurants, 
favorite  foods,  and  such,  and  it  should 
come  as  no  surprise  that  the  following 
evening  Bob  called  for  Ursula  at  seven  and 
they  drove  to  Chasen’s  for  dinner.  Ursula 
wore,  without  realizing  that  she  was  again 
coinciding  with  Bob’s  taste,  a simple  black 
jersey  blouse  and  a voluminous  silver  taf- 
feta skirt.  (Bob  loves  gray  as  a relief  for 
black.) 

That  night  Bob  happened  to  compliment 
Ursula  on  her  English.  She  had  studied 
English  in  school,  of  course,  but  from  those 
years  she  had  brought  with  her  to  Amer- 
ica only  one  sentence.  She  repeated  it  to 
Bob.  “Everyone  was  happy  except  Little 
Paul.”  She  had  no  recollection  of  the  story 
surrounding  Little  Paul  or  the  reason  for 
his  misery.  Together,  Ursula  and  Bob 
laughed  at  the  absurdity  of  the  foreign 
words  or  phrases  that  stuck  to  a person 
while  passing  rapidly  through  school 
courses. 

Bob  said  he  might  not  starve  in  Spain, 
but  his  vocabulary  would  leave  serious 
loopholes  in  his  diet.  The  only  words  he 
could  remember  off-hand  from  his  junior 
Spanish  were  Mantequilla  (butter),  Hielo 
(ice)  and  Polio  (chicken). 

There  was  one  thing  that  puzzled  Ursula: 
“Why,  in  English,  is  the  word  for  a room 
belonging  to  babies  or  small  children  the 
same  as  the  word  meaning  a growing  place 
for  plants?  Nursery?”  she  repeated,  tipping 
up  her  voice  and  her  eyebrows. 

Of  course  they  talked  picture-business. 
Ursula  had  seen  Bob  in  “Camille,”  “Water- 
loo Bridge”  (her  favorite)  and  “Johnny 
Eager”  before  coming  to  this  country.  Bob 
confessed  that  he  hadn’t  seen  any  of 
Ursula’s  pictures,  to  which  she  replied  with 
a gratified  smile,  “They  haven’t  been 
shown — so  much  the  better.” 

There  were  other  evenings:  at  Ciro’s,  at 
Mocambo,  at  La  Rue  and  Romanoff’s. 
Finally  a columnist  stopped  at  their  table 
one  night  and  asked,  “When  are  you  kids 
getting  married?” 

Bob,  accustomed  to  the  friendly  frank- 
ness of  reporters  obliged  to  get  the  news 
first,  even  by  shock  treatment  if  necessary, 
said  something  about  get  lost,  boy,  you’re 
embarrassing  the  lady,  and  ended  the  in- 
cident with  his  characteristically  good- 
natured  grin. 

Ursula  had  gone  white.  A reserved  per- 
son by  nature,  she  had  been  brought  up 
to  believe  that  there  are  some  questions 


never  asked  in  considerate  society.  Com- 
pletely the  continental  woman,  Ursula  took 
it  for  granted  that  after  a couple  had  been 
properly  introduced  they  first  cultivated 
a proper  friendship.  In  case  the  friendship 
ripened  into  real  regard  that  was  pleasant 
but  certainly  nothing  about  which  one 
could  be  questioned.  After  a year  or  two, 
an  engagement  could  be  announced  at  the 
proper  time,  in  the  proper  manner  and 
by  the  proper  persons.  Certainly  a stranger 
did  not  ask  questions  about  the  marriage 
of  two  individuals  who  had  known  one 
another  only  a short  time! 

Bob  did  his  best  to  explain  how  these 
things  were  done  in  Hollywood,  that  no 
rudeness  was  intended  by  the  question — 
it  was  asked  every  day  in  the  film  colony, 
sometimes  of  people  who  were  married 
to  other  partners  or  who  had  merely  given 
an  indication  of  liking  to  dance  together. 
And,  besides,  Bob  added,  what  was  so 
wrong  about  the  idea? 

Ursula,  not  a talkative  type,  avoided 
the  challenge,  but  during  the  weeks  and 
months  that  followed,  she  managed,  gradu- 
ally, to  make  her  position  clear.  First  of 
all,  she  would  not  be  hurried.  Bob,  him- 
self, agreed  with  that  attitude. 

Next,  there  were  separations  to  be  lived 
through  and  opinions  to  be  investigated. 
There  were  personality  traits  to  be  learned, 
areas  of  agreement  and  disagreement  to  be 
discovered. 

Ursula  was  sixteen  when  she  fell  in  love 
with  her  first  husband;  she  was  married 
slightly  over  a year  later,  became  a mother 
a year  after  that  and  had  her  second  child 
two  years  subsequently.  That  marriage  had 
failed,  and  Ursula,  thinking  that  she  knew 
why,  did  not  intend  to  repeat  her  original 
mistakes.  She  did  not  intend  to  inflict — 
or  suffer — hurt  again. 

There  must  be  soul-searching  for  the 
protection  of  the  children,  too.  The  job  of 
father  is  rigorous  enough,  but  that  of 
stepfather,  particularly  when  the  man 
has  never  had  children  of  his  own,  can  be 
filled  with  imponderables.  Ursula  wanted 
to  love  her  husband  fully,  freely  and 
unreservedly — above  all  other  beings  in 
her  life — but  she  knew  she  would  not  be 
able  to  do  so  until  the  man  understood  her 
deep  devotion  to  the  needs  of  her  children. 

Then  there  was  the  question  of  two 
careers  in  one  marriage.  For  her  to  con- 
tinue to  make  use  of  her  talents,  she  must 
have  both  the  agreement  of  her  husband 
that  she  should  continue  acting  and  his 
understanding  of  the  problems  involved 
and  his  hearty  co-operation  in  solving 
them. 

Perhaps  the  greatest  hazard  of  all  was 
one  that  only  a girl  who  has  already  been 
married  can  anticipate.  Ursula,  being  in- 
escapably a continental,  knew  that  she 
would  be  committed  to  share  every  portion 
of  her  husband’s  life.  Often,  American 
wives  are  not  disturbed  by — or  even  aware 
of — this  obligation  which  a European 
wife  accepts  without  question.  If  Ursula 
should  marry  a hardrock  miner,  she  would 
expect  to  live  in  a desert  shanty,  curry 
the  burro,  exterminate  lurking  rattle- 
snakes and  do  the  family  wash  in  water 
so  hard  it  would  float  a ball  bearing.  She 
might  not  like  it,  but  she  would  have 
elected  to  marry  the  man  in  the  case,  and 
she  would  feel  dedicated  to  accept  his  way 
of  life  along  with  the  man  himself. 

The  only  sensible  course,  then,  was  to 
be  certain  that  before  marrying  she  was 
vowing  to  love,  honor  and  obey  a man 
whose  way  of  life  was  for  her  lovable, 
honorable  and  free  of  the  chains  that  do 
a prison  make. 

Ursula  and  Bob  had  been  seeing  one  an- 
other regularly  (but  mainly  out  of  the 


98 


[public  eye)  for  almost  a year  when  Bob 
was  sent  to  England  to  star  in  “Knights  of 
the  Round  Table.” 

Many  couples,  when  facing  long  separa- 
I tion,  announce  their  intentions.  Ursula 
(i  simply  refused  to  comment.  Bob  told  those 
( who  asked  that  they  were  “good  friends.” 

Aha,  said  the  matchmakers,  that  means 
1 they  have  had  an  argument,  or  that  they 
never  had  an  agreement  in  the  first  place. 
Or  that.  . . . 

Every  theory  developed  anywhere  finally 
reached  the  columns.  You  could  have  read 
that,  one,  Ursula  and  Bob  had  never  been 
seriously  interested  in  one  another;  two, 
there  had  been  a grand  display  of  fire- 
works; three,  that  they  were  testing  love 
with  distance  to  check  this  fondness  in- 
crease. 

What  really  happened  was  that  Bob 
wrote  to  Ursula  every  night  for  six  months 
j — with  the  exception  of  one  vitally  im- 
portant week. 

In  turn,  Ursula  wrote  to  Bob  every  night 
! for  six  months — with  the  exception  of  the 
same  seven  crucial  days. 

That  precious  week  started  on  Ursula’s 
i birthday  in  1953.  She  received  the  usual 
lavish  bouquet  of  roses  by  cable  from  Bob, 
and  she  also  received  a telephone  call  say- 
i ing  that  he  had  made  arrangements  to  be 
free  of  the  shooting  schedule  for  a week 
and  would  fly  to  Los  Angeles  to  spend  the 
time  with  Ursula.  Would  she  please  call 
Bob’s  mother  and  explain  that  he  was  en 
route  home? 

When  Bob  appeared  in  town  he  ex- 
! plained  his  brief  visit  by  a vague  refer- 
ence to  business,  managed  to  be  seen  stag 
here  and  there  (but  not  for  long)  and 
spent  most  of  his  time  with  Ursula.  In- 
cidentally, Bob  had  added  a new  portrait 
camera  to  his  collection  (he  already  owned 
a Contax,  a Rolleiflex  and  one  or  two 
others)  so  he  and  Ursula  drove  around  the 
countryside  on  a picture-making  spree. 

In  January  of  1954,  Ursula’s  ten-year- 
old  daughter,  Manuela,  came  to  the  U.  S. 
(Michael,  eight,  will  probably  arrive  in  the 
fall.) 

Manuela’s  presence  was  a test  and  pro- 
vided a happy  answer.  She  spoke  very 
little  English;  perhaps  because  of  this  she 
undertook  to  be  the  very  grown-up,  very 
dignified  and  thoughtful  lady  on  occasion. 
Ursula  thought,  “If  Bob  laughs  at  her,  I 
shall  die.” 

She  needn’t  have  worried.  Bob  was  as 
courtly  as  if  Manuela  had  been  Queen 
Victoria  and  he,  Disraeli.  He  helped  her 
into  her  coat  and  into  the  car;  he  waited 
gravely  while  Ursula  translated  the  dinner 
menu;  he  did  not  grin  when  Manuela 


wanted  an  ice  cream  soda  at  Chasen’s.  Tall 
for  her  age,  the  lass  is  slender  as  a wheat 
stalk  and  as  blond.  She  grows  out  of  her 
dresses  in  a few  weeks  and  is  as  coltish 
as  Jo  in  “Little  Women.”  Occasionally  her 
high  spirits  and  her  brief  years  send  her 
romping  across  a room  to  cast  herself  into 
her  mother’s  lap,  all  flying  legs,  arms,  and 
braids. 

When  that  mood  came  upon  her,  Bob 
teased  her,  tussled  with  her,  treated  her 
much  as  if  she  had  been  a boy.  She  loved 
it,  of  course,  and  when — one  fine  spring 
day — he  unloaded  a girl’s  bright  red  bike 
from  his  car,  Manuela’s  delight  burst 
through  cloud  layers  like  a small  H-bomb. 

Somewhat  later  in  the  month  Bob 
showed  up  with  a Stereo-Realist  camera 
in  order  to  photograph  Manuela  & bicycle 
and,  only  because  it  was  convenient, 
Ursula. 

In  addition  to  his  interest  in  photog- 
raphy, Bob  dotes  on  planes.  Many  men 
find  that  a wife  can’t  take  an  interest  in 
flying,  but  Ursula  went  up  with  Bob  after 
they  had  known  one  another  only  a few 
weeks;  she  loved  it,  decided  she  never 
wanted  to  fly  on  a commercial  plane  again. 
“They  are  so  big  they  frighten  me.” 

She  hopes  to  take  instruction  and  earn 
her  private  pilot’s  rating.  Bob  will  also 
teach  her  to  drive  a car — a more  hazardous 
undertaking  in  California. 

In  many  ways  Bob  is  still  a Nebraska 
farm  boy  who  likes  to  come  home  to  his 
own  dining  room,  to  a family  dinner.  Here, 
again,  the  European  background  of  Ursula 
has  stood  her  in  good  stead.  Her  ability  to 
cook  is  stupendous,  she  loves  to  build 
tossed  green  salads,  she  is  handy  at  broil- 
ing a steak  (Bob’s  idea  of  the  perfect  din- 
ner) and  she  can  alternate  T-bones  with 
kohlralladen  (cabbage  leaves  stuffed  with 
spiced  meats,  then  baked) . She  likes  to 
top  off  dinner  with  a steamed  plum  pud- 
ding. 

Small  wonder  that  Hollywood  is  filled 
with  bachelors  who  scrutinize  Bob  Taylor 
and  mutter,  “Lucky  cuss.  What  a cinch  he’s 
got.” 

Ursula  says,  “Now  that  we  are  married 
after  our  two-year  engagement,  we  know 
there  will  be  problems  to  come  up,  but 
Bob  and  I have  become  good  friends, 
understanding  of  one  another  and  trustful. 
We  know  that  we  can  work  out  the  little 
difficulties  because  we  have  lived  out  and 
talked  out  the  big  ones.  Without  a long 
engagement,  this  would  not  have  been 
possible.” 

Bob  says  nothing.  He  simply  looks  like 
175  pounds  of  pure  bliss. 

The  End 


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BRIEF  REVIEWS 

For  fuller  reviews,  see  Photoplay  for  months  in- 
dicated. For  this  month’s  full  reviews,  see  page  14. 


■S'/*)/  EXCELLENT  ///  VERY  GOOD  //  COOD  / FAIR 

A — ADULTS  F — FAMILY 

Some  3-D  films  are  also  being  shown  in  2-D  versions.  Check  your  theatre  to  see  which  is  being  used. 


//  ARROW  IN  THE  DUST— Allied  Artists, 
Technicolor:  Vigorous  Indian-fighting  yarn.  Sterl- 
ing Hayden  poses  as  a cavalry  officer  to  aid  Coleen 
Gray,  other  pioneers.  ( F)  July 

////  BEAUTIES  OF  THE  NIGHT— U. A.:  En- 
chanting  French  film  (titles  in  English),  mixing 
slapstick  and  sense.  Gerard  Philipe,  a poor  young 
composer,  dreams  he’s  a big  success  in  bygone 
times,  wooing  Gina  Lollobrigida.  (F)  June 

///  CARNIVAL  STORY— RKO,  Agfa  Color: 
Gaudily  effective  drama  of  passion  and  violence 
on  the  midway.  Anne  Baxter  has  a juicy  role  as 
a German  girl  involved  with  no-good  Steve  Coch- 
ran and  likable  Lyle  Bettger.  (A)  June 


///  CASANOVA’S  BIG  NIGHT— Paramount, 
Technicolor:  Wild  gags  and  slapdash  action  keep 
Renaissance  Italy  jumping.  Bob  Hope's  a timid 
tailor  who  impersonates  the  great  lover  in  a plot 
masterminded  by  Joan  Fontaine.  (F)  June 

//  COWBOY,  THE — Lippert,  Eastman  Color: 
Modest,  often  fascinating  documentary  showing 
how  the  West  has  changed,  how  two  young 
modern  cowboys  really  live  and  work.  (F)  July 

DRIVE  A CROOKED  ROAD— Columbia: 
Mickey  Rooney's  fine  as  a first-rate  but  under- 
sized driver-mechanic  lured  into  crime  by  Dianne 
Foster.  Taut,  well-scripted  action.  (F)  May 

//  DRUMS  ACROSS  THE  RIVER— U-I,  Tech- 
nicolor: Rapid-fire  Western.  Audie  Murphy  and 
his  dad  (Walter  Brennan)  fight  to  keep  gold-mad 
gunmen  from  goading  Indians  to  war.  (F)  July 

///  ELEPHANT  WALK — Paramount,  Techni- 
color: In  a flamboyant  drama,  Liz  Taylor’s  the  be- 
wildered bride  of  Ceylon  tea-planter  Peter  Finch. 
With  exotic  locales  and  Dana  Andrews.  (F)  May 

////  EXECUTIVE  SUITE— M-G-M:  A star- 
bright  cast  topped  by  Fredric  March  and  William 
Holden  shows  the  intense  struggle  for  power  that 
follows  a business  tycoon’s  death.  (A)  May 

//  FIREMAN  SAVE  MY  CHILD— U-I:  Hugh 
O’Brian  and  Buddy  Hackett  do  an  Abbott-Costello 
in  a headlong  bit  of  slapstick.  Spike  Jones  and 
crew  also  play  zany  firemen.  (F)  July 

/yC  GORILLA  AT  LARGE— 20th;  3-D,  Techni- 
color: Lively  chiller  with  a carnival  locale.  Sev- 
P eral  murders  involve  aerialist  Anne  Bancroft 
and  barker  Cameron  Mitchell  with  cops.  (F)  July 


//  HELL  BELOW  ZERO— Columbia,  Techni- 
color:  Against  authentic  backgrounds  of  today’s 
whalers  in  the  Antarctic,  Alan  Ladd  investigates 
the  death  of  Joan  Tetzel's  dad.  (F)  July 


i/W  INDISCRETION  OF  AN  AMERICAN 
WIFE — Columbia:  Unusual  drama,  shot  in  Rome. 
Tourist  Jennifer  Jones  tries  to  end  her  love  affair 
with  an  Italian  (Montgomery  Clift).  (A)  May 


//  LONG  WAIT,  THE — U.A.:  Gruesome,  gory 
Spillane  mystery.  Amnesia  victim  Anthony  Quinn, 
accused  of  murder,  tangles  with  racketeer  Gene 
Evans  and  four  alluring  girls.  (A)  June 


//  LUCKY  ME — Warners;  CinemaScope,  Tech- 
nicolor: Doris  Day’s  warmth  carries  this  musical. 
A show-girl  stranded  in  Florida,  she  romances  with 
song-writer  Robert  Cummings.  (F)  July 


//  MA  & PA  KETTLE  AT  HOME— U-I:  More 
knockabout  comedy  by  Marjorie  Main,  Percy 
Kilbride.  To  help  son  Brett  Halsey  win  a contest, 
they  try  to  convince  a magazine  editor  that  their 
ramshackle  old  home  is  a model  farm.  (F)  June 


////  MAN  WITH  A MILLION— Rank,  U.A.; 
Technicolor:  Gay  yet  malicious  whimsy.  Gregory 
Peck,  a Yank  in  London  of  1900,  is  taken  for  a 
millionaire,  lives  high — on  credit.  (F)  July 


//  MIAMI  STORY,  THE— Columbia : Racket- 
busting  yarn,  long  on  thrills,  short  on  plausibility. 
Ex-gangster  Barry  Sullivan  is  hired  to  smash  the 
mob  ruling  Miami.  (F)  July 


//  PLAYGIRL — U-I:  Shelley  Winters  scores 
with  a wisecracking,  emoting  role  in  a lurid  ex- 
pose of  big-city  night  life.  Colleen  Miller's  the 
sweet  girl  who  goes  wrong.  (A)  July 


////  PRINCE  VALIANT — 20th;  CinemaScope, 
Technicolor:  Rousing  adventure  yarn  of  knight- 
hood days.  Bob  Wagner’s  the  exiled  prince  who 
seeks  justice  and  fights  treachery  at  the  court  of 
Arthur.  James  Mason  takes  care  of  the  menace; 
Janet  Leigh,  the  romantic  angle.  (F)  June 


//  PRISONER  OF  WAR— M-G-M:  Shallow 
study  of  American  reactions  to  atrocities  in  North 
Korea.  Ronald  Reagan's  an  Intelligence  officer; 
Dewey  Martin,  a “progressive.”  (A)  July 


//  RAILS  INTO  LARAMIE— U-I,  Technicolor: 
Lively  outdoor  action.  Opposed  by  old  friend  Dan 
Duryea,  John  Payne  tackles  a racket-ridden  town 
where  railroad-building  is  stalled.  (F)  June 


///  RHAPSODY— M-G-M,  Technicolor:  Ro- 
mance given  weight  by  fine  music  and  real  Euro- 
pean locales.  Liz  Taylor’s  a possessive  rich  girl  who 
loves  violinist  Vittorio  Gassman.  (A)  May 


///  RIDING  SHOTGUN— Warners,  Warner- 
Color:  Unassuming  Western  with  unusual  twists. 
Randolph  Scott,  a stagecoach  guard,  tries  to  save 
a town  threatened  by  a bandit  gang — nearly  gets 
lynched,  Joan  Weldon  stands  by  him.  (F)  June 


////  RIVER  OF  NO  RETURN— 20th;  Cinema- 
Scope, Technicolor:  Lusty  adventure  tale.  The 
Canadian  Rockies  overshadow  even  Marilyn  Mon- 
roe, a dance-hall  gal  going  downriver  on  a haz- 
ardous raft  voyage  with  Bob  Mitchum.  (F)  July 


/V  SARACEN  BLADE,  THE— Columbia,  Techni- 
color: Over-plotted  swashbuckler  about  intrigue 
in  Italy  and  the  Crusades.  Ricardo  Montalban  is 
out  to  avenge  his  murdered  family.  (F)  July 


///  SIEGE  AT  RED  RIVER,  THE— 20th,  Tech- 
nicolor: The  Civil  War's  fought  out  West,  with 
plenty  of  local  color  and  vigorous  action.  Con- 
federate Van  Johnson  steals  a new  Union  weapon, 
woos  a dear  enemy,  Joanne  Dru.  (F)  June 


//  SOUTHWEST  PASSAGE— U.A.,  Pathecolor: 
Horse  opera — with  imported  camels.  Rod  Cameron, 
John  Ireland  and  Joanne  Dru  fight  thirst  and 
Indians  on  a desert  expedition.  (F)  July 


///  THEM! — Warners:  Smooth  science-fiction. 
G-man  Jim  Arness,  scientist  Joan  Weldon  battle 
monster  ants  (A-bomb  mutants).  (F)  July 


///  WITNESS  TO  MURDER— U.A.:  Ingenious 
suspense  movie.  Barbara  Stanwyck  sees  neighbor 
George  Sanders  commit  a murder,  reports  it — 
then  can  t get  the  police  to  believe  she  isn’t  a 
neurotic,  subject  to  delusions.  (F)  June 


//  YANKEE  PASHA— U-I,  Technicolor:  Florid 
adventure  story.  Jeff  Chandler’s  a frontiersman 
come  to  North  Africa  to  rescue  Rhonda  Fleming, 
enslaved  by  Barbary  pirates.  (F)  ' May 


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PHOTOPLAY 

SEPTEMBER,  1954  • favorite  of  America’s  moviegoers  for  over  forty  years 


HIGHLIGHTS 


Full-Speed  Ahead  (Bob  Francis) 

The  Hollywood  Story  (Lauren  Bacall,  Kirk  Douglas) 
Cupid  Has  the  Last  Laugh  (Dahl-Lamas)  .... 

Inside  Stuff  . . . . . . 

Rock’s  Magnificent  Obsession  (Rock  Hudson)  . . 

Paint  Works  (Debbie  Reynolds) 

Wake  Up  and  Live!  (Doris  Day)  . . .... 

