Scanned from the collections of
The Library of Congress
Packard Campus
for Audio Visual Conservation
www.loc.gov/avconservation
Motion Picture and Television Reading Room
www.loc.gov/rr/mopic
Recorded Sound Reference Center
www.loc.gov/rr/record
5*
NA TURNER S UNTOLD STORY! • GLAMOROUS COLOR PORTRAITS!]
| HOW JMM$* 'AlAN J
tRBARA STANWYCK IN LADY OF BURLESQUE FICTIONIZEI)'
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SCRE ENL AND
3
SI
OF COURSE -ITS
METRO-GOLDWYN-MAYER
WALTER BRENNAN
DAME MAY WHITTY- EUGENE PALLETTE- ALAN MOWBRAY
Screen Play by Charles Lederer and George Oppenheimer
Based Upon a Story by Ian McLellan Hunter and Aileen Hamilton
Directed by WESLEY RUGGLES • Produced by PANDRO S. BERMAN
4
SCRKENLAND
/
Paul Hunter, Publisher
Delight Evans, Editor
HOMER ROCKWELL, Executive Vice President
Elizabeth Wilson,
Western Representative
Marion Martone, /
Assistant/Editor
Duiiiiiiiniiuiiiniiiniiiiiiiiiiiiiiiiiiiiiwiiiiiiiiuiiiiiiiiiiiiiiiiii
uimiiiniiiiiiiiiiiiiiiNiiiiiiiiiiiiiiiipiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiii
May, K943
Frank J. Carroll,
Art Director
Jean Duval,
Staff Photographer
niiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiMipiiiiiiiiiiiiiiiiiiiiiiiniiiiiini
Vol. XLVII. No. I
EVERY STORY A FEATURE
The Editor's Page Delight Evans 19
Lana Turner's Untold Story. By Her "Stand-In," Alice May 20
How Mrs. Alan Ladd Is Facing the Future Elizabeth Wilson 24
"Lady of Burlesque." Complete Fictionization . . . .
. . . .Elizabeth B. Petersen 26
>ergeant Gene Autry's First 8 Months In the Army. . Dora Albert 28
Why I am Happy In Free America. Paul Henreid . Elizabeth Wilson 30
"SaluTe for Three." Macdonald Carey Fredda Dudley 33
Don't Depend on Glamor! Veronica Lake Liza 34
How To Get Along In Hollywood. Dona Drake Jack Holland 38
FULL COLOR PORTRAITS:
Robert Young, who appears in "Slightly Dangerous," for M-G-M 23
Gene Tierney, star of "Heaven Must Wait," 20th Century-Fox. . 32
Dinah Shore, playing in Warners' "Thank Your Lucky Stars" 40
SPECIAL PICTURE PAGES: Scenes from "Stage Door Canteen," Bing
Crosby, "DuBarry" Beauties, Glenn Ford, Marguerite Chapman, Lou
Costello and his family, Jean Arthur, Joel McCrea, Judy Garland fash-
ions, Anne Gwynne, Richard Quine, Pearls of Fashion.
DEPARTMENTS:
Hot from Hollywood 6
Honor Page 8
Inside the Stars' Homes. Virginia Weidler Betty Boone 10
Your Guide to Current Films Delight Evans 12
Fans' Forum 14
Hands At Work Josephine Felts 54
Guide to Glamor 55
Here's Hollywood Weston East 56
Recent Films Reviewed In A Flash 59
Screen-Town Chatter 72
Natural Color Cover Portrait of LANA TURNER,
star of M-G-M's "Slightly Dangerous"
Paul Hunter, President
Homer Rockwell, Executive Vice President and Advertising Manager
SCREENLAND. Published monthly by Hunter Publications. Inc.. at 205 10. 42nd Street, New York, N. T.
Advertising Offices: 205 E. 42nd St., New York; 410 North Michigan Ave., Chicago; 427 W. 5th St.,
Los Angeles, Calif. Manuscripts and drawings must be accompanied by return postage. They will receive
careful attention but SCREENLAND assumes no responsibility for tkeir safety. Yearly subscriptions $1.50 in
the United States, its dependencies, Cuba and Mexico: $2.00 in jCanada; foreign $2.50. Changes of address
must reach us five weeks in advance of the next issue. Be sure Xy give both the old and new address. Entered
as second class matter. September 23, 1930, at the Post Office, Naw York. N. Y.. under the act of March 3, 1879.
Additional entry at Chicago, Illinois. Copyright 1943 by Huntier Publications, Inc. Printed in the U. S. A.
MEMBER AUDIT BUREAU OF CIRCULATIONS
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Published In
this space
every month
The greatest
star of ths
screen I
Playing at the Astor Theatre, the mo-
tion picture showcase of Broadway, is a
Metro-Goldwyn-Mayer film that — even
as we go to press — is shaking the grapes
on the vine with tremulous excitement.
★ ★ ★ ★
It has a big title — "The Human
Comedy" — and it is a big picture.
★ ★ ★ ★
No— it isn't a "Gone With The Wind".
It's physically smaller but humanly
larger. It isn't about who kissed who or
who stole the papers.
★ ★ ★ ★
It's about people — real people — human
people — American people — all people.
★ ★ ★ ★
Involved are adventure, romance, feel-
ing, beauty, decency, understanding and
all the words like that in the thesaurus.
★ * ★ ★
This leads us to that curious pheno-
menon of the arts — William Saroyan
who wrote "The Human Comedy"
★ ★ ★ ★
He is the man who baffled and enter-
tained Broadway with such unusual
plays as "My Heart's in the Highlands'
"The Beautiful People" and "The Time
of Your Life". "The Human Comedy"
is better than all his plays, better than
all the Saroyan stories.
★ ★ ★ ★
Clarence Brown produced and directed
the film with loving care. He says that
the picture is inherently his best.
Clarence doesn't boast. He meant that
the picture's content inspired him.
Mickey Rooney gives an artist's per-
formance as Homer Macauley, the mes-
senger boy. Frank Morgan as Willie
Grogan, the telegraph operator, is per-
fection itself.
★ ★ ★ ★
One could tell about the entire cast; tell
about every single episode in the film.
It's that interesting and true.
★ ★ ★ • ★
May we suggest that you write this
column a letter after you've seen the
film. We hope it is playing in your town
today so that we'll hear from you soon,
★
Someone once criticized the films for
not giving the true picture of the best
side of American life. We'd like to hear
from that chap after he sees "The
Human Comedy".
★ ★ ★ ★
We laughed — we cried — we cheered.
★ * ★ ★
Even a lion is
human.
" -leo.
SCREENLAND
5
NEW
KNOWLEDGE
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I City Slate.
Above, Marlene Dietrich
and her grown daughter,
Maria, broadcasting on
the Lockheed program —
their first public appear-
ance together. Left, Wal-
ter Huston, Nan Sunder-
land (Mrs. Huston), and
Bette Davis at a rehear-
sal for one of the Screen
Guild's radio programs.
Jean
Duval
Photos
I'ANA TURNER'S "collapse" after her
brief reunion with her "ex," was for-
tunately short-lived. Lana recovered quickly
enough to have a quiet dinner with her
agent just three days after the newspapers
headlined the newest episode.
WHEN Anne Gwynne announced her en-
gagement to Capt. E. B. Sales of her
home state (and we do mean Texas) every-
one thought Tom Keene would carry a mean
torch. Instead, he got himself a job in a
play called "The Barber Had Two Sons."
It had a short run in New York, but played
long enough for Hollywood producers to
learn they were missing a terrific bet in
Tom. He's on his way back to work at
20th Century-Fox.
A SOLDIER walked up to Olivia de Hav-
r \ illand, who was dining alone in the
Brown Derby. "I beg your pardon," he said,
"but are your eyes bothering you, Miss de
Havilland?" "No, why?" asked Olivia in
surprised tones. "They are bothering me,"
answered the soldier, as he staggered away.
WHILE traveling around the country
doing his broadcasts, Jack Benny has
been quietly collecting three-alarm neckties
for director Mervyn LeRoy. Not that
Mervyn asked him to. It's a rib on Jack's
part, because Meryyn's neckwear shouldn't
happen to a Technicolor camera ! Whenever
Jack sees Mervyn wearing a new number,
he cracks, "Ah, the tie that blinds."
(Please turn to page 9)
SCREENLAND
"I HAVE A HUNCH I'VE STARTED SOMETHING
says
THE first few pages of Gypsy Rose Lee's "THE
G STRING MURDERS" convinced me that
here was something new in screen material. The
farther I read, the more excited I became. The
story had pace, excitement, and a robust humor.
Above all, it had colorful characters that were
made to live on the screen. The burlesque back-
ground was different, intriguing, and lustily alive.
Wait till you hear her sing "Take it off
the E-string, play it on the G-string".
Newcomer to watch
MICHAEL O'SHEA
as the Burlesque
Comedian
SO I've made the picture and you'll be
seeing it soon under the title "LADY
OF BURLESQUE".
THE mystery murder plot has something
■ of the quality that made Nick and Nora
Charles your favorite people in "The Thin
Man." When I produced that picture I had
a hunch you'd want more "Thin Man" pic-
tures— and you did. And now when you see
Barbara Stanwyck as Dixie Daisy I think
you'll want more of the same. Also there's
a newcomer named Michael O'Shea who
looks like a find to me. As a matter of fact,
there are three or four who'll bear watching.
OF course every producer gets enthusiastic
about his latest picture — but please take
my word for it — "I have a hunch I've started
something".
COMING SOON TO
YOUR FAVORITE THEATRE!
HUNT ST ROM BERG presents
BARBARA STANWYCK
with MICHAEL O'SHEA and
). EDWARD BROMBERG • CHARLES DINGLE • FRANK CONROY
GLORIA DICKSON • MARION MARTIN • IRIS ADRIAN - VICTORIA FAUST
PINKY LEE • FRANK FENTON • JANIS CARTER - EDDIE GORDON
Directed by WILLIAM A. WELLMAN
A HUNT STROMBERG PRODUCTION • Released thru UNITED ARTISTS
TIME MAGAZINE RAVES ABOUT
GYPSY ROSE LEE'S BOOK:
lurid, witty . . rich show business voca-
bulary and stage door gags . . builds up
to a hair-raising climax."
MUSIC. ..MYSTERY. ..MURDER!
SCREENLAND
7
"Hitler's Chil-
dren" is the
screen's most
powerful indict-
ment of Nazi
terrorism, with
Bonita Granville
giving a fine per-
formance as the
right - minded
American - born
German girl who
is crucified for
her principles
RKO-Radio's sensation-
al screen version of
Gregor Ziemer's book,
"Education for Death,"
presents Bonita Gran-
ville in her strongest
role to date, opposite
Tim Holt who plays
the handsome storm-
trooper who loves her0
Screenland Honor Pane
Scene at left
shows Anna, en-
acted by Bonita
Granville, about
to be flogged
while her lover,
Karl (Tim Holt)
looks on. Karl in-
tervenes after
first stroke of the
lash, though he
realizes his ac-
tion constitutes a
crime according
to Nazi ideology.
At right, Karl
finally turns
against the Nazi
code of barbar-
ism and sacrifices
his life for free-
dom, even as
Anna is also slain
by storm-troopers.
8
SAT 6 ST NEED
HISTORY!
The end of the Victory Book Campaign on
March 5 does not mean that the effort to get
books for the armed forces is at an end. Les-
lie Brooks, Columbia starlet, urges movie fans
to bring their books to local public libraries,
as she is doing, above, where books are
collected for servicemen, all year round.
Hot from Hollywood
Continued from page 6
WHILE broadcasting from the various
Army camps in the east, Bob Hope at-
tended a banquet. More than were invited
were present, which made the shortage of
food most conspicuous. "Wouldn't it be
nice," sighed Hope wistfully, "if Kate
Smith was a turkey !"
JOHN WAYNE was in the middle of a
J picture when his kiddies were taken sick
with the measles and chicken pox. Hotel
rooms are scarcer than juveniles in Holly-
wood, these days. So John, not wanting to
expose members of his company, moved
into a hospital for a few days. Result? He
got the flu and had to remain there.
CONSIDER the plight of George Mur-
phy. On his Oregon ranch he is raising
hogs, eventually to be turned over for gov-
ernment slaughtering. In Hollywood, George
who would rather eat bacon and eggs than
caviar, can't purchase a sliver of bacon for
love nor money !
DECAUSE Brenda Marshall is still with
Bill Holden in Texas (where he has
been transferred) Weston East couldn't
check this rumor. A close friend of Brenda's
and Bill's confides that one of these days in
the near future, they will have an announce-
ment to make. The stork? What else?
Nothing would make them happier.
PRODUCTION
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By Betty Boone
I OR a while after gas rationing it looked
J as if Weidler parties were out for the
duration. That would have been too bad,
because a party at the Weidlers is some-
thing to shout about. Fortunately, though,
the family* moved from its out-in-the-valley
location to a big New Orleans galleried
type house on a hill in Westwood, where
an "A" card or a bus brings guests within
reach.
Virginia is a born hostess. Perhaps being
youngest of a large family makes her at
home in a crowd. There are three boys
and three girls in the family, not to mention
the husband and baby of one of the girls,
and Mrs. Weidler. Besides, each Weidler
brings home his or her friends as a matter
of course.
"We always had so many people at the
table — never less than twelve," Virginia
observed, wistfully, "but now with my two
older brothers gone, one to the Coast Guard,
the other to the Air Corps, and most of their
friends gone with them, we're lonesome and
it's fun to fill in the blank places with a
party."
Plenty of action, plenty of noise and mu-
sic, and plenty of food is the Weidler recipe
for a party.
"We like to jitterbug, so we have contests
for the best couple, or the fanciest steps, or
the funniest ones, or things like that. Then
there's the recording outfit — we make rec-
Having set the buffet table, our young jitter-
bug hostess, Virginia Weidler, photo at top,
starlet of M-G-M's "The Youngest Profession,"
brings in a generous tray of tempting sand-
wiches which she is seen preparing at right.
Action, jive, and lots of tasty
food is junior hostess Vir-
ginia Weidler's recipe for a
party for the "younger set"
10
S GREENLAND
ords of all the kids at the party and play
them back. Some of them are swell at
thinking up gags, and some try to sing.
The boys usually play some instrument.
That saxophone you hear now is the brother
that's still home." The sax moaned on and
on like a hound baying or a coyote wailing.
Virginia beamed. "Gee, you ought to be
here when all the boys are home ! Each one
would get up in his own room with one or
two dogs and practice hard at whatever in-
strument he was working on then, and the
dogs would all howl something terrible. It
was swell ! The lady next door would open
her window and yell for quiet, but we were
always making so much noise we couldn't
hear. I remember one time I yelled at a
dog: 'Oh, shut up!' and she called out:
'That's what I say !'
"The neighbors are sure glad the boys
are away,"
Guests at Virginia's parties are always
certain of what they call her "rabbit food."
"I have big bowls of green stuff on hand
— things like lettuce, tomato and cucumber
that everyone has, but also raw turnips,
parsley, cauliflour bits and spinach. And
always small pieces of lemon cut up in it.
I can't live without lemon — I like them
squeezed over bread and into all my food, or
just as is," confessed Virginia.
A detailed recipe for the "rabbit food"
follows :
VITAMIN SALAD
Each cook selects her favorite vegetables
for this salad, but this is the way to pre-
pare them :
Wash small tender inside leaves of spin-
ach free of sand. Peel carrots and cucum-
ber. Wash and shred cabbage. Scrub green
pepper, celery and radishes with vegetable
brush and wash cauliflower buds. Crisp in
refrigerator. Wash lettuce, watercress and
parsley and place in salad bowl. Add to-
matoes, peeled and sliced, beets and turnips,
also peeled and sliced. Drain chilled veg-
etables between towels ; slice cucumber and
radishes very thin and add to salad bowl.
If you like onion, add few slices of peeled
white onion. Combine and moisten with
good French dressing.
(Please turn to page 89)
Home recordings and dance contests are the
unique features of Virginia's parties. Below,
she is pictured checking her home equip-
ment and setting the microphone "level."
All the Men at this
Party are Snobs!
Carol: Nonsense, Mary! They're genial lads, and
you're pretty enough and peppy enough to have them
begging for dances! You deserve the limelight, Pet—
and I can help you get your share, in one easy lesson!
Mary: Underarm odor! But I bathe every day!
Carol: A bath is only intended to take care of
past perspiration, Mary! Use Mum to prevent
risk of underarm odor to come!
Mary: Wallflowers like me are often
made by trusting a bath too long.
Never again for me, when speedy
Mum will keep me safe for hours!
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SCREENLAND
11
BIG PICTURE
^out, GUIDE
CURRENT FILMS
SELECTED BY
with
ROSEMARY LANE
JOHN HUBBARD
GUS SCHILLING
ANNE JEFFREYS
GEORGE BYRON
and
THE MILLS BROTHERS and
SPADE COOLEY and HIS BOYS
"Mad About Him. Sad Without
Him Bluet"
'Welcome to Victory Ranch"— and more
FOREVER AND A DAY — R KO-Radio
More stars than we can list here appear in this war
charity film to which all 78 players contributed their
services without pay. Some of the fun of seeing it is
derived from being able to pick out top stars in bit
parts. But even with its wealth of fine talent and in-
teresting tale, it runs too long. It's the story of an
old house and its occupants for generations back, told
in episodic flashbacks, by a modern Trimble (Ruth
Warrick) to a Pomfret (Kent Smith) in the house's
bomb-proof cellar during a raid. English history is
traced from 1804 to present conflict. Anna Neagle,
Ray Milland, Merle Oberon, Ida Lupino are in it.