The  Guy  with  the  Grin  (Bill  Holden) 

She’s  Nobody’s  Baby  Now!  (June  Allyson)  . . . 

Love  Scene  (Tab  Hunter) 

Barbara’s  Shining  Hour  (Barbara  Rush-Jeff  Hunter) 

Portrait  of  Ann  (Ann  Blyth) 

Win  a Present  from  a Star  (Reader  Contest)  . . . 

My  Friend  Brando  (Marlon  Brando) 

Hollywood’s  New  Look  in  Sex 

Look,  Ma,  She’s  Dancing!  (Jean  Simmons)  . . . 

Undivided  Heart  (Audrey  Dalton) 

Photoplay  Fashions 


. . Cal  York 

Ralph  Edwards 

John  Maynard 
Dan  Senseney 
. Gladys  Hall 


. . Hildegarde  Johnson 

Jeanne  Crain 


. Karl  Malden 
Sheilah  Graham 


Ruth  W aterbury 


STARS  IIS  FULL  COLOR 

Janet  Leigh 36  Doris  Day 

Rhonda  Fleming 36,  57  June  Allyson 

Kathleen  Hughes 37  Tab  Hunter 

Vera-Ellen 37  Mona  Freeman 

Cyd  Charisse 37  Ann  Blyth 

Jean  Peters 37  Jeanne  Crain 

Rock  Hudson 39,  57  Suzan  Ball 

Debbie  Reynolds 42  Tony  Curtis 

Lori  Nelson 42  Lex  Barker 

Race  Gentry 42,  57  Susan  Cabot 

John  Ericson 42  Piper  Laurie 

Bob  Dix 43  Jeff  Chandler 

SPECIAL  EVENTS 

That’s  Hollywood  . Sidney  Skolsky  4 Let’s  Go  to  the  Movies  . Janet  Graves 

Readers  Inc 6 Cast  of  Current  Pictures 

Hollywood  Whispers  Florabel  Muir  8 Laughing  Stock  . . Erskine  Johnson 
Hollywood  Parties  . . Edith  Gwynn  20  Brief  Reviews 


13 

30 

35 

36 
38 
42 
44 

47 

48 

50 

51 
54 
56 
61 
62 
66 
68 
69 


45 

48 

51 

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56 

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104 


Cover:  Rock  Hudson,  U-I  star,  is  in  “Magnificent  Obsession ” 
Rock  is  sailing  a Catamaran.  Color  Portrait  by  Ornitz 


Ann  Higginbotham — Editor 

Ann  Mosher — Supervising  Editor  Ron  Taylor — Art  Director 

Sumner  Plunkett — Managing  Editor  Norman  Schoenfeld — ,4sst.  Art  Director 

Rena  Firth — Associate  Editor  Lillian  Lang — Fashion  Director 

Janet  Graves — Contributing  Editor  Jane  Marcher — Fashion  Editor 


HOLLYWOOD  EDITORIAL  STAFF:  Sylvia  Wallace— Editor 
CONTRIBUTING  STAFF:  Maxine  Arnold,  Jerry  Asher,  Ruth  Waterbury,  Beverly  Ott 
HOLLYWOOD  ART  STAFF:  Phil  Stern,  Sterling  Smith 

SEPTEMBER,  1954  VOL.  46,  NO.  3 


PHOTOPLAY  IS  PUBLISHED  MONTHLY  by  Macfadden  Publications,  Inc.,  New  York,  N.  Y. 

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under  pan-American  oopyrigm,  ounveiamii.  ivuus  ueievuuu  H Y,‘  tr  o * T . 7. 

Propiedad  Literaria  y Artistica.  Title  trademark  registered  in  U.  S.  Patent  Office.  Printed  in  U.  S.  A.  by  Art 
Color  Printing  Company.  , _ 

Member  of  True  Story  Women’s  Group 


2 


M-G'Ms  LOVE  MAKING  MUSICAL 


in  high,  wide  and  handsome 


CALEB  KIDNAPPED  RUTH! 


BEN  BORROWED  DORCAS! 


EPH  ENCIRCLED  MARTHA! 


GIDEON  GRABBED  ALICE! 


Seven  village  beauties  are  kidnapped,  courted  and  kissed  by  seven  lusty 
brothers.  That’s  why  America  is  talking  about  M-G-M’s  fresh-as-a-daisy  musical 
with  the  shotgun  weddings.  The  best  music,  the  fastest-paced  dancing, 
the  most  fun  you’ll  have  this  year! 


FOR  SEVEN  BROTHERS 


Starring 


JAME  POWELL  HOWARD  KEEU 


blush, 


Coi.o#£. 


Songs/1 


With  JEFF  RICHARDS -RUSS  TAMBLYN -TOMMY  RALL 

Screen  Play  by  ALBERT  HACKETT  & FRANCES  GOODRICH  and  DOROTHY  KINGSLEY 

Based  on  the  story  "THE  SOBBIN’  WOMEN"  by  STEPHEN  VINCENT  BENET 

Lyrics  by  JOHNNY  MERCER  • Music  by  GENE  de  PAUL*  Choreography  by  MICHAEL  KIDD 

Color  by  ANSCO  • Dieted  b,  STANLEY  DONEN  * Produced  by  JACK  CUMMINGS 

AN  M-G-M  PICTURE 


“When  You’re  In  Love’VBIess  Yore  Beautiful  Hide”«"Goin’  Courtin’"* “Wonderful,  Wonderful  Day”*"Sobbin  Women" •“Spring,  Spring,  Spring’V'June  Bride” •“Lament" 

Available  in  M-G-M  Records  album.  Recorded  directly  from  the  sound  track  of  the  movie. 


BY  SIDNEY  SKOLSKV 


Pier  and  Debbie — more  sophisticated  but  so  sweet 


Is  bachelor  Scott  Brady  hep-cat? 


Gilbert  Roland:  From  Norma  Talmadge  to  Jane  Russell! 

THAT’S  HOLLYWOOD  FOR  YOU 


i know  a guy  whose  favorite  actress  is 
Piper  Laurie.  But  he  wonders  if  she  and 
all  the  other  girls  around  Hollywood — in- 
cluding Debbie  Reynolds — are  as  inno- 
cent as  they  seem  to  be  . . . Yvonne  De- 
Carlo  believes  most  good-looking  men 
aren’t  smart  ...  It  was  not  too  long  ago 
that  Susan  Hayward  told  me  she  could 
forgive  a man  practically  anything  be- 
cause she  likes  men.  I don’t  have  to  brief 
you  on  what  happened  recently  ...  I be- 
lieve Ethel  Merman  when  she  sings 
“There’s  No  Business  Like  Show  Busi- 
ness” . . . Scott  Brady  looks  like  a bop 
musician  to  me. 

Hollywood  is  on  a lady  kick.  The  movie 
colony  is  very  pleased  to  classify  Audrey 
Hepburn  and  Grace  Kelly  as  young  ac- 
tresses who  represent  Lady  . . . The  old 
Burton  Holmes  travelogues  now  have  a 
story  and  are  interwoven  in  CinemaScope 
movies  ...  I can  recall  not  long  ago  when 
I wrote  that  an  unknown,  Cyd  Charisse, 
would  be  a bigger  movie  star  than  her 
husband,  Tony  Martin.  I think  she  proves 
it  in  “Brigadoon.” 

There  is  no  prettier  face  on  the  screen 
than  Ava  Gardner’s.  And  those  who  want 
to  shout  Liz  Taylor  can  shout!  . . . My 
favorite  character  Mike  Curtiz  told  form- 
fitting dancer  Barrie  Chase  (“White 


Christmas”)  : “In  two  years  I’ll  make  you 
a star  overnight.”  . . . Lauren  Bacall 
sounds  more  like  Marlene  Dietrich  every 
day  ...  I flip  when  Lena  Horne  sings 
practically  any  song  ...  I wish  Frank 
Sinatra  would  record  “My  Time  of  Day” 
from  “Guys  and  Dolls”  . . . Marge  Cham- 
pion always  looks  well  groomed  . . . 
Sheree  North  figures  to  be  a star  . . . Bob 
Wagner  told  me  that  he  was  looking  at  a 
picture  on  tv  that  was  so  bad  he  walked 
out  of  his  own  house  and  went  to  the 
movies. 

Even  stage  money  is  more  expensive 
these  days.  A few  years  ago  you  could 
buy  a million  dollars  for  twenty  dollars; 
now  the  million  costs  almost  fifty  dollars. 
I’m  still  waiting  for  a good  explanation  of 
Liberace.  Don’t  hit,  just  try  to  explain  . . . 
Gilbert  Roland  is  the  most  amazing  actor 
in  pictures  to  me.  I’ll  explain : Roland 
was  around  when  Norma  Talmadge  was 
a silent  film  star,  and  he’s  around — better 
and  more  handsome — as  Jane  Russell’s 
leading  man  . . . Janet  Leigh  has  muscles 
where  a girl  should  have  muscles  . . . 
Charlotte  Austin  looks  like  Olivia  de 
Havilland  did  when  Olivia  started  in  pic- 
tures . . . Just  for  a change,  I’d  like  to 
see  Claire  Trevor  not  play  a fallen  woman. 
She’s  too  good  an  actress  to  put  in  a 
groove. 


I goofed  with  Leslie  Caron.  To  me,  I 
nothing.  But  now  I realize  what  others 
see  in  her  . . . Lana  Turner  with  a little 
weight  on  is  still  much  sexier  and  inter-  | 
esting  than  a carload  of  the  new  starlets 
. . . While  I’m  in  the  mood,  let  me  say  ! 
that  all  those  “bosom  and  sand”  pictures  I 
sound  and  look  alike  to  me  . . . Continu- 
ing the  confession,  I can’t  distinguish  be-  ' 
tween  Mary  Castle  and  Peggie  Castle, 
and  don’t  know  which  is  doing  what 
career-wise  or  otherwise. 

I know  a guy  who  thinks  Marilyn  Mon- 
roe is  trying  to  be  another  Mamie  Van 
Doren  ...  By  the  way,  I can’t  think  of 
a more  exciting  combo  than  The  Monroe 
and  Marlon  Brando  for  a movie  ...  I 
don’t  dig  Guy  Madison  as  Lindbergh  . . . 
Bob  Mitchum  likes  San  Francisco  and  told 
me  about  a hep  pal  who,  while  they  were 
strolling  through  Union  Square,  said: 
“Man,  whatta  town.  Even  the  squares  here 
have  a union”  . . . Too  many  young  ac- 
tresses act  as  if  they  were  another  Audrey 
Hepburn  . . . I’d  love  to  listen  to  a tape  , 
recording  of  a night’s  dialogue  between  j 
Zsa  Zsa  Gabor  and  Rubirosa  ...  No 
longer  am  I too  surprised  or  shocked  by 
anything  an  actor  might  do  or  say.  I ex- 
cuse it  by  remembering  that  it  was  an  ( 
actor  who  shot  Lincoln.  And  that’s  Holly- 
wood for  you. 


4 


Hitchcock 
of  Suspense 

brings  you 

his  masterpiece! 


dames  Stewart 


Alfred  Hitchcock's 


Rear  Window 

co-starring 

GRACE  KELLY-WENDELL  COREY-THELMA  RITTER 

...RAYMOND  BURR 

COLOR  BY 

TECHNICOLOR 

DIRECTED  BY  SCREENPLAY  BY  BASED  ON  THE 

ALFRED  HITCHCOCK  • JOHN  MICHAEL  HAYES  • CORNELL  WOOLRICH  IlfS 


Address  your  letters  to  Readers  Inc.,  Photoplay,  205  East  42  Street,  New  York  17,  New  York. 
We  regret  we  are  unable  to  return  or  reply  to  any  letters  not  published  in  this  column. 


EADERS  I INC.. 


SOAP  BOX 

Lucky  is  the  girl  who  grabs  Tab  Hunter! 
When  I was  in  Los  Angeles  recently,  I 
had  a swimming  date  with  Tab  as  a result 
of  a contest  held  here  in  Seattle.  Many 
times,  when  I read  articles  by  various  movie 
stars,  I wonder  if  they  practice  what  they 
preach.  In  the  case  of  Tab  Hunter,  I know 
that  he  does. 

I have  been  used  to  boys  being  a little 
late  for  a date,  but  they’ve  never  been 
courteous  enough  to  call.  Tab  was  to  meet 
me  at  the  Beverly  Hills  Hotel  at  2:00  p.m. 
He  called  and  said  that  he  would  be  ten 
minutes  late  since  he  was  moving  into  his 
new  apartment  that  day.  He  arrived  at 
2:10! 

You  probably  know  what  an  excellent 
swimmer  Tab  is,  so  you  can  imagine  how 


Tab  Hunter — some  girl  will  be  lucky 


I felt — dog-paddling  to  drowning!  He  was 
very  sweet  again,  saying,  “You  probably 
don’t  have  the  opportunity  to  swim  as 
much  as  we  do  in  L.A.”  Consideration  per- 
sonified ! 

Since  Tab  had  to  make  an  appearance  at 
a gala  premiere  later  that  evening,  we 
had  to  cut  our  date  short,  and  when  we 
got  back  to  the  hotel.  Tab  was  very  thought- 
ful again.  He  called  my  mother  and  told 
her  what  a fine  time  we’d  had.  Mother, 
who  had  been  a bit  leery  of  movie  stars, 
was  completely  taken  by  this  tall  hand- 
some blond. 

Hooray  for  stars  like  Tab,  say  I!  Now 
you  can  understand  why  I say,  “Lucky  is 
the  girl  who  grabs  Tab!” 

Diana  Peters 
Seattle,  Washington 

I just  saw  “The  Eddie  Cantor  Story” 
and  think  it’s  a wonderful  movie  everyone 
should  see.  Keefe  Brasselle  is  a marvelous 
young  actor.  Why  doesn’t  he  get  more  star- 
ring roles? 

Pat  Smith 
Ardmore,  Oklahoma 

Today,  many  popular  Hollywood  couples 
are  confronting  the  public  with  marriage 
failures.  The  reasons:  personality  dif- 
ferences, professional  jealousy,  non-exist- 
ence of  love. 

These  young  couples  should  take  a hint 
from  the  marriages  in  Hollywood  which 
have  proved  their  value  and  stability.  Mar- 
riages founded  on  a spiritual  element.  For 


success,  whether  it  be  in  a career  or  ii 
marriage,  must  have  faith.  Faith  combine* 
with  hope  and  love  makes  life  worthwhile 
A/2C  R.  H.  Selle 
c/o  PM,  San  Francisco,  Calif orni 

The  motion-picture  industry  certainl 
laid  an  egg  by  naming  William  Holden  th 
best  actor  of  the  year. 

Didn’t  anyone  even  see  the  greatest  pei 
formance  ever  given  on  the  screen — Mom 
gomery  Clift  in  “From  Here  to  Eternity” 
Silvia  Gubins  j 
Omaha,  Nebrask 

Hurrah  for  Holden ! At  last  he’s  a< 
claimed  the  top  actor  for  1953.  I have  fel 
for  some  time  this  star  was  worth  mor 
recognition  than  the  magazines  or  th 
movie  industry  seemed  to  give  him.  i 
would  like  to  thank  all  those  responsibl 
for  his  receiving  the  Oscar.  They  could  nc 
have  given  it  to  anyone  more  deserving 
And  to  Mr.  Holden — you’re  tops  and  I’i 
so  happy  Hollywood  has  honored  you  £ 
^ast-  Betty  Ehlenfeld  j 

Georgetown,  Illino 

. . . Cleaning  out  an  old  suitcase  recently 
I came  across  an  old  copy  of  Photopla:; 
dated  January,  1940.  The  magazine  he 
changed  quite  a bit  in  appearance  sine 
then,  but  the  quality  and  enjoyment  ai 
still  the  same  . . . (although)  then  it  co: 
a nickel  more. 

That  old  magazine  brought  me  sever: 
hours  of  delight,  and  it  will,  I assure  yoi 
remain  among  my  favorite  keepsakes  in  th 
years  to  come.  My  only  hope  is  that  fou 
teen  years  from  now,  I will  be  able  to  pic 
up  a Photoplay  and  find  it  comparable  1 
the  excellence  of  those  in  1940  and  1951 
Johna  Sue  Fox 
Medicine  Lodge,  Kansi 

I have  now  seen  several  pictures  of  Lan 
Turner  with  her  hair  its  natural  color,  an 
I think  it  makes  her  look  younger  an 
more  beautiful  than  ever. 


Light  or  dark,  she’ll  always  be  Lana  Turn* 


Lana  also  looks  happier  now  than  si 
has  in  a long  time.  Maybe  her  marriage 
Lex  Barker  is  doing  her  good. 

Judy  Reynolds 
Moses  Lake,  Washingtc 

I have  just  had  a copy  of  Photopl/ 
sent  to  me  and  enjoyed  it  very  much. 

(Continued  on  page  1( 


\\  King  Richard  the  Lion-Hearted  in 
sweeping  grandeur!  From  Warner  Bros, 
comes  the  magnificent  presentation  of 
Sir  Walter  Scott’s  undying  story  of  the 
mighty  quest  for  the  Holy  Sepulchre. 
Kings  and  Captains  of  the  Western  World 
charging  into  strange  lands  and  thunder- 
ing tumult ! Here  is  the  crafty  Saladin  of 


the  Desert  with  his  two  thousand  Saracen 
tribes— the  Castelain  warriors,  seven  feet 
tall,  proud  giants  in  armor— the  wicked 
cohorts  of  beauteous  Queen  Berengaria  — 
the  savage  abduction  of  Lady  Edith  the 
Chaste  — and  the  Knight  of  the  Leopard 
whose  faith  still  rings  through  the  long 
corridors  of  courage. 


:::::::  ::::nce  harvey 


WarnerColor  AND 
Stereophonic  Sound 


ROBERT  DOUGLAS  SCREEN  PLAY  BY  JOHN  TWIST  MAX  STEINER  PRODUCED  BY  HENRY  BLANKE  OIRECTED  BY  DAVID  BUTLER 


p 


BY  FLORABEL  MUIR 


The  Kirk  Douglas-Anne  Buydens 
merging  that  has  Hollywood  still  spin- 
ning. Kirk  met  Anne,  a film  publicist, 
when  he  went  to  France  to  make  “Act 
of  Love.”  He  and  Anne  became  fast 
friends,  although  his  heart  still  be- 
longed to  Pier  Angeli.  Then  Kirk  re- 
turned to  America — and  Anne  came 
following  after  . . . just  to  see  what 
Hollywood  looked  like.  Although  Kirk’s 
romance  with  Pier  was  over  by  this 
time,  there  was  no  hint  that  he  had 
transferred  his  affections  to  Miss  Buy- 
dens— until  suddenly  they  appeared  at 
the  County  Clerk’s  office  in  Las  Vegas 
with  intentions  to  marry.  Then  it  came 
out  that  the  party  given  the  night  be- 
fore by  close  friend  Warren  Cowens 
had  been  a pre-marriage  party!  All  the 
guests,  including  Doris  Day,  had  ar- 
rived bearing  gifts  for  the  bride-  and 
groom-to-be,  who  spent  their  honey- 
moon at  Lake  Mead — far  from  the 
maddened  crowd  of  Hollywoodites  who 
had  failed  to  catch  even  a whisper  of 
Kirk’s  intentions! 

• 

The  two-way  zooming  of  Bob  Stack’s 
career — hot  as  an  actor  via  “The  High 
and  the  Mighty”  and  even  hotter  as  a 
lover  since  he  and  Terry  Moore  found 
each  other.  Terry  has  forsaken  night 
life  for  the  great  outdoors  just  because 
that’s  what  Bob  goes  for  and  his  long- 
standing romance  with  Claudette 
Thornton  has  chilled  . . . How  Ava 
Gardner  avoided  Las  Vegas  for  Lake 
Tahoe  in  sitting  out  her  divorce  time 
because  three  of  her  exes  were  marking 
that  spot  at  the  time — Mickey  Rooney, 
Frank  Sinatra  and  Artie  Shaw. 

• 

About  Frankie  Laine’s  stepped-up 
film  career,  which  really  gets  going  in 
high  when  he  co-stars  with  Yvonne 
DeCarlo  in  that  glittering  musical  re- 
vue in  Germany  . . . And  whether  the 
developing  international  situation  may 
not  compel  a drastic  change  in  Cecil 
B.  De  Mille’s  project  to  film  “The  Ten 
Commandments”  against  Egyptian 
backgrounds,  the  actual  Old  Testament 
scenery,  the  year’s  most  ambitious  and 


costly  foreign  location  . . . And  the 
possibility  that  Gloria  De  Haven,  who 
said  she  would  launch  a beauty  parlor 
of  her  own  in  New  York,  may  chuck  it 
all  to  marry  again  following  her  di- 
vorce from  Marty  Kimmel. 

• 

About  the  Marie  McDonald-Harry 
Karl  rift  which,  their  pals  insist,  is  only 
a slight  case  of  greasepaint  showing  on 
Marie,  another  way  of  saying  that  she 
got  careeritis  again.  Harry,  very  much 
in  love,  thinks  she’ll  change  her  mind 
and  be  content  as  a housewife  . . . 
About  the  rags-to-riches  career  to-date 
of  Tab  Hunter,  who  in  four  years  has 
climbed  from  Hollywood  boulevard 
soda  jerk  to  $1500  a week  as  a featured 
player  in  “Track  of  the  Cat.”  . . . The 
fast-blooming  amour  of  Ted  Briskin, 
Betty  Hutton’s  ex,  and  Colleen  Miller, 
beauteous  Universal-International  star- 
let. 

• 

About  Humphrey  Bogart’s  perform- 
ance in  “The  Caine  Mutiny,”  and  if 
talk  can  win  an  Oscar  for  a star  Bogie’s 
in  . . . The  persistent  denials  and 
counter-denials  that  all  isn’t  well  with 
the  Betty  Grable-Harry  James  menage, 
and  this  is  the  real  lowdown : There 
were  some  spats  and  for  a time  things 
didn’t  look  favorable  but  Betty  and 
Harry  are  really  trying  for  a patch-up 
and  admitting  nothing  to  columnist  in- 
quirers in  the  hope  that  they  can  work 
it  out.  The  whole  thing  would  have 
been  kept  dark  except  for  whispers  by 
insiders  who  realized  they  were  getting 
shaky. 

• 

About  Charlton  Heston’s  insistence 
that  wife  Lydia  Clarke  go  with  him  to 
Egypt  where  he’ll  play  Moses  in  “The 
Ten  Commandments”  because  he  re- 
fuses to  take  a chance  on  the  con- 
sequences of  one  more  separation.  In- 
cidentally his  stand-in,  Fritz  Apking, 
may  replace  Lex  Barker  as  the  new 
Tarzan  . . . And  about  the  story  seeping 
back  to  Hollywood  on  the  grapevine 
that  Deborah  Kerr  and  Tony  Bartie, 
her  war-hero  mate,  are  off  key. 


Only  select-few  like  Doris  Day  knew  party  for 
Kirk  Douglas , Anne  Buydens  was  a celebration! 


l\ext  day,  the  wedding  that  surprised  Hollywood. 
Kirk.  Anne  in  County  Clerk's  office.  Las  Vegas 


On  honeymoon  flight,  Kirk  and  Anne  had  a hilar- 
ious time  opening  gag  gifts  from  their  friends 


End  of  a surprise  story:  Kirk  and  his  bride  at 
Lake  Mead,  where  couple  spent  their  honeymoon 


HOLLYWOOD 

WHISPERS 


8 


[Mo  (JOK-dOl,  /do  /h\PA\jj  (/jOvnOvu  0A&  ciiAi^jCJ(W^  4o  o 


THERE'S 


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( Continued  from  page  6) 


I am  a keen  film  fan,  I wondered  if  any 
of  your  readers  (boy  or  girl)  would  write 
to  me  as  a pen  pal.  1 am  14  years  old. 

Smiki.ey  Bijncf. 

27A  Barhauld  Road 
Stoke-Newington 
London  N.16,  England 

Write  direct  to  Shirley,  not  to  Photo- 
play— ED 

CASTING: 

I have  just  read  the  true  story  of  “The 
Faith  of  Chaplain  kapaun.”  It  was  a won- 
derful story,  and  1 think  it  would  make  a 
great  hit  in  the  movies  with  Van  Johnson 
playing  the  lead  role. 

Mary  Chaulet 
Garden,  Kansas 


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only  Playtex  Pants  — can  shield  baby  with  such  complete  comfort  and  provide 
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With  Van,  it  would  be  a hit 


Someone  should  make  a picture  of  Ed- 
ward Aarons’  “Come  Back  My  Love,  with 
Glenn  Ford  as  Fleming,  Rita  Hayworth  as 
Elizabeth,  Patricia  Neal  as  Cathy  and  Ron- 
old  Reagan  as  Johnny  Wright. 

Cristina  White 
Stuttgart,  Germany 

1 think  a good  pair  for  an  exciting,  last- 
moving  picture  would  be  Marlon  Brando 
and  Terry  Moore. 

Connie  Fisher 
Wilmington,  Delaware 

I am  writing  this  in  a state  of  sheer 
amazement.  Recently  I read  that  Greta 
Garbo  is  thinking  of  accepting  the  nurses 
role  in  Stanley  Kramer’s  production  of 
“Not  as  a Stranger.” 

Surely  Mr.  Kramer  has  no  intentions  of 
casting  Miss  Garbo  as  Kristina.  Don  t mis- 
understand me,  I think  Garbo  is  a terrific 
actress  and  a beautiful  woman,  but  the 
only  thing  she  and  Kristina  have  in  com 
mon  is  their  Swedish  ancestry. 

The  girls  in  my  office  all  loved  the  book 
—and  Kristina — and  tried  to  decide  who 
fitted  the  author’s  description  ol  her.  We 
have  to  have  an  actress  who  was  attractive, 
not  glamorous,  a girl  who  looked  Swedish 
who  could  handle  a dramatic  role.  Fifteen 
out  of  eighteen  selected  the  same  girl — 
Nancy  Olson. 

Midge  Begley 
Brooklyn,  New  York 

QUESTION  BOX: 

We  have  just  seen  "Three  Young  Tex- 
ans,” co-starring  Keefe  Brasselle.  We  think 
he  is  wonderful.  We  would  like  to  know 
his  birthday  and  where  we  may  write  to 

him. 

The  Girls  of  B.V.M. 

Darby,  Pennsylvania 

Keefe’s  birthday  is  February  7th,  and  you 
may  direct  your  letters  to  him  c/o  W arner 
Brothers. — ED. 

( Continued  on  page  24) 


Used  his  apartment  — 
she  REALLY  took  over! 


color  by 

Technicolor 


R K O 
RADIO 


Produced  by  HARRIET  PARSONS 


Directed  by  FRANK  TASHLIN  • Screenplay  by  ALEX  GOTTLIEB 


ITS  ALL  ABOUT 
A MAN -ABOUT -TOWN 

AND  A GIRL  ABOUT  18. 

and  the  things 
IB  he  learns 


FROM 

E 

1 

B*  ! 


Meet  an  off  beat 
tew  heart-beat 
—Bob  Francis  of 
‘The  Caine  Mutiny 

i young  man  in 
i big  hurry 


F=UL.U 


AM 


BY  EVE  FORD 


;‘Who  could  play  Queeg ?”  the  young 
Wmy  corporal  wondered.  “Spencer 
Tracy,  maybe?”  His  friends,  the  three 
captains  who’d  lent  him  a well-read 
:opy  of  “The  Caine  Mutiny,”  each  had 
i different  suggestion.  But  on  one  point 
hey  all  agreed:  Willie  Keith  had  them 
tumped.  “Nope,”  the  corporal  said,  “I 
:an’t  think  of  anybody  who’d  be  right 
or  Willie.” 

This  was  in  1952,  and  all  over  the 
:ountry  thousands  of  readers  were 
nakirrg  a game  of  casting  the  movie 
version  of  the  top  best-seller.  But  the 
liscussion  between  the  four  Army 
riends  was  unique  in  one  way:  The 
>oung  corporal  was  Robert  Francis, 
vho  made  his  movie  debut  two  years 
ater  as  Willie  Keith. 

SHow  did  this  minor  miracle  happen? 
First,  let’s  look  at  Bob  as  he  is  now. 

A truly  refreshing  screen  personality, 
lob  has  captured  the  hearts  of  movie- 
* ';oers  in  record  time.  With  his  strong, 
ffeasantly  bony  features  and  his  crew- 
:ut,  dark-blond  hair,  he  hasn’t  the  cur 
ently  fashionable  brand  of  good  looks 
dore  important,  nothing  in  his  appear 
' 'mce  or  his  manner  suggests  the  at 
nosphere  of  movie  sets  or  night  clubs 
fou’d  imagine  him  instead  at  home  in 
he  outdoors — and  your  imagination 
vould  be  right. 


Though  Bob  has  now  made  three 
more  movies  in  rapid  succession,  he 
hasn’t  really  been  absorbed  into  the 
life  of  Hollywood.  He  lives  with  his 
parents  in  Pasadena  and  spends  most 
of  his  spare  time  there.  His  favorite 
date  is  a girl  who  has  no  connection 
with  the  movie  business.  And,  as  the 
memory  of  glorious  ski  flights  among 
the  high  snows  shines  in  his  blue  eyes, 
he  can  say  with  an  earnestness  that 
must  be  believed,  “Some  day  I’m  going 
back  to  the  mountains  and  hibernate!” 

Like  many  of  the  new  generation  of 
stars,  he’s  a native  Californian;  he  was 
born  in  Glendale  on  February  26,  1930. 
Unlike  most  of  his  rivals,  Robert 
Charles  Francis  had  no  acting  ambi- 
tions as  a youngster;  at  Wilson  Junior 
High  and  Pasadena  City  College,  he 
took  no  part  in  amateur  theatricals.  His 
heart  was  committed  to  another  love. 

He’d  acquired  his  fondness  for  the 
outdoors  as  a Boy  Scout  and  on  week- 
end trips  into  the  mountains  with  his 
dad  and  his  older  brother.  During  one 
of  these  trips,  Bob  strapped  on  a pair 
of  skis  for  the  first  time.  It  seemed  like 
just  another  sport  while  he  was  a stum- 
bling beginner.  But  soon  the  exhilara- 
tion of  gliding  downhill,  the  mountain 
air  brusquely  caressing  his  cheeks,  con- 
vinced him  that  he’d  found  his  chief 


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interest  in  life.  Bob  Francis,  aged 
eleven,  solemnly  resolved  that  he  was 
going  to  be  not  only  an  expert  skier, 
but  a champion,  representing  his  coun- 
try at  the  Olympic  Games. 

That  was  his  abiding  passion  all  dur- 
ing his  teens.  A boy’s  usual  concerns — 
girls,  school  activities- — were  brushed 
aside  while  Bob  dedicated  himself  to 
skiing.  He  ranged  up  and  down  the 
West  Coast,  competing  in  one  race 
after  another,  acquiring  a taste  for 
travel  that  he  still  has.  And  he  wasn’t 
discouraged  by  the  dangers  of  the 
sport.  During  a race,  he  was  making  a 
fast  turn  when  he  fell  with  such  force 
that  his  ski  pole  stabbed  through  his 
right  forearm.  He  still  has  the  scar  as 
a souvenir. 

Bob  was  determined  to  remain  an 
amateur,  so  he  had  to  plan  some  means 
of  earning  a living.  But  he  didn’t  stray 
far  from  his  chosen  field;  he  and  his 
brother  Bill  decided  to  open  a ski- 
equipment  shop.  Looking  far  ahead. 
Bob  speeded  up  his  education,  taking 
summer  courses  for  four  or  five  years. 
By  the  time  he  was  sixteen,  he’d  com- 
pleted two  years  of  college.  “I  just 
wanted  to  get  college  out  of  the  way  to 
satisfy  my  parents,”  he  explains.  And 
at  seventeen.  Bob  was  a businessman. 
The  Francis  brothers  operated  three 
ski  shops  at  Big  Pines  and  Mt.  Water- 
man. They  hadn’t  set  themselves  an 
easy  task,  because  they  were  a little 
ahead  of  the  game.  Now  the  biggest 
skiing  area  in  the  country,  this  section 
wasn’t  so  popular  at  the  time.  But  the 
brothers  kept  slugging  away. 

Bob  Francis  had  his  life  all  figured 
out.  So  he  thought.  Only  a little  matter 
of  climate  turned  his  plans  upside 
down.  His  was  a seasonal  sport,  of 
course.  When  the  snows  melted,  he 
went  on  enforced  vacations  from  ski- 
ing and  running  the  shops.  One  sum- 
mer day  when  Bob  was  nineteen,  he 
was  enjoying  lazy  hours  on  the  beach 


at  Santa  Monica.  Thanks  to  his  rigi 
ous  athletic  training,  his  body  y 
nearing  the  hard-muscled  six  feet  thi 
inches,  194  pounds  that  it  scales  todi 
Plenty  of  warmly  appreciative  femini 
eyes  turned  his  way.  So  did  a pair 
coolly  appraising  masculine  ey 
These  belonged  to  a U-I  talent  sco 
who  sized  Bob  up  as  a promising  bit 
movie  merchandise. 

Bob  hadn’t  the  slightest  idea  that 
was  being  watched.  Just  as  the  see 
was  about  to  approach  him.  Bob  < 
cided  he’d  done  enough  swimming  a 
sunning.  He  jumped  into  his  car  a 
drove  off.  happily  unaware  that  t 
scout  was  busy  noting  down  the  licen: 

Then  the  scout  turned  detective  a 
found  out  the  name  that  went  with  t 
number.  Presently,  the  phone  rang 
the  Francis  home,  and  Bob  heard 
astonishing  suggestion:  Would  he  coi 
to  U-I  for  an  interview?  Surprised 
may  have  been,  but  he  wasn’t  partic 
larly  impressed.  He’d  devoted  so  litl 
thought  to  the  movie  business  that, 
admits,  “I  didn’t  even  know  what  l 
was.”  Once  this  point  was  cleared  u 
Bob  figured:  What  have  I got  to  losi 
He  and  his  brother  had  finally  given  i 
their  ski-shop  venture,  and  he  was 
loose  ends. 

In  a skeptical  frame  of  mind,  B 
went  to  keep  his  appointment  at  U 
“They’ll  never  get  me,”  he  assured  1 
family.  But  his  interview  with  Sopl 
Rosenstein,  U-I’s  late,  beloved  dramal 
coach,  changed  his  mind.  Miss  Rose 
stein  asked  him  to  do  a reading  with 
newcomer  named  Ann  Pearce.  Ine 
perienced  as  Bob  was,  his  appearam 
his  voice  and  his  personality  look 
like  star-stuff,  and  Miss  Rosenstein  a 
vised  him  to  take  dramatic  lessons. 

She  sold  him  on  the  idea,  but  he  ] 
mained  faithful  to  his  first  love.  “1 
become  a big  movie  star,”  he  decid 
innocently,  “and  make  half  a milli 
dollars,  and  then  I’ll  go  back  into  t 


F=UL-L- 


AHEAD 


Continued, 


Bob’s  mother,  Mrs.  Lillian  W arnick  Francis,  gi 
him  an  upbringing  that’s  kept  him  levelheaded  ev 
against  the  stresses  of  sudden  fame  in  Hollywo 


14 


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I 

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f=UL.U  SF=>EED 

Continued 


ski-shop  business.”  Once  again  he  i| 
forced  to  change  his  mind  in  a hui 
He’d  been  referred  to  drama  co 
Batomi  Schneider.  One  session  y 
her,  one  earful  of  her  frank  critic 
- — and,  says  Bob,  “I  realized  I couk 
make  five  cents  as  a movie  actor!”  j 

All  his  sporting  blood  was  up.  Lea' 
ing  to  act  was  a challenge,  an  excit 
new  game — at  first.  As  the  months  w 
by,  he  took  it  more  and  more  seriou 
Mrs.  Schneider  wouldn’t  let  him  e 
try  out  for  a role  until  he’d  put  h 
year  of  hard  study.  (That  expla 
why,  with  no  real  professional  exp 
ence.  Bob  could  hold  his  own  with 
the  wise  old  pros  in  “The  Ca 
Mutiny.”)  When  his  year  was  up, 
was  offered  a contract  at  Colunfl 
But  his  big  moment  hadn’t  yet  arriv 

Before  the  studio  could  sign  h 
Uncle  Sam  stepped  in  with  a pi 
claim,  inviting  Bob  to  spend  a cou 
of  years  in  the  Army.  This  institut 
never  got  around  to  satisfying  Be 
yearning  for  travel;  he  wasn’t  sent  < 
farther  from  home  than  Camp  Robe 
California,  where  the  Army  made 
of  his  training  to  instruct  fellow  : 
diers  in  public  speaking.  And  there 
shared  an  office  with  the  three  capta 
who  loaned  him  a copy  of  “The  Ca 
Mutiny.” 

Quite  unconscious  of  the  fact  t 
he  was  destined  to  be  the  scree 
Willie,  Bob  followed  the  example 
the  novel’s  young  ensign:  He  fount 
lasting  romance  while  he  was  in 
service.  On  a weekend  leave  in  Pe 
dena,  he  and  another  boy  were  hea< 
for  a friend’s  home  when  his  pal  s< 
“There’s  a lovely  girl  in  the  car  ahe 
Let’s  ask  her  to  the  party.”  An  ob  i 
ing  traffic  light  stopped  both  cars.  1 
boys  shouted  their  invitation  and  l 
a smiling  refusal.  Bemused  by 
pretty  blonde,  they  hardly  noticed  t 
she  made  a turn  when  the  li  I 
changed.  Their  car  hit  hers  broadsi 
but  both  were  going  so  slowly  t ! 
little  damage  was  done. 

When  all  three  climbed  out  for 
routine  post  mortem,  Bob  discove 
that  the  girl  was  a former  schoolm 
of  his.  Dorothy  Ross  (four  feet  elev 
eighty-five  pounds,  “the  kind  you’d  1 
to  put  in  your  pocket,”  Bob  says) 
still  his  “little  girl-friend.”  Hollywoc 
most  glamorous  actresses  are 
around  him,  but  he  hasn’t  forgot 
the  pocket-sized  charmer  who  works 
the  personnel  department  at  a . 
plane  plant. 

His  years  in  uniform  completed,  I 
took  off  for  a two-week  vacation  in  1 >i 
Vegas.  Then  he  planned  a month 
Hawaii.  Just  in  time,  he  got  a phi> 
call  that  eventually  took  him  to  Hav 
on  business,  with  all  expenses  pi 


16 


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f 

17 


9 


Mine  is  the  figure  that  launched  a thousand  dreams  ! 
From  my  fgure  to  my  furs,  everything  about  me 
is  perfectly  see-worthy  ! Tugboats  are  whistling, 
cameras  clicking. ..and  all  the  excitement 

is  over  me.  See,  I'm  shaped  to  a Hfwpbukj 

fare-thee-well...Maidenform  makes  me 

a dreamboat,  first  class  ! T 35  Jfl 


The  dream  of  a bra:  Maidenform  s 
Over-ture*  in  broadcloth,  nylon 
taffeta,  acetate  satin,  or  nylon 

lace  with  taffeta  ...  from  1.75 


•REG.  U.  S.  PAT.  OFF.  ©195A  MAIDEN  FORM  BRASSIERE  CO..  INC.  FURSl  ESTHER  DOROTHY  SHOESt  JULIANELU 


EDI—  l— 


SPEED  AHEAD 


Continued 


Columbia  Pictures  told  him  there 
might  be  “a  small  bit  part”  for  him  in 
one  of  their  upcoming  movies.  They  sent  i 
him  the  script  of  “The  Caine  Mutiny,”  I 
without  revealing  which  role  he  was 
being  considered  for.  A short  session 
with  Boss  Harry  Cohn,  a long  one  with 
producer  Stanley  Kramer,  a screen  test 
with  Donna  Reed  standing  in  for  May 
Wynn — and  Bob  became  Willie  Keith. 
Three  days  later,  he  was  off  to  Yosem- 
ite  for  the  picture’s  love  scenes,  shot  be- 
fore the  location  trip  to  Hawaii.  Here 
was  the  turning  point  in  Bob’s  life. 

The  three  captains  who’d  been  his 
Army  friends  sent  him  a long  congratu- 
latory letter,  pretending  to  appoint 
themselves  his  agents,  at  the  usual  ten 
percent  of  his  salary.  When  “The  Caine 
Mutiny”  started  shooting,  Van  Johnson 
made  a big  gag  out  of  “hating”  Bob, 
because  the  youngster  had  stolen  the 
part  that  Van  wanted  for  himself. 
(Johnson,  of  course,  wound  up  with 
only  the  best  role  in  the  picture.)  And 
Dorothy  Ross  gave  her  beau  a gift  he 
treasures  sentimentally:  a pair  of  silver 
cufflinks,  on  which  anchors  and  tiny 
silver  spheres  symbolize  the  Navy  and 
the  steel  balls  associated  with  Captain 
Queeg  of  the  Caine.  As  for  Bob’s  fellow 
cast  members,  they  ceremoniously 
handed  him  a couple  of  B-B  shots — 
“for  the  junior  Queeg." 

Three  more  movies  (“They  Rode 
West,”  “I  Was  a Prisoner  in  Korea” 
and  “The  Long  Gray  Line”)  convinced 
Bob  that  his  movie  career  was  no  flash 
in  the  pan.  He’s  come  to  regard  it  as 
earnestly  as  he  does  his  life  in  general. 
Bob  himself  thinks  he  has  this  attitude 
because  he’s  always  associated  so  much 
with  older  people.  Eleven  years  sepa- 
rate him  from  his  older  brother  and 
sister.  (“I  was  an  afterthought,”  he 
says.)  Beginning  to  ski  in  his  early 
teens,  he  was  usually  much  the  junior 
of  the  other  enthusiasts.  He  counts 
Fred  MacMurray  and  Tyrone  Power 
among  the  closest  friends  he’s  made 
so  far  in  Hollywood. 

With  engaging  unawareness  of  his 
own  appeal,  Bob  muses,  “Ty  must  be 
terrifically  attractive  to  women — so 
much  poise — and  now  a continental 
manner,  after  all  his  traveling.  Dorothy 
and  I went  out  with  the  Powers  one 
evening,  and  I almost  lost  my  girl!  I 
tried  giving  Linda  the  eye,  but  I 
couldn’t  get  her  to  look  at  me,  either.” 

But  with  the  assured  success  of  The 
Caine  Mutiny — and  three  other  pictures 
coming  up — Bob  Francis  has  every 
hope  of  being  one  of  the  busiest  and 
most  popular  young  stars  in  the  1954 
sky.  And  any  old  horoscope  reader 
might  find  things  looking  very  good  for 
1960!  Wanna  bet! 

The  End 

i 


18 


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with 


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HOLLYWOOD 
PARTY  LINE 


Gwen  O’Connor  was  Dan  Dailey  s date  at  fabu- 
lous party  given  by  newlyweds  George  and  Elsi- 
nore Gilliland  at  gardenia-decorated  Mocambo 


Fountains  carved  from  ice,  in  which  hundreds  of  red  roses  had 
been  imprisoned,  kept  the  champagne  flowing  for  the  more  than 
three  hundred  guests  of  the  Gillilands,  above  with  Eva  Gabor 


Jeanne  Crain,  at  party  with  husband  Paul  Brinkman , wore  a < 

BY  EDITH  GWYNN  glittering  tiara  atop  her  vivid  red  hair.  It  was  at  this  party 

that  a careless  cigarette  set  fire  to  Marie  McDonald’s  gown  i 


f 

20 


^^rties,  parties,  parties  and  one 
standout  preem  this  month.  But  so 
many  soirees,  large  and  small,  I fer 
sure  won’t  have  room  for  all  of  ’em! 

The  biggest,  most  lavish  shindig 
tossed  hereabouts  since  the  famed 
Marion  Davies  hoop-la  was  given  by 
wealthy  charitable  Elsinore  Maoris 
and  groom,  George  Gilliland.  The 
thirty-thousand-dollar  (yep,  $30,000!) 
ball  they  tossed  saw  Mocambo  deco- 
rated with  six  thousand  dollars’  worth 
of  gardenias — three  hundred  dozens  of 
’em!  Champagne  flowed  from  fountains 
carved  from  ice  that  also  encased 
hundreds  of  American  Beauty  roses. 
Guests  enjoyed  nibbling  on  eighty 
pounds  of  caviar,  provided  by  the  hosts 
at  $25  per  pound;  a four-foot  high  wed- 
ding “cake”  fashioned  of  flowers;  a 
wonderful  dinner  and  dancing  to  Perez 
Prado’s  crazy  Mambo  band,  along 
with  the  usual  orchestra.  To  say  noth- 
ing of  Harold  Stern  and  his  17  violin- 
ists who  “serenaded”  diners  as  they 
passed  among  the  tables.  And  seeing 


the  $5,000  French  lace  gown  on  Mrs. 
Gilliland,  created  by  Dan  Loper! 