FLIGHT FOR FREEDOM — RKO-Radio
A thrilling movie about a girl flyer who deliberately
vanishes in the Pacific so that Uncle Sam's searching
planes may photograph Jap fortifications. Rosalind
Russell plays, with conviction and much charm, Tonie
Carter,' a role inspired by the life of Amelia Earhart.
It's a different part for Roz — not the sophisticated
glamor gal type role she usually plays. Fred MacMur-
ray is fine as Randy, dashing, famous aviator with
whom Tonie romances between record-breaking flights.
Herbert Marshall is good as the "other man" in her
life. It's an inspiring tale of adventure, daring, love.
THE AMAZING MRS. HOLLIDAY — Universal
For the first time in her brilliant career, Deanna
Durbin has to cope with a poor story. She struggles
valiantly, to overcome the obstacles of a hodge-podge
script which presents her first as a refugee from the
war in China with a brood of adopted babies, then as
a giddy masquerading matron, and finally as a lovelorn
girl — but not even the enchantment of the Durbin voice
and personality can make her grown-up "come-back"
film anything more than routine entertainment. Barry
Fitzgerald, Edmond O'Brien, and cute youngsters help,
but next time, Universal, do better by our Deanna!
SALUDOS AMIGOS (Hello Friends)— Dhney-RKO
This travelogue-cartoon, filmed as part of our "good
neighbor" policy, is based on the South American tour
made by Disney and his artists. Actual movies of the
party's trip, combined with their impressions of the
natives, their songs, dances, fiestas, and the Latin-
American countries' vivid scenic splendor, plus amus-
ing animated comedy sequences, make this novel car-
toon entertaining and instructive. Donald Duck is seen
as an American tourist ; Goofy becomes a Gaucho ; and
two cute new characters are born : Jose Carioca, a
samba-struttin' parrot, and Pedro, heroic baby plane.
CABIN IN THE SKY — M-G-M
Here's good entertainment. It's an all-negro musical
fantasy, based on the Broadway play. It has the many
varieties of song, dance and comedy for which colored
performers are well known and all those featured in
it are at their best. The action takes place in "Roches-
ter" Anderson's dream. While in a coma, Rochester,
as Little Joe, dreams of the struggles of the forces of
good and evil for possession of his soul. You won't
believe it until you see it, but as presented here, it can be
funny. Ethel Waters, flawless as wife Petunia, who wins
Joe back from sultry Georgia Brown (Lena Home).
It's a
REPUBLIC PICTURE
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HITLER'S CHILDREN— RKO-Radio
Sensational drama exposing the Nazi meth-
ods of "educating" German youth for a
future dedicated to the ruthless ideology of
their Fuehrer is this film version based on
the best-selling book, "Education for Death."
While there are traces of the customary
Hollywood compromise with reality, on the
whole the film is commendably straightfor-
ward as it relates the cold-blooded condi-
tioning of boys and girls and the brutal
treatment of any who fight against the sys-
tem. The tragedy of two who rebel provides
the personal story against the broad back-
ground of anti-Nazi propaganda. Bonita is
poignant, persuasive as the heroine, and
Tim Holt is convincing as the Gestapo boy.
SOMEWHERE IN FRANCE — United Arfhfs
Although this war picture gets off to a
slow start in its early scenes, its action and
pace step up as the tale unfolds, and it
emerges as a thrilling, exciting account of
the experiences of a British engineer (Clif-
ford Evans) who goes on a dangerous mis-
sion to France, before the invasion, to keep
secret munitions machinery from falling to
the Nazis. The film shows encounters with
fifth columnists, bombings, machine-gun-
ning, and pitiful scenes of French refugees
flooding the roads in trying to escape the
oncoming Nazis. Two who help outwit the
enemy are Constance Cummings, who plays
an American girl, and Tommy Trinder, a
British soldier. Trinder furnishes comedy.
THE SIEGE OF LENINGRAD— Arfkino
Impressive documentary showing with stark
realism the heroic stand of our Russian
allies, both soldiers and civilians. Dramatic
screen record of superhuman courage and
endurance. Told with no concessions to
superficial "entertainment" values, it is a
great job of candid camera reporting of
history in the making. Because you are
watching the real thing, the struggles of the
citizens of Leningrad through their grim
and desperate winter provide terrific and
terrible drama, and the fact that the pho-
tography is necessarily far from Holly-
wood's standard of perfection matters not
at all. Stirring scenes are unforgettable.
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FIRST PRIZE LETTER
$10.00
I've just seen "Star Spangled Rhythm"
and, although I was successful in refraining
from the rather unladylike antic of "rolling
in the aisles," I'm afraid my howls of
laughter were strictly of the hyena variety !
From Betty Hutton's hilarious lesson on
"How not to get over a wall," to Bob
Hope's amazing feat of taking a shower
bath with someone who never discovers he's
there ! From Fred MacMurray's consterna-
tion over — tsk-tsk — "another run" in his
sock, to the song-and-dance act of the male
impersonators of Goddard, Lamour and
Lake ! I was never allowed to relax my
jaws for a minute. And was it refreshing!
No trenches, no shell-holes, no starvation,
no misery ; only light-hearted laughter and
song — and that's what this country needs !
Give us more pictures of the "Star Span-
gled Rhythm" variety.
MISS ADLA MICKWEE, Birmingham, Ala.
SECOND PRIZE LETTER
$5.00
I should like to submit my letter in your
monthly contest. (I'm only fifteen.)
After a week of cramming and semester
exams, the gang decided that what we
needed was a little fun. So — locking Latin
and chemistry and Miss Clark in our desks,
we voted for a good movie show, and after=
wards the Tasty Crispy (our corner drug-
store). Anyone who dared to whisper the
word "exam" would have to treat the crowd
to double chocolate ice cream sodas. But no
one even thought of school while watching
"Seven Sweethearts" on the screen.
We were so completely enchanted by pert
Kathryn Grayson and handsome Van Heflin
that we didn't even think of the outcome of
the history exam. Instead, we hummed the
catchy melodies from the film and praised
the super performances of the "Seven
Sweethearts" and their friends.
It was such a friendly picture, so charm-
ing and gay, that we all felt the need of
thanking someone for it. Perhaps this is the
best way. However, we would also like to
ask that Hollywood give us many more pic-
tures like "Seven Sweethearts."
MARILYN FRANZ, Manitowac, Wis.
FIVE PRIZE LETTERS
$1.00 EACH
Perhaps just a pretty face did thrill young
folks in the pre-war movies. But today,
when youngsters who yesterday weren't old
enough to vote, are now considered old
enough to give their precious lives for the
defense of their beloved country, reality has
Fan Mail Into Victory Mail
This is how you can turn your fan
mail into Victory mail. Write a letter
to this Forum telling about your favor-
ite screen star or about a film which
you thought highly of ; or perhaps you
would prefer to write about a star or
movie that disappointed you. What you
write about doesn't matter since letters
of praise as well as constructive criti-
cism are welcome. If your letter is
judged one of the best received during
the month, you will be awarded one of
the War Savings Stamps prizes which
will help you buy more Bonds, and
more Bonds mean an earlier Victory —
that's how your fan letter can become
a Victory letter! Screenland awards
monthly prizes of $10.00; $5.00; and
five prizes of $1.00 each, payable in
War Savings Stamps. Closing date,
25th of month.
Please address letters to Screen-
land's Fans' Forum, 205 East 42nd
St., New York, N. Y.
a far greater appeal.
And nothing more effectively proved just
this than the late lamented movie version
of "White Cargo." It may interest Screen-
land and its readers to know that I saw
that film with a handsome young soldier
home on leave. I had remembered the hit
the show had been years ago when the rich
role of Tondeleyo was given a famous ac-
tress. Yes, I know Hedy Lamarr is quite
beautiful. Still the soldier and I were ter-
ribly bored. After giving her a patient
chance, that soldier boy said: "Gosh she's
not thrilling me — she's making me nervous !"
Nothing proved the point more that Hedy
is not a good actress. That native gal was
a rich part for any actress, but with accent
on the word actress and not just a pretty
face ! And while this criticism may offend
Hedy's admirers, I reiterate, I have not
been able to find one person who saw that
picture who enjoyed it; yet the male cast
was good and the plot interesting.
kUTH BRACKER STONE, New York, N. Y.
14
Screenland
Mikhail Ivanov, guerrilla fighter who par-
ticipated in the siege of Leningrad, receiv-
ing a bouquet from Mrs. Edward Carter, a
director of Russian War Relief at open-
ing of the new film, "Siege of Leningrad."
There was a time when nothing made me
more furious than to hear my girl friends
talking and dreaming about movie actors. I
simply couldn't stand to hear them say,
"Isn't he handsome?" or "Isn't he simply
divine?" I never dreamed that I would soon
be saying such things myself. But the day
I saw Macdonald Carey in "Dr. Broadway,"
I broke the ice. He not only can act, but
he's got one of the nicest smiles in Holly-
wood. I don't scold my friends any more,
but they sure do tease me. But you can bet
your life I don't care. I have finally found
my Hollywood favorite. There is only one
more thing I have to say and that is, give
me more Macdonald Carey films and you
will have a very devoted movie fan. I hope
Carey will be given more and bigger parts
in the future.
DOROTHY PAULEY, Pittsburgh, Pa.
One of the greatest actors in the film in-
dustry has given the public another of his
fine performances. Who could have thought
that this actor, who plays gangster roles
so magnificently, could play opposite Ingrid
Bergman in the greatest love story of all
time? Who would have guessed that this
actor could give the American public such
a performance that they would demand
"Casablanca" be held over indefinitely? Un-
usual indeed! I say, Mr. Producer, don't
fret over your younger stars entering the
services — just make the most of what you
have and, judging from Humphrey Bogart's
performance in "Casablanca," you have
plenty of star material.
Hats off to you, Humphrey Bogart, and
may all your performances be as inspiring
as that of Rick in "Casablanca."
MAXINE SWALLOW, Pocatello, Idaho
I read in a newspaper recently that
Myrna Loy has retired from movies. Please,
Myrna, don't do that to us! Who else but
you can be Mrs. Thin Man? The reason
given was that you wanted to be with your
husband. I have no doubt that you can be
the perfect wife — Nick Charles can testify
to that — but we need you to show us other
much-less-than-perfect wives how it's done,
and to emphasize the way to hold your man
with that screwy technique of yours.
Please come back to the screen. These
new glamor girls who are fast springing
into prominence are all very well as debu-
tantes, but they lack a lot of what it takes
to be a successful screen wife — and, lady,
you've got what it takes, with all the trim-
mins'. Rest up for a while, if you are tired,
JOAN BENNETT
il
speaking:
Twentieth Century-Fox star of MARGIN FOR ERROR'
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VELVATIZE
These lucky boys, who were in Washington when Loretta Young went there for the President's
Birthday Ball, were served refreshments by the star at the Capitol's Stage Door Canteen.
but by spring, do come back and make more
pictures for us. If you must retire, wait until
after the duration, for in these trying times
we need you and your iVicfc-nacks to make
us laugh.
MRS. H. S.JTRU1TT, Norfolk, Va.
As a movie fan who likes good comedies,
I deplore the lack of them today more than
I can say. Where are all the good comedians
these days? Surely, some of the old-timers
could be coaxed back for the duration of
the war, anyway. Some of the old comedians
were masters at making people laugh.
Personally, I would rather see W. C.
Fields rock on his heels, and hear him
bumble, than to see many of Hollywood's
prize players. In the comedy field — the field
I like — Bill Fields is "tops" for fun and
amusement that really amuses. On my movie
match-box, he always "strikes" with amaz-
ing regularity. The only trouble is that he
doesn't get a chance to "strike" often
enough. So here is a plea, producers, for
more comedies. They make us laugh and we
need to laugh these stirring days. Please
call back some of the old-timers and let
them entertain us again.
GENE G. GRAYSON, Columbus, Ohio
HONORABLE MENTION
Please let me say a good word for Vera
Vague, who is, to' my mind, one of the best
comediennes of screen and radio. I would
rather see or hear five minutes of her per-
formance than an hour of Abbott and Cos-
16
Loretta also found time to visit hospitals and cheer bed-ridden soldiers. Be sure to read
what our Editor says about Miss Young's Washington trip in this issue's "Open Letter."
SCREENLAND
James Cagney, Janet Blair and Roy Rogers
return to Hollywood after appearing at the
President's Birthday Ball, in Washington.
tello. (Don't get me wrong, I like Lou and
Bud. too.)
At least three reviews listed "Hi Xeigh-
bor" as a "weak little home-grown number."
My family and I must be home-grown, too,
for after seeing it as part of a double fea-
ture, we stayed to see it over, which is
more than we did for the other half of
the program. Possibly the plot was a bit
weak, but the characters were really funny.
We chuckled for days over some of their
sayings and doings.
And as for Vera, she's vera. Vera clever.
EVA F. SOBEY, Castle Rock, Colo.
It would be nice if during 1943 we, the
fans, would confine our comments to discus-
sions of the pictures and try to soft-pedal
persotialitics. There's a war on and before
it's over it's going to use up plenty of our
emotional vitality so why waste it on idle
arguments anent the stars — who, inciden-
tally, do far more real work than any one
of us? Some like Joan Fontaine, others
prefer Betty Grable ; one goes for Gable,
another chooses Boyer. Okay, every fan to
his or her taste. Let's write with malice to-
ward none and make the column noted dur-
ing the new year for its high rate of
intelligent criticism by going easy on the
petty jibes and barbed wit. There is high-
grade ore among the current crop of pic-
tures, so let's dig for it and forget funny
hair-dos, glamor and sarongs and who's
slipping, etc., etc. Let's make it a happy,
not scrappy Xew Year.
JOHN D. BAYNE, Vancouver, Canada
I have been a movie "bug" since Lyman
Howe, Bill Hart, Pearl White and the super
serial, "The Million Dollar Mystery-" I was
old enough then to have a movie crush, too.
My heart-throb was Grace Cunard and boy !
did I get sore when the villain (Francis
Ford) pursued her. Speaking of serials, why
not give us more like those oldies? The
above would be swell as a "talkie." All the
serials I see today are all blood-and-thunder
without a bit of human interest
Believe it or not, recently I walked a
mile not for a camel but to see Margie
Hart in "Lure Of The Islands," not that
I expected her to do a strip tease. I liked
her but oh, how you let her down ! I will
admit the story packed a punch with plenty
of action but why the Jap angle? You could
have created an island without a Jap on it
even in these hectic times. Anyway, my
blood pressure goes sky high when I have
to look at those yellow babies too often.
But there was a silver lining as the co-
feature turned out to be "Seven Sweet-
hearts," so I lived and loved a sweetheart
of a picture if there ever was one, filled
with more high morale qualities than a
dozen war films.
HASKELL H. GILSON, New Haven, Conn.
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STORY FROM THE HEART OF AMERICA
...TO THRILL AMERICA'S HEART!
America's best loved best-seller comes to
the screen! The mighty story of fierce
dreams, proud courage, fighting
love in today's West) Great as
the red-blooded, warm-hearted
people who inspired it!
with
PRESTON
McDOWALL- FOSTER - JOHNSON
Directed by HAROLD SCHUSTER • Produced by RALPH DIETRICH
Screen Play by Lillie Hayward • Adaptation by Francis Edwards Faragoh
2b
CCNTURV (OX
PICTURE
ftfe
18
SCREENLAND
rcz
AN OPEN LETTER
TO LORETTA YOUNG
HELLO, Trouper:
Your more frenzied fans may resent my hailing
the most orchidaceous of all movie stars as anything so
homespun and everyday as a "trouper." The term
suggests a sturdy character actress rather than the
ethereal exquisite called Loretta Young. You who look
as if a gentle Spring breeze would blow you straight
into the stratosphere, so fragile, dainty, and delicate- —
are really not like that at all. You're harder to knock
out than Joe Louis.
I know. I watched you fight at the President's Birth-
day Ball celebrations in Washington, D. C. As one of
the 2 5 stars who journeyed from Hollywood to partici-
pate in the two days and nights of personal appear-
ances, you were the leading lady in the toughest
schedule any star ever had to meet. Few who saw you
as you dashed from official reception to White House
luncheon, from hospital to Stage Door Canteen, Ljfw
Lovely Loretta wore
this two-year-old
evening gown (right)
to the President's
Birthday Ball cele-
brations in Wash-
ington, D. C. She
says ostentation is
'out" for duration.
Below, Miss Young
with a juvenile ad-
mirer. Latest film for
Paramount, "China,"
deals with the hero-
ism of the Chinese
people of today,
and co-stars Loretta
with Alan Ladd.
you were carrying on against doctor's orders,
and that only your spiritual stamina saw you
through. After it was all over, you gave in
and had the flu — but good. I know what a
beautiful picture you made at the brilliant
banquet attended by the "Washington big-
wigs; but I prefer the closeup I had of you
visiting our boys in the two great hospitals, the
Walter Reed and the U. S. Naval Medical Aid
Center — charming them not only with your
grace and beauty, but warming their hearts
with your understanding and humor. You
can't fool me any longer, Loretta. I know
now that you're no goddess. You're something
better — a fine, down-to-earth human being.