Among  the  more  than  300  guests 
were  Paul  Brinkman  and  Jeanne  Crain, 
sporting  a “diamond”  tiara,  Eva  Gabor, 
dangling  a few  diamonds  and  Marion 
Davies,  dangling  a few  thousand  dia- 
monds, plus  Noreen  Nash,  in  pink 
satin  with  bustle  and  Marie  McDonald, 
whose  flimsy  gown  caught  fire  from  a 
cigarette.  Kay  Williams,  in  pale  blue 
chiffon  and  wearing  a fabulous  dia- 
mond and  emerald  necklace,  the  Vic 
McLaglens,  Estelita  and  Grant  With- 
ers, Ginny  Simms,  Jon  Hall  and  Linda 
Danson,  Mari  Blanchard  and  Greg 
Bautzer,  the  Bob  Cummings,  Dan 
Dailey  and  Gwen  O’Connor  were  among 
the  cinema  set  present.  And  Arlene 
Dahl,  who  decided  that  her  bridal 
nightie  (she  has  planned  to  become 
Mrs.  Fernando  Lamas  before  you  read 
this)  will  be  of  pale  pink  chiffon  and 
delicate  lace — with  yards  and  yards 
of  the  transparent,  floaty  stuff  falling 


very,  very  softly  from  the  waistline. 

More  “traditional”  was  the  anniver- 
sary party  Judy  Garland  and  Sid  Luft 
gave  in  the  new  Crown  Room  atop 
Romanoff’s.  The  glass-enclosed  setting 
gave  sixty  guests  a gorgeous  view  of 
the  city  while  dining  and  dancing  to  a 
three-piece  musical  combo.  The  Lufts 
seated  a lot  of  studio  execs  and  vari- 
ous chums  at  individual  tables  for 
eight.  One  of  the  special  dishes  served 
was  rock  Cornish  game  hen,  supposedly 
raised  just  for  this  occasion.  Judy  wore 
a beige  chiffon  gown,  its  short  sleeves 
banded  with  sable,  and  her  brand-new 
(and  first)  diamond  ring — a big  mar- 
quis from  Sid.  Guests  included  Hum- 
phrey Bogart  and  Lauren  Bacall,  the 
Gary  Coopers,  the  Tony  Martins — Cyd 
Charisse  gorgeous  in  rather  short,  very 
full-skirted  white  organdy  dress,  with 
a black  top  and  the  maddest  black  and 
white  striped  shoes  of  a glossy  fabric! 
Evie  Johnson  with  Van  was  in  stunning 
white  pique  ( Continued  on  page  25) 


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And  it  is  never  drying  to  the  skin. 

The  secret:  Angel  Face  is  permeated 
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o 

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If  you  don’t  yet  know  the  magic  of 
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• Millions  of  women  have  done  just  this— they’ve 
compared  Pond’s  Angel  Face  with  every  kind  of 
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0 


OMMW. 


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(Continued  from  page  10) 


Witcli  votir  skin  thrive  on 
Cashmere  Bouquet  Soap! 

^ 0 «S.A 

mHIIHM  iSI 

QomC 


1 (Mr5-  n 

'.scHOOiBE^rvomECto 

We  oTco^P'e^"" 


Joan  Fetherston,  lovely  young 
(lancer  and  TV  actress,  says: 

“It’s  such  wholesome  beauty  care 
for  my  dry  skin!  I never  knew 
any  soap  could  do  so  much  so 
gently  until  Candy  taught  me  to 
beauty-wash  twice  every  day  with 
mild  Cashmere  Bouquet.  I just 
cream  that  fluffy,  fragrant  lather 
over  my  face  with  my  fingertips. 
It  leaves  my  skin  looking  wonder- 
ful — smoother,  softer,  with  a 
lovely,  fresh  glow!” 

P Complexion  and  big  bath  sizes 

24 


“ Scatter  a few  cakes  of 
Cashmere  Bouquetthrough 


your  lingerie  and  handkerchief  drawers. 
Leavesa  lovely,  flowery  fragrance, much 
more  subtle  than  sachet!” 


I have  seen  “Rhapsody”  twice,  and  I 
think  John  Ericson  did  a superb  job  of 
acting  . . . Would  you  please  give  me  some 
information  about  him  . . . What  pictures 
has  he  previously  appeared  in? 

An  Avid  Fan 
Wamego,  Kansas 

Born  in  Dusseldorf,  Germany , John  is 
twenty-seven  years  old.  married  Milly  Courv 
last  year.  “ Teresa ” was  his  first  and  only 
picture  before  ‘'Rhapsody.”  Write  him  at 

M-G-M. — ED. 

A friend  and  I are  having  an  argument 
concerning  Ring  Crosby's  boys.  He  says 
they're  adopted,  I say  they're  not.  Who’s 
right  ? 

Mrs.  Donald  Wiatf.r 
Wisconsin  Rapids,  Wisconsin 

) ou  win  ! — ED. 

In  your  April,  1953  issue  there  is  a pic- 
ture of  John  Derek  and  his  wife  Patti  in 
which  she  has  blond  hair.  In  your  May, 
1954.  issue  there  is  another  picture  of  John 
and  his  wife  in  which  she  has  dark  hair. 
What  I can't  understand  is  whether  he  was 
divorced  or  his  wife  just  completely 
changed. 

Gloria  Proulf 

Fall  River,  Massachusetts 

Patti  tried  blond  hair  for  awhile  but  de- 
cided her  own  natural  brunette  suited  her 
better. — ED. 

Who  played  Chief  Vittorio  in  “Hondo?” 

Sybil  Whitfield 
Salem,  Virginia 

Talented  actor,  Michael  Pate. — ED. 

Did  Ann  Blyth  do  her  own  singing  in 

“Rose  Marie?” 

Betty  Grace  Baggs 
Savannah,  Georgia 

That  beautiful  voice  is  Ann’s  own. — El). 

When  is  “Gone  with  the  Wind”  going  to 
be  released  again?  Also,  who  played  in 
“The  Spiral  Staircase?” 

Ronnie  Joseph 
Alice,  Texas 

M-G-M  is  re-releasing  Gif  TW  nationally 
this  year.  Dorothy  McGuire  and  George 
Brent  starred  in  the  latter  film. — EI). 


Dorothy  McGuire’s  the  girl 


Could  you  please  clear  up  a matter  for 
us?  We  would  like  to  know  who  portrayed 
the  role  of  Guy  Haines  in  “Stranger  on  a 
Train.”  I believe  it  was  Mark  Stevens. 

Pegcy  Hill 

New  York,  New  York 

It  was  Farley  Granger. — ED. 

(Continued  on  page  33) 


HOLLYWOOD  PARTY  LINE  Continued 


trimmed  with  multitudinous  bits  of  vivid 
turquoise  and  rhinestone  beading. 
The  Peter  Lawfords,  the  Bill  Goetzes, 
Jack  Warner,  Ethel  Merman  (in 
starched  black  organza)  were  there 
too.  Late,  late,  the  Merm,  Judy  and 
Van  Johnson  did  some  fancy  chirping 
together — natch ! 


Judy’s  use  of  sable  on  her  filmy 
gown  reminds  me  to  note  how  “little 
furs,”  not  necessarily  trimming,  have 
greatly  replaced  last  summer’s  over- 
worked dressy  cardigans  and  will  un- 
doubtedly continue  to  do  so  way  into 
fall.  Teitlebaum,  the  furrier  who  be- 
decks most  of  Tinseltown’s  celebs,  says 
he  can  hardly  fill  his  orders  for  tiny 
(real  tiny!)  white  mink  or  ermine 
capes  and  hug-me  jackets.  And  note  the 
many  pastel  shades  in  which  he’s  turn- 
ing out  such  duds.  Elizabeth  Taylor  has 
a “little”  pink  mink  cape.  And  we 
caught  Mona  Freeman  (dining  with 
Frank  Sinatra)  at  La  Rue  one  eve, 
wearing  a wee  pale  blue  mink  capelet 
over  a stark  white  cotton  lace  cocktail 
dress.  Teitlebaum  adds,  “I  used  to  de- 
sign these  things  for  Christmas.  Now 
everyone  wants  them  to  wear  over  sum- 
mer party  dresses.”  And  gals,  if  you’re 
lucky  enough  to  have  an  old  hunk  of 
beige  or  gray  fox  lying  around,  do 
something  with  it!  Just  as  chic! 


! e West  was  never  as  wild  as  Jerry  Lewis,  here 
I'h  wife  Patti,  when  he  and  Dean  Martin  enter- 
tried  at  fund-raising  whoopee  for  Share,  Inc. 


Co’s,  where  benefit  was  held,  turned  into  a 
tich  house  for  the  occasion.  Doris  Day,  with 
hband  Marty,  helped  spark  idea  for  the  party 


A different  sort  of  divertissement, 
and  much  talked  about,  was  the 
Hawaiian  luau  for  200  that  socialite 
George  Cameron  gave  on  his  spacious 
hill-top  lawns,  with  both  Eddie  Oliver’s 
band  and  a Hawaiian  outfit  strumming 
Island  melodies.  A ripple  occurred 
when  Elizabeth  Taylor  and  Michael 
Wilding  were  inadvertently  seated  at 
the  same  table  with  Liz’s  ex:  Nicky 
Hilton.  Fortunately,  perhaps,  this  was 
not  one  of  Nicky’s  drinking  nights. 
Guests  who  gorged  themselves  on 
exotic  food  and  sipped  wonderful  rum 
concoctions  included  Jane  Wooster  with 
John  Lindsay;  John’s  ex,  Diana  Lynn, 
with  Bob  Neal;  Merle  Oberon,  back 
with  Dr.  Rex  Ross;  John  Carroll,  Anita 
Eckberg;  Steve  Crane  and  Kathy  Mar- 
lowe; the  Hoagy  Carmichaels;  Jeanne 
Crain  and  Paul  Brinkman. 

Then  there  was  producer  Bert  Fried- 
lob’s  (he’s  Eleanor  Parker’s  ex)  good- 
bye party  for  Tay  Garnett  and  Mari 
Aldon,  returning  to  England.  Shelley 
Winters  was  with  John  Carroll;  Yvonne 
DeCarlo  with  Bob  Clark;  Richard 
Egan  with  Diana  Mills;  Jon  Hall  with 
Linda  Danson;  Jackie  Loughery  with 
Vince  Edwards.  George  Raft,  Rhonda 
Fleming,  Walter  Pidgeon  and  Casey 
Robinson  were  some  of  the  very  few 
who  “stagged  it.” 


For  a good  cause,  Ciro’s  was  turned 
into  a veritable  ranch  house  when 
Share,  Inc.,  sparked  by  Yvonne  Hover, 
Doris  Day  and  a few  other  gals  gave 
out  with  a fund-raising  whoopee.  The 
place  was  mobbed  with  famous  people 
in  western  attire,  and  the  hatcheck  gals 
were  busy  checking  rifles,  guns,  sling- 
shots and  ten-gallon  lids  into  a big 
covered  wagon  parked  outside  the 
cafe!  Ann  Blyth  (who  became  a 
Momma  a few  days  later)  and  Dr. 
McNulty;  Pier  Angeli  with  Allan 
Pearl;  the  Gordon  MacRaes;  Debbie 
Reynolds;  Keefe  Brasselle;  Ida  Lu- 
pino  and  Howard  Duff;  Lance  Fuller 
with  a magazine  girl;  Miriam  Nelson 
with  Neils  Larsen;  Mitzi  Gaynor  and 
Jack  Bean  (who  say  they’ll  wed  the 
moment  “No  Business  Like  Show  Busi- 
ness” is  finis)  ; Dean  Martin  and  Jerry 
Lewis,  who_  panicked  everyone,  were 
among  the  fun-makers. 

The  Dean  Martins  tossed  a lovely 
dinner  dance  to  celebrate  Dean’s  birth- 
day— but  we’ll  wait  till  next  time  to 
tell  about  that  one.  There  were  no 
photogs  there,  anyway,  so  we’d  better 
get  on  with  events  you  might  learn 
about  meantime.  One  of  these  was  the 
unique  preview  and  party  M-G-M 
tossed  to  show  “The  Student  Prince.” 
Both  screening  ( Continued  on  page  103) 


25 


LET’S  GO 


TO  THE 


K/l 


W 


TH  JANET  GRAVE 


////  EXCELLENT  ///VERY  GOOD  //  GOOD  l/FAIR 


Magnificent  Obsession  u-i,  technicol 

V'^/V'V  With  more  accent  on  personal  drama  and  less  on  a 
inspirational  message,  the  second  film  version  of  the  wel 
known  novel  is  as  compelling  as  the  first.  Jane  Wyman 
at  her  dependable  best,  playing  the  courageous  heroine  wl 
is  suddenly  widowed  and  later  loses  her  eyesight.  But 
is  Rock  Hudson  who  makes  the  stronger  impression,  as  tl 
wealthy,  irresponsible  young  man  indirectly  at  fault  in  hot 
of  Jane’s  tragedies.  Established  before  this  as  an  action-fib 
hero,  Rock  shows  splendid  acting  progress.  He’s  convincir 
both  as  a cheerful  wastrel  and  as  a surgeon  dedicated  1 
serving  humanity.  Secondary  to  the  romance  between  d 
reformed  Rock  and  the  blinded  Jane  is  a gentle  love  stoi 
teaming  Barbara  Rush  and  Gregg  Palmer — two  youn 
people  who’ve  long  deserved  this  good  a break.  famii 

Sightless,  Jane  tries  to  “see”  the  contours  of  Rock’s  fai 


On  the  Waterfront  columb 

V'V'V'V'  Marlon  Brando  has  a rewarding  assignment  in  th: 
smashing  melodrama,  full  of  the  frightening  sounds  an 
sights  of  racket-haunted  docks.  Through  the  influence  ( 
his  brother  (Rod  Steiger),  Marlon  has  been  drawn  into  tb 
gang  headed  by  Lee  J.  Cobb.  He  serves  the  racketeers  unt 
a girl  (Eva  Marie  Saint)  and  a fighting  priest  (Kai 
Malden)  awaken  his  sleeping  conscience.  Eva’s  brother  ws 
a longshoreman  who  wanted  to  expose  the  crooks  domina 
ing  his  union;  Karl  takes  a searching  interest  in  the  prol 
lems  of  his  cowed,  misled  parishioners.  The  central  idea  : 
familiar,  but  the  movie’s  details  and  atmosphere  are  fres 
and  powerful.  Much  of  it  was  shot  in  the  metropolitan  are 
of  New  York  City,  where  explosive  headlines  have  recorde 
similar  situations,  not  yet  resolved.  famu 

Moments  t vith  Eva  Marie  Saint  help  in  Marlon’s  regeneratio 


Seven  Brides  for  Seven  Brothers  m-c-m,  «nem 

SCOPE,  ANSCO  COL( 

V'V'W  A honey  of  a musical  performance  by  Jane  Powe 
- — her  sprightliest  so  far — takes  on  added  charm  from  th 
general  buoyancy  of  this  tune-film.  It’s  unusual  all  the  wa; 
from  the  moment  Howard  Keel,  a bearded  frontiersmai 
blows  into  town  to  shop  for  provisions — including  a wifi 
Jane,  a slavey  at  the  local  inn,  accepts  his  proposal.  Sh 
imagines  a quiet  life  on  the  farm,  alone  with  her  husbanc 
A shock  is  in  store;  he  has  six  husky,  only  half-civilize 
brothers.  Once  she  gets  these  boys  tamed,  each  yearns  t 
have  a wife  for  himself.  They  take  riotous  measures  to  ge 
their  girls.  Among  the  brothers  are  likable  Jeff  Richard 
and  Russ  Tamblyn — and  skilled  dancers  borrowed  froi 
the  ballet.  The  songs  are  delightful;  the  dance  sequence 
are  done  in  richly  imaginative  style.  famii 

A rickety  bed  gives  Jane  and  Howard  a wedding-night  laug 


FOR  COMPLETE  CASTS  OF  NEW  FILMS  SEE  PAGE  29 

P 


BRIEF  REVIEWS  OF  CURRENT  FILMS  ON  PAGE  104  • MORE  REVIEWS  ON  PAGE  I 


26 


g|§ggg§a 


ddpjn’s  ravisLin^  Leauty! 


MB— 


TLe  Story  o f E ii  glan  d's  Outl  aw  Tvni^Lt 
wLo  pledged  Lis  life  to  save  a tLrone  and 
Lis  love  to  win  tLe  forLidden  Lps  of 


CINemaScopE 


,TONY  CURTIS- JANET  LEIGH 

DAVID  FARRAR  • BARBARA  RUSH  • HERBERT  MARSHALL 

with Torln  Thatcher-  Daniel  O’Herlihy  • Rhys  Williams 
Directed  by  RUDOLPH  MATE  • Screenplay  by  OSCAR  BRODNEY- Produced  by  ROBERT  ARTHUR  and  MELVILLE  TUCKER 


27 


CONTINUED 


N/l 


kVl'V  EXCELLENT 


V'V'V  VERY  GOOD 


GOOD 


^ FAIR 


Garden  of  Evil  20™ ; cinemascope,  technicol 

V’V'V'  Again,  a yarn  about  men  hungry  for  gold  provid 
lusty  action  entertainment.  Bound  for  California’s  new 
discovered  lodes,  Gary  Cooper,  Richard  Widmark  and  Cai 
eron  Mitchell  get  side-tracked  in  Mexico.  Susan  Haywa 
offers  them  money  to  come  to  the  rescue  of  her  husbai 
(Hugh  Marlowe),  hurt  in  an  accident  at  their  remote  mir 
The  party’s  wilderness  trek  covers  savage  and  beautif 
scenes,  filmed  on  location.  As  a taciturn  Texan,  Coop 
shares  the  hero’s  stint  with  Widmark,  who  has  the  choic 
role.  Dick’s  a gallant,  philosophical  gambler,  with  a scou 
drelly  appearance  and  gentlemanly  instincts.  Mitchell’s  ; 
itchy-fingered,  craven-hearted  gunman.  After  Susan  ai 
her  gold  mine  have  set  all  these  personalities  to  clashin 
Indians  furnish  a gory  finale.  fami 

The  gold  craze  causes  plenty  of  trouble,  Gary  warns  Susi 


Her  Twelve  Men  M-G-M,  ANSCO  COL 

V W Well,  hello,  Mrs.  Chips!  Greer  Garson’s  role  in  tl 
story  of  an  exclusive  school  for  boys  recalls  her  first  Holl 
wood  hit,  except  that  she,  rather  than  her  husband,  becom 
the  beloved  teacher.  With  no  teaching  experience,  sh< 
timid  about  taking  on  the  dozen  young  hellions  of  the  tit] 
But  she  finds  that  these  sons  of  the  wealthy  are  wistf 
children,  usually  unwanted  at  home.  A particular  proble 
child  is  unruly  Tim  Considine,  Barry  Sullivan’s  boy.  Greei 
problems  are  complicated  by  the  fact  that  she’s  the  schoo 
first  female  teacher,  resented  by  her  pupils  and  by  a gri 
fellow  instructor,  Robert  Ryan.  It’s  a frankly  sentiment 
tale,  somehow  removed  from  reality.  But  the  little  bo 
are  appealing,  and  there  are  pleasant  touches  of  humc 
Romance  links  Greer  with  both  Barry  and  Bob.  fami 

Greer  sees  to  it  that  neglected  Ronald  MacDonald  gets  mi 


Living  It  Up  PARAMOUNT,  technicol 

V'VV  “Nothing  Sacred,”  well-remembered  movie  corned 
lent  its  plot  and  its  heroine’s  name  to  the  Broadway  1 
“Hazel  Flagg.”  Now,  with  the  sexes  of  the  principals  t 
versed,  the  same  story  returns  to  the  screen  as  a rowi 
Martin-Lewis  farce.  Jerry’s  a wistful  small-towner  led 
believe  that  he  has  only  a short  time  to  live;  Dean’s  tl 
alleged  physician  who  makes  the  mistaken  diagnosis.  Ai 
Janet  Leigh’s  very  pert  and  smart  as  the  New  York  nevi 
paper  gal  who  decides  Jerry’s  plight  is  wonderful  headli: 
material.  Off  she  goes  to  treat  Jerry  to  a final  fling  in  tl 
big  city.  The  satirical  angles  of  the  first  movie  version  g 
lost,  but  laughs  remain  plentiful.  (Objection:  No  illness 
really  funny,  but  these  days  radiation  poisoning  is  abo 
as  unfunny  as  you  can  get.)  fami 

With  Dean’s  coaching,  Jerry  plays  invalid  to  delude  Jan 


f FOR  COMPLETE  CASTS  OF  NEW  FILMS  SEE  NEXT  PAGE  • BRIEF  REVIEWS  OF  CURRENT  FILMS  ON  PAGE  104  • MORE  REVIEWS  ON  PAGE 


28 


Casts  of  Current  Pictures 


GARDEN  OF  EVIL — 20th.  Directed  by  Henry 
Hathaway:  Hooker,  Gary  Cooper;  Leah  Fuller,  Susan 
Hayward;  Fiske,  Richard  Widmark;  John  Fuller, 
Hugh  Marlowe;  Luke  Daly,  Cameron  Mitchell; 
Singer,  Rita  Moreno;  Vicente  Madariaga,  Victor 
Manuel  Mendoza. 

! GONE  WITH  THE  WIND— M-G-M.  Directed  by 
Victor  Fleming:  Gerald  O’Hara,  Thomas  Mitchell; 
Ellen  O’Hara,  Barbara  O’Neil;  Scarlett  O’Hara,  Viv- 
ien Leigh;  Snellen  O’Hara,  Evelyn  Keyes;  Car- 
reen  O’Hara,  Ann  Rutherford;  Brent  Tarlcton, 
i George  Reeves;  Stuart  Tarleton,  Fred  Crane;  Mam- 
my, Hattie  McDaniel;  Pork,  Oscar  Polk;  Prissy, 
Butterfly  McQueen;  Jonas  Wilkerson,  Victor  Jory; 
{ Big  Sam,  Everett  Brown;  John  Wilkes,  Howard 
Hickman;  India  Wilkes,  Alicia  Rhett;  Ashley  Wilkes, 
Leslie  Howard ; Melanie  Hamilton,  Olivia  de  Havil- 
land;  Charles  Hamilton,  Rand  Brooks;  Frank  Ken- 
nedy, Carroll  Nye;  Rhett  Butler,  Clark  Gable;  Aunt 
: “Pittypat”  Hamilton,  Laura  Hope  Crews;  Uncle 
Peter,  Eddie  Anderson;  Doctor  Meade,  Harry  Daven- 
port; Mrs.  Meade,  Leona  Roberts;  Mrs.  Merriwether, 

1 Jane  Darwell;  Belle  Watling,  Ona  Munson. 

HER  TWELVE  MEN — M-G-M.  Directed  by  Robert 
Z.  Leonard:  Jan  Stewart,  Greer  Garson;  Joe  Har- 
grave, Robert  Ryan;  Richard  Y.  Oliver,  Sr.,  Barry 
Sullivan;  Dr.  Avord  Barrett,  Richard  Haydn;  Bar- 
bara Dunning,  Barbara  Lawrence;  Ralph  Munsey, 
James  Arness;  Homer  Curtis,  Rex  Thompson;  Rich- 
ard Y.  Oliver,  Jr.,  Tim  Considine. 