LANA
TURNER'S
UNTOLD
STORY
Gorgeous Lena has a warmth and depth few suspect. Her hid-
den personality is revealed in our exclusive story by her friend,
Alice May. At right, closeup from new Turner film, "Slightly
Dangerous." Lower right, love scene with Robert Young.
THIS is going to be a "jave" story about Lana. Praise
of Lana. Bouquets to Lana. Appreciation of Lana, and
gratitude to her. It may even sound like fulsome
praise, my story. And lush flattery. But that's what makes
it significant. For mind you, I could resent Lana. None
better. I could be horribly jealous of her. I could envy
her, and pity me!
The first time I saw her was when she made "They
Won't Forget" at Warner Brothers. That was her first
picture, made soon after Director Mervyn LeRoy discov-
ered her. I worked in that picture, too. Not as a stand-in,
as an actress. I had a small part. But my chances then, one
might have thought, were as good as hers.
I look quite a bit like Lana. We are the same height,
of course. A stand-in must be the same height as a star.
We have the same color hair (we see to that). We laugh
alike. We even think alike. We are, we have been told, the
same "glandular type." I am not much older than she is.
But — I stand under the lights while the scene is being
set ; step out when the cameras turn. I get a tithe of her
salary, none of her fame, publicity, adulation, glamor. I
am the Martha to her Mary.
I could hate her. I love her dearly. And — / didn't have
to write this story. I am doing it of my own volition. So
here goes with the raves :
She is the most glamorous, most beautiful girl in the
world— and she doesn't know it ! Lana Turner looks glam-
orous, let me tell you, and I'm one that can tell you, when
she wakes up in the morning. One time when we were in
New York, the weather turned zero. I went out and bought
two pairs of those funny looking ski pajamas, tan for Lana,
green for me. We woke up next morning in our gorgeous
suite and to see us running around in those zippered sleep-
ing bags, looking something like overstuffed Gremlins,
Alice May, whose likeness you see below Lana's on opposite page, has
the exact measurements of Miss Turner, so saves the star's energy by
"standing in" for her on the set at M-G-M studio while technicians pre-
pare for next scene. Co-worlcers for five years, off the movie set Alice is
companion, secretary and chum to Lana. A dancer, Miss May appeared
on the concert stage when she was a child. This charming, slim and
blue-eyed blonde is the daughter of Dr. W. May of Los Angeles.
)
In "Slightly Dangerous" Lana plays the
down-to-earth role of a pretty soda-jerlter.
Wholesome lunch on the set for Lana: big glass
of milk, her favorite ham and egg sandwich.
Bulky buffoon from Broadway, Zero Mostel,
looks Lana over with an artist's eye.
was something for the book. Lana looked me over. "Gee,"
she said, "do you look awful !" I wished with all my heart
that I could have returned the compliment in like vein.
But even in those silly-looking things, she was gorgeous.
She looked glamorous during the first couple of months
the baby was coming, when she felt so ill ; through all
the trouble of the past months, her beauty seemed, not
dimmed, but enhanced. I thought to myself, paraphrasing
z. popular song, "Pallor becomes you so . . ."
She can, and does get dressed in less time than any
girl, in or out of pictures, I have ever known. She hasn't
a touch of mirror-phobia. She can be ready for a picnic
or a night-club in ten to fifteen minutes flat and still look
super-glamorous. I don't believe there is anything in the
world she could DO to de-glamorize herself short of
wearing a gas-mask. Even then, there would be that
crowning glory that grows upon her head.
Speaking of which, the reason I was called by M-G-M
to be Lana's stand-in was because, in addition to being
In "Du Barry Was A Lady," lucky Red Skel-
ton has one sequence with luscious Lana.
the same height, I had the same color hair as hers, which
was red-gold then. Since that time we've had five differ-
ent changes of hair. More than once Lana has called me
in the middle of the night to say, "Look, I've got a new
hair color. Now, don't worry, I've cut off a lock." The
next morning I pick up the lock, take it to the beauty
parlor, and am dyed to match.
Lana is a great caller-in-the-middle-of-the-nighter, by
the way. I don't know whether she's psychic or just sen-
sitive to the people she cares for so that she gets thought
waves. But often she'll be away, at Del Monte, perhaps,
or Laguna, and she will call me late at night and say "Are
you all right? Were you asleep? I thought not. What's
the trouble?"
The weird thing is that, when she calls, there always
is something the matter. I tell her. Then I feel better. You
wouldn't think, perhaps, that Lana is the type in whom
girls like to confide. But they do.
Two or three times since I've (Please turn to page 64 )
One of those languorous Turner moments, below, which help to make Lana the soldiers' (and
sailors', and marines') pet Pin-Up Girl. Actually, new Turner film proves star a deft comedienne.
1
HOW^ MRS. ALAN LADD
Sue Carol Ladd, like so
many other patriotic
young wives, is saying,
"I am glad my husband is
a soldier. I am proud that
he wants to fight for
his country and for me"
AS I waited for Mrs. Alan Ladd in
/-Aa sunny corner of the little res-
/ \ taurant across from Paramount
I couldn't help but think of the first
time I had met her. Although I had
seen her dozens of times on the screen
when she was movie star Sue Carol,
and dozens of times on studio lots when
she was agent Sue Carol, I had never
actually met her until the summer of
1942, shortly after she married her fa-
vorite client, Alan Ladd. We had gath-
ered, I retailed, at the home of a mu-
tual friend to wish the young couple
happiness. If I ever saw two loving
young people I saw them that night.
They really didn't need our wishes of
happiness. They had found all the hap-
piness in the world in each other. I
overheard Alan whisper in Sue's ear,
"We'll never be separated, never. Not
even for a night." The gods must have
envied their happiness. I'm sure we
mortals did.
My thoughts passed on from that
night to the last time I 'had seen Sue.
It had been only two weeks before, at
a Lux broadcast of "This Gun for
Hire." Just as brilliantly as he had
done on the screen, Alan again por-
trayed the ruthless, brutal, cold-blooded
is FACING the FUTURE
It's Private Alan
Ladd, now: Sen-
sational young
star of Para-
mount thrillers,
Ladd completed
"Lucky Jordan"
and "China" be-
fore enlisting in
Army Air Corps
By Elizabeth Wilson
Raven, but played the part with such sympathy that
everyone in the audience felt sorry for the boy who might
have been saved from a life of crime if only someone had
been kind to him before it was too late. A few seconds
before the broadcast had begun someone had slipped
quietly into the seat in front of mine. Her hat was pulled
low and her collar pulled up, but I recognized Sue. During
Alan's fade-out speech I heard her sob. Alan stepped back,
and Director Cecil B. DeMille spoke quietly into the
microphone, "Tomorrow Alan Ladd will be Private Alan
Ladd."
Well, it doesn't look so impressive here, perhaps, in
cold black and white print, but believe me, in the theater
that afternoon it was so impressive and thrilling that the
blood congealed in your veins. With one accord every
person in the audience rose to his feet and cheered Alan.
The orchestra started playing "The Star Spangled
Banner." and Sue started crying as if her heart would
break. There were a Lot of lumps in a lot of throats there
that afternoon.
At times like this I never know what to do. Bi.it while
I hesitated a little girl of twelve pushed past me and
slipped her hand into Sue's. "I hope everything will be
all right, Mrs. Ladd," she said, gulping back the tears.
That was all Sue needed. The two of them sat down and
sobbed together. As I left Sue (Please turn to page 68 )
25
LADY OF BURLESQUE
Strange case of the G-string murders! Mys-
tery and romance— backstage in a burlesque
theater— fictionionized from the new film star-
ring Barbara Stanwyck with Michael O'Shea
Please turn to page 79 for
complete cast and credits of
"Lady of Burlesque." A
Hunt Stromberg production,
released by United Artists.
Fictionixed by Elizabeth
Barbara Stanwyck in her latest star-
ring role of Dixie Daisy, burlesque
queen, in Hunt Stromberg's colorful
production based on the Gypsy Rose
Lee novel, "The G-String Murders."
SOME opening night, huh?" Gee Gee said when it
was all over.
"Yeah!" Dixie Daisy's voice was still shaky.
"Wide open !"
But at that, the opening night was nothing to what
was coming. No one even dreamed that murder was
soon to stalk the old Opera House. Least of all Dixie
and Gee Gee, who knew so little then of the feuds and
hatreds smoldering among the cast.
They'd banked so much on that opening night in New
York ever since S. B. Foss' telegram had reached Dixie
in the "burleycue" in Columbus a week ago. The Belasco
of the bumps was offering Dixie a star spot in his show.
That meant Gee Gee would be going too. Everyone on
the circuit knew their friendship. Anybody who wanted
Dixie's rhinestone-studded G-string would have to take
Gee Gee's twangy guitar and her ten-year-old routine
along with it.
It was like the last rung in the ladder of success to Dixie,
that telegram, the rung that was to pop her right out
of burlesque into legitimate show business and the kind
of parts she'd dreamed of. Only she couldn't help wish-
ing her New York debut was in a more glamorous
theater. For the old Opera House looked as if it had
wearied down the long march of years and the mag-
nificence it once had was falling apart. Its marble lobby
and the faded red plush and dingy gold leaf inside were
only shop-worn reminders that once the carriage trade had
swept up to its doors.
Still, it was New York and she had the star spot.
Dixie put everything she had into her first routine as
she sang Play it on the E-string with the boys out front
whistling for more even though Biff Brannigan, the top
comic, waiting in the wings topped her lyrics a couple
of times with cracks that almost broke her up, making
her laugh off cue like that.
S. B. Foss was grinning when she ran off the stage.
"What did I tell you \" He threw his arms around her
affectionately and then said, "You'll be wearing diamonds
in your hair with S. B. Foss (Please turn to page 78 )
Sergeant
GENE AUTRYS
FIRST 8 MONTHS IN THE ARMY
By Dora Albert
28
SO YOUR husband (or your son
or your sweetheart) is in the
Army ! And you are wondering
what will happen to him in camp and
how he will like it. You remember
how much he liked home-cooked meals
and wonder if he will thrive as well
on Army food. You know how he
hates to take orders, and you wonder
how he will be able to stand taking
them from a superior officer. You re-
member times when he has had argu-
ments with men who worked in the
same place with him, and you wish
you knew how he was going to get
along in the Army.
Well, I can give you the answers
to all your questions from a man who
knows, because he himself has been
in the Army for eight months — Ser-
geant Gene Autry. I have just finished
talking to Sergeant Gene. We met at
his Hollywood office in San Fernando
Valley, right near the site of his Val-
ley home which burned down about a
year ago. You can still see the charred
bricks that once were the foundation
stones of his home.
Gene has created a sort of miniature
home in his office. There are curtains
against the windows, comfortable
chairs in the office, treasured pictures
on the walls. Gene was in Hollywood
for a very short visit, having come to
entertain the defense workers at the
Lockheed-Vega plant. Since the War
Department believes that the morale
of the people on the home front is just
as important as that of -the soldiers,
the Army was glad to send Gene to
Hollywood for this purpose.
Gene looked bronzed and healthy
and comfortable in his Sergeant's out-
Republic Pictures, by popular demand, are
re-issuing some of Autry's best Westerns.
Above, typical scene with Smiley Burnette.
fit. It had been about eight months
since I last saw Gene, just before he
went into the Army — and the only
change I could notice was that he
looked more relaxed, more at ease
than he had before he was in uniform.
It was as though being in the Army
had answered some very deep need in
him, so that he was less restless than
he had been before he was inducted.
"Any man," Gene told me, "who
wants to get along in the Army can
do so easily. On the other hand, if a
man goes into the Army resenting the
fact that he's been drafted and deter-
mined to make trouble, he generally
gets all the trouble he has been look-
ing for.
"I have seen fellows go in hating
the idea that they had been drafted.
At first they would bellyache about
everything. As long as they resented
the Army^they got along badly. Other
fellows would give them a wide berth.
But often, the time would come when
they would change. In spite of them-
selves, they would begin to take pride
in this man's Army. And the moment
they got over their foolish resentment,
they'd get along.
I asked Gene if he'd give some ad-
vice to men who are about to go into
the service. In peace time he'd given
me his advice to young men in a world
at peace; and some months ago he
gave his advice to young men in a
Sergeant Gene Autry, at right, entering a
trainer plane. Gene had many hours in the
air before he joined the Air Corps, and is
so Iteen to get more experience that he not
only does all the flying the Army suggests,
but even flies an hour or two a day in a pri-
vate plane. At right below, Sergeant Autry
shakes hands with Chinese cadets at Thunder-
bird Field. He has great respect tor these
boys. Photo, Photographic Section, Lulte Field.
Gene's own impres-
sions (exclusive!) of his
life in the Air Corps
war-torn world. At that time he hadn't
served in the Army yet. Now, I felt,
he could gear his advice especially to
young men who were being called into
the Army, the Navy or the Marines —
and particularly the Army.
He did. He said :
1. "Try to pick the branch of the
service where you can do the best job.
But if the officials decide you're mis-
taken, don't resent it. Any decision
they make is for your own good as
well as for the good of the services.
Naturally, I'm partial to the Air
Corps. I know a lot of boys want to
be pilots. But maybe the officials will
decide after testing some of them that
their eyes are poor or their sense of
timing wrong. If that happens to you,
accept their decision with good sports-
manship. Even though you wanted to
be a pilot, perhaps you'll make a better
mechanic or a bombardier. Or you
may have wanted to be a bombardier,
and all the time you were really cut
out for a mechanic. Don't resent this.
All the men in the services must work
together. Just as in a football team,
you can't (Please turn to page 60 )
Paul Henreid of "Casablanca" and
"Now, Voyager" fame is well on his way
to becoming an American— a famous
one! He loves the American way of life.
30
PAUL HENREID TELLS
ELIZABETH WILSON
TEN years ago Paul Henreid made his first moving
picture in Vienna. It wasn't a very important picture.
And it wasn't nearly so good as those American pic-
tures Paul saw at every opportunity he had. In his first
picture he had tried to do a combination Ronald Colman
and Gary Cooper, and it hadn't quite come off. But just
the same he was thrilled about it. And when he was
informed at the studio that a girl from one of the leading
Viennese magazines wanted to interview him he felt
that he had arrived.
When the girl had finished the interview, she said,
"I would like to read your palm, Mr. Henreid, do you
mind?" Paul was pleased. "See if you can find a brilliant
career for me," he said impetuously. "I want a career
so bad I can taste it."
The girl studied his palm for some time, and then said
very seriously, "You will have to go very far to make
your career, Mr. Henreid. And you will have to go very
far to find your happiness. I see water, much water, an
ocean. You'll make your career in a far-away foreign
country. And you'll not make it4intil you are thirty-five."
"Thirty-five !" exclaimed Paul miserably. "You mean
I've got to wait ten long years?" And then his spirits
quickly rose. "An ocean? A foreign country? America,"
he whispered. "It is America, isn't it? Please say it's
America. All my life I've wanted to go to America.
Live there. Work there. And be an American."
Today, ten years later, Paul Henreid is well on his way
to becoming an American, and a famous one at that. It will
be several years before he re- (Please turn to page 89 )
WHY I AM HAPPY
IN FREE
Paul and his pretty wife, Lisl, on the patio of their beloved home
In Brentwood, which they purchased from the Henry Fondas.
The Henreid family's pet, Maxie, takes it easy while Paul reads
" up on American history in his quiet and comfortable den.
"I am a property owner, I am a tax payer, I belong here!" says
Paul Henreid proudly. Above, in the living room of his home.
Mrs. Henreid's own sun-filled room, above, is done in pink and
blue except for the beige rug. The effect is bright and cheerful.
When Henry Fonda went off to war his wife found their home too
large, so sold it to the Henreids. Above, left, the barrel-bar.
Paul studies his latest Warner Bros, movie script in his bedroom,
above. All these exclusive home photographs are by Bert Six.
31
1
That's Macdonald Ca-
rey's last film for the
duration — and it is also
the inescapable title for
an important phase of
his private life. Let's do
a flash-back on Carey
yOU remember Macdonald Carey. His first picture
for Paramount was "Doctor Broadway"; after that
he was the rather stuffy young fiance who was out-
raged by Fred MacMurray's picture of Roz Russell in
'Take A Letter, Darling." His next assignment was the
rt of the valiant aviator who brought his plane safely
ck before he died in "Wake Island." Then he went over
o Universal on loan-out for the Hitchcock thriller,
"Shadow Of A Doubt," after which he returned to his
home lot to work in "Salute For Three" with Dona Drake
and Betty Rhodes.
"Salute For Three" is his last picture for the duration,
By Fredda Dudley
but he has one of those beautiful, charming deals with
Paramount which guarantees him at least one year's work
when he gets back from hostile points. And "Salute For
Three" is the inescapable title for an important phase
of the Carey life. Let's do a flash-back.
Let's pick up young Carey in his nursery at the ad-
vanced age of four. Mac was the son of a man who dealt
in stocks, bonds and real estate, and who talked business
in the presence of a precocious junior partner. Came the
day when Father Carey had some important news for
Macdonald. He was jovial about said news. Heartily, he
said, "Well, son, guess what (Please turn to page 70)
From now .on, he's
Private Macdonald
Carey, U. S. M. C.
Here, at right, is a
scene from his final
motion picture be-
fore enlisting: "Sa-
lute For Three," with
Betty Rhodes. Far
right, wrapped in a
blanket between "re-
tiring" scenes for
film, Carey phones
his home from the set.
DONT
DEPEND
Girls! Listen to Ve-
ronica Lake. The
Peek-A-Boo blonde
tells you how you
can take glamor or
leave it alone — and
still do all right!
By
Liza
Practicing glamor here, but
she doesn't have to! Frankest
of Hollywood's famous femmes,
Veronica gives all you girls the
low-down on the glamor racket.
WHEN the University of Georgia football team
visited Hollywood in January, following their
victory over U.C.L.A. in the Rose Bowl, they
were entertained at Paramount Studios by Y. Frank
Freeman, a former Georgian. After lunch in the com-
missary and a tour of the lot the boys were told that next
they would be taken on the "So Proudly We Hail" set
where Veronica Lake was working. The Georgia Bull-
dogs went bow-WOW. They expected to see a sexy-
looking doll with her hair over one eye and a skirt slit
daringly to her waistline. (The Lake curves are far better
known to most college boys than the equations in their
math books.) Instead they saw a serious young woman
in a nurse's soiled uniform, cotton stockings with a tear
in them, and sensible low-heeled shoes. Her face was
streaked with dust, and her hair was in a frowsy knot
on the back of her neck. Believe me, the Peek-A-Boo
girl just narrowly missed being hit by a flock of falling
jaws. The Bull-dogs couldn't have been more unhappy.
Veronica, on the contrary, couldn't have been happier.
Veronica had to put up a terrific fight before her Para-
mount bosses would let her play the tragic little nurse in
"So Proudly We Hail." It's a very minor part in the pic-
ture (Claudette Colbert and Paulette Goddard have the
31
Yes, she can get along without glamor— and she proves it in
"So Proudly We Hail," in which she plays a war nurse (see
closeups above, and at right below) without a trace of the
sexy-looking glamor doll you know from previous pictures.
leads), but it's a highly dramatic part, and Veronica
wanted it so badly she chewed her fingernails, literally.
("I'm still chewing them," she told me. "I'm so scared
I won't be good.")
The front office boys, busily counting up receipts from
"I Married a Witch," wherein Veronica did a mild strip
tease, turned a deaf ear. Why should anyone with such
perfect gams want to hide them in a nurse's uniform?
"I want to be an actress," said Veronica whose soft voice
can boom out loud and clear when the occasion demands.
"Is there anything strange about that? It's all right to
get a start in pictures by means of a trick hair-do and a
slit skirt, and I am very grateful to a trick hair-do and a
slit skirt, but to remain in pictures you have to be able
to act. You can't depend on glamor on the screen, no more
than you can in life."
A pretty sharp girl for twenty-two.
Well, the producers finally saw her point of view. They
handed her the part. Veronica pinned up her hair. Bit
her fingernails. And worked herself right into a major
appendectomy.
"Why," I asked the season's loveliest convalescent, a
week or so ago, "why did you say you can't depend on
glamor ?"
Veronica adjusted her pillows, flipped the hair out of
her eye, and talked. "No girl should depend on glamor,"
she said, "because glamor doesn't last. Age defeats it com-
pletely. No cosmetiqueen, no matter how talented or ex-
pensive, can keep a chin from sagging, or wrinkles from
gathering. If a girl's entire happiness depends upon her
glamor, she's got a lot of sorrow in store for her when
she reaches a certain age. There's nothing so pathetic as
a woman trying to look twenty when she's forty. And
she certainly isn't fooling anyone but herself.
"Then, too, glamor never bears up very well when the
unexpected happens. If all you have is a beautifully
enameled surface, and you can't get to a beauty shop in
time, you are bound to get caught out in many an em-
barrassing situation. A girl friend of mine, a secretary
at one of the studios, was deep in suds one Sunday morn-
ing recently (we're all doing our laundry in Hollywood
these servantless days) when her best beau arrived three
hours before he was expected. (Please turn to page 87 )
Pretty Marjorie Rior-
dan, one of lucky "un-
knowns" chosen for fic-
tional cast, is a "find."
So, too, cute Margaret
Early, top left. "Tex"
Harrison, top right, is
former world's champion
cowboy, who appears
opposite Miss Early.
"For the benefit of the uniformed ma
of the Armed Forces only" is New
York's famous Stage Door Canteen
But you, and you, and you will be w
come to watch the proceedings
Sol Lesser's new film, staged agar
background of the glamorous plao
Great Lady of the the-
ater Katharine Cornell
plays her first movie
scene, left, with Lou
McAllister while Pro-
ducer Lesser, left, and
Director Borzage hover.
Lower left, Marjorie
and Margaret being
amused by Kay Kyser.
Long and short of it!
Playing sweethearts in
"Stage Door Canteen"
are Miss Early, not quite
five feet small, and
handsome Michael "Tex"
Harrison, six feet three.
1!
Photo scoops of Dona, reading from
far left: with Macdonald Carey at
the studio, and at home on her day off.
Dona in the dog-house,
above. Note names of
her four pet spaniels.
The demi-tasse star of
"Salute For Three"
wants everyone to know
that her own name is
pronounced "Dough-na"
and not "Doh-na."
|T'S taken me over a year to know how to get along in
Hollywood. Even at that, though, I consider myself
lucky that I was able to learn as quickly as I did. There
are quite a few people who have never learned how to get
along in this fabulous town !
Today I can be more certain of my future in Hollywood.
The breaks — after my mistakes were corrected — are be-
ginning to come my way. With "Road to Morocco" under
my belt and "Star Spangled Rhythm" released, the big
jump is partly hurdled. And now that I'm actually play-
ing myself in "Salute For Three" and am to do the lead
opposite Bob Hope in "Let's Face It," I can tell pretty
well just how much I've learned about Hollywood. And
how much I've learned from it. (Incidentally, I'm glad
to be working in "Salute For Three" if for no other
reason than that I get a chance to wear a dress on the
screen for the first time and that it will let everyone know
that my name is pronounced "Dough-na" — not "Dah-na.")
I think that I was able to get along in Hollywood better
than some girls because I'm a very determined young
lady. I've always been a fighter for what I want. That is
undoubtedly a throwback to my career before I went into
pictures.
I started out in show business at thirteen. My sister
and I danced at the Paradise Restaurant in New York
at the time.
Even though I was only thirteen, I acted and looked
older. Not that I was trying to fool anyone about my age.
I simply had made up my mind that I was going to be
an actress and I was going to begin early — even if my
beginning was as a dancer. {Please turn to page 74 )
HOW TO GET ALONG
IN HOLLYWOOD
39
ATCHING UP WifH CROSBY r
Feast for your eyes: the luscious lovelies who parade in M-G-M's musical
starring Red Skelton and Lucille Ball. P. S. All in Technicolor, too!
If you want the answer to "What is
so rare as a day in June?" turn left
to look at Hazel Brook. Below, statu-
esque Natalie Draper poses as
March. For the rest of the calendar
cuties, you'll have to see M-G-M's
new picture, "Du Barry Was A Lady."
You can't beat the Navy! Won belle, and
all is well. Glenn Ford, playing a boat-
swain's mate in "Destroyer," has pretty
Marguerite Chapman as his leading lady.
Pictures at left are an off-stage playlet
"Costello Productions are privileged to an-
nounce the World Premiere of their third
production, 'Louis Francis Costello, Jr.'
Sneak-previewed at Good Samaritan Hospital,
November 6th, 1942. Produced by Anne Cos-
tello. Directed by Lou Costello. Released by
Or. Robert Fagan. Footage: 19 inches. Ship-
ping weight: 6 lbs., 2 oz. First public showing
to be announced later. No further produc-
tion scheduled." From birth announcement
sent to friends by Mr. and Mrs. Costello.
But be sure you choose
glowing, colorful, flattering
Deltah Pearls*, so like
Orientals in beauty,
lustre, iridescence. Bracelets
and earrings, too.
At better jewelers.
*simiil<ilr<J
Deltah Pearl Button Earrings
Betty Hutton
Co-starring in Paramount';
• "HAPPY GO LUCKY"
eltah ^Pear
MOULD'S F,N£ST REP*ODUCT/OA//
Created by L. Heller and Son, Inc., Fifth Avenue, New York
This IS first public showing (exclusive photos) of Costello baby; opposite page
with proud parents. Below, papa Lou with daughters Carole and Patricia Ann.
i
Demure Missy Jean
does a Dietrich,
exposes shapely
underpinnings on
screen in "The
More the Merrier"
CHESTY
McCREA
Usually staid Joel
McCrea gets into
a "Tarzan" mood
C minus the yell) in
romantic comedy
with Jean Arthur
I
rJj.°ttn^«d 9t°« .n«v.„ brown woo.
■ Mu« wool, with «lk Wooso
Garland sings af young,
qav fashions! She poses
here in her pets from the
clothes collection designed
especially for her to wear
in "Presenting Lily Mars
Judy's summer dinner gown .s pale
pink chiffon with a tailored bodies
contrasted bY a sweeping skirt
gay with hand-painted flowers in
aH the shades of the ra.nbow.
ou
I N ARMS
Young players in "We've Never Been
Licked," filmed at Texas A & M Col-
lege, tell stirring story of youth's gal-
lant acceptance of today's challenge
PEARLS OF
FASHION
Paromount'i Susan Hayward, wKo has gorgeous
Titian hair, accents a dressy afternoon frock
with a single strand of pearls and earclips.
Another monopoly is broken up and
without government order ! The oyster
no longer makes the beautiful pearls.
Man watched . . . and copied . . .
and now there are brilliant gleaming
pearls, man-made replicas of genuine
orientals with a lustre and iridescence
to make the mildest oyster gnash his
teeth ... if he had teeth. So today
you may wear this most useful of all
jewels ... in your ears, around your
throat, or your wrist. Pearls are
notorious face flatterers! They go
handsomely with prints; glow on
plain fabrics; are equally at home
with your hand-knits or most glam-
orous of evening fabrics.
Pretty blonde Marie McDonald of Paramount' i
Lucky Jordan" dramatizes her leaf-patterned
print dress with Deltah "replica" pearls.
HANDS
AT WORK
By
Josephine Felts
The loveliest hands on the screen! Whose?
Joan Bennett's, of course. And here they are
at her favorite off-hour task . . . knitting.
IMAGINE! Uncle Sam. can read much of his fortune
I right in your hands ! That is how important they are,
I those hard-at-work hands of yours that are busy these
days helping win the war..
Let's have a look at them. Are they lovely as Joan
Bennett's, a prize-winning pair; slender, shapely and
strong although tiny, like Mary Martin's ; or blessed with
long tapering fingers like Betty Rhodes' ? However they
look, they should be always practical, skillful, busy hands.
For these are the only beautiful ones today.
Your hands are a barometer showing how much you
think of yourself. You want them looking smart and
ready-to-go ! This has nothing to do with their shape, or
how pretty they are. But it has a great deal to do with
grooming, and with your manicure.
In giving yourself a home manicure, take off your polish
first. Then begin by filing the nail to the proper shape.
This is best done first, because presently you are going
to soak your hands in warm soapy water and you want
to file while the nail is hard, not after water has softened
it up. It is so much easier to get the shape you want at
this time. Always file toward the center of the nail and
don't file too close to the outside edge.
Remember in filing your nails that while it is impos-
sible for you to alter the actual shape of your hands, there
is much you can do to make them look longer, more
slender than they are. File your nails to a smooth oval,
never to a sharp point. Should you file them straight
across you will make your hands look stubby and blunt.
Oval, is half way between these two and the suitable
shape for today.
Next, soak your hands in warm water and scrub the
hands and under the nails with a good vigorous swish.
You own, we hope, a good nail brush. Get the nails
super-clean. Then go to work with your orange wood
stick. Never use your nailfile to clean under the nails.
You cannot use metal for this without scratching the in-
You'll meet Joan soon again in "Margin For Massage is a wonderful finger exercise, Mary Martin makes a very spirited muffin!
Error" which she has made for Twentieth- says Betty Rhodes whom you'll be seeing This glamorous Paramount star whose next
Century Fox. Notice her beautiful hands, soon in the Paramount "Salute For Three." film is "True To Life," loves her kitchen.
side of the nail. And then that line on the
nail that you have drawn with your file,
even though you cannot see it, stays right
there and catches all the dirt that comes near.
You wonder why it is that your nails are
so dirty again so soon ! And this scratched-
in dirt is terribly hard to get out It's "in
the groove" and it means to stay there !
Next go after the cuticle with your orange
wood stick. Push it back gently and rub
off dead skin. You will want to trim away
any little hangnails. Do this with a good
pair of nail scissors or manicure clippers
if you are so fortunate as to own any. And
remember do not cut cuticle itself!
Suppose you have broken your nail some-
time recently and it seems to crack on and
on down. Perhaps to remedy this you have
used an emery board thinking it will do a
better job for this delicate operation than
your file. Don't! Because the little sandy
specks from the emery board have a way
of working down into the crack and spread-
ing it farther. The only way to cure this
difficulty is to cut the nail a nice clean cut
or to file off the break. Most nail breaks
are caused by carelessness and as they are
very uncomfortable as well as unsightly — a
wise girl avoids this. You can get little
finger guards to protect a broken nail while
you work until it has had a chance to grow
out again.
With hands doing more work than ever
before it pays to keep the palm and back
of the hand in the pink of condition. No
good workman neglects his tools. Your
hands are your tools and you will do better
work with them if they are supple as well
as strong. They need not become roughened
or calloused if you keep a good hand cream
or lotion close at hand and use it regularly.
This means of course after every washing.
To soften callouses, rub a little cream or
lotion into them each night. Then draw on
a pair of loose cotton gloves and sleep with
them on. You'll be amazed to see the cal-
louses go in a few short weeks.
If you are working in a war plant and
are getting your hands grimy with grease,
you will want to have on hand some of the
grease solvents. Some very good ones of
this kind that do a real rescue job have
been developed.
One smart trick o( the stars is to supple-
ment hand cream or lotion with the rest
of the good nourishing cream which you use
on your face and throat Massage it gently
into your hands. (Today nothing must be
wasted.) While you're about it give your
elbows a rub with it too!
In massaging start at the tips of the fin-
gers as if you were drawing on a pair <}f
new gloves. Incidentally, this will help keep
your fingers supple.
When your hands get stiff and tired from
working, take a minute off and shake them
hard from the wrist This, together with
the finger massage, will shake the kinks
out of them.
Now to the matter of polish. It is an art
to put polish on smartly ; one you will do
well to practice a bit Always do your right
hand first! The concentration you employ
in putting on polish is a strain and before
you finish your hand may shake a little. Let
the left hand do its job before you have a
chance to tire. The right hand is stronger
and will be all ready to go to work when
the polish is on the left one.
Outline the half moon at the base first.
Then with a quick sure stroke carry the
polish up first one side then the other doing
the middle of the nail last. Get just the
right amount of polish on your brush. Too
little will streak, too much is wasteful and
will bunch up. Then with a free finger, take
the polish off the tip of the nail in just a
hair line. This is to help prevent chipping
and cracking.
Let the hand you have finished dry first
(Continued on page 64)
GUIDE TO GLAMOR
News in the beauty world today reminds us
that our good looks need never be rationed
"Follow Me" is a young, a gay, a lively perfume, which is probably the reason so
many young, gay and lively girls prefer it. It is in most attractive packages.
WE WOULD like to introduce the new
member of a gay and lively family :
the fine soap, scented with "Follow Me,"
by Varva, a perfume the young set is
rushing. Well we know that words don't
describe perfume. You must experience it
for yourself. But this is one which leads
an exciting life. You may have it in any one
of a number of attractive packages, two
of which, the De Luxe half-ounce size, and
the smaller pearl bottle, set in a cunning
hat box with leatherette strap, are shown
above. Don't forget the extra use of a pleas-
ant scented soap such as this one: put the
cakes you are not using in with your lin-
gerie or handkerchiefs to make them sweet.
HOWEVER you are doing your hair
this spring keep it bright and shining.
Your brush helps you do this as every
beauty-wise girl knows. Nestle's Colorinse
used after your shampoo is another aid
to brighten shining locks. Not only does it
rinse away soap film, but it makes your
hair softer and silkier. Pick the shade which
most nearly matches your own hair. You'll
find it adds sparkle, interest and a richness
of tone. Let yours be the bright hair other
girls envy.
NOW, you can pour yourself a pair of
stockings which look like sheer silk
hose ; be confident that they will keep look-
ing right without worry about streaking or
rubbing off. Miner's Liquid Make-Up for
the legs is made on a new, improved for-
mula designed for smoothness, speed and
ease of application. You'll be surprised at
the way it stays on without rubbing off or
streaking. It's waterproof. See if it isn't
the answer to your hosiery problem . . .
the really perfect leg make-up, at last.