HOBSON’S  CHOICE— U.  A.  Directed  by  David 
Lean;  Henry  Horatio  Hobson,  Charles  Laughton; 
Willie  Mossop.  John  Mills;  Maggie  Hobson,  Brenda 
de  Banzie;  Alice  Hobson,  Daphne  Anderson;  Vicky 
,i  Hobson,  Prunella  Scales;  Albert  Prosser,  Richard 
Wattis;  Freddy  Beenstock,  Derek  Blomfield. 

LIVING  IT  UP — Paramount.  Directed  by  Norman 
Taurog:  Steve,  Dean  Martin;  Homer,  Jerry  Lewis; 

1 Wally  Cook,  Janet  Leigh;  The  Mayor,  Edward  Ar- 
nold; Oliver  Stone,  Fred  Clark;  Jitterbug  Dancer, 
Sheree  North. 

'MAGNIFICENT  OBSESSION— U-I.  Directed  by 
Douglas  Sirk:  Helen  Phillips,  Jane  Wyman;  Bob 
Merrick,  Rock  Hudson;  Joyce  Phillips,  Barbara 
Rush;  Nancy  Ashford,  Agnes  Moorehead;  Randolph, 
Otto  Kruger;  Tom  Masterson,  Gregg  Palmer;  Val- 
'' erie , Sara  Shane;  Dr.  Giraud,  Paul  Cavanagh. 

MR.  HU  LOT’S  HOLIDAY— G-B-D  International. 
Directed  by  Jacques  Tati:  Mr.  Hulot,  Jacques  Tati; 

| Martine,  Nathalie  Pascaud;  The  Aunt,  Michelle 
Rolla;  The  Old  Maid,  Valentine  Camax;  The  Boat- 
man, Louis  Perrault;  The  Colonel,  Andre  Dubois; 
The  Hotel  Proprietor,  Lucien  Fregis;  The  Waiter, 
Raymond  Carl. 

I ON  THE  WATERFRONT — Columbia.  Directed  by 
Elia  Kazan:  Terry  Malloy,  Marlon  Brando;  Father 
Barry,  Karl  Malden;  Johnny  Friendly,  Lee  J.  Cobb; 
Charley  the  Gent,  Rod  Steiger;  K.  O.  Dugan,  Pat 
Henning;  Edie,  Eva  Marie  Saint;  Joey  Doyle,  Tohn 
Finnegan;  Jimmy  Collins,  Art  Keegan;  Moose,  Rudy 
: Bond;  Luke,  Don  Blackman;  Mutt,  John  Hilder- 
brand;  Pop  Doyle,  John  Hamilton;  Big  Mac,  James 
Westerfield;  “J.  P.”  Morgan,  Barry  MacCollum; 
Glover,  Leif  Erickson;  Tony  Galento,  Tami  Mauri- 
; ello,  Abe  Simon,  Fred  Gwynne,  Mike  O’Dowd. 

OUTLAW  STALLION,  THE — Columbia.  Directed 
by  Fred  F.  Sears:  Doc  Woodrow,  Phil  Carey;  Mary 
Saunders,  Dorothy  Patrick;  Danny  Saunders,  Billy 
Gray;  Hagen,  Roy  Roberts;  Wagner,  Gordon  Jones; 

> Rigo,  Trevor  Bardette;  Sheriff  Fred  Plummer, 

1 Morris  Ankrum. 

, RING  OF  FEAR — Warners.  Directed  by  James 
Edward  Grant:  Clyde  Beatty;  Frank  Wallace.  Pat 
O’Brien;  Mickey  Spillane:  Dublin,  Sean  McClory; 

1 Valerie  St.  Denis,  Marian  Carr;  Armond  St.  Denis, 
John  Bromfield;  Gonzales,  Gonzalez-Gonzalez;  Jane 
Beatty;  Twitchy,  Emmett  Lynn. 

ROYAL  TOUR  OF  QUEEN  ELIZABETH  AND 

• PHILIP,  THE — 20th.  Supervised  by  Sir  Gordon 
« Craig:  documentary. 

\ SEVEN  BRIDES  FOR  SEVEN  BROTHERS— 
M-G-M.  Directed  by  Stanley  Donen:  Adam,  Howard 
Keel;  Benjamin,  Jeff  Richards;  Gideon,  Russ  Tam- 
blyn;  Frank,  Tommy  Rail;  Daniel,  Marc  Platt; 
Caleb,  Matt  Mattox;  Ephraim,  Jacques  d’Amboise; 
Milly,  Jane  Powell;  Dorcas,  Julie  Newmeyer;  Alice, 
Nancy  Kilgas;  Sarah,  Betty  Carr;  Liza,  Virginia 
Gibson;  Ruth,  Ruta  Kilmonis;  Martha,  Norma  Dog- 
gett. 

UN  CON  Q UERED,  THE—  Margolies.  Documen- 

tary, narrated  by  Katharine  Cornell. 

VALLEY  OF  THE  KINGS— M-G-M.  Directed  by 
Robert  Pirosh:  Mark  Brandon,  Robert  Taylor;  Ann 
' Mercedes,  Eleanor  Parker;  Philip  Mercedes,  Carlos 
Thompson;  Flamed  Bachkour,  Kurt  Kasznar;  Tuareg 
Chief,  Victor  Jory;  Valentine  Arko,  Leon  Askin; 

' Father  Anthimos,  Aldo  Silvani;  Dancer,  Sarnia 

* Gamal. 

VANISHING  PRAIRIE,  THE — Disney.  Directed 
by  James  Algar:  documentary. 


Emilio  of  Capri:  In 

summer,  to  be  in  style  you’ve 
got  to  be  in  Playtex  first/ 
Slims  and  trims  like  magic. 


See  how 


Playtex 

Fabric  Lined 

fiSCj&itfc 


narrows  your  silhouette  in  new  freedom  . . . widens 
your  choice  of  new  sun  clothes,  new  fun  clothes/ 


Top  Designers  Agree: 
Slim  summer  fashions 
with  a Playtex  figure 


start 


You  don’t  have  to  be  tiny  to  shine  in  the  briefest  sun  dress, 
lounge  in  skin-tight  slacks,  swim  in  a shape-showing  suit. 
Not  when  there’s  Playtex  Fabric  Lined  Panty  Brief  to 
trim  away  the  inches,  slim  away  those  little  “extras”/ 

And  Playtex  performs  its  wonders  in  such  comfort— 
thanks  to  that  cloud-soft  fabric  lining/  In  such  free- 
dom, too— since  it  hasn’t  a seam,  stitch,  stay  or  bone/ 

Just  a smooth  latex  sheath— invisible  under  the  most 
figure-hugging  fashions. 

Wear  it  from  dawning  to  dancing,  wash  it  in  sec- 
onds—see  how  fast  it  dries/  At  department  stores 
and  better  specialty  shops  everywhere. 


PLAYTEX . . . 
known  every- 
where as  l lie 
girdle  in  the 

SLIM  tube. 

Playtex  Fabric  Lined 
Panty  Brief,  $4.95 
Other  Playtex  Girdles 
from  $3.50  to  $7.95 

(Prices  slightly  higher 
outside  U.S.A.) 


©1954  International  Latex  Corporation  ...  PLAYTEX  PARK  ...  Dover  Del 


In  Canada:  Playtex  Ltd. ...  PLAYTEX  PARK  . . . Arnprior,  Ont. 


P 


29 


the  weather . . . 


the 
more 
need  for 
Tampax 


Accepted  for  Advertising 
by  the  Journal  of  the  American  Medical  Association 


NO  BELTS 
NO  PINS 
NO  PADS 
NO  ODOR 


You  put  away  your  furs,  your  wools, 
your  winter  clothes  in  the  summertime. 
Why  should  you  tie  yourself  to  some- 
thing as  hot,  as  uncomfortable,  as 
unnecessary  as  the  whole  bulky  belt-pin- 
pad  harness? 

Free  yourself . . . with  Tampax.  This 
internal  method  of  sanitary  protection 
is  not  only  comfortable  all  year  round, 
but  ideal  in  warm  weather.  The 
Tampax  can’t  be  seen,  can’t 
even  be  felt,  once  it’s  in  place. 
Tampax  doesn’t  chafe,  doesn’t 
irritate — and  it  even  prevents 
odor  from  forming.  Best  of  all,  you  can 
go  bathing  while  wearing  Tampax. 

Think  what  a difference  that  makes  to 
your  vacation  and  week-end  plans.  You 
feel  you  can  plan  anything,  go  anywhere, 
any  time!  A whole  month’s  supply  of 
Tampax  goes  into  your  purse,  offers  no 
packing  problem.  And  Tampax  is  so 
easy  to  dispose  of. 

Drug  and  notion  counters  everywhere 
sell  Tampax  in  your  choice  of  3 absorb- 
encies: Regular,  Super,  Junior.  Tampax 
Incorporated,  Palmer,  Mass. 


BY  SHIRLEY  THOMAS  Hollywood  Correspondent  for  NBC-Radio 


It  started  in  a drugstore,  where  so 
many  stories  of  two  young  people  be- 
gin. It  was  the  familiar  pattern:  an 
unknown  boy  and  girl  making  believe 
they  are  famous,  making  believe  the 
chocolate  soda  is  champagne. 

She  was  a model,  doing  all  right. 
There  were  weeks  when  it  looked  as 
wonderful,  exciting  and  glamorous  as 
she  had  hoped  it  would  be,  but  there 
were  too  many  times  when  it  seemed 
that  she  would  never  make  the  grade, 
when  she  could  jingle  her  bank  account 
in  the  palm  of  her  hand.  After  a dreary 
day  of  trudging  from  agency  to  agency, 
from  one  photographer  to  the  next, 
without  success,  she  would  stop  at  the 
midtown  drugstore  and  have  a soda  be- 
fore going  to  her  tiny  room  to  dream. 

By  coincidence,  she  was  usually 
served  by  the  same  handsome,  forceful 
young  man.  At  first,  their  relationship 
was  limited  to  the  conventional  “How 
are  you  today?”  and  “Nice  weather 
we’re  having.”  Since  she  came  in  at  a 
slack  time  of  day,  he  was  free  to  talk 
— and  soon  they  were  exchanging  tales 
of  hardship  and  dreams  of  the  future. 
He  was  having  as  little  luck  landing  a 
job  in  the  theatre  as  she  was  in  setting 
the  modeling  world  aflame.  It  won’t  al- 
ways be  like  this,  they  told  each  other 
— and  believed  it,  as  young  people  will. 

Then,  in  a whirlwind  series  of  un- 
expected events,  she  was  plucked  out 
of  anonymity,  whisked  away  to  Holly- 
wood, given  intensive  private  dramatic 

Listen  to  Shirley  Thomas  From  Hollywood  on  NBC  Ra 
days.  Also  to  “Shirley  Thomas  Reports ’’  on  Weekend, 
newspaper  for  time  and  station. 


lessons  by  a leading  producer-director 
and  launched  into  sudden  prominenci 
of  movie  fame.  Overnight,  with  only  om 
picture,  she  was  a star.  Studios  clam 
ored  for  her  services,  tempting  role 
were  offered  to  her.  Still,  she  remem 
bered  her  soda-serving  friend.  At  par 
ties,  when  executives  talked  about  th 
need  for  fresh  talent,  for  new  faces 
she  would  tell  of  the  impression  thi 
young  man  had  made  on  her. 

“Oh,  we’re  sure  he’s  quite  a man, 
they  would  say,  and  add,  smiling,  “bu 
after  all,  a soda  jerk  . . .” 

Meanwhile,  he  had  been  able  to  ge 
a small  role  on  Broadway,  then  anothei 
and  then  a good  part — and  finally,  hr 
too,  was  brought  to  the  movie  capita 
But  success  was  not  to  be  sudden.  H 
suffered  through  second  leads  and  smal 
roles.  He  didn’t  call  his  friend,  becaus 
she  might  think  him  presumptuous 
might  think  he  needed  work,  might  o: 
fer  him  something  out  of  pity  rathe 
than  because  of  his  talent. 

One  day  he  made  his  mark.  It  too 
one  movie,  the  right  one.  Soon  after  h 
became  a star,  the  trade  papers  an 
movie  columnists  announced  that  th 
boy  and  the  girl  would  be  the  leads  i 
a big  new  picture.  The  workers  on  th 
set,  the  first  day  of  production,  couldn 
understand  why  these  two  rushed  t 
each  other  with  such  broad  smiles. 

But  then  they  didn’t  know  that  th 
model  was  Lauren  Bacall  and  the  sod 
jerk  was  Kirk  Douglas. 

\io  in  the  Pacific  Coast  area  at  5:30  p.m.  P.D.T.  Sw 
4-6  p.m.  E.D.T.  over  NBC  Radio.  Consult  your  loc 


BY  ERSKINE  JOHNSON* 

LAUGHING 

STOCK 


TUSSY... 

THE  INSTANT  DEODORANT 


George  Sanders’  caustic  quip  about  the 
labor  Sister  act  that  failed  to  light  up  the 
ky: 

“It  was  the  first  time  in  history  three 
lens  laid  one  egg.” 

Dorothy  Shay  is  telling  it: 

A group  of  Boy  Scouts  helped  out  by 
cting  as  wounded  citizens  in  a mock  air 
aid.  The  first-aid  squad  got  behind  on  its 
chedule  and  one  little  Cub  scout  waited 

0 be  rescued  for  over  an  hour.  When  the 
quad  finally  arrived,  they  found  a note 
vhere  the  boy  should  have  heen.  It  read: 

1 had  to  go  home  so  I died.” 

Groucho  Marx  walked  into  a noisy  movie- 
own  night  club.  The  hostess  asked  him 
1'here  he  would  like  to  sit.  Groucho 
rowned  at  the  deafening  din  and  said: 

“Across  the  street.” 

Overheard  at  the  Palm  Springs  Biltmore: 

“He’s  such  an  egotist  he’s  always  me- 
leep  in  conversation." 

An  Irma-braine,d  starlet  was  asked  if 
he  had  seen  “Annapurna,”  the  movie  about 
mountain  climbftig. 

“I  don’t  think  so,”  she  replied.  “You  see 
>ne  of  those  Italian  glamour  girls  and 
jou’ve  seen  them  all.” 

: It’s  Phil  Silvers’  theory: 

“When  a woman  can’t  get  the  man  she 
cants,  heaven  help  the  man  she  gets.” 

Susan  Hayward’s  wordage  about  Mexican 
nen  after  a south  of  the  border  trip: 

“They’re  just  like  American  men — always 
hinking  about  just  one  thing — how  late 
j is.” 

Ed  Wynn  says:  “There’s  only  one  time 
. man  should  marry  a woman  for  her 
noney — when  he  can’t  get  it  any  other 
Ay.” 

Sign  on  a bebopper’s  tombstone: 

Don’t  Dig  Me  Now — I’m  Real  Gone.” 

During  Marlon  Brando’s  suspension  for 
efusing  to  appear  in  “The  Egyptian,” 
erry  Lewis  sent  this  telegram  to  Darryl 
'anuck,  producer  of  the  delayed  film: 

“Why  worry  about  Brando?  I look  stun- 
ting in  a toga,  have  own  Sphinx,  will 
ravel .” 

When  coffee  was  $1.10  a pound  in  Holly- 
vood,  Pinky  Lee  announced  a celebration: 

“I’m  going  to  buy  my  wife  a mink  stole 
ind  a five-pound  can  of  coffee.” 

A damsel  in  a nudist  colony,  it’s  being 
old,  saw  a photo  of  Marilyn  Monroe  in  a 
likini  bathing  suit  and  hissed: 

“Clothes  horse!” 

After  a visit  to  Las  Vegas,  Donald  O’Con- 
lor  and  Sidney  Miller  came  up  with  a new 
long  parody:  “Take  My  Hand,  I’m  a 
Hranger  to  a Pair  o’  Dice.” 

Title  for  the  autobiography  of  an  ego- 
istical actress: 

“The  ME  Around  Us.” 

See  Erskine  Johnson's  "Hollywood  Reel ” on  your 
local  TV  station 

Ik 


Instantly  stops 
perspiration  odor. . . 
checks  moisture! 


Works  fast . . . no  waiting  to  dry  ! It’s  the  modern  speed  deodorant ; 
starts  to  work  at  once.  Checks  perspiration  moisture.  Stops  odor  and 
keeps  it  stopped  al  1 day  long.  Actually  suppresses  odor-forming  bacteria. 

You  don’t  become  immune  to  its  effects  ! Month  in.  month  out... 
year  in.  year  out . . .every  day  you  use  it.  it  protects  your  daintiness. 

Beautifies  underarm  skin.  It’s  a cosmetic  ! It  s a lovely 
cream  deodorant  made  with  a face-cream  base.  Makes  skin  softer, 
smoother,  and  prettily  presentable  in  bare  arm  fashions. 

Tussy  Cream  Deodorant  is  safe  for  normal  skin  and  the 
most  delicate  of  fabrics.  Won’t  dry  in  jar.  Only  50£  and  $1. 

Carry  a Tussy  Stick  Deodorant  when  you  travel.  $ 1 . 

Prices  plus  reduced  tax. 

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31 


MOVI  ES 


CONTINUED 


Bob  and  Eleanor  prepare  first  aid  for  Carlos,  stung  by  a scorpion 


Valley  of  the  Kings  m-c-m,  eastman  color 

V'V'V'V'  Out  of  history  and  science  springs  a tale  of  high 
adventure  in  a series  of  magnificent  locales.  Robert  Taylor, 
Eleanor  Parker,  Carlos  Thompson  and  other  members  of  the 
cast  journeyed  to  Egypt  to  film  the  exotic  story.  Bob’s  an  un- 
scholarly-seeming  archaeologist,  a tough  character  who  likes 
liquor  and  the  ladies.  As  the  daughter  of  an  archaeologist, 
Eleanor  wants  to  carry  out  her  late  father’s  mission:  to  find 
the  tomb  of  the  Pharaoh  who  ruled  when  Joseph  was  in  Egypt, 
in  the  hope  that  it  will  hold  writings  to  corroborate  the  Old 
Testament  story.  Of  course,  these  tombs  also  contain  gold  and 
gems  of  fabulous  value,  for  centuries  the  prey  of  robbers. 
Carlos,  Eleanor’s  husband,  is  a dealer  in  art  objects,  and  Bob 
suspects  him  of  dealing  in  hot  antiquities.  The  trio’s  search  for 
the  lost  tomb  has  all  the  excitement  of  a detective  story,  with 
gunplay  and  general  skulduggery  at  every  turn.  There’s  the 
added  drama  of  a love  triangle  in  these  romantic,  ancient 
settings.  Though  the  story’s  period  is  1900,  recent  headlined  dis- 
coveries in  Egypt  give  it  strong  current  interest.  family 

The  Unconquered  margolies 

V'V'V'V'  The  story  of  Helen  Keller,  one  of  the  most  remarkable 
women  of  our  time,  has  been  recorded  in  a documentary  film 
that  would  move  any  audience  to  tears.  And  yet  it  is  not  a 
sad  picture.  Miss  Keller  is  seen  first  at  home,  as  she  is  today, 
then  (in  still  photographs)  as  a beautiful  child  and  young  girl. 
At  the  age  of  two,  an  illness  left  her  totally  deaf  and  blind,  in 
a solitary  world  of  her  own.  But  a wise  and  loving  teacher 
managed  to  communicate  with  the  little  girl,  to  help  her  become 
finally  a highly  educated  woman,  whose  life  has  been  dedicated 
to  serving  the  world’s  handicapped.  Miss  Keller  is  seen  meeting 
the  famous  from  Mark  Twain  to  President  Eisenhower.  She  is 
even  seen,  her  dignity  unimpaired,  starring  in  a rather  ridicu- 
lous silent  movie.  But  the  most  inspiring  sequences  reveal  how 
she  lives  and  works  today.  The  face  of  Helen  Keller  at  seventy- 
four  is  unforgettable — eager  and  serenely  happy.  family 


Hobson’s  Choice  u.a. 

V’V'V'V'  Charles  Laughton  makes  one  of  his  welcome  and  now 
rare  movie  appearances  in  a warm  and  witty  British  comedy. 
He’s  a pompous  bootmaker  in  northern  England  around  the 
turn  of  the  century,  a widower  who  bullies  his  three  unmarried 
daughters.  The  oldest,  smoothly  portrayed  by  statuesque 
Brenda  de  Banzie,  rebels  and  proves  she’s  as  formidable  a 
personality  as  her  old  man.  She  dragoons  John  Mills,  a humble 
worker  in  the  shop,  into  marrying  her.  Because  he  has  a special 
gift  for  making  fine  shoes,  she  sets  him  up  in  business  in  oppo- 
P sition  to  her  father.  Then  she  maneuvers  Laughton  into  furnish- 
ing dowries  for  her  two  younger  sisters,  so  they  can  marry  the 
men  they  love.  family 


The  Vanishing  Prairie  disney,  technicolor 

WW  The  second  of  Walt  Disney’s  feature-length,  live-action 
nature  studies  is  even  more  amazing  than  the  first  (“The  Living 
Desert”).  This  is  a picture  of  America’s  great  plains  as  they 
must  have  looked  before  the  white  man  or  the  Indian  roamed 
there.  Again  we  find  a wonderful  mixture  of  drama  and  comedy 
in  the  daily  lives  of  wild  creatures:  the  mating  dance  of  the 
whooping  cranes;  the  sinister  grace  of  a mountain  lion  on  the 
prowl;  the  bravado  of  a prairie  dog  angrily  trying  to  chase  a 
buffalo  away  from  its  burrow.  family 

Mr.  Hulot  s Holiday  g-b-d  international 

WW  Here’s  a mad,  completely  off-beat  French  movie,  calcu- 
lated to  please  special  tastes.  Some  of  its  talk  is  in  French, 
some  in  English;  but  in  effect  it’s  a silent  movie.  Its  sound 
track  makes  amusing  use  of  voices,  along  with  sounds  and 
music,  but  its  humor  is  chiefly  in  terms  of  action.  Jacques  Tati 
is  the  happy,  hapless  Mr.  Hulot,  who  arrives  in  his  wheezing 
jalopy  at  a seaside  resort,  cheerfully  intent  on  having  a good 
time.  Everything  doublecrosses  him:  A boat  gently  folds  up  in 
the  middle  as  he’s  paddling  around;  a horse  refuses  to  co- 
operate when  he  wants  to  accompany  a pretty  girl  on  a canter. 
The  picture  has  literally  no  plot  at  all;  it’s  constructed  more 
like  a piece  of  music,  with  the  antics  of  various  eccentric 
vacationers  as  recurring  themes.  family 

The  Royal  Tour  of  Queen  Elizabeth  and  Philip 

20th;  cinemascope,  Eastman  color 
WV  On  CinemaScope’s  ample  screen,  ideal  for  a travelogue, 
movie-goers  are  taken  along  with  Britain’s  royal  couple  on  their 
air  and  sea  trip  to  various  outposts  of  the  Commonwealth,  from 
Australia  to  Gibraltar.  The  picture  isn’t  as  impressive,  as  full  of 
patriotic  feeling  and  historical  meaning  as  the  movie  record  of 
Elizabeth’s  coronation.  Still,  it  should  satisfy  any  would-be 
traveler  who  can  only  dream  of  faraway  places.  family 

Ring  of  Fear  WARNERS;  cinemascope,  warnercolor 

VV  A three-ring  circus,  also  a logical  subject  for  CinemaScope, 
here  becomes  the  background  for  a suspense  melodrama.  The 
Clyde  Beatty  Circus  is  featured,  with  the  noted  animal  trainer 
playing  himself  and  Pat  O’Brien  stepping  in  as  manager.  An- 
other real-life  celebrity  cast  as  himself,  Mickey  Spillane,  is 
called  upon  to  unravel  the  mystery  of  the  “accidents”  that  have 
begun  to  plague  the  show.  However,  the  audience  is  in  on  the 
solution  from  the  start:  Sean  McClory,  a homicidal  maniac 
who’s  escaped  from  an  asylum,  has  returned  to  his  old  job  as 
ringmaster  and  is  paying  off  a grudge  against  Beatty.  McClory 
also  has  designs  on  aerialist  Marian  Carr,  an  ex-sweetheart  of 
his,  now  happily  wed  to  her  partner,  John  Bromfield.  family 

The  Outlaw  Stallion  COLUMBIA,  technicolob 

W Mountain  vistas  and  a lot  of  handsome  horseflesh  in  action 
are  the  main  attractions  of  this  modest  Western.  Over  the  ob- 
jections of  his  pretty  young  mother  (Dorothy  Patrick),  Billy 
Gray  is  eager  to  capture  and  break  a white  stallion,  leader  of 
a wild  herd,  even  though  his  father  was  killed  by  a wild  horse. 
Neighbor  Phil  Carey  endangers  his  courtship  of  the  widow  by 
taking  the  boy’s  side  in  the  argument.  The  story’s  complicated 
by  a gang  of  ornery  “horse-runners.”  famili 

Gone  with  the  IVind  selznick,  m-c-m;  technicoloi 

V'V'V'V  The  famous  epic  of  the  Civil  War,  originally  released 
in  1939,  is  being  officially  revived  this  summer.  No  movie-goei 
should  miss  it,  and  many  will  want  to  see  it  again.  Its  charac- 
ters have  become  almost  legendary  in  the  history  of  Hollywood: 
Vivien  Leigh’s  spirited,  often  unscrupulous  Scarlett  O’Hara 
sheltered  Southern  belle  who  fights  courageously  for  existence 
when  her  civilization  lies  in  ruins  around  her;  Clark  Gable’s 
swaggering  Rhett  Butler,  blockade-runner.  famili 


32 


( Continued  from  page  24  I 


c. . 


I would  like  to  know  the  name  ol  the 
man  who  played  Dunn  in  '“Riot  in  Cell 
Block  11.”  How  old  is  he? 


Marian  Ti-iiele 
Glen  Ellyn,  Illinois 

Thirty  - three-year  - old  Neville  Brand 

played  the  leader  of  rioting  convicts. — ED. 


: Would  you  please  tell  me  why  ...  we 

' never  see  pictures  of  Susan  Hayward,  June 
j Allyson  and  Shelley  Winters  in  bathing 
suits  or  shorts?  . . . Could  you  also  tell  me 
how  old  June  Allyson  and  Barbara  Stan- 
wyck are? 

Terry  Barnhart 
Sherkston,  Ontario 


Many  established  stars  tend  to  resist  pho- 
tographs which  class  as  '‘cheeseiake.”  June 
is  30:  Barbara  is  a young  47. — ED. 


Who  was  the  actor  who  played  Johnny , 
the  young  soldier,  in  ’“Night  People?” 
Let’s  see  more  of  him. 

M.  S. 

Wilmington,  Delaware 


That  was  newcomer.  Ted.  Avery. — ED. 


I would  like  some  information  on  the 
handsome  actor  who  played  Phillipe  in 
“Thunder  Bay.”  Who  is  he  and  where  may 
I obtain  a photo  of  him? 

Ruby  Fujita 
Ewa,  Hawaii 

His  name  is  Robert  Monet,  and  you  may 
j write  him  c/o  Universal-International. — ED. 

I have  just  seen  “The  Glenn  Miller 
j Story”  and  it  was  . . . wonderful.  Please 
I tell  me  what  happened  to  Mrs.  Miller  after 
his  death.  Did  she  remarry?  I know  many 
I people  are  interested  . . . since  he  had  so 
many  fans. 

Janet  Mann 
Kansas  City,  Missouri 

■since  her  husband’s  death,  Mrs.  Miller 
has  led  a secluded  life  in  San  Marino,  Cali- 
fornia with  her  two  children.  She  has  not 
} remarried.  She  did  act  as  an  adviser  for 
I some  of  the  more  personal  sequences  dur- 
; ing  the  filming  of  the  story. — ED. 

Exactly  what  part  did  Marilyn  Monroe 
! play  in  “‘All  about  Eve?”  . . . 

Ruth  Bon  Fleur 
Daytona  Beach,  Florida 

Marilyn  had  a brief  role  as  one  of  the 
i guests  at  Bette  Davis’  birthday  party  in  the 

I picture. — ED. 

J’here’s  a real  terrific  gal  over  at  M-G-M 
by  the  name  of  Debbie  Reynolds.  This 
chick  is  no  square.  Her  looks  are  the  cool- 
j est,  her  singing  and  dancing  the  gonest  and 
her  acting  the  sheerest.  As  the  title  of  one 
of  her  movies  says,  “Give  a Girl  a Break." 

Put  our  pint-size  stick  of  dynamite  in  a 
movie  that  will  really  turn  the  goofs  to 
! solicjs  and  make  the  critics  say,  ““Man, 
where  have  we  been?” 

I This  gal’s  got  the  most,  to  say  the  least. 
How  old  is  she? 

Pokey 

Toledo,  Ohio 

Twenty-two. — ED 

I I .thpught  Columbia  was  going  to  make 
"Nop,  as  a Stranger.”  Now  I hear  that  it  will 
I be  United  Artists.  Please  set  me  straight. 

A.  G. 

Brooklyn,  New  York 

i Stanley  Kramer  will  produce  it  for  United 
j Artisfs — not  for  Columbia,  as  Photoplay 
■ stated  last  month. — ED 


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Just  start  cleansing  your  skin  regularly, 
using  pure,  mild  Ivory  Soap.  In  one  week 
you'll  see  a look  that’s  as  beautiful  as  all 
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you’ll  have  That  Ivory  Look. 

Afore  doctors  advise  Iv  ory 
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Babies  have  That  Ivory  Look  . . . Why  shouldn’t  you  ? 
Doctors  everywhere  advise  mild,  mild  Ivory  Soap  for 
the  most  delicate  skin  of  all — a baby’s  skin.  And  it’s 
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• “The  sparks  began  to  fly,”  in  Arlene  Dahl’s  own  words,  when  she  first  met 
Fernando  Lamas,  working  with  him  in  his  M-G-M  screen  test.  But  he  was 
then  only  separated  from  his  Lydia,  and  Arlene  refused  to  date  him.  Later, 
when  Arlene’s  interlude  as  Mrs.  Lex  Barker  was  over,  when  the  romance  of 
Lana  Turner  and  Lamas  reached  a fireworks  finale,  Arlene  and  Fernando 
finally  got  together.  Of  a certain  idyllic  weekend,  he  said,  “In  Palm  Springs 
you  can  touch  the  stars.  We  touched  a few.”  Gossips  said  Fernando  was  suffer- 
ing from  headline  hunger  and  wounded  ego,  assuaging  both  by  romancing 
Lex’s  luscious  ex.  But  a year  of  steady  dating  went  by  before  the  sparks  died 
and  the  stars  blinked  out — or  seemed  to.  Maybe  the  absent  treatment  worked. 
Arlene  went  on  a trip  to  Spain.  After  she  came  back  to  begin  “A  Woman’s 
World”  at  20th,  the  stars  shone  again.  On  her  ring  finger  Fernando  put  a 
diamond-circled  five-carat  diamond — joined  by  a golden  wedding  band. 


They  said  Fernando’s  true  love 
was  publicity,  Arlene’s  was  her 
career.  But  this  romance  wound 
up  with  a surprise  happy  ending 


35 


GLAMOUR  GAMS 


Stern  • Dress  by  Amelia  Gray 


Neither  Janet  Leigh  nor  her  pet 
pooch  Houdina  will  forget  that 
last  day  of  work  on  the  M-G-M  lot! 


Stern 

Rhonda  Fleming  nearly  died  at  big  bo- 
nus offered  if  she’d  change  from 
redhead  to  black.  But  she  didn’t  dye! 


INSIDE  STUFF 


Glamour  Gams:  Rhonda  Fleming  has 
brains  to  match  her  beauty,  which  is 
why  she  refused  to  become  a black- 
haired senorita  in  an  important  Eu- 
ropean movie.  Even  a five-thousand- 
dollar  bonus  couldn’t  induce  her  to  dye 
the  famous  red  hair  that’s  become  her 
trade  mark  in  Hollywood  . . . But 
Debra  Paget,  who  became  a carrot- 
colored  blond,  had  to  acquire  a new 
wardrobe  to  complement  her  new  per- 
sonality. She  displays  strapless  bare 
shoulders  for  all  occasions,  including 


luncheon  in  the  studio  commissary. 
Debbie’s  two  favorite  models  are  ice 
blue  and  violet  organza  worn  with  end- 
less petticoats  . . . Cyd  Charisse  is  an 
eye-stopper  anywhere,  and  especially  as 
seen  above  in  green.  She  loves  red,  too 
—and  her  lipstick-red  summer  cotton, 
worn  when  she  and  Tony  Martin  vaca- 
tioned in  the  Virgin  Islands,  stopped 
traffic!  Cyd’s  startling  red  outfit  has 
a tiered  skirt,  halter  neck  and  comes 
complete  with  cover-up  jacket  that  con- 
verts it  into  a dinner  dress.  The  Tony 


Martins  guest  spot  in  M-G-M’s  “Deep 
in  My  Heart”  but  they  never  appeared 
in  the  same  scene  or  even  worked  on 
the  lot  the  same  day  . . . 

Vacation:  Janet  Leigh  and  Tony  Curtis 
got  that  dream  vacation  in  Boston — 
except  the  studio  put  Tony  into  “Five 
Bridges  to  Cross”  and  he  had  to  work 
on  location!  After  eight  eventful  years 
at  M-G-M,  Jan  decided  to  free-lance 
and  her  last  day  on  the  lot  was  so 
typical  of  Hollywood.  With  pet  pooch 


36 


Apger 

Cyd  Charisse  turned  heads,  stopped 
traffic  when  she  and  Tony  Martin 
went  on  Virgin  Islands  vacation 

A trip  to  romantic  Rome,  where  she 
made  “Three  Coins  in  a Fountain.” 
put  Jean  Peters  in  a marrying  mood 


Powolny 


Houdina,  wearing  a diamond-studded 
velvet  collar,  she  posed  for  Christmas 
cover  art— -on  the  hottest  day  of  the 
year!  . . . Indefatigable  Marge  and 
Gower  Champion  finished  their  last 
number  with  Betty  Grable  in  “Three 
for  the  Show”  on  Friday  and  started 
shooting  “Jupiter’s  Darling”  with 
Esther  Williams  dn  Saturday.  Next  stop 
— a cross-country  concert  tour.  Cute 
story  concerns  Marge,  who  always 
reads  local  gossip  columns.  “It  says 
here,”  she  ( Continued  on  page  92) 


Vera-Ellen:  She  didn’t  believe  in 
keeping  her  man  waiting— to  see 
her  in  her  film,  “White  Christmas” 


Kathleen  Hughes:  All  this  beauti- 
ful blond  needs  is  a television 
set  to  make  her  new  love — dreamy! 


Smith 


i 


37 


Ornitz 


THIS  IS 
YOUR  LIFE 

BY 

RALPH  EDWARDS 


ROCK’S 

MAGNIFICENT 

OBSESSION 


It  was  born  of  a small  boy’s  heartache  and  a mother  s prayers — and  the  wisdom 


of  a woman  close  to  earth.  Its  name  is  faith 


• This  is  your  magnificent  year. 

The  whole  movie-going  world  hails  your  deep  and 
moving  performance  in  a spiritual  message  for  which 
you  were  long  ago  prepared.  . . . 

Your  triumphant  hour  is  born  of  a small  boy’s 
heartache  and  a mother’s  prayers  and  mellowed  with 
the  wisdom  of  a farm  woman  whose  roots  are  as 
deep  as  the  land  she  early  taught  you  to  love. 

“We  plant  the  seed — so  . . .”  she  said  to  the 
small  boy  scuffing  along  the  furrows  of  an  Illinois 
farm.  It  would  take  both  the  sun  and  the  rain  to  make 
it  grow.  But  the  seed  would  grow — because  the  soil 
was  good.  And  some  day  the  land  would  give  it  all 
back  threefold.  “We  work  hard — and  the  harvest 
will  come.  . . .” 


Yes,  from  your  German-Swiss  grandmother  you 
get  faith  and  assurance  that  no  matter  how  dark  the 
night— the  dawn  finally  Will  come  and  the  harvest 
will  be  here. 

You  will  need  this  faith — and  your  mother’s  pray- 
ers— to  chart  your  course  through  the  dark  rainy 
days  to  come,  to  guide  you  through  years  of  dis- 
couragement, illness,  accidents  and  poverty.  Through 
your  years,  Rock  Hudson — This  Is  Your  Life.  . . . 

Turn  with  us  as  we  turn  back  the  pages  in  the  book 
of  time  to  the  beginning  of  this  boy,  whose  dreams 
and  ambition — flanked  by  faith — have  carried  him 
right  to  the  top  in  his  chosen  career. 

It’s  November  17,  1925.  A son  is  born  to  a garage- 
man  in  Winnetka,  Illinois,  and  his  pretty  wife,  Kay. 


Continued 


Roy  Fitzgerald,  age  two,  with  Aunt 
Evelyn,  at  his  grandmother’s  farm 


Roy’s  report  card.  He  won  many 
swimming  medals,  sang  in  glee  club 


At  19,  Seaman  1/C.  He  checked  out 
Navy  bombers,  landed  in  laundry! 


ROCK’S 

MAGNIFICENT 

OBSESSION  Continued 


When  he  got  out  oj  the  Navy,  Rock  took 
job  as  mailman.  Besides  delivering  mail 
he  also  collected — coffee  and  doughnuts! 


Rock  went  W est  with  his  mother,  got  a 
job  driving  a truck.  He  shared  quarters 
in  small  hotel  with  three  other  truckers 


You  weigh  5*4  pounds  and  you’re  27  inches  long — so 
thin  the  nurse  wraps  your  shirt  around  you  to  keep  it 
on.  But  you’re  a big  noise  even  now — according  to  that 
nurse,  Pearl  Scherer,  today  Superintendent  of  Nurses  at 
Deaconese  Hospital,  St.  Louis,  Missouri — and  your  own 
Aunt  Pearl. 

“Yes,  he  was,  Ralph.  1 was  right  there,  and  I’ve  loved 
him  like  my  own  son  ever  since.  His  leg  was  broken  in 
an  accident  when  he  was  six  months  old,  but  Roy  was 
the  best-natured  baby  through  it  all.  My  nephew  de- 
serves everything  good  that  has  come  to  him.  He’s 
always  been  a good  boy  and  a hard  worker.  And  I’m  not 
surprised  at  the  name  he’s  made.  From  the  way  Roy 
squalled  the  night  he  was  borjn,  I knew  then  he’d  make 
himself  heard  as  he  went  through  life.” 

Your  Aunt  Pearl  had  you  pegged  right  from  the  start. 
And  we’re  going  through  the  early  years  of  your  life 
right  now,  to  1929  and  a four-year-old  who’s  devoted  to 
a dog  named  “Crystal.”  You  have  the  widest  grin  and 
the  most  engaging  Buster-Brown  bob  in  town,  and  the 
relatives  shed  a tear  when  your  hair  is  cut  this  year. 

It’s  1931.  You’re  six  years  old — a very  sensitive  six 
— and  you’re  deeply  hurt  when  your  parents  separate. 
Your  mother,  heavy-hearted,  can’t  tell  you  why.  She 
goes  to  work,  determined  to  be  both  mother  and  father 
to  you. 

The  years  between  seven  and  ten  are  tough,  hard 
years  for  you.  Roy  Fitzgerald.  Your  mother  works  as  a 
waitress,  a baby-sitter,  at  whatever  other  work  she  can 
find.  You  take  a paper  route  and  you’re  paid  seventy- 
five  cents  a week  at  a neighborhood  grocery  store  after 
school,  carrying  packages  out  to  cars  for  customers.  But 


there  comes  a day  when  your  mother’s  out  of  work, 
when  there  are  no  more  pennies  in  the  cookie  jar  and 
no  food  in  the  cupboard.  A day  your  mother,  Mrs. 
Joseph  Olsen,  now  happily  married  and  living  in  Ar- 
cadia, California,  will  never  forget. 

“We  lived  for  a whole  week  on  potatoes  and  bread, 
Ralph.  But  the  hardest  part  for  me  during  times  like 
this  was  not  having  a dime  to  give  Roy  for  the  weekly 
movie  at  the  Community  Theatre,  where  all  the  other 
youngsters  went  on  Friday  nights.  I didn’t  tell  my  family 
how  tough  things  were  for  us,  but  one  day  Roy’s  Uncle 
Jim  came  by  around  meal  time.  ‘Is  this  aM  you  have  to 
eat?’  he  demanded.  Without  another  word,  he  went  to 
the  store  and  came  back  with  a basket  overflowing  with 
everything,  including  candy  for  Roy.  This  was  a real 
celebration.” 

But  there  are  fun  days  through  childhood  too,  Roy, 
when  you  visit  the  farm  of  your  grandparents,  Lena  and 
Theodore  Scherer,  near  Olney,  Illinois.  Like  any  kid, 
you  love  the  farm.  You’re  a busy  little  man  there — 
gathering  eggs,  helping  feed  the  cows,  watching  them 
work  in  the  fields  and  pumping  the  player-piano  in  the 
parlor — pumping  and  pumping— learning  the  words  as 
they  roll  by.  And  from  your  grandmother  you  learn  the 
song  of  the  land,  of  seed  and  sun  and  storm,  of  green- 
growing things  and  the  harvest  to  come. 

Back  in  Winnetka,  when  times  are  finally  too  tough 
to  weather,  you  and  your  mother  live  with  your  Irish 
grandmother,  Mary  Ellen  Wood,  whose  Victorian  abode 
also  harbors  your  aunt  and  uncle  and  their  four  children 
during  these  crucial  years.  From  her  you  learn  laughter. 
For  all  her  years,  she  loves  to  ( Continued  on  page  98) 


40 


Ralph  Edwards  emcees  This  Is  Your 
Life,  NBC.TV,  Wed.,  10  P.M.  EDT 


In  ’47,  truck  driver  Rock  met  agent  Henry  Willson,  was  given  film 
test.  In  ’48,  he  got  first  bit  part.  1952,  Rock,  now  a star,  is 
introduced  to  British  royalty  at  Command  Performance  in  England 

The  years  roll  by — Rock  is  in  a strange  and  ex- 
citing new  ivor Id.  His  faith — cornerstoned  on 
an  Illinois  farm — is  to  be  tested  many  times 


Rock’s  a long  way  from  Winnetka  now!  But  he’s 
still  the  sincere,  small-town  type  the  girls 
go  for.  V era-Ellen  is  first  Hollywood  romance 


Merry,  infectious  laughter  introduced  script  girl 
Betty  Abbott  to  Rock,  led  to  firm  friendship 
that  has  come  to  mean  a great  deal  to  him 


Among  his  mother’s  souvenirs:  Rock’s  Navy 
discharge  papers  and  the  Mother’s  Day  card 
he  sent  her  while  on  duty  in  the  Pacific 


Rock’s  Magnificent  Obsession  has  paid  off.  The 
faith  his  mother  and  grandmother  taught  him 
has  brought  him  even  further  than  his  dreams 


The  pool  looked  so  inviting  . . . 
“ Why  don't  we  go  in  before 
we  get  started,”  suggested 
Lori.  Deb,  armed  with  paint, 
had  gone  strangely  deaf! 


Mixing  paint's  fun  when 
everyone  gets  into  the  act. 
“ Hey ! we  don't  want  the  grass 
painted,”  said  Deb — and  fled 
from  indignant  brush  fiends ! 


“You  should  see  the  food 
Mom’s  preparing  for  lunch” 
called  Deb,  coming  out  of  the 
house.  Smart  girl!  The  gang 
lost  no  time  getting  to  work 


The  water’s  fine  after  work- 
ing in  the  sun.  “IF ho  left  this 
paint  here?”  asks  Deb.  “fFhy,” 
quipped  John  grinning,  “we 
thought  it  was  water  color!” 


“I  thought  you  girls  only 
used  paint  on  your  face,” 
kids  Race.  Lori,  it  seems,  not 
only  painted  the  fence,  but 
covered  most  of  herself  as  well 


“No  fair  pushing,”  Deb  tells 
John.  The  Reynolds’  home  is 
rarely  quiet  on  weekends, 
the  pool  is  usually  full  to 
overflowing  with  Deb’s  pals 


“You  handle  a brush  like  an  ar- 
tist,” kids  Lori.  “Flattery  will 
get  you  nowhere grins  Debbie, 
who  knows  Lori,  like  herself,  is 
just  dying  to  go  in  for  a swim! 


■hat’s  that,”  said  Debbie  Reynolds’  father — and  stepped  back  to 
admire  the  picket  fence  he’d  just  finished  building.  “All  it  needs 
now  is  a coat  of  paint.”  “I’ll  do  it,”  said  Debbie.  But  then  she 
became  involved  with  a leading  role  in  M-G-M’s  “Athena.”  And 
nights  were  always  too  dark — and  the  weekends  too  full  of  friends 
using  the  backyard  pool!  “I’ve  got  it!”  said  Debbie,  finally.  “We’ll 
have  a fence-painting  party.”  The  gang — Lori  Nelson,  Race  Gentry, 
Sheila  Connolly,  Bob  Dix,  John  and  Milly  Ericson  and  Frank  Yapp — 
a high-school  friend  home  on  leave  from  the  Navy — were  ready  and 
willing.  Solemnly  they  surveyed  the  fence,  put  on  their  bathing  suits 
— and  went  for  a swim  in  the  pool!  It  took  some  effort,  but  finally 
Debbie  got  the  kids  back  onto  dry  land  and  into  the  front  yard. 
Her  father,  looking  out  of  the  window  a few  minutes  later,  sighed 
with  relief.  “I  was  beginning  to  think  I’d  have  to  sneak  out  at 
dawn  and  do  the  job  myself,”  he  told  his  wife,  grinning. 