There are two special hosiery shades —
Rose Beige and Golden Mist.
EVERY minute of our lives our skin is
in the process of renewing itself. As
the old saying goes you have a completely
new one every seven years. This means that
the top, outer layer is constantly drying
up and disappearing as the new fresh skin
is formed underneath. Golden Peacock
Bleach Creme is a product which helps get
rid of this "outer skin." And until we are
rid of it, the outworn skin acts as a dull
veil between us and the complexion we
ought to have. I know that you usually think
of a bleach as something to use in the fall to
remove suntan. Golden Peacock Bleach
Creme is good for this bleaching purpose
too, but it does much more. It helps make
your skin ready for spring. Incidentally, it
is a very effective aid in removing black-
heads.
THERE is news for you Early American
Old Spice fans ! Another one of those de-
lightful Old Spice packages, this time a
Tissue Box. It is in the attractive design
with which you are so familiar and you can
put your favorite brand of tissues inside it.
It comes as the container of three cakes of
toilet soap plus that wonderful tube of tal-
cum powder. A fine present for your hostess
or a treat for yourself.
OF COURSE, much as we would like to
believe that a new make-up will help
win the war, we are sorry to say that we
know it won't. But it will make you prettier,
of that we are sure. So here's Dorothy Gray
with a new matched make-up called Red
Letter Red, packaged to look for all the
world like an R. F. D. mail box. In it you
find the new lipstick, a rosy-bright blue
red with rouge to match ; nail polish, and
half the regular size of Special Blend Pow-
der. It is a combination which budget-
minded girls will go for, because it puts all
necessary make-up items, harmonized to
each other, right into your hands in one
fell swoop.
Red Letter Red, a glorious bright lipstick
shade keynotes a new Dorothy Gray ensemble.
Candids by
Jean Duval
Gossip by
Weston East
MARRIAGE must wait for Glenn Ford
and Eleanor Powell — but only until
they know their future plans. Glenn will be
a Marine by the time this reaches print.
Eleanor has one more picture and then she
will be free from M-G-M. By that time
Glenn will know where he is to be stationed.
Eleanor is determined to give up her career
and concentrate on the home of her own
she has longed for. So contrary to that col-
umnist's report (who was sore because she
didn't get the scoop on the engagement)
Glenn and Ellie are still very much in love
and looking forward to their wedding day.
THE more unhappy Judy Garland gets,
the better actress she seems to become.
The day she announced her matrimonial va-
The boys at the Hollywood Canteen have just
about exhausted Betty Grable, top, but who
can blame them — a fellow doesn't always get
a chance to cut a rug with a movie star. Left,
though separated, the Red Skeltons appeared
together at the March of Dimes show. Judy
Garland and hubby Dave Rose separated the
day after attending Laraine Day's party, below.
Above left, Alexis Smith, one of the stars who helps spread cheer to Uncle Sam's boys at
the Hollywood Canteen, also got a chance to entertain her own soldier boy friend, Craig
Stevens, whom Alexis says she'll marry after the war is over. Above, the happy newlyweds,
agent Vic Orsatti and cute starlet Marie McDonald, proudly display their wedding bands.
cation from David Rose, they sneak-pre-
viewed "Presenting Lily Mars." At the end
of the picture the audience applauded and
cheered. Pale, thin and definitely showing
the marks of suffering, Judy is a constant
source of worry to her bosses. Kinda cute on
Spencer Tracy's part He took Judy and
two girl friends to Romanoff's for dinner.
Spence knocked himself out, trying to be
gay and amusing.
EVEN when he was criticized for not be-
ing in the service, Bob Taylor said noth-
ing. But when the time came and he was
qualified, Bob volunteered in the aviation
transport division of the Naval Air Force.
Today he is wearing the insignia of lieuten-
ant (j. g.). While awaiting orders to report
for training, Bob is attending flight school
at Blythe, California. Roger Pryor (Ann
Sothern's ex) who helped Bob pass his
civilian tests, is again his instructor. Holly-
wood is just as proud of Bob as Barbara
Stanwyck is.
HOLLYWOOD commentators are mak-
ing life miserable for Alexis Smith.
"Craig Stevens and I are not secretly
married," says Alexis. "We won't marry
until after the war. If I change my mind I'll
be proud to tell everyone." That settles that
— we hope !
IT'S a long time between now and Septem-
I ber — which is the month that John Loder
will be legally free to marry Hedy Lamarr.
So don't be too surprised if John establishes
a residence in Nevada or Mexico and gets
his own divorce in a hurry. So quiet has
been their romance, Hollywood hasn't taken
it seriously. John has been wonderful for
Hedy, especially through the difficult period
when she was suing M-G-M over salary-
disagreement Hedy, believe it or not, loves
a home and hearth, both close to John's
heart. So maybe it won't be long now.
GINGER ROGERS evidently doesn't be-
lieve in doing things by halves. Before
her marriage to Jack Briggs, Ginger stayed
home five nights a week. When she did go
out she'd always seek an inconspicuous cor-
ner of a night-club. An interview with Gin-
ger on anything personal was sheer agony
for a writer. Suddenly she has decided to
have fun. She was out the first three nights
Zany antics of his wife, Gracie Allen, and that
ace comic, Red Skelton, amused George Burns
at the March of Dimes party, above. Wonder
where Skelton got the military headpiece.
following her marriage and dancing as she
has never danced before ! She gave out in-
terviews, talked freely, while studio associ-
ates gasped. Whatever it was Ginger was
afraid of, it seems to be gone. And how!
/~LARK GABLE only visits Walter and
^— "Fieldsie" Lang when he is in Holly-
wood. "Fieldsie," you know, was Carole
Lombard's best friend and former secretary.
Clark looks wonderful these days. He's
gained back all the weight he lost during
his rigorous officer's training stint The
Langs had a few people in to meet Clark,
during his last visit Bob Sterling, on leave
from Santa Ana, was among those present.
Clark greeted Bob like a long-lost brother.
They actually were brothers in the picture
Clark was making when he received the
tragic news that changed the course of his
life. Clark and Bob have been good friends
ever since.
ERROL FLYNN has been exonerated of
the charges against him. Practically a
few minutes after the verdict letters, tele-
grams, messages began pouring in at the
Warner Studio. Finally, they had to put on
Chief cause of familiar sight of servicemen
clamoring for autographs of film stars (see
them at right with Deanna Durbin at the Can-
teen): they're collecting the signatures for the
girls back home. Although George Montgomery
continues to squire Dinah Shore around town,
Alice Faye and Cesar Romero, above, study scripts
for "Mail Call" transcription which is sent to our
boys in the service in remote places. Right, Mr. and
Mrs. Paul Henreid at the Laraine Day party.
two extra boys in the mail room to handle
the avalanche. All of which proves that a
public hero can do no wrong. If anyone ex-
pected Errol to kid or clown about the
whole thing, he was due for disappointment.
His first day back on the lot found a serious
Errol going about his business and trying
hard to forget the whole unpleasant mess.
WELL, Lana Turner has her annulment
from Stephen Crane. Custody of the
expected child was given, with rights of
visitation by Crane. The degree specifically
stated that the annulment will in no way
"affect the legitimacy of any such child." So
now what? Lana is out of the hospital and
looking much better. She won't do a picture
until after the baby is born. She won't say
whether she intends marrying Crane again.
IF EVER there was a sensitive Ladd, his
I first name is Alan. That's why it's re-
markable how he's adjusting himself to
Army life. Fortunately for Alan, he's sta-
tioned in Culver City, which is close to
home. But he never knows when they are
going to transfer him. Alan is taking orders,
doing K. P, and even eating despite his con-
tinued lack of appetite. To the men in his
company, he's toDS.
NEVER let it be said that Bette Davis
lacks a sense of humor. After "Old
Acquaintance" was finished, Bette threw
a party for the cast and crew. To director
Vincent Sherman, who really behaved mag-
nificently during the Davis-Hopkins feud,
Bette presented a huge package. When
Vince opened it he found a pair of boxing
gloves inside. Bette's name was on one.
Miriam's name on the other. After the
laugh had died down, Bette announced to
Sherman that he was going to direct her in
"Mr. Skeffington." Everyone started cheer-
ing.
WHAT gives with Evelyn Ankers and
Richard Denning? Reports have it that
their recent marriage bears watching. To
these wise old eyes, everything looks quite
rosy. Just another rumor — perhaps !
IT'S Jack Benny's story about Veronica
I Lake and Wendell Willkie. According to
Jack, those two famous hair-dos sat next
to each other at a banquet and neither ever
saw the other !
BING CROSBY was describing a man
about Hollywood whom everyone loves
to hate. "He's the kind of guy," cracked
Bing, "who would marry Hedy Lamarr for
her money I"
UNLESS they change their minds again,
Ava Gardner will no longer continue
her real-life role of Mrs. Mickey Rooney.
As consolation, the pretty girl from North
Carolina has been loaned out to Monogram
where she will play her first big leading
role. Years ago, before he was the famous
Mick of the day, Ava's husband was trying
to get a break at this same studio. "Ghosts
in the Night" is the name of Ava's picture.
Here's hoping she won't be haunted by un-
pleasant memories.
HERE'S hoping 'tis rumor, not fact, that
Jon Hall and Frances Langford are
on the verge of a separation. Friends of
Frances say that she's trying her best to
hide her hurt feelings. In between scenes
over at Paramount, Jon is usually on the
telephone. So it seems he's still very atten-
tive. Those two have been so happy. Prob-
ably it's just their turn to be a target.
AS HER contribution to the war effort,
Ann Sothern has taken to making her
own clothes. On Valentine's day Bob Ster-
ling presented her with a gold thimble.
Now that Vic Mature is in the Coast Guard, R
Hayworth must content herself with having her s
retary, Mrs. Harold Rose, and Louis Shurr as esco
Below, Orson Welles and Agnes Moorehei
58
RECENT FILMS
REVIEWED
IN A FLASH!
STAR SPANGLED RHYTHM — Paramount.
Super musical crammed with comedy and celebri-
ties. Victor Moore as the gateman of Paramount
Studio masquerading as the head of the film com-
pany to show sailor son Eddie Bracken and pals
the sights. The studio is turned upside down by
Betty Hutton and a big show put on by the great-
est stars. Bob Hope as the master of ceremonies ;
stars include Crosby, Lamour, Goddard, Ladd,
Lake, MacMurray. See it.
RANDOM HARVEST — M-G-M. James Hil-
ton's great love story becomes a memorable mo-
tion picture. Greer Garson and Ronald Colman
give splendid performances as the gallant actress
and the shell-shocked soldier whom she befriends.
Susan Peters, brilliant newcomer, gives an out-
standing performance. This film ranks with
"Goodbye Mr. Chips," in interest and importance.
AIR FORCE — Warner Bros. Exciting entertain-
ment. An excellent fictional account of American
history in the making. This is the story of the
Flying Fortress, nicknamed the "Mary Ann" by
her courageous crew. The heroic adventures of
the "Mary Ann" after thrilling brushes with the
Japs are stirringly set forth by a splendid cast
including John Garfield, Harry Carey, Gig
Young, John Ridgely. Magnificent photography.
THEY GOT ME COVERED — Samuel Gold-
u-yn-RKO. A nitwit newshawk on the trail of
Nazi saboteurs comically complicated by Bob
Hope hilariously falling into a nest of spies and
safely out again. Uproarious climax has the in-
imitable Hope rounding up the ring single-
handed, and you rolling in the aisles. Bob, Doro-
thy Lamour as his long-suffering girl friend. Otto
Preminger, Marion Martin, cute Phyllis Ruth are
on their toes every minute.
ONCE UPON A HONEYMOON — RKO-Radio.
You won't want to miss this ! Ginger Rogers
teamed for the first time with Gary Grant, and
both give grand performances — Ginger as an
American girl married to a Nazi baron, Cary as
a newspaper man. Between them they expose
the baron and further the cause of democracy,
not to mention cupid. Has witty, original dia-
logue. Good entertainment.
CASABLANCA — Warners. With a front page
title, an exciting spy plot, and excellent per-
formances by a superlative cast — this is a "must."
Humphrey Bogart plays a cafe proprietor in
French Morocco who, under the guise of cold in-
difference, helps refugees to escape from the Nazis.
It's fast, suspenseful stuff with Bogart at his
best. Beautiful Ingrid Bergman is seen as the
girl he loves. Claude Rains, Paul Henreid in cast.
IN WHICH WE SERVE — United Artists.
Magnificent war drama — produced, directed, writ-
ten, starred in by Noel Coward — records the ex-
ploits of a British destroyer, Torrin, and her
heroic crew in the historic battle off Crete.
Tremendously moving, this is truly an inspired
epic. Coward and fellow players are superb.
SHADOW OP A DOUBT — Universal. Alfred
Hitchcock's gripping mystery drama is packed
with shivers and full of suspense. A daughter of
a typical American family idolizes her "visiting"
Uncle Charlie until his strange behavior makes
her suspicious. She discovers that the uncle for
whom she was named is a murderer. Teresa
Wright, fine as the horror-stricken girl ; Joseph
Gotten, splendid as the charming but terrifying
Uncle.
COMMANDOS STRIKE AT DAWN — Colum-
bia. Stirring screen drama based on C. S. For-
ester's "The Commandos," depicting the plight of
an invaded nation, with Paul Muni as the patriot
who leads his people in revolt against the Nazis
and, after escaping, returns to guide the British
Commandos in a victorious raid which costs his
life. Raids with actual trainees have authentic
ring. Forceful war document. Skillful performance
by Muni. Capable support by Anna Lee and Lil-
lian Gish. Don't miss it.
JOURNEY POR MARGARET — M-G-M. W.
L. White's best-selling book about two young
British blitz victims, has been fashioned into a
fine, if weepy film. Robert Young gives his best
performance as the sympathetic correspondent
whose valiant efforts to bring the children, Mar-
garet and Peter (Billy Severn), back to Amer-
ica with him provides scenes of powerful appeal,
particularly little Margaret O'Brien's outbursts.
HAPPY GO LUCKY — Paramount. Gay spon-
taneous movie fun ! It's one long, hearty laugh
from the time Mary Martin and Betty Hutton
arrive on a Caribbean isle and meet Dick Powell
and Eddie Bracken. Mary's fortune hunt for
Rudy Vallee and Betty's frank pursuit of re-
luctant Eddie lead to hilarious situations, ac-
companied by smart new songs, delightfully sung.
The Hutton-Bracken team is sure-fire for explo-
sive comedy. See this.
WHO DONE IT?— Universal. Abbott and Cos-
tello appear as soda dispensers aspiring to become
radio script writers. Let loose in a radio station
where a mystery play is being enacted they crash
a real murder with chubby Lou finally tracking
down the killer after a bloodcurdling chase. High
spot: Costello's telephone booth tantrum. Louise
Albritton, William Bendix, Patric Knowles lend
good support. Funniest A-C so far !
THE IMMORTAL SERGEANT — 20th Cen-
tury-Fox. Realistic war drama about the exploits
of heroic soldiers lost in the Libyan desert. Henry
Fonda is at his best as the Corporal who takes
over command when the Sergeant (Thomas Mit-
chell) dies. The Sergeant's memory helps Fonda
in making important decisions and in encounters
with the enemy. A man's picture, with a love
story for the ladies told in flashbacks, showing
Fonda reminiscing back to happier romantic days
with Maureen O'Hara.
YOU WERE NEVER LOVELIER — Colum-
bia. Fred Astaire and Rita Hayworth stage a joy-
ous reunion in this super-duper dance and music
show. Rita, as an icy South American beauty,
Fred as a Broadway hoofer stranded in Buenos
Aires. Jerome Kern tunes, played by Xavier
Cugat's orchestra. Tops among the musicals.
THE BLACK SWAN — 20th Century-Fox. If
you want sheer escapist film fare, here's your pic-
ture. Raphael Sabatini's swashbuckling yarn of
piratical practices in the Spanish Main make a
riproaring adventure movie with Tyrone Power
in the lusty role of the daredevil captain. Maureen
O'Hara is the gorgeous heroine.
TENNESSEE JOHNSON — M-G-M. An enter-
taining and instructive screen biography of An-
drew Johnson, only U. S. President ever to face
impeachment charges. Van Heflin forcefully por-
trays the Vice President who became President
when Lincoln was assassinated, and who fought
to carry out his predecessor's policies. Picture
points out that unity must prevail now, as then.
Highlights: impeachment trial and fights from
Senate floor. Lionel Barrymore, Ruth Hussey in
cast. For grown-ups.
THE POWERS GIRL — United Artists. Ro-
mantic musical glorifying long-stemmed Ameri-
can beauties of the John Powers model agency
featuring Carole Landis, George Murphy, Anne
Shirley, and Dennis Day, also a collection of
Powers pretties. Miss Landis scores as the ambi-
tious model ; Day's melodious voice heard in his
song numbers ; but George Murphy over-acts as
the photographer. Amusing Alan Mowbray plays
the Powers part.