In  spite  of  occasional  fooling  around,  the  fence  was  finished  in 
an  hour-and-a-half ! And  Deb’s  paint-happy  gang  raced  back  to  the 
pool  where  a mountain  of  food  was  waiting  for  them. 

When  it  came  time  to  go  home,  John  Ericson  issued  an  invitation. 
“Come  to  our  house  next  Sunday.”  Debbie  grinned.  “Milly  mentioned 
it  earlier  . . . said  something  about  how  the  windows  needed 
washing!” 

Soon  all  was  quiet  around  the  Reynolds’  house.  Mom  was  starting 
dinner,  Debbie  was  going  over  her  script.  Dad?  He  was  out  in  the 
yard — finishing  up  the  places  the  party  had  missed! 


JOHN  ERICSON  IS  IN  M-C-M’S  “GREEN  FIRE.”  • RACE  GENTRY,  IN  U-l’S  “BLACK.  HORSE 
CANYON.”  • LORI  NELSON,  IN  U-l’S  “DESTRY.”  • BOB  DIX,  IN  M-C-M’S  “JUPITER’S  DARLING” 
DEBBIE  REYNOLDS,  IN  M-G-M’s  “ATHENA” 

works 


COLOR  PICTURES  BY  STERN 


In  her  film  “Athena,”  Deb  is 
member  of  an  athletic  family. 
“You  should  be  right  at 
home,"  Lori  said.  Debbie  once 
wanted  to  be  a gym  teacher 


Snack  time:  Between  bites, 
Race  told  Lori  about  time  he 
drove  an  old  car  onto  the 
football  field.  It  stalled, 
delaying  the  game  for  ages! 


End  of  a perfect  day:  Bob 
Dix,  standing  left,  is  son  of 
actor  Richard  Dix,  will  ap- 
pear in  first  film  soon.  He 
and  Deb  have  been  dating 


Blackwell  • Doris  Day  is  in  "Young  at  Heart" 


Marty  Melcher,  her  husband,  has  a lot  to  do  with  the 
way  Doris  feels  these  days.  “Life”  she  says,  “gets 
better  every  day.  Too  many  people  look  back  on  past 
years  with  regret.  It’s  a mistake.  Take  them  as 
they  come  and  that’s  the  fullest  life  there  is!” 


WAKE 
UP 
AND 
LIVE  ! 

BY  JOHN  MAYNARD 


Happiness  is  like  money  in  the  bank , says  Doris  Day. 


It  adds  up  with 


the  years ! 


• About  the  chipperest  little  character  in  the  movie 
business  is  Doris  Day,  a freckled-faced  party  who  has 
nothing  but  the  warmest  sentiments  for  the  whole 
universe  and  who  is  worth  to  her  employers  roughly 
what  oil  is  to  Standard  Oil. 

It  has  been  reported  of  Miss  Day — and  with  the 
greatest  affection  and  respect — that  in  the  past  few 
years  she  has  deliberately  and  successfully  sought  a 
balanced  and  happy  existence  built  on  a strong  faith. 

“There’s  no  doubt,”  she  said  recently,  “it  gets 
better  as  it  goes  along.” 

“Life?”  I asked. 

“Of  course,”  said  Miss  D.  “I’m  happy  now,  every 
living  day.  So  how  can  I help  but  be  happy  in  the 
future?  I figure  that  by  the  time  I’m  eighty,  I’ll 
hardly  be  able  to  stand  it.  Happiness,  I mean.  It’s 


like  money  in  the  bank,  it  adds  up  with  the  years!” 

Meanwhile,  until  that  long-distant  day,  Doris  Day 
is  the  possessor  of  the  nicest  working  philosophy  of 
the  1954  season,  which  she  expresses  very  well. 

“My  childhood  was  very  happy,”  she  says.  “And 
don’t  think  for  a moment  that  I’m  compensating  for 
anything.  But — this  is  true,  I know  it  is — life  opens 
up  like  a flower  as  you  live  it.  You  keep  learning  and 
developing  and  discovering  new  avenues  for  happi- 
ness. And  each  year  is  better  than  the  ones  you  left 
behind.  All  those  past  years  were  great — then.  But 
the  new  ones  are  greater.  And  that’s  true  because 
you’re  older.  You  see  what  I mean,  don’t  you?  It 
follows  an  interlocking  pattern.  Life  has  to  be  this 
way,  doesn’t  it?  It’s  a logical  sequence.” 

This  kind  of  optimistic  ( Continued  on  page  76) 


44 


If  you  want  to  copy  Doris  Day’s  new  hair-do,  why  not 
show  this  color  picture  to  your  favorite  hair  stylist 


THE  GUY 
WITH 
THE  GRIN 


Feiv  people  know  the  real  Bill  Holden. 
Or  the  power  behind 
that  engaging  grin.  For  it  took 
more  than  personal 
charm  to  bring  home  the  Oscar! 


The  Holdens,  with  Oscar  he  won  for  “Stalag  17,”  have 
been  married  thirteen  years.  He’s  currently  in  “ Sabrina ” 


Bill  meant  to  be  a chemist  like  dad  W illiam  Beedle  Sr.  un- 
til a talent  scout  saw  him  in  college  play!  Above,  with 
parents,  Brenda,  stepdaughter  Virginia,  sons  W est,  Scott 


BY 

DAN  SENSENEY 


• “Ardis  and  I try,”  Bill  Holden  once  remarked 
to  an  interviewer,  “to  lead  a sensible  sort  of  life.  ” 

Now,  the  idea  of  trying  to  live  sensibly  is  one 
which  simply  wouldn’t  occur  to  some  Hollywood 
stars.  Live  glamorously,  live  excitingly,  live 
dangerously — yes.  But  live  sensibly  ? Who  wants 
to?  Sounds  dull. 

The  Bill  Holdens  don’t  find  it  dull  at  all. 

For  them,  it  is  a richly  satisfying  way  of  life. 

The  Academy  Award  winner,  star  of  “Executive 
Suite”  and  the  soon-to-be-released  “Bridges  of 
Toko-Ri,”  and  his  beautiful  wife  celebrated  their 
thirteenth  anniversary  last  July  13.  Theirs  is  one 
of  Hollywood’s  good  marriages.  In  this  world, 
of  course,  nothing  is  certain,  but  it  would  be 
hard  for  anyone  who  knows  these  two  at  all  well 
to  doubt  that  they’ll  be  together  to  celebrate  their 
23rd  and  33rd  and — God  willing — their  43rd 
anniversaries  just  as  happily. 

Not  just  because  they  are  still  in  love.  They 
are,  but  marriages  have  been  known  to  crash 
while  the  two  principal  parties  were  still  deeply 
in  love.  Especially  is  this  true  in  Hollywood,  land 
of  temperament  and  ego.  Nor  are  Bill  and  Ardis, 
whose  professional  name  was  Brenda  Marshall 
in  the  days  before  she  gave  up  her  acting  career, 
lacking  in  these  self-same  qualities.  But  they  do, 
both  of  them,  have  the  emotional  maturity  to 
realize  that  lasting  happiness  doesn’t  drop  into 
your  hand  like  a ripe  peach  from  the  tree,  but  must 
be  worked  for,  planned  for,  even  sacrificed  for. 

They’ve  done  all  three. 

It  was  back  in  1939  when  Bill  Holden  and 
Brenda  Marshall  met.  Bill  was  twenty-one,  and  it 
was  barely  a year  since  he’d  crashed  stardom 
with  his  first  picture,  “Golden  Boy.”  Handsome 
and  talented,  he  was  getting  the  standard 
treatment  for  promising  ( Continued  on  page  89) 

47 


[f\  -j/l i/"bu<4t.  . . 


nobody’s 
baby 
now! 


by 

gladys  hall 


Fraker  • June  Allyson  is  in  “ Strategic  Air  Command” 


the  farm,  home-place  of  June  Allyson  and  her  Richard,  is  a two-story 
New  England  farmhouse,  built  of  fieldstone  and  stout  oak,  solid  and 
beautiful,  sitting  in  its  58  acres  that  includes  a private  lake  atop  a mountain 
in  Mandeville  Canyon,  some  few  miles  from  Beverly  Hills. 

In  the  spacious  living  room,  done  in  highly  polished  maple  with  antique 
copper  utensils,  a yellow  love  seat  faces  the  tremendous  stone  fireplace. 
On  this  love  seat  Richard  loves  to  take  his  ease.  And  on  Richard’s  lap, 
as  he  takes  his  ease,  June  loves  to  take  hers.  In  moments  of  excitement, 
elation,  doubt,  depression  or  just  because  “It  is  my  favorite  sitting  place,” 
June  can  usually  be  found — curled,  kitten-size,  on  Richard’s  lap. 

The  other  evening,  a matter  of  weeks  ago,  June  leaped  up  to  answer  the 
telephone  on  the  small  bar  to  the  right  of  the  fireplace. 

“Oh,  Harry!”  Richard  heard  her  say,  her  furry  voice  rising  to  a lilt. 
“I  don’t  believe  it,  I just  don’t  believe  it!” — and  then  the  receiver  was  hung 
up  and  there  was  a rush  across  the  room  and  June  was  on  Richard’s  lap 
again  saying,  “Oh,  Richard,  guess  what — Jose  Ferrer  wants  me  to  play  his 
wife  in  ‘The  Shrike!’  That  was  Harry,  Harry  ( Continued  on  page  80) 


49 


I 

M n 1951,  Tab  Hunter  played  a gangling,  love-sick 
kid  in  the  Marines.  Now,  three  years  later,  he  is  still 
in  the  Marines.  But,  what  a difference!  When  excerpts 
were  shown  of  some  of  Tab’s  love  scenes  in  “Battle 
Cry,”  Hollywood  gasped  out  loud.  Here  was  no  bum- 
bling kid,  but  a mature  young  actor  with  an  exciting 
quality  few  had  expected  from  blond,  boyish  Tab.  In 
his  scenes  with  his  boyhood  sweetheart  (Mona  Free- 
man), Tab  portrays  all  the  emotions  of  youth  matured 
too  early  by  war.  As  Mona  says  to  Tab,  “You’re 
strange  ...  as  if  I didn’t  know  you.” 

In  this  poignant  love  scene  from  “Battle  Cry,”  the 
problems  of  youth  in  war  are  symbolized — for  Mona 
has  become  an  adult  before  her  time,  too,  and  with 
a woman’s  instinct  she  fights  for  a moment’s  happiness 
when  her  man  returns  home  for  two  short  weeks.  Tab 


and  Mona  drive  to  the  beach  where  they  had  once 
spent  so  many  happy  hours  together  in  their  un- 
troubled childhood.  Now,  as  adults,  they  face  this  new 
world  they  live  in.  And  though  for  a moment  they 
are  innocent  boy  and  girl  again,  Mona,  wading  in  the 
water,  is  no  longer  the  girl  Tab  used  to  tease.  Mona 
is  the  woman  Tab  loves. 

Though  Tab  scored  a hit  in  his  first  picture,  “Island 
of  Desire,”  it  was  nearly  two  years  before  he  made 
another  film,  “Gun  Belt.”  But  although  in  the  last  three 
years  Tab  has  appeared  in  only  four  films,  his  amazing 
fan  following  has  remained  loyal  to  him.  Meanwhile, 
he  took  dramatic  lessons,  studied  everything  he  could 
to  improve  his  acting  while  he  was  waiting  for  his  big 
chance. 

This,  most  people  believe,  will  be  “Battle  Cry.” 


50 


a photoplay  exclusive 


Tab  Hunter • and  Mona  Freeman  in  scenes  from  Warners’  “ Battle  Cry' 


Baching  it  with  father  is  fun,  decides 
Chris.  W hile  Barbara’s  away,  her  mother 
is  taking  care  of  Jeff  and  their  son 


SHINING 


Happy,  healthy,  well-adjusted  Chris  is 
not  at  all  disturbed  by  fact  that  he’s 
stuck  with  a pair  of  movie-star  parents! 


HUM 


Before  Barbara  and  Jeff  married,  they  dis- 
cussed problems  of  separate  careers,  includ- 
ing location  trips  that  might  part  them 


Stardom  came  overnight. 

Notv  Barbara  Rush  is  far  from 
home.  But  there  is  no  fear 
for  her  marriage.  For 
when  opportunity  knocked,  it 
teas  Jeff  who  opened  the  door 


HOUR 


BY 

HILDEGARDE  JOHNSON 


• For  ten  weeks,  5,500  miles  of  land  and  sea  separated 
Barbara  Rush  from  her  husband,  Jeffrey  Hunter,  and 
their  son,  Christopher.  Was  she  taking  serious  chances 
with  her  personal  happiness?  To  get  the  answer,  let’s  take 
a look  at  Barbara  Rush,  actress.  So  far,  we’ve  heard  more 
about  Jeff  Hunter,  actor.  Now,  as  the  fortunes  of  Holly- 
wood shift,  it’s  his  wife’s  turn  to  be  in  the  spotlight. 

Barbara  was  on  location  in  Ireland,  with  the  important 
role  of  “Aga”  in  “Captain  Lightfoot.”  Yet  if  the  decision 
to  go  or  not  to  go  had  been  up  to  Barbara  alone,  she 
would  have  been  in  California — Mrs.  Jeffrey  Hunter, 
housewife,  tenderly  caring  for  little  Christopher,  almost 
two,  and  caring  nothing  about  the  movie  business,  ex- 


cept  as  it  concerned  her  husband.  It  was  Jeff  who  took 
command  at  a crisis  in  Barbara’s  life.  It  was  Jeff  who 
made  up  her  mind  for  her.  That’s  why  she  went  to 
Ireland.  That’s  why  she  is  now  a star. 

Every  marriage  is  individual,  but  this  one  has  been 
extra-special,  in  a class  apart,  from  its  beginning.  Before 
she  met  Jeff,  Barbara  had  never  really  been  in  love. 
When  she  was  in  college,  men  were  mighty  scarce  at  the 
University  of  California,  as  they  were  on  every  other 
campus  in  a country  at  war.  Working  with  the  University 
Players  and  later  with  the  Pasadena  Playhouse,  she  was 
very  active  in  the  USO.  Many  a soldier  there  was  charmed 
at  first  sight  of  her  dark,  slender  beauty.  “But  I was  too 


involved  in  acting,”  Barbara  recalls.  “I  wasn’t  interested 
in  marriage.” 

Then,  new  in  movies,  she  met  Jeff,  also  a beginning 
actor.  And  her  work  became  not  a barrier,  but  a link 
between  them.  “We  were  nothing,”  Barbara  says  frankly. 
“And  we  were  both  tremendously  excited  about  being  in 
motion  pictures.”  Well,  even  love  can’t  make  you  forget 
such  a big  part  of  your  life.  To  an  outsider,  each  of  them 
might  have  seemed  to  be  two  people:  Barbara,  the  girl  in 
love,  and  Barbara  Rush,  the  eager  starlet;  Hank  Mc- 
Kinnies,  the  man  in  love,  and  Jeffrey  Hunter,  hopefully 
beginning  a new  career  with  his  new  name.  But  to 
Barbara  and  Hank-Jeff,  each  ( Continued  on  page  78) 


Stern 


in  the  warm  words  of  friendship , is  the  real 


Here , 


ANN  BLYTH 


54 


Ann  Blyth.  It  is  a revealing  portrait  of  the  girl  Jeanne  has  known  many  years 


PORTRAIT 

OF 

g4kk 


BY 

JEANNE  CRAIN 


%-m 

Jeanne,  an  accomplished  artist,  painted 
this  portrait  of  Ann  before  latter’s  baby 
was  born.  “She  had  something  more  than 
mere  physical  beauty,  then,"  says  Jeanne 


• • • When  I painted  the  portrait  of  my  good  friend  Ann  Blyth 
McNulty  to  accompany  this  story  in  Photoplay,  she  had  something 
less  than  two  months  to  wait  for  her  first  baby. 

Ann  has  always  been  a beautiful  girl  but  in  those  last  weeks  before 
her  child  was  to  be  born  she  was  particularly  radiant,  aglow — as 
many  pregnant  women  are  when  they  have  yearned  for  children  and 
are  at  last  fulfilled — with  something  more  than  mere  physical  beauty. 
It  was  as  if  her  very  soul  were  shining. 

On  that  night,  Ann  showed  me  the  wonderful  blue  and  yellow 
nursery  she  has  created,  delightedly  pointing  out  the  blue  wallpaper 
with  silver  angels,  the  fluffs  of  pale  yellow  curtains  at  the  gabled 
windows.  And  one  by  one  she  took  out  the  wonderful  little  things  she 
had  prepared  for  her  firstborn,  the  glamorous  presents  from  all  the 
gay  showers,  the  more  practical  essentials  which  she  had  shopped  for 
herself.  She  was  so  excited! 

There’s  no  time  for  any  wife,  of  course,  more  thrilling  than  the 
months  before  she  gives  birth  to  her  first  child.  I remember  that 
myself.  The  later  times  are  happy  times,  too,  but  once  the  ‘first 
miracle  is  over,  you  can  be  more  matter  of  fact  the  second  time,  or 
the  third,  or  the  fourth.  Even  so  I’ve  never  seen  a mother-to-be 
quite  like  Ann.  It  was  completely  in  character,  of  course.  I’ve  never 
known  a girl  quite  like  her,  under  any  circumstances. 

Most  women  who  have  had  Ann’s  brilliant  success  and  acclaim 
could  be  forgiven,  I think,  for  being  just  a little  bit  cynical,  just  a 
touch  jaded.  But  not  Ann.  That’s  the  really  wonderful  thing  about 
her.  She  greets  each  new  life  experience  with  almost  childlike 
wonder,  enthusiasm  and  sheer  bubbling  joy. 

This  is  why,  when  we  met  quite  casually  at  some  big,  impersonal 
industry  affair  seven  and  a half  years  ago,  I felt  a sudden  sense  of 
affinity  with  this  girl.  And  that  feeling  of  closeness  has  grown  with 
the  years.  We  have  never  worked  together,  have  never,  as  a matter 
of  fact,  worked  at  the  same  studio  at  the  same  time.  But  we  have  had 
a close,  warm  friendship  all  these  years,  a rare  kind  of  friendship 
in  this  fiercely  competitive  town  of  ours. 

We  have  held  nothing  back  from  one  another,  so  I knew  long  ago, 
many  years  before  she  found  her  Dr.  Jim  McNulty  and  married  him 
in  one  of  the  most  moving  wedding  ceremonies  I have  ever  seen, 
that  what  Ann  wanted  more  than  anything  else  in  the  world  was  ‘a 
husband,  a home  of  her  own  and  children.  Lots  of  children.  I already 
had  much  of  what  Ann  wanted  even  then,  because  Paul  and  I had 
been  married  for  several  months  when  we  first  met  Ann.  Little  Paul 
already  was  on  his  way.  And  we  had  our  first  Home  of  Our  Own.  (All 
of  you  who  have  acquired  it  will  know  why  I use  the  capitals.)  We 
had  what  Ann  wanted  most.  She  didn’t  envy  what  we  had — envy  is 
just  not  a part  of  her  make-up — but  she  valued  it.  And  because  she 
valued  it  and  we  valued  it,  we  wanted  it  for  her. 

I worried  a lot  about  Ann  in  those  early  years  of  qur  friendship. 
I wonder  if  she  knows  how  much. 

She  was  working  so  hard  at  her  career  that  I was  afraid  she 
was  almost  putting  off  her  personal  life.  ( Continued  on  page  88) 


55 


WIN  a Present 


Stern 


Stern 


For  the  girl  who  wants  to  stay  in  the  glam- 
our swim,  Jeanne  Crain’s  gift  is  a figure- 
flattering  bathing  suit  by  Rose-Marie  Reid 


Need  storage  space  for  trousseau  dreams? 
Suzan  Ball  has  the  perfect  gift  for  the 
lucky  winner — a beautiful  Lane  Cedar  Chest 


Collectors’  item:  Here's  an  exciting  prize 
for  young  moderns — an  original  painting  by 
talented  Tony  Curtis,  signed  by  the  artist 


Smith 


If  the  ordinary  alarm  clocks  alarm  you,  here’s 
just  the  present  for  you — from  Lex  Barker. 
A gracefully  designed  Sylvania  Clock  Radio 


from  a 


Stern 


Triple  treat:  From  Rhonda  Fleming,  a 
year’s  supply  of  Pond’s  “Ever-So-Red” 
lipstick  with  matching  dress  and  coat 


Stern 


Every  puff’s  a pleasure!  For  the  guy 
who  likes  to  relax  with  a pipe.  Race 
Gentry  will  send  this  Kaywoodie.  pipe 


See  the  following  pages 
for  details  of  contest 


Put  your  wits  to  work  and  you’ll  have  a 
chance  to  travel  in  style  if  you  win  this 
Samsonite  luggage  from  Susan  Cahot 


Piper  Laurie’s  gift — year’s  supply  of 
Cutex  “Cute  Tomata”  nail  polish,  with 
ripe  red  jacket,  “Cute  Tomata”  pants 


Stern 


Stern 


Stern 


■ 1 

I Y jK  | 

It  - - *■-* 

This  one’s  for  the  boys;  Jeff  Chandler 
prefers  plaid  sport  shirts — personally 
chose  this  as  his  gift  to  some  lucky  guy 


Ornitz 


’Twill  be  a great  day  for  the  Irish ! 
Rock  Hudson,  in  Ireland  for  “Captain 
Lightfoot,”  is  mailing  a shillelagh! 


Continued  on  next  pnqe 


WIN  a Present  from  a Star 

Continued 

• At  Universal-International  Studios,  young 
players  are  given  a chance  to  prove  they  have 
what  it  takes  to  be  a star.  Now  this  studio  is 
giving  Photoplay  readers  a chance — to  win 
fifty  wonderful  prizes.  So  send  in  that  win- 
ning line  and  get  a present  from  a Universal- 
International  star! 


Hats  off  to  the  guy  who  wins  this — from  Audie  Murphy, 
the  ten-gallon  hat  he  wore  in  latest  picture,  “Destry” 


PRIZES 

DONORS 

1.  Rose  Marie  Reid  swimsuit 

Jeanne  Crain 

2.  Lane  Cedar  Chest 

Suzan  Ball 

3.  Original  painting 

Tony  Curtis 

4.  Sylvania  Clock  Radio 

Lex  Barker 

5.  Year’s  supply  of  Pond’s 
“Ever-So-Red”  lipstick  to 
match  “Ever-So-Red”  wool 
knit-sweater  dress  by  Helen 
Whiting  and  Stroock  fleece 
coat  by  Ronette.  State  size. 