SILVER SKATES — Monogram. A musical on
ice with entertainment for young and old. The
financial problems of an ice show and the ro-
mances of its members, introducing spectacular
skating sequences and solos by wizards of the
blades: Belita, sensational star; her partner, Eu-
gene Turner, champion figure skater ; Frick and
Frack, riotous comedians ; and a graceful skating
chorus. Kenny Baker, fine as band leader ; Patricia
Morison, good as show's producer and girl Kenny
loves. Good tonic for tired nerves.
WHITE CARGO — M-G-M. Hedy Lamarr in her
brief costume as Tondeleyo, little terror of the
tropics, is chief attraction of this drama of white
men disintegrating in the brutal climate and bore-
dom. Hedy gives a sizzling performance as the
halfbreed who drives her victims to distraction.
Walter Pidgeon, good as the tough overseer who
is immune to her charms. Hedy's dance alone is
worth admission price. Richard Carlson, fine.
I MARRIED A WITCH — Cinema Guild-U.A.
Triumph for Veronica Lake, this picturization
of Thorne Smith's last novel is a rare treat for
those who enjoy film fantasy. Veronica, as a
lovely ghost, returns to haunt the 1P42 incarna-
tion of the man (Fredric March), who caused her
to be burned at the stake in 1670. It's all fine,
imaginative fun. See it by all means.
NOW, VOYAGER — Warners. Women will like
this drama of suppressed desires, in which the
inhibited daughter of a domineering mother
fights for the freedom to live her own life. It
is the best Bette Davis movie in a long time.
Paul Henreid, as the lover. Claude Rains, as her
doctor, and Gladys Cooper, tops in a fine cast.
POR ME AND MY GAL — M-G-M. A sen-
timental filmusical about the old vaudeville days,
with Judy Garland, Gene Kelly, George Murphy
as troupers touring the sticks with an eye on
the Palace. Song-and-dance acts are well done.
Old favorite tunes will bring back memories to
oldtimers and thrill youngsters. Judy gives a
knockout performance as the girl who gives up
boy friend Gene (also a hit in his role) because
he's unpatriotic. You must see this fine film.
LUCKY JORDAN — Paramount. Alan Ladd is
featured in this exciting film about the regenera-
tion of a gangster chief who deserts when he
can't buy his way out of the Army and gets
mixed up with Nazi agents. He hands them over
to the FBI and returns to the Army when his
dormant patriotism is aroused. Ladd gives a
smooth, convincing performance. Helen Walker
heads a fine supporting cast. Has suspense.
MRS. MINIVER — M-G-M. Jan Struther's book
about the British wife and mother who could
"take it" has been made into a great motion pic-
ture. It's a masterful message of courage and a
fundamental lesson in fortitude. Greer Garson
rises to heights in a poignant performance.
Walter Pidgeon is splendid as the husband.
MY SISTER EILEEN — Columbia. The screen
version of the long-running Broadway play is
one long laugh, as it pictures two sisters from
Columbus, Ohio, in the Big City, their struggles
to succeed as writer and actress. Rosalind Russell
gives her gayest performance as the big sister,
with Janet Blair a bewitching Eileen. Brian
Aherne is in it, too. Don't miss this.
ROAD TO MOROCCO — Paramount. Bing and
Bob are on the road again. This time it leads to
Morocco where they meet Dorothy Lamour, a
princess, and very seductive in Oriental raiment,
who throws over her sheik for Crosby and Hope.
If you liked the other "Road" films, don't miss
seeing this — it's funnier than the first two. It's
tuneful, gay ; will put you in a cheery mood.
THE CRYSTAL BALL — United Artists. A
gay, romantic farce in which a beautiful but poor
girl tries to win a handsome attorney away from
the wealthy widow he is planning to marry.
Paulette Goddard pinch-hits for Madame Zenobia,
a phony crystal gazer, and gives Ray Milland
mystic advice, thereby helping her own romantic
campaign. Sparkling performances by Paulette
and Milland, and Virginia Field fine as the dash-
ing widow. See it and forget your troubles.
ONE OF OUR AIR CRAFT IS MISSING—
Korda-U.A. This war film, based on facts, tells
the thrilling story of an English bomber crew
that is forced to bail out over Holland after a
raid on Germany and shows the courageous
friendly Dutch people assisting the men in hair-
raising escapes to England. Eric Portman, God-
frey Tearle, Hugh Williams, Bernard Miles f' e
fine as the air men. Realistic. Don't miss it.
YANKEE DOODLE DANDY — Warners. This
story of the late George M. Cohan's life is a
great screen show. A triumph for Jimmy Cagney,
perfectly cast as the showman, coloring a clever
role with his own inimitable zest and humor. Ail-
American entertainment to stir you to tears and
excite you to cheers. Walter Huston, Joan Leslie,
Jeanne Cagney, Rosemary DeCamp, Irene Man-
ning, Richard Whorf in cast.
THE PRIDE OF THE YANKEES — Sam
Goldwyn-U.A. This splendid screen tribute to a
fine American has deep emotional appeal, stress-
ing the private life of the Lou Gehrigs rather
than the excitement of his public career, but the
most rabid baseball fan will enjoy it. Gary Cooper
gives a great performance as Gehrig. Teresa
Wright, as Mrs. Gehrig, Babe Ruth, as himself,
excellent. The great American sport glorified.
YOUNG AND WILLING — United Artists. A
comedy about would-be actors who plot to interest
a producer enough to have him sit through a
rehearsal of their show. It turns out to be the
producer's own play — his lost manuscript. Susan
Hayward, Martha O'Driscoll, Barbara Britton and
James Brown splendid as the stage-struck kids.
Hilarious scenes with Eddie Bracken and laughs
from Florence MacMichael, the prissy girl friend
who disapproves of their way of living.
ARABIAN NIGHTS — Universal. A screen fan-
tasy about the feud between the Caliph of Bagdad
(Jon Hall) and his brother (Leif Erickson) who
has Jon spirited away so he can become king. In
Technicolor, glittering sands, colorful costumes
are beautiful sights. Sabu, acrobat Ali-Ben-Ali,
saves the Caliph. Maria Montez plays Shera, Ori-
ental dancing girl made queen of Jon's harem,
which has many curve-revealing beauties. Sword-
play and slave market scenes supply thrills and
action.
WHEN JOHNNY COMES MARCHING
HOME — Universal. Lively musical with Allan
Jones as Johnny, a soldier-hero who. in trying
to avoid the spotlight, gives the impression that
he is a deserter. Jane Frazee is the singer he
loves : Gloria Jean, Peggy Ryan and Donald
O'Connor are the talented kids who sing, cut
rugs, and make merry while trying to bring the
lovers together. 16-year-old Donald is a hit as a
comic. Phil Spitalny's all-girl orchestra a special
attraction. Entertaining.
59
Sergeant Autry's First 8 Months In The Army
have all quarterbacks, so in the Army, all
the men can't be pilots. Each man has his
place in the team. Each man has his place
in the services, too. Be glad you have a
chance to do what you're best at.
2. "If you're drafted, don't resent it.
No man has any right to resent the fact that
he has been called into service. We Amer-
icans have a job to do and it's best to get
it over with as soon as possible.
3. "Do as little bellyaching as possible.
If you bellyache, you'll convince yourself
that things are terrible.
4. "Don't expect anyone to kowtow to
you because of the kind of work you used
to do in civilian life. In the Army we have
everybody from every walk of life. Some
of the men used to be day laborers ; others
were artists ; others fine musicians. In uni-
form, they all look alike.
5. "Don't think it's smart to break rules.
If you do violate rules, you'll only create
trouble for yourself.
6. "Never behave, while on the field or
off it, in such a way that people will think
less of men in your branch of the service.
If one soldier out of hundreds gets drunk
and gets into fights, it reflects on everybody.
Don't pigeonhole yourself in the small
minority that is always misbehaving.
"If you take the right attitude toward it,"
Gene said earnestly, "the Army is good for
you. I know it's been good for me. I used
to have a thousand and one things on my
mind. I would worry endlessly about the
pictures I was making,, my Rodeo show,
my radio show and other enterprises. Now
instead of those thousand and one things, I
have just one thing on my mind, doing my
bit in the Army. It has made me a more
contented, more relaxed person.
"There may be some things about the
Army that I didn't like — for instance, the
lack of freedom in comparison with civilian
life — but I'd hate to think after this war is
over, that this country had been forced to
fight in self-defense and I hadn't had a
share in it. That's why I'm glad I'm in
uniform !
Continued from page 29
"When you've been a civilian for a long
time, the Army is something you have to
get used to. For me the hardest part of
Army life was getting used to the fact that
I was no longer free to come and go as I
pleased.
"It's hard for anyone who has been his
own boss all his life to get used to this.
Naturally, if you want to go anywhere, you
have to get permission. But I soon discov-
ered that you never have trouble getting
permission, if you are on legitimate Army
business. As for your personal affairs, Army
men are allowed a three-day pass once a
month ; and every six months they may
have a two weeks' furlough.
"A few of the men try to take advantage
of their furloughs and passes by staying
over their leave. When they do, they lose
all their privileges. The moment a man
starts violating Army rules, he's heading
into trouble. If you break rules, you're cre-
ating headaches and heartaches for yourself.
"Most men realize this sooner or later,
and cut out the nonsense. Even if they gripe
at first, they awaken to the realization that
our Army has a job to do, and every man
in it has a share in that job. The best way
to get it done is to do it right. And when
they come to that realization, they generally
get to feeling that being in the Army is not
so bad after all. In fact, if you ask me, I
think it's pretty swell. When this war be-
gan, there were too many fellows waiting
for others to do the fighting. Probably be-
fore the war's over there will be ten million
men in uniform. If all those fellows were
to start crabbing and breaking rule's, we
wouldn't have the kind of Army we could
be proud of.
"In one of the camps at which I was sta-
tioned there was a fellow who resented
being in the Army very much. He was a
roistering sort of person. To him rules
seemed to be made just to be broken. If he
was given leave, he invariably overstayed
his leave. He didn't think it was any great
crime to be A. W. O. L. When he came back
from leave, he was almost invariably drunk.
Screen star Martha Scott was one of the first to sign up as a blood donor in the theatri-
cal participation in the Red Cross Blood Plasma Campaign, under the guidance of the
War Activities Committee of the Motion Picture Industry. Above, Miss Scott receives
moral and physical support from Seaman Paul Olesak as three Red Cross nurses look on.
When I came to Camp, he had been in the
Army about seven months, and had spent
a good portion of that time in the brig.
"Men like that are definitely in the minor-
ity in the Army, but after all, in an Army
of several million men, there are bound to
be a few fellows like that. At first, he just
couldn't seem to learn that rules were made
to be obeyed. But one day as he walked out
of the guardhouse, he confided to a few of
us, 'You can't buck the Army. For eight
months, I've been breaking rules right and
left. But what good has it done me? I've
spent most of my time in the brig. And I'm
sick and tired of it. If I'd been smarter, I'd
have spent my time a lot more pleasantly.
You can't beat the Army. You might as well
walk the straight and narrow.'
"And believe it or not, that man actually
did walk the straight and narrow path after
that. From the worst roustabout in camp,
he became an excellent soldier. Because he
had made up his mind that he would break
no more rules.
"So you see, a man can get along in the
Army if he wants to. And if he wants to
be a trouble-maker and have fights with
everyone, he can do that, too.
"Most of the boys in the Army get along
very well with each other. You seldom see
men fighting or having arguments around
a field. We men in the Army know that
there is a war to be fought and won ; and
that all of us have to do our share in the
fighting and winning. That leaves no time
for petty fights and arguments."
Gene Autry was inducted into the Army
on July 26. Shortly afterwards, he was sent
to the Santa Ana Air Base in California.
On his first day in the Army, he was sent
over to the quartermaster's to get his uni-
form. The uniform felt mighty strange at
first. For years Gene has been wearing cow-
boy hats and high-heeled boots, and in all
that time he never wore a civilian suit for
fear it would disillusion his fans. Naturally,
after years of cowboy clothes, wearing a
uniform seemed strange.
On his first day in camp, Gene also re-
ceived the much-dreaded smallpox, typhoid
and tetanus shots. Every man in the Army
has to get these shots ; and Gene told me
that the old-timers take a ghoulish delight
in telling rookies how terrible the ordeal is.
"I've heard," said Gene, "that in Los
Angeles, the yard-birds of Fort MacArthur
have put on a show called, 'Hey Rookie,'
and in it Sterling Holloway gives a devas-
tating picture of a man's first day in the
Army. Sterling has his ears examined, and
immediately afterwards, he gets an injec-
tion. Someone says to him, 'Read this chart,'
and while he is trying to read it, he gets
a shot. Soon he is half shot himself ; and
before the medical officers get through with
their inoculations, he keels over in a faint.
"The sketch is exaggerated, of course ;
but there is a certain amount of truth in it.
Some of the men don't take kindly to the
inoculations. I have seen strapping six foot-
ers pass out after they received their three
inoculations. But I think a lot of it was due
to the fact that they had received a good
deal of ribbing ahead of time and expected
the shots to make them ill.
"I just told myself, 'All the other men
in the Army have to take these shots, so I
guess you can take them, too, Autry.' And
those first three shots didn't seem half bad.
"A week later, I got my second typhoid
shot. That was the first inoculation that
really made me feel ill. I got a fever, and
my arm felt very sore. Then, at regular
intervals, I got other typhoid and tetanus
shots. The typhoid shots come at weekly
intervals ; the tetanus shots, once in three
60
I ARTHA MONTGOMERY, popular
daughter of Mr. and Mrs. William
Robert Montgomery of Clarksdale, Miss., is
engaged to Lieutenant Herbert Slatery, Jr.,
of Knoxville, Tenn., now in the Army.
There's an enchanting sparkle about Mar-
tha's winsome face. Her blue eyes are so wide-
awake, her complexion so fresh, so smooth.
"Pond's Cold Cream is my one and only when
it comes to complexion care," she says.
"Nothing else seems to give my skin such a
waked-up look, or to make it feel so clean
and so soft."
HER RING is exquisite. The
beautiful solitaire is a family
stone, with perfect smaller
diamonds set two on either
side. Inside the platinum band
is engraved: H.H.S.Jr. to
M.L.M.— 1942.
MARTHA'S COMPLEXION-CARE is de-
lightfully simple. She smooths Pond's Cold
Cream over her face and throat . . . pats with
little, swift pats to soften and release dirt and
make-up — then tissues off well. She "rinses"
with more Pond's for extra cleansing and sof-
tening. Tissues it off again.
Do this every night, and for daytime clean-
ups. You'li see why Martha loves Pond's — why
war-busy society beauties like Mrs. W» Forbes
Morgan and Mrs. Geraldine Spreckels use it
— why more women and girls in America use
it than any other face cream.
A LETTER FROM HER SOLDIER FIANCE, now "somewhere overseas,"
lights Martha's charming face with a happy remembering look
she's lovely! she uses pond's
GETTING READY FOR A "CROCODILE"
LINE — Martha rounds up a little group for
practice evacuation drill. An accredited first-
aider, Martha is especially interested in war-
time care of small children.
"The busier I am," Martha says, "the more
I depend on Pond's to help whisk away any
tired look and make my face spic and span."
You'll find Pond's Cold Cream at your favor-
ite beauty counter. All sizes are popular in
price. Ask for the larger sizes — you get even
more for your money. Its no accident so many
lovely engaged girls use Pond's!
SCREENLAND
weeks. I thought I was through with all
my shots when one day a medical officer
said to me, 'How come, Sergeant Autry,
you've never had your first shots?'
" 'I had them,' I said, 'the very first day
I came to camp.'
" 'Sorry,' said he, 'we have no record of
your having had the first three inoculations.'
"So far as the Army is concerned, if it
isn't on the records, you haven't had the
shots. So for the sake of the records, I had
to have the three shots all over again."
And so began Gene's life in the Army.
Every morning he had to be up at six, like
the other men in the Army Air Corps. This
didn't bother Gene a bit. When he had been
working in pictures, he had sometimes got-
ten up as early as four or four thirty, so
that he'd have plenty of time to be made
up for pictures. Of course, then Gene had
been able to take his time about getting
dressed. Now he had just ten minutes in
which to do the job. But Gene has always
been meticulously neat about his clothes. So
it was no trouble at all for him to get used
to keeping his shoes in their proper place
in the bunk and to keeping his uniform in
good order. No trouble at all, that is, except
on a couple of occasions when his bunkmates
tied all his clothes into knots. It wasn't so
easy to get them untied in less than ten
minutes. But Gene learned that this is a gag
which is played on almost all Army men;
and he was glad he was being treated like
any other raw recruit.
He found it easy enough to make his
bunk, for he had always made his own
bunks when he had gone camping. Oh, of
course, it hadn't been necessary to be quite
so meticulous about it, but Gene didn't mind
that. He has always liked to be neat.
When he was in Hollywood, Gene had
usually gone to a shoe-polishing parlor
when he wanted his shoes shined. In camp,
he kept his own shoes dusted and polished.
Nobody treated him like a movie star,
and he didn't want them to. Like the other
men, he cleaned and dusted rooms, and went
around the grounds picking up cigarette
butts, when he was given ground police
duty to do.
The Army has a way of handling men
■who hate to do cleaning and dusting. Short-
ly after the new recruits arrive in camp,
some old-timer comes along and says,
"Have any of you men done office work?
I want three volunteers for office duty."
Three men will volunteer quickly, sure
they're going to be called upon for white
collar tasks. And sure enough, they are
ushered into an office. But invariably, the
office work consists of making the office look
spic and span by dusting the floors and
washing the walls and emptying the trash
baskets.
"One thing every Army man hates is k. p.
or kitchen police," confided Gene. "That
consists mostly of washing and drying
dishes and pots. The old-timers always seek
some way of assigning the rookies to k. p.
And how the rookies hate it ! I always
dreaded it, too," laughed Gene.
I said, "Didn't your wife ever ask you to
help out in the kitchen, Gene?"
"Oh, sure," Gene chuckled, "but washing
and drying your own dishes is different."
Millions of Army men will say "amen" to
that.
Gene had heard so much about movie
stars being kidded unmercifully in camps
after they enlist that he wouldn't have been
surprised if he had been subjected to that
treatment. In fact, he was surprised that
he wasn't. There were men from all sta-
tions of life in camp, and they saw no more
reason for "riding" a movie star than they
did for kidding a doctor or a dentist. As
long as you are a regular guy, you're okay
with them. Some of them told Gene that
they didn't resent his being in the Army ;
but they did feel a shock at seeing him in
a uniform, instead of in the familiar cowboy
garb. And most of them showed a tremen-
dous interest in the movie business and in
movie personalities.
They'd question Gene about how movies
are made and about their favorite movie
personalities. Every soldier seemed to have
a different favorite ; but Gene was asked
most often about Clark Gable, Betty Grable,
Rosalind Russell and Lana Turner. He has
met all of them, and he tried to answer their
questions as best he could.
"Betty Grable and I worked together
about three years ago in vaudeville. We
were both making personal appearances.
She's a swell girl. I like her looks and her
personality. So would you. What does she
look like? Exactly the way you see her on
the screen.
"Rosalind Russell is a very witty, brilliant
woman. And she has beautiful dark hair.
"I think Lana Turner is twice as pretty
off the screen as on. She has beautiful skin,
and is a very attractive girl."
Gene got his basic training and his drill-
ing, like all the other men in the Air Corps.
At first, he was very much embarrassed
when he'd find himself making mistakes. A
few times he right-faced when he was sup-
posed to left-face, or vice versa. But soon
he discovered that the other rookies were
also making mistakes.
So now he says, "Everybody makes mis-
takes at first. After a while, you learn to
follow the drill sergeant's orders. Drill is
like anything else. In order to be perfect,
you have to put in plenty of hours. The time
comes when you can follow the drill ser-
geant's orders even when you don't hear
every word he says, That may sound funny
to a civilian; but the truth is that there is
a certain rhythm to the commands, and you
learn to recognize the rhythm even when
you don't catch the exact words.
"This practice in drill makes it possible
to move a lot of men in the easiest way. So
it is all worth-while."
After Gene had been at the Santa Ana
Air Base for about six weeks, he was trans-
ferred to Luke Field, located in Phoenix,
Arizona.
His job in the Army Air Corps is a sort
of three-fold one. He does public relations
work. He arranges entertainments for dif-
ferent camps. And he does one job that no-
body else has been able to do so successfully,
and that's conducting his Sunday radio pro-
gram/ which the Army Air Force super-
vises and which is used to inform civilians
about what goes on in the Army Air Force.
Long before the war, Gene had a radio pro-
gram called "Melody Ranch." Today that
program is broadcast under the title, "Ser-
geant Gene Autry"; and the Army feels it
is a distinct contribution to public relations.
Gene receives no money for the radio shows,
other than his regular sergeant's salary.
Although the Army hasn't required Gene
to do as much flying as he had hoped, he
devotes an hour or two every day to flying
a private plane. He had a good many hours
in the air before he joined the Army; and
he wants to continue his flying, whether he
is required to or not, so that he will be
ready for any emergency.
After he had been at Luke Field for some
time, his wife joined him. I asked Gene how
the Army felt about this. After all, many
women wonder whether they ought to fol-
low their husbands to camp.
"The Army doesn't object to wives fol-
lowing officers to camp ; in fact, it seems
to think it's a good idea. If a sergeant is
married, he doesn't have to live at the field,
although he has to report there every day."
The Army also doesn't object, Gene told
me, when sweethearts visit soldiers at camp,
if the visit is arranged for beforehand a-d
if the soldier is on the job and does it right.
I asked Gene to tell me about the food in
the Army.
"The Army is well-fed. The soldiers have
all the butter and meat they want. The finest
meat and vegetables are ordered for the
Army. Of course, it's up to the mess ser-
geants to see that it is cooked right. And
mess sergeants are like the cook in your
own home. If you have a good cook at home,
he does a swell job. Sometimes you may not
be so fortunate. You may get a cook who
doesn't know how to handle vittles. Natural-
ly, the Army tries to have mess sergeants
who know their work."
One of the Army traditions is to grouse
about the mess sergeant. A mess sergeant
once told me that if the men didn't complain,
Lilian Gish, currently appearing in Columbia's film, "Commandos Strike At Dawn," is besieged
for autographs while serving as hostess at the Stage Door Canteen's Commandos Party.
62
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A FINER cigarette — scientifically proved less
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When smokers changed to PHILIP MORRIS, every
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We do not claim curative powers for Philip
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irritating for your nose and throat.
PhilipMorris
America* $ FINEST Cigarette
then you'd know that there was something
really wrong with the food.
But the proof of the pudding is the fact
that Army men develop enormous appetites.
When they go out on leave, they often
astonish civilians with their new Army ap-
petites. The outdoor life they lead gives
them an extremely healthy appetite, which
the Army does its best to satisfy.
I asked Gene if he expected to make any
more motion pictures for the duration of
the war.
"I don't know," said Gene. "Republic has
asked me to make some pictures for them ;
but I have told them that I wouldn't make
any commercial pictures unless the Army
issues a blanket rule permitting actors to
appear in such pictures. Even if I could get
permission to make such a picture, I
wouldn't want to be the first actor in the
service to do it. Some of the newspapers
have said that I have a feud on with Re-
public. That isn't true. My only fight with
them has been that they want me to make
commercial pictures; and I feel my first
duty is to the Army.
"In England they allow movie personali-
ties a few weeks' furlough to make pictures.
I believe the money that would ordinarily
be paid to the actors is turned over to Army
Relief. I have a hunch that maybe some-
thing like that will be done by our own
Army some day. After all, morale has to
be kept up; and it is important to make
pictures just as it is to make guns.
"There has been some talk about mv
working in 'This Is the Army.' That will
not be a commercial picture, for all the
profits will be turned over to Army Relief,
to help the widows and children of soldiers
who give their lives in this war.
"I'd be very happy to work in 'This Is
the Army,' if the government wants me to
do that. It wouldn't be a commercial picture,
Atthe Commandos Party, Louis Pasteur, grand-
nephew of the distinguished scientist, and one
of the Commandos who participated in the
Dieppe Raid, presented Lillian Gish with his
most treasured article — a religious medal. It's
been his lucky piece since going into service.
but would benefit morale. That's the only
type of picture I hope to make for the dura-
tion."
Although Gene has been in the Army for
eight months, he is still so hot at the box-
office and No. 1 in the Western poll by a
wide margin, that Republic is naturally
anxious to cash in on his drawing power.
Since Gene won't make a picture for Re-
public unless the Army issues a blanket
ruling saying all stars in the Army can
make pictures, Republic is planning to re-
issue eight of Gene's old pictures. Gene has
no objection to this, but hopes that the pic-
tures won't be too old, since pictures that
are seven or eight years old usually suffer
in comparison with newer and more modern
movies.
Gene says he is now thoroughly accus-
tomed to his Army uniform. Once recently
he was asked to put on cowboy clothes when
he was selling bonds in Oklahoma on Ar-
mistice Day.
"To my surprise," Gene admitted, "the
cowboy clothes felt just as strange on me
as the uniform originally had. It's getting
so now that a man feels out of place in
civilian clothes."
The fact that Gene's box-office power is
still tremendous was proven by his success
in selling bonds in Oklahoma ; and again in
Houston, Texas, where he participated in
a rally to raise money to build a new cruiser
to replace the Houston, lost in a battle at
sea. I have seen photographs of the crowd ;
that flocked to see Gene in Houston ; an I
believe me, few actors on the screen today
could draw such crowds. Houston, Texas,
managed to raise 85 million dollars to re-
place the cruiser — enough money to replace
two such ships. And there's no doubt what-
soever that Gene's presence at the sales rally
helped Houston to raise that terrific sum
of money.
SCREENLAND
63
Perc Westmore,
Hollywood Make-up
Genius.
From
HOLLYWOOD
/ bring you the
FOUNDATION
CREAM of the
STARS , D
Marjorie Reynolds
appearing in
"DIXIE"
A Paramount
Technicolor
Production
"I'D LIKE YOU," says Perc Westmore, "to
try my lanolin base foundation cream. I
created it for use when making up stars in
the Hollywood movie studios. It has become
so popular that screen stars — and girls
and women Uke yourself all over the country
— swear by it.
"It's really marvelous — stays on the face
longer, requires less powder and make-up
and effectively hides lines, pores, minor
blemishes and discolorations. It does not
give that "masked" feeling — it does not
dry the skin — in fact, the lanolin in it
helps keep your skin wonderfully soft.
"Comes in six glamorous skin-tinted
shades. Because the lovely ladies of the screen
use my foundation cream to make them still
lovelier, certainly you will want to try a jar
of it. Just ask for my Westmore Founda-
tion Cream at any toilet goods counter."
50 AND
25 CENT JARS
i of
WESTMORE
FOUNDATION
CREAM
Hands At Work
Continued from page 55
before you attempt to do the other. Half
the complaints about polish not lasting are
due to the fact that we are in such a rush
that we begin doing things with our fingers
before the nail polish has had full time
to set.
If you want your fingers to look longer
and of more oval shape do not apply polish
out to the edges of the sides of your nail.
Concentrate it more in the center. This
creates the optical illusion of greater length
and slenderness. Now that we are all of us
wearing our nails shorter, it is a good trick
to know.
Because you may not want to wear bright
polish in the daytime today, does not mean
that you should shun polish entirely and
do without the lift that your pretty fingers
give you and the people around you. Almost
every manufacturer of nail polish makes one
or more light polishes which are suitable
for daytime wear. You will have noticed
that the Waves, the Waacs and the girls in
other services are allowed both nail polish
and lipstick when on duty.
Let evening and playtime be the time to
express the colorful side of you with bright
polish. They say that the boys in the front
lines do not dream of spinach and slacks
and the girl with the rough hardy look. In-
stead they dream of chiffon ! So let the chif-
fon side of your life come to the fore when
your soldier or sailor is in home port on
furlough.
Lana Turner's Untold Story
Continued from page 22
been working with her, I've come on the
set feeling badly. She notices instantly.
"I'll stand in for you," she'll say — and does.
She makes me go into her dressing room
and lie down, tucks me all up, orders hot
soup for me, then goes out and does the
job I am supposed to do for her.
At first I didn't quite know what to name
this trait in Lana ; this something deep and
warm which, I am sure, people do not sus-
pect in her. Now I can name it; it's a
mothering thing. I named it the day she
told me she was going to have a baby. And
I watched her face as she told me, especially
her eyes. I don't suppose I've ever seen
such shining happiness before. "It was the
happiest day of my life, Alice May," she
told me, "the day I discovered I was going
to have a baby." She'll never speak a line
on the screen, fine actress that she is, the
way she spoke that line. Her heart was
beating in her voice.
Of course she wants a girl. "It will be
such fun to dress her up," she says. She
wants to design clothes for the baby. "But
I don't really care which it is," she added,
"I am so anxious for a baby, I would wel-
come twins." She couldn't talk about any-
thing else ; she still can't. Lana will make
a wonderful mother. She has proven that
already, I think, even before the baby's
birth, by her courage and gallantry, her de-
termination to protect her health, hold fast
to self-control for the baby's sake. She will
be tender and gay, as one should be with
children. Wise, too, and firm.
Hollywood doesn't understand Lana. I
doubt that even her fans, legion and loyal
though they are, quite understand her. Per-
haps no one does, really — except herself.
For she does understand herself, which
can be said of few. She didn't, up to re-
cently. Because she didn't, she made mis-
takes. I doubt that she will make many
more in future. She is conscious, now, of
what is good for her, and what is bad.
She has been hurt, and has healed her own
wounds. She is cagey, now. She knows all
the ropes. No one has any influence over
her. People have thought of her as a little
Private Tyrone Pow-
er, on leave from
the Marine Corps
Base at San Diego,
visits wife Annabella
on the set of "Bomb-
er's Moon," the 20th
Century-Fox picture
in which Annabella
is co-starred with
Geo. Montgomery.
64
SCREENLAND
Belita, skating star of "Silver Skates," Mono-
gram's current movie, loves to bask in the
sun on the springboard of her swimming-pool.
rattle-brain. She isn't — because she thinks
things through. As, I think, people realize
now.
She is very cute. She is always asking
my advice. "What good will my advice
do?" I say, "you'll do just what you want."
'*I just like to have your opinion," she'll
tell me. That's the way she operates. She
goes about collecting opinions, weighs one
against the other and then makes up her
own mind.
Her career means a great deal to her
now, a very great deal. More now than
ever before, "I'll want her to be proud of
me," she says. "Ziegfeld Girl," still her
favorite picture, by the way, was the turn-
ing point in her career and, in a way, in her
character. In the scene where, dying, she
walked down that flight of stairs, she really
walked into a new phase in her life. Before
that, she hadn't taken herself, or her work,
very seriously. Now she takes her work
very seriously, and disciplines herself for
the sake of her work.
She has learned the value of discipline.
She told me, recently, "Raising the baby, as
far as I am concerned, will be done on a
common sense basis. Rules that apply to
the average American home will hold sway
in my home. I don't want a spoiled child.
I'm afraid I'll need the discipline I've
learned to keep from spoiling my baby, but
I want everyone to love her as much as
I will, and no one loves a spoiled young-
ster no matter how darling. So — a plain,
average, every-day bringing-up for baby!"
Lana is, really, or has really become a
very conscientious girl in every department
of her life. She doesn't make a "production"
of her job, doesn't have to. She has a
wonderful memory. She can look at a
script, and know it. She gets her own in-
terpretation of the character she is to play.
She is what I'd term a genius or a "nat-
" Want him to adore yon ?
Try my*W.B.N.C."
DOROTHY LAMOUR, STARRING IN "DIXIE", A PARAMOUNT PICTURE
s«vs Dorothy Lomour.
Says rtose coTOi«i°» 18
"Men hover fl.B.N.C That
lush velvet. M 1
.Woodbury Beau.y ^ Ana .Mt „
grand things it does. ^
01ea„se with Pa on "ore .r~-
clean, your ot t„e fine oils
^"aln> fur new, morning *1— «•
all night -«r ne», ^ make
F0ur speoial lng™*"£3 i e;olasl,e
^n^oS&o Keep the ores*
ingredient acts
in the jar pure to t* ,u adore you
T^gt ta*e the W.B.N.C
Borrto^row.-
WOODBURY COLD CREAM
WOOOBURt
A Grand Surprise! ou get so much
for your money. Big economy jars
S1.25, 750. Also sizesat 500, 250, lOj.
SCREENLAND
65
Are You His
DREAM GIRL
Y
loi
.our fighting man will re-
member the silky smoothness
of your coiffure, the bewitching
dash of your saucy ringlets. His
heroine has no lanky locks, un-
ruly wisps, or disordered curls
to vex his military eye.
DeLong Bob Pins will keep your
coiffure in order. With reasonable
care, they'll last indefinitely. Use
them adroitly, for the duration.
Strong Grip
Won't Slip
One Does the Work of Several
66
ural." She proved that when she first
worked with Robert Taylor, with Clark
Gable. She didn't get nervous and jittery,
she went right along with them, troupers
that they are. She's an actress. One of the
"born" 'uns.
She gets her ample sleep. She always has,
when she's working. Now she sleeps eight
to ten hours a night, takes naps afternoons.
"The baby needs sleep," she says. I've never
seen that girl finish a drink. She is thought
to be emotionally unstable, I am sure. Or
was thought to be, I should say. No one
can think that of her now, the way she has,
come through an ordeal that would have
made a psychopathic case of the average
girl. But before all that, very seldom have
I seen her cry. I've traveled with her a
great deal, back and forth to New York,
to Palm Springs for vacations. I'm with
her all day, every day when she works. I
spend a lot of time at her house. I would
say she is unusually controlled, has a firm
sure grip on the reins of herself. I repeat,
she has now proven this.
When she does an emotional scene in a
picture, I don't go near her then. She holds
the mood. But that is control, too.
She isn't temperamental, is what I mean.
She doesn't like to have anyone stand di-
rectly in her line of vision when she is
working but she never asks to have her
sets closed. She doesn't even like to have
me sit where she can see me when she's
working. But she does like to know that
I am watching. "I know that everything
is all right when you're around," she told
me once. "I don't want to know where
you are, just that you are there."
If I don't like a scene she does, I tell her.
Lana says of me, "Here is the gal that
can really tell me off. Only one in the
world who can, and I take it." I've bawled
her out many a time and she has taken it.
I often think, 'Who am I ? How do I dare?'