Rhonda  Fleminj 

6.  Samsonite  luggage 

Susan  Cabot 

7.  Year’s  supply  of  Cutex 
“Cute  Tomata”  nail  polish 
to  match  ripe  red  jacket 
and  tapered  “Cute  Toma- 
ta” pants  by  Cole  of  Cali- 
fornia. State  size. 

Piper  Laurie 

8.  Kaywoodie  pipe 

Race  Gentry 

9.  Plaid  sport  shirt 

Jeff  Chandler 

10.  Irish  shillelagh 

Rock  Hudson 

PRIZES  CONTINUED  ON  PACE  #4 


Someone  is  going  to  walk  away  with  a honey  of  a present 
from  Lori  Nelson — a pair  of  Honeydeb’s  smart  play  shoes 


Myrna  Hansen’s  dreamy  gift — two  Playtex  Heart-rest  foam 
pillows.  But  you’ll  have  to  be  wide-awake  to  win  them! 


Special  treat  for  music  lovers:  Donald  O’Connor’s 
gift,  autographed  Decca  album  of  “Call  Me  Madam”  songs 


58 


Smart  accessory  for  the  girl  with  the  winning  line  is 
handsome  Ronay  handbag,  presented  by  Mamie  Van  Doren 


Leslie  Gaye  has  a jewel  of  a prize  for  someone — rhine- 
stone brooch,  with  earrings  to  match,  by  Coro  jewelry 


This  prize  is  sheer  heaven:  From  Kathleen  Hughes,  one 
dozen  pairs  of  Cameo  hosiery  in  the  newest  fashion  shade 


Don’t  hesitate  to  reach  for  this  one.  This  handsome 
Ronson  table  model  lighter  is  the  gift  of  Richard  Long 


• •••••••  •••••••••• 

ENTRY  BLANK 

Write  a last  line  for  this  jingle 

U-l  is  the  studio  that’s  young  at  heart 
Here  talented  youngsters  are  given  a start 
Those  who  have  what  it  takes 
Are  given  the  breaks 

(Fill  in  line  to  rhyme  with  “heart”) 

Example : 

And  usually  wind  up  with  the  star's  part! 


Fill  in  the  prize  for  which  you  are  competing  and  the 
name  of  the  star  who  is  giving  it.  Also  your  name  and 
address  and  mail  to : 

Photoplay-Universal-International  Contest 
P.  O.  Box  1406 

Grand  Central  Station,  New  York  17,  N.  Y. 


I want  the 
from 

Name 

Street 


(name  of  prize) 


(name  of  star) 


City. 


State. 


59 


MY  FRIEND 


w 


BY 

KARL.  MALDEN 


mm  told  to 
■ rntl  Jacobi 


“Without  a doubt  he’s  a genius — our  finest 
actor  today.  And  the  gentlest  man  alive.  All 
he  wants  is  complete  freedom  to  be  himself.” 


We  recently  assigned  a story  on  Karl  Malden , 
who  gives  a superb  performance  in  the  part  of  the 
priest  in  “On  the  Waterfront .”  Reluctant  to  talk  about 
himself , Karl  Malden  turned  the  conversation  to.  his 
friend  and  colleague  Marlon  Brando. 

No  other  actor  has  worked  with  Brando  over  as  long 
a period  of  time  or  known  him  as  intimately  as  Karl 
Malden.  They  met  in  1946  during  rehearsals  for  Max- 
well Anderson  s “ Truckline  Cafe.”  Subsequently  they 
were  together  for  two  years  on  Broadway  in  “A  Street- 
car Named  Desire ” and  thereafter  in  the  Hollywood 
version  of  the  play,  where  his  portrayal  of  Mitch 
brought  Malden  an  Academy  Award.  At  present,  and 
again  under  the  director  of  Elia  Kazan,  both  appear 
in  Columbia’s  “On  the  W ater front”  and  are  almost  cer- 
tain to  be  nominated  for  next  year’s  Academy  Awards. 

The  Editors 


Marlon  showed,  the  “ Waterfront ” to  his 
parents  ( left  and  center)  and  to  producer 
S.  P.  Eagle  before  his  mother’s  death 


A climatic  scene  from  “A  Streetcar  Named 
Desire,”  which  starred  both  Brando  and 
Malden  and  cemented  a long  friendship 


There  isn’t  really  much  I can  tell  you  about 
Marlon.  As  I see  him,  he’s  an  ordinary  guy 
like  you  or  me — except  he’s  a genius.  No,  I’m 
not  kidding  you.  I honestly  believe  he’s  by  far 
our  greatest  actor  today.  He’s  completely  singleminded 
about  his  profession,  but  aside  from  his  enormous 
talent  he’s  no  different  from  anybody  else. 

There  seem  to  be  a lot  of  people,  however,  who  find 
it  difficult  to  understand  Marlon.  They’ve  become  so 
used  to  all  sorts  of  shenanigans  and  publicity  stunts 
by  movie  stars  that  they  consider  ordinary  behavior 
as  eccentric.  Just  because  he  doesn’t  go  in  for  a lot 
of  nightclubbing,  public  romances  and  expensive 
sports  cars,  people  take  it  for  granted  he  must  be  a 
screwball.  I can  assure  you  he  isn’t.  The  key  to  his 
whole  personality,  in  my  opinion,  is  that  he’s  one  of 
those  all-too-rare  people  with  ( Continued  on  page  95) 


61 


BY  SHEILAH  GRAHAM 


Hollywood’s 

New  Look  in  SEX 


The  gamin  girls  with  the  crazy  cuts 

and  the  lean  lines  are  giving  the  lush  and  lovely 

lasses  a run  for  their  honies 


Elizabeth  Taylor  has  the  classic  beauty  that  haunts  men's  dreams  and 
makes  plain  girls  sigh  with  envy.  But  though  Leslie  Caron's  appeal 
relies  more  on  her  winsome  charm,  it's  a piquant  sauce  to  many  men 


• One  dictionary’s  definition  of  sex  is 
simply,  “the  physical  difference  be- 
tween male  and  female;  the  character- 
istics of  the  difference  between  male 
and  female,”  and  perhaps  it  is  for  this 
reason  that  the  new  look  in  sex  in  Hol- 
lywood had  made  for  some  hot  and 
heavy  parlor  conversation  recently.  I 
agree  with  a producer  who  said  to  me, 
“Where’s  a woman’s  sex  when  you  have 
to  wait  for  her  to  turn  around  to  re- 
veal her  womanhood?” 


62 


Jane  Russell  and  Jean  Peters  are  opposites  in  style  and  dress.  But 
though  Jane  goes  in  for  low  necklines,  both  have  the  voluptuous 
figure  and  salty  appeal  that  rates  raves  from  the  opposite  sex 


Ava  Gardner  and  Debbie  Reynolds  prove  that  what  appeals  to  one 
man  isn't  always  the  other  man's  dish.  But  in  the  sex-appeal  depart- 
- ment,  sweet  Deb  more  than  holds  her  own  -with  glamorous  Ava 


The  girls  who  characterize  this  new 
look,  of  course,  are  Audrey  Hepburn, 
Leslie  Caron,  Jean  Simmons  whose 
short-cropped  hair,  boyish  figures  and 
wide-eyed  expression  have  started  a 
rage  among  the  teen-agers. 

Before  you  rush  to  the  beauty  parlor 
for  the  shearing  and  before  you  starve 
yourself  into  a matchstick  figure,  hear 
what  some  of  the  male  authorities  in 
Hollywood  have  to  say  about  sex  ap- 
peal— new  or  otherwise.  Here’s  a per- 


sonally conducted  tour  among  the  male 
contingent  for  opinions  on  the  current 
crop  of  glamour  queens  and  you’ll  see. 
some  like  ’em  rounded,  some  like  ’em 
thin — and  some  just  plain  like  ’em. 

Take  The  Monroe  sex  appeal  (and 
who  wouldn’t  want  to ! ) versus  Grace 
Kelly,  the  girl  who  currently  has  such 
notables  as  Clark  Gable  and  Bing 
Crosby  wrapped  around  her  little  fin- 
ger. John  Ericson  who  played  op- 
posite Grace  in  “Green  Fire”  says, 


“She’s  very  sexy.  Not  flashy  and  for 
me  this  is  great.  Her  very  unassuming 
manner  makes  her  very  exciting.  She’s 
a person.”  Burt  Lancaster  adds  that 
Grace  Kelly  is  among  the  ten  women 
in  Holly  wood,  he  considers  most  beau- 
tiful. “She  will  be  a big  star  long  after 
the  public  has  forgotten  all  the  current 
hip-twitchers,”  predicts  Burt.  “Because 
while  she  is  very  sexy,  you  wouldn’t  be 
ashamed  to  introduce  her  to  your  moth- 
er!” Dean  Martin  says  of  Marilyn 


continued 


63 


PIER  ANGEll  Monroe,  “She’s  the  kind  of  girl  you’d 

like  to  bring  home  to  your  mother — 
if  you  could  trust  your  father.”  To 
which  Jerry  Lewis  adds,  “To  me, 
Marilyn’s  sex  appeal  is  a study  in 
geography.  Both  sides  of  her  equa- 
tor have  such  wonderful  points  of 
interest.”  Donald  O’Connor  serious- 
ly adds,  “There  is  nothing  wrong 
with  Marilyn  Monroe  in  any  depart- 
ment— she’s  one  girl  who  has  sex 
appeal  for  millions  of  men  and,  spe- 
cifically, has  captured  one.  How 
could  there  be  anything  wrong  with 
a girl  like  that?” 

Next  intriguing  comparative  com- 
bination is  Elaine  Stewart  versus 


Pier  Angeli,  soy  male  observers,  has  the  femininity  that  makes  men  whistle  and 
the  innocent  look  that  makes  them  want  to  protect  her.  But  when  Audrey  Hep- 
burn turns  on  that  impish  look,  "even  her  photographs  have  that  challenge!" 


ELAINE  STEWART 


64 


Hollywood’s  New  Look  in 


SEX 

Continued 


Jean  Simmons.  Elaine  clings  to  the 
old-fashioned  theory  that  her  hair, 
flowing  in  long  luscious  waves,  is  at- 
tractive to  a man— and  if  it  isn’t  her 
hair,  it  sure  is  something  that  makes 
the  telephone  ring  off  the  hook  and 
the  line  form  to  the  left  on  date 
nights!  Jean  Simmons,  on  the  other 
hand,  (could  it  be  because  she’s 
already  caught  Stewart  Granger?) 
lets  the  barber  run  rampant  with  the 
shears.  Burt  Lancaster  has  a word 
for  her,  too.  “She  looks  (on  the 
screen)  like  a girl  who  is  a lady  in 
the  parlor  and  a hussy  in  the  bou- 
doir.” For  Jeff  Chandler,  the  hair 
is  not  an  important  consideration  in 


a woman’s  attractiveness — it’s  the 
eyes.  And  whether  it  be  Elaine  or 
Jean  Simmons,  The  Monroe  or 
Grace  Kelly — “.  . . somewhere  along 
the  line,  it’s  the  same  innate  spark 
and  you  find  it  in  the  eyes  first.” 

Pier  Angeli  and  Audrey  Hepburn 
are  two  opposites  on  which  male 
opinion  is  of  accord — they  both  are 
sensationally  sexy.  Their  reasoning 
may  be  different,  but  the  total  sum 
of  male  opinion  adds  up  to  one  thing 
only — they’ve  got  sex  appeal.  Pier, 
with  her  innocent  green  eyes,  Au- 
drey with  her  slant-eyes  send  Don- 
ald O’Connor,  John  Ericson,  Rock 
Hudson,  to  (Continued  on  page  80) 


Elaine  Stewart  doesn't  go  along  with  today's  gamin  glamour,  believes  that  long, 
flowing  locks  attract  the  men.  And  there's  no  doubt  about  her  date  line.  But  that 
dose-cropped  hair  accentuates  Jean  Simmons'  wide-eyed  look  that  rates  a second  look 


Marilyn  Monroe's  luscious  figure  has  launched  a million  sighs.  "She's  one  girl  who 
has  sex  appeal  for  millions  of  men."  But  though  Grace  Kelly  doesn't  have  those 
dangerous  curves,  she's  proving  to  be  the  kind  of  girl  the  Hollywood  men  can't  forget! 


MARILYN  MONROE 


A PHOTOPLAY  EXCLUSIVE  BY  PHIL  STERN 


LOOK, 
SHE’S 


“Ooh,  my  aching  back,”  groans  Jean.  But 
Dick  Allan,  who  started  career  dancing, 
knows  value  of  limbering-up  exercises! 


Jean  breathed  easier  after  this  one!  And 
proved  to  be  tops  at  tap  dancing.  Both 
Dick  and  Jean  are  in  “The  Egyptian ” 


DANCING  ! 


“I’m  going  to  take  dancing  lessons,”  announced 
Jean  Simmons.  Stewart  Granger  lifted  an  inquir- 
ing eyebrow.  “To  reduce  my  hips,”  said  Jean. 
Her  husband  cocked  another  eyebrow.  “For  ‘The 
Egyptian,’  ” his  wife  explained  further.  “The 
bulges  show  in  those  costumes.  And  everyone 
knows  dancing  is  slimming?”  “Hmm!”  replied 
Stewart — and  subsided  into  his  newspaper. 

The  truth  was,  Jean  had  always  wanted  to 
dance,  had  even  studied  in  England  and  once 
thought  of  opening  a dancing  studio.  But  movie 
stardom  had  interfered.  Now,  she  thought,  she 
could  combine  exercise  with  pleasure.  Jean  en- 
listed the  aid  of  actor  Dick  Allan,  who  teaches 
dancing  when  he  isn’t  making  pictures  at  20th. 


Dick  started  Jean  with  modern  dancing. 
“You’re  going  to  be  stiff,”  he  warned  her,  “so 
we’ll  take  it  easy  at  first.”  Jean  was — stiff!  But 
in  spite  of  her  husband’s  quizzical  looks,  Jean 
kept  her  groans  to  herself.  Soon,  she’d  graduated 
into  ballet  and  tap — and  Dick  was  racking  his 
brains,  trying  to  figure  out  what  steps  to  teach 
her  next! 

“Look,  darling,”  Jean  said  one  day.  And 
floated  around  the  living  room.  “Hmm!”  said  her 
husband.  But  this  time  he  didn’t  subside  into  his 
newspaper.  Instead  he  waltzed  her  around  the 
room.  “You  know,”  he  said — and  grinned,  “may- 
be I ought  to  take  lessons  too.  Then  we  could  do 
a musical  together!” 


67 


Audrey  Dalton  is  deep  in  the  most 
wonderful  period  of  her  life.  Noth- 
ing this  Cinderella  girl  has  experienced 
up  to  now  can  compete  with  it — not  the 
thrill  of  playing  the  biggest  role  of  her 
screen  career  to  date  in  “Drum  Beat” 
with  Alan  Ladd,  nor  even  the  memory 
of  her  wonderful  courtship  and  mar- 
riage to  Jim  Brown. 

Day  after  day  Audrey  is  watching  a 
miracle  take  place  before  her  very  eyes, 
the  miracle  of  life  itself  as  her  first-born 
— not  quite  ten-month-old  little  Tara — 
takes  those  first  tentative  steps  into  the 
future.  The  center  and  heart  of  Au- 
drey’s world  is  Tara,  who  already  is 
showing  signs  of  becoming  a beauty. 
That’s  her  natural  heritage,  from  par- 
ents as  comely  as  Audrey  and  Jim 
Brown,  and  from  day  to  day  Audrey 
finds  greater  joy  in  encircling  Tara 
with  all  the  love  and  understanding  a 
mother  can  provide. 

Each  of  her  present  moments  is  so 
rich  and  real  that  it’s  hard  for  Audrey 
to  picture  herself  as  she  was  two  years 
ago.  When  she  looks  back,  there’s  a 
special  date  she  thinks  of,  one  she’ll 
never  forget:  August  8th,  1952.  Until 
then,  she  had  been  an  unknown  Irish 
girl,  raised  in  a convent,  educated  at 
private  schools  in  Dublin  and  London, 
and  at  the  Royal  Academy  of  Dramatic 
Arts.  With  head-whirling  suddenness, 
she  had  just  been  whisked  to  fabulous 
New  York,  then  to  still  more  fabulous 
Hollywood,  where  she  was  to  portray 
one  of  “The  Girls  of  Pleasure  Island.” 
Certainly  it  was  a dream  come  true.  Yet, 
Audrey  was  completely  miserable. 

There  she  was,  in  her  pretty  Holly- 
wood apartment,  with  her  two  best 
friends.  Playing  her  sisters  in  the 
movie,  Joan  Elan  and  Dorothy  Bromiley 
were  sharing  her  good  fortune — and 
tripling  her  misery  by  sharing  that  too. 
Each  time  the  three  British  girls  got  to- 
gether, there  was  just  one  thing  they 
talked  about:  home.  “At  home,  remem- 
ber, we  used  to  . . .” 

Neither  the  satisfactions  of  her  ca- 
reer nor  the  glamour  of  her  surround- 
ings could  make  up  for  the  terrible  lack 
in  Audrey’s  life.  For  the  first  time  in 
her  eighteen  years,  she  had  nobody 
close  to  her  to  love,  nobody  in  love  with 
her.  Back  home,  there  had  been  her 
mother  and  father,  her  two  brothers, 
her  two  sisters  ( Continued  on  page  86) 


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Photos  by  Christa 

You're  off  to  school,  or  maybe  this  year,  you're  office-bound. 
Either  way,  you'll  score  high  with  the  teacher  or  boss  (not  to 
mention  your  budget)  if  you  come  dressed  in  the  Star  Fash- 
ions shown  here.  Left:  Pat  Crowley  chooses  a Harlequin-hued 
wool  princess  coat  that's  Pellon-lined  for  permanent  shape, 
boasts  a cavalier  collar  and  turned-baclc  cuffs.  In  red,  teal, 
purple,  green.  9-15.  $69.96.  Right:  Joanne  Gilbert  wears  a bud- 
get-inspired wool  coat  of  black  and  gray  herringbone  tweed 
with  wide  cavalier  collar,  pleated  and  buttoned  side  fullness 
and  big  flap  pockets.  Also  in  beige  and  white.  7-15.  $49.95. 
Coats  by  Donny  Jr.  Dawnelle  gloves.  Coronet  handbags 

Prices  slightly  higher  on  West  Coast 


* nonruu 

Jht  Judin  intrtri 


This  is  the  new  Gold 
Star  Fashion  Award. 
See  page  71  for  fur- 
ther details  about  it 

For 

Where  to  Buy 
rum  to  page  83 


m 


mm 


X'Vf 


iPlip 


More  fashions 


PHOTOPLAY 

S'&R 

FASHIONS 


1 


V 


What's  Pat  Crowley  saying  to  Joanne  Gilbert? 
Could  be  about  their  new  coats.  Left:  Pat  models 
a full-length  button-down  coat  of  alpaca  pile — 
the  nearest  thing  to  fur  you'll  find.  Soft  and 
smooth  in  fabric,  abundant  in  cut  and  completely 
right  for  the  coldest  days.  Cuffs  are  wide  and 
turned  back.  Shawl  collar  adaptable.  7-15.  In 
beige,  gray,  navy.  About  $65.  By  Harrister  Jr. 


Right:  Joanne  Gilbert  wears  a coat  with  a pen- 
chant for  efficiency  and  an  affinity  for  slim  skirts. 
It's  cut  short,  kept  simple  and  neat,  all  the  better 
to  show  off  its  wide  sailor  collar  and  neat  back 
belt.  Available  in  navy,  charcoal  gray,  light  gray, 
red  and  sand  beige  chinchilla.  5-15.  About  $45. 
By  Diamond  Debs.  Llama  calf  handbag  by  Cor- 
onet. Hat  in  hand,  soft  felt  cloche  by  Betmar 


70 


Prices  slightly  higher  on  West  Coast 


Each  month,  Photoplay's  fashion  staff  will 
select  the  outstanding  junior  fashions 
available.  These  fashions  will  receive  the 
Gold  Star  Fashion  Award  and  will  be  fea- 
tured in  Photoplay  and  at  your  favorite 
store.  They  will  be  tagged,  so  look  for  the 
Gold  Star!  Also  watch  future  issues;  you'll 
have  a chance  to  win  your  favorites. 


Vera-Ellen's  in  M-G-M!s  “Athena”  • Anne  Francis  is  in  M-G-M's  "Rogue  Cop" 


Vera-Ellen's  choice  for  work  is  matching  flannei 
separates.  The  Dior-inspired  "Blouson"  short 
jacket  is  fully  lined,  has  its  own  stitched-on  waist- 
band. The  skirt,  slim  and  trim,  is  interrupted  only 
by  hip-pockets,  kick-pleats.  Color-coordinated 
with  suit,  a cotton  print  shirt.  Skirt,  10-20,  $9.95; 
jacket,  10-18,  $16.95;  shirt,  30-38,  $3.95.  In  pump- 
kin, purple,  lime  green.  Majestic  Specialties 


Kight:  Stolen  from  the  best-dressed  man  are  Anne 
Francis'  "Bond  Street"  separates.  A hip-length 
flannel  Chesterfield  covers  an  Oxford  boy  shirt 
with  French  cuffs  and  tie.  The  skirt,  pencil  slim 
and  efficient,  in  executive  stripe  tweed.  Skirt  in 
gray  and  white,  brown  and  white,  $9.95.  Jacket, 
charcoal  gray,  brown,  $17.95.  Shirt,  white,  pink, 
blue,  $3.95.  All  10-20,  by  Majestic  Specialties 


For 

Where  to  Buy 
turn  to  page  83 


fashions  — 


i 


! 


71 


Mala  Power*’  in  U-I’s  “The  Yellow  Mountain"  • Colleen  Miller's  in  U-I’s  “Four  Guns  to  the  Border" 


Left:  Mala  Powers  takes  time  out  for  fun 
in  a camel-colored  wool  pyramid  princess 
dress  that  carries  its  wide  skirt  influence  to 
a highpoint'in  front,  lowers  to  the  waistline 
in  back.  The  top,  designed  to  look  like  a 
sweater,  is  of  novelty  boucle  jersey:  the  skirt, 
a combination  of  camel  and  wool.  Also  in 
charcoal  gray.  5-15.  $39.95.  By  Felix  Safian. 
Right:  Sally  Forrest  wears  an  orange  orlon- 
wool  jersey  dress  with  figure-flattering  long 

72 


torso  cinched  in  at  the  waist  by  matching 
fabric  belt.  Small  collar  can  be  turned  up, 
has  its  own  slim  bow  tieu  Skirt  is  mass  of 
fine  pleats.  7-15.  $29.95.  By  Pat  Hartly. 
Center:  Colleen  Miller's  full  skirted  coat- 
dress  is  red  faille,  accented  by  a steady 
row  of  black  buttons  from  c