But she never gets mad. Know why? Be-
cause she likes the truth. She said once,
"It's like surgery. It cuts, but it cures."
I believe that the one thing in the world
that would really nauseate her would be a
"yes" man or woman. I honestly believe
that Lana can forgive anything in this
world but a lie.
She isn't perfect. I hope! There would
be something cold in human perfection.
And Lana is made of warmth. She's moody.
One of the reasons we get along so well
together is that sometimes, except for
"Hello" and "Goodbye" we don't speak for
four or five days. And she knows I won't
be "hurt." Something is wrong with the
script, perhaps. Or something that has gone
too deep to talk about is on her mind. But
that's one of the things about Lana : you
always know where you are with her. She
isn't, of all things, "whimsy." She is a
very loyal person to people who are her
real friends. And her friends never doubt it.
But she isn't, at first, a particularly good
mixer. Not at all the glad-hand type. "Rich
Man, Poor Man" was the picture she was
making when I was engaged as her stand-
in. We didn't get acquainted for, oh, four
or five days. She shook hands with me
when we were introduced (when she shakes
hands with you, your hand is shook!)
then we both took off our shoes and walked,
side by side, and she said, "We're just
about the same size, aren't we?" and that
was all. But it was enough. I knew she
liked me, and the job was mine. Lana says
with her eyes the things she doesn't say
with her lips.
For she" isn't one to give confidences.
They are something she feels it is more
blessed to receive than to give. I think I
know her as well as anyone in the world,
with the exception of her mother. But even
with me, she doesn't discuss intimacies. She
isn't one to let down her hair. She isn't, in
short, a blabber-mouth. You wouldn't think
of Lana as being the reserved type, now,
would you ? But when it comes to the close-
to-the-heart things, she isi Most of all when
the close-to-the-heart things hurt.
What makes me like her, what makes
other girls like her is that she's perfectly
natural. Never puts on. Real all the time.
No little affectations at all, I know that.
She's taking her career seriously, as I
said. She is taking motherhood more seri-
ously. So seriously that I can't find the
word for it. But she also takes things very
matter-of-factly. Having a lot of money,
she's taking that in stride, too.
Following annulment of their marriage, Lana Turner and Steve Crane had a Valentine's Day
date at Mocambo, but it didn't surprise their friends, who feel they are still very much in love.
SCREENLAND
It is her natural tendency to be extrava-
gant, no doubt of that. She used to go to
shops, buy things and never ask the price.
There was a time when she couldn't pass
a jewelry shop, her feet just automatically
walked her in. She is mad about jewelry.
Especially about antique bracelets, of which
she has a really valuable collection. Real
old ones, with quaint inscriptions, "From
One Sweetheart To Another," and so on.
She is getting a better sense of values
now, though. She told me once, "It was
so wonderful not to have to ask the price.
But then, if you develop, you get back
to where you do ask the price again." And
she never went haywire in any really reck-
less, big way. She bought a lovely home
for her mother and herself, yes. But she did
things in moderation. She hasn't a pro-
jection room, no swimming-pool, no bad-
minton court.
Most of her generosity now is for other
people. Most of all, of course, for the baby.
When she really wasn't feeling well enough
to be on her feet, she went on a perfect orgy
of shopping for the infant. She'd heard that
woolens and bathinettes and things like that
■were to be rationed. She bought woolens,
shirts and socks and night gowns. She said,
"I want my baby to have the best." (Her
baby will, too. She'll see to that, she'll al-
ways see to that.) She spends most of her
time now planning the nursery. She has al-
ready decided on hundreds of color schemes,
changing her mind by the hour. She's de-
cided now to visit all the Model Homes to
gather ideas for her nursery.
_ She's been so generous to me, I'd be
rigid with embarrassment if it were anyone
but Lana, and Lana's way of being gener-
ous. She gives me gorgeous clothes — suits
— dresses — things she has worn only once.
I know what she is going to do to me
when she reads this but I'd rather take my
punishment than not to tell it. One day,
quite a while ago, she took me into a very
expensive fur shop with her. I often try on
hats for her so she can see how they look,
so when she asked me to try on a mink coat
I thought she wanted to see how it would
look on her. I put it on. She had me walk
around, turn around, turn around again.
"Well, now, tell me, Alice," she said, "how
do you like it?" I said, "I think it's per-
fectly beautiful." "That's fine," she said,
"it's yours."
She isn't affectionate at all, Lana isn't,
not one bit demonstrative. And 1 don't
think she likes people to make and gush
over her. So I couldn't even talk, I didn't
dare to cry. I just had to sit down. "I can't
accept it, I can't accept it," I kept saying.
Lana didn't even answer me. She ignored
me. She was busy discussing the shoulders
with the saleswoman, a little build-up here,
she thought, a bit more slope there, and the
length.
I have always been so grateful to Lana.
She has made me happier than she will ever
know. And I have never been able to say
so much as "Thank you." I tried it once.
"Please don't say it," she broke in on me
quickly. "I know how you feel. Let it go
at that."
I tried one other time. I was spending
the night at her house. She was making me
try on suits, hats, gloves, dresses, all the
accessories, everything. "Now, how about a
black dress?" she said, after she had given
me a wardrobe that would make me one of
the Ten Best Dressed for two years. "This
one, I think," she said, "yes, that looks
swell. Now, the shoes, the hat, the bag . . ."
That was the other time I tried. "Will you
be quiet?" she nipped my gratitude in the
bud, "I'm having fun." She was, too. She
wanted to be a designer, you know. She
adores that thing of getting people all
dressed up. She insists that her baby, if a
girl, will give her a chance to show how
much she knows about designing.
There are so many places in Lana's heart.
I was a good wife..,0rmzsZ?
93
YOUNG WIFE REVEALS HOW SHE
OVERCAME THE "ONE NEGLECT"
THAT SPOILS SO MANY MARRIAGES
I. Al housekeeping and cooking, yes, I was A-l. And at first, John and I were bliss-
fully happy. But slowly, John grew moody, neglected me. I grew jumpy, tearful.
2, One day, at the movies with my chum, I
began to cry, and couldn't stop. She was won-
derful! She got me alone, wangled it all out of
me, then she opened my eyes. "Most men
can't forgive one neglect, darling. A wife can't
be careless of feminine hygiene (intimate per-
sonal daintiness)." Then she explained . . .
3. "Today, many thousands of women use Lysol
disinfectant for feminine hygiene. My doctor
advises Lysol." And she told how it won't
harm sensitive vaginal tissues. "Just follow
the easy directions," she advised. "Lysol de-
odorizes, cleanses thoroughly. No wonder this
famous germicide is so widely used!"
4. Nowadays I use Lysol disinfectant regularly.
It's easy to use and so inexpensive. And these
days we're deliriously happy again. John says
I'm the best wife a man ever had!
Check this with your Doctor
Lysol is NON-CAUSTIC — gentle and
efficient in proper dilution. Contains no
free alkali. It is not carbolic acid.
EFFECTIVE — a powerful germ icicle, ac-
tive in presence of organic matter (such
as mucus, serum, etc.). SPREADING —
Lysol solutions spread and thus virtu-
ally search out germs in deep crevices.
ECONOMICAL— small bottle makes al-
most 4 gallons of solution for feminine
hygiene. CLEANLY ODOR— disappears
after use. LASTING — Lysol keeps full
strength indefinitely no matter how
often it is uncorked.
Copr., 1942. by Lehn & Fink Products Corp
For new FREE booklet (in plain wrapper) about Feminine Hygiene, send postcard
or letter for Booklet S.-543, Address: Lehn & Fink, Bloomfield, N. J.
* BUY WAR BONDS AND STAMPS *
SCREENLAND
67
She is so eager for everything, so eager to
do everything. She loves music, really loves
it. She has the most wonderful collection
of records. Many a time, before she was
married, I'd go to her house for dinner
and, afterwards, I'd get in my little corner,
Lana would get all the pillows off the
couches, line them up in front of the fire-
place, lie down on them and we'd play rec-
ords by the hour. Come time to go home,
Lana would still be lying there, half asleep,
lulled and blissful. And I'd put a cover over
her and leave her there.
She writes the most beautiful poetry. It's
inspirational with her. "Give me a pencil
and paper," she'll say, in the most unlikely
places at the most unlikely moments, and
down goes something lyrical and lovely.
She writes philosophy, too. Much too deep
for the average person, it is, let me tell you.
She reads deep books. Has a wonderful
library and, always, there are piles of books
on her bed-table. She likes to read biogra-
phies. Especially those of musicians.
She is so eager for life, in all of its as-
pects. She wants to visit the Juvenile
Courts. She does visit hospitals. She plays
the piano. She is marvelous at tennis, golf,
swimming, and loves bowling. She wants to
crowd everything in. Before my illness I
was a ballet dancer. After my convales-
cence, I had to give up dancing as a career.
But Lana wants to study ballet with me.
It used to be, "Now, next week we're going
to take up ballet seriously." Now it is,
"After the baby comes, we must start
ballet." _
She is as interested in people as she is
in things, all kinds of people. She was
thrilled and impressed when she met the
President of the United States. Joe Louis
is the only person she ever asked for an
autograph. "I must say the Champion
wasn't what I'd call effusive," she laughed,
when she showed it to me. "He just wrote
'Joe Louis' — and the date !"
It's because she is more interested in
other people than she is in herself, I think,
that keeps her so natural. She is, perfectly.
She doesn't change her manner in talking
to anybody.
I sometimes worry a little about Lana's
urge to crowd everything in, as if there
were not time enough, as if she must hurry,
rush to meet life, arms, heart, mind wide
open — as she is eager to meet motherhood.
She is a fatalist, I'd say. One time we
were coming back from New York in a
plane. There were three forced landings.
The last one has given me a recurrent
nightmare for life. We were in an electric
storm. You could see blue flames zinging
on the wings. The plane banked, righted
itself, banked again. Everyone .was tense,
was waiting. Everyone but Lana. She and
I had been reading the Esquire cartoons
together. "Well, what are you waiting fort"
she said when I sat there, arrested motion,
"turn the next page!" I looked at her. There
were tears in my eyes. She knew what I
was thinking. "Don't worry about me," she
said. "If anything's going to happen, it's
going to happen. And if it does, I have no
squawk. Life hasn't skimped me. I've had
a full course meal already."
Perhaps. But so much more will happen
to Lana. Things will always happen to
Lana. She is a magnet to attract them. She
makes me think of a receiving instrument
for love and laughter and tears and happi-
ness and heartbreak and pain and all the
pleasures. And people will always exagger-
ate the things that happen to Lana. They al-
ways have. If Lana went to one night club,
she had been to twenty. If she had two ro-
mances, she had fourteen. It's becr-v.se
Nature exaggerated her when she , was
made. Her beauty, her spirit, her warmth,
her eagerness, her talent, her capacity for
pain and pleasure — the things in her heart
are keyed, all of them, beyond the norm.
She is dyed in richer colors than — than the
rest of us.
I said that I could hate her. But that I
love her dearly. Have I made you under-
stand why ?
How Mrs. Alan Ladd
Is Facing the Future
Continued from page 25
was saying to the little girl, "I shouldn't
cry — I know I shouldn't cry — I should be
proud."
It is very difficult to be both a wife and
a patriot in these fateful times. Sue, like
many another loving wife, has found this
to be true. No matter how brave a wife
pretends to be, no matter how hard she
tries to say with conviction, "I am glad
my husband is a soldier. I am proud that
he wants to fight for his country, and for
me," deep down in her heart she knows it
isn't true. Proud, yes — but she isn't glad.
She ■ can't help but dread those days and
nights, those months, and perhaps years,
of loneliness and uncertainty — that never
knowing where he is, or how he is, or when
she will see him again. It isn't being sel-
fish, it isn't being unpatriotic, it's only being
human.
But Sue is an intelligent wife. When the
first shock of separation is over she will
realize that her troubles are relative. That
is to say, that she cannot measure their real
value until she compares them with the
hardships other wives are enduring. And on
this basis they will seem trivial indeed when
she contemplates the hell on earth that has
engulfed millions of wives all over the
world. Alan's baby will be born free, in a
free country. Compared with that every-
thing else seems rather unimportant.
When Sue joined me at luncheon I asked
her to talk about Alan. In spite of the fact
that he was turned down by the Navy
shortly after Pearl Harbor, and later by
his draft board (because of a physical dis-
ability he incurred when he was a boy in
swimming) Alan was determined to join
the service. Several weeks ago when he
finished "China" at the Paramount studios
he enlisted voluntarily as a private in the
Army Air Corps. He was inducted at
Fort MacArthur the day after his exciting
broadcast of "This Gun For Hire." At pres-
ent he is in training at a camp near Fresno.
Sue assured me that it was a good thing
I wanted her to talk about Alan, because
she certainly couldn't talk about anyone, or
anything, else. She showed me a sweater she
was knitting for him, and then proudly
produced a clipping about him from the
Reception Center Bulletin, published by the
boys at Fort MacArthur. It said in part,
"Pvt. Alan Ladd was' in khaki eight weeks
before he entered Reception Center. This
was for his role in 'Lucky Jordan' in which
he donned the GI uniform to portray a draft
dodger who became a hero. In real life the
star who rose sensationally looks like any-
thing but a draft dodger. His roster bud-
dies agree that he's a regular guy. With
Ladd it's mutual. 'I've been surprised,' he
said, 'to find just what a swell bunch of
fellows I'm among. Everyone is so coopera-
tive.' His greatest break was when he mar-
ried Sue Carol. You could tell that the way
he talked about her. And he carries her
picture inscribed 'To Alan, because I love
him with' all my heart.' Kissing Veronica
Lake was just work to Pvt. Ladd !"
"Alan has had joining the service in his
mind for over a year," said Sue. "He is a
shy, super-sensitive young man, and if his
heart is as big as all outdoors, I'm sure his
conscience is even bigger. He loves his home
with devotion, and he loves me, of course,
and he didn't want to leave me, especially
when I am having a baby so soon now- —
but he has felt all along that he should go.
I must confess I tried to discourage him at
first. But he was so determined that I didn't
think it was right to stand in his way. When
he was turned down both by the Navy and
Alice May, Lana Turner's stand-in and friend, demonstrates here how she saves Lana's
energy by standing in for the star while technicians make the necessary preparations for
next scene. Lana is not called to the set until all preliminaries have been attended to.
68
his draft board, I took hope. It isn't going
to be, after all, I thought. It was then we
decided to have a baby. And not wait until
the war was over.
"But Alan simply couldn't get it out of
his head that he ought to be in uniform.
Whenever we would go out to dinner at
night, or to a movie, or to a friend's house,
Alan would always stop the car on the way
home and pick up as many soldiers and
sailors as he could crowd in. Invariably
he would bring them home and while he
talked to them about their families (and
when Alan asks you about your family he's
not just being polite, he's really interested
and wants all the details) I would go to the
kitchen and scramble eggs and make toast
and coffee. Several hours later he would
casually announce to me that he was going
to take the boys to the nearest bus line.
I knew exactly what that meant. He was
going to take them to their camps, some-
times as far away as Riverside and Oxnard.
He'd get back to the house just in time to
have a shower, shave, and change his
clothes for a seven o'clock studio call. This
wasn't just once. It would happen several
nights a week.
"Then in 'Lucky Jordan' he had to play a
draft dodger. That was too much for him.
It got under his skin. His friends reminded
him of his dependents, of which he has his
share. And they reminded him of all the
years he has spent knocking his brains out
in Hollywood trying to get somewhere in
pictures, and that now is the time for him
to cash in on his career. 'You get more fan
mail than anyone at the studio,' they told
him. 'Right now you're the hottest person
in pictures. You'd be a fool to give up big
money you've worked so hard for when it is
within arm's reach for a mere $50 a month.'
But half the time Alan wasn't even listen-
ing to them. 'If it's all right with Susie,'
he'd say, 'I want to be in uniform.' I crossed
my fingers, and said it would be all right.
"Before he was sent to Fresno he had
a twelve hour pass, and came home. That
was when I saw him in his uniform, and his
GI haircut. He had to be back at Fort
MacArthur by 5 :30 in the morning so at
four o'clock our good friends, Bill Bendix
and his wife, drove us down to the Fort.
That was the. last time I saw him. I am
hoping and praying that he will be with
me when our baby is born, every woman
wants her husband with her at that time,
but if it is impossible for him to be there,
I'll get along. Other wives have.
"When the baby is old enough to travel
I expect to join Alan if it is humanly possi-
ble. I can rent our house here, and the
baby and I can live in a hotel near him. I
can certainly look after the baby myself.
But if Alan is sent some place where it is
utterly impossible for me to be near him,
I expect to remain in Hollywood and con-
tinue my business career.
"Alan and I have never made a splurge
of any kind in Hollywood. We've never
gone in for a showy house, night clubs, big
parties, and a lot of flash. We've never had
but one maid and one car. So we don't have
to go through any of that terrifying cut-
ting down. We'll get along somehow. Every-
body else does. And I certainly have the
satisfaction of knowing that Alan is doing
what his heart and his conscience told him
to do."
What'd I tell you! That Mrs. Alan Ladd
is an understanding and intelligent young
wife. She left me soon afterwards, explain-
ing that she had to spend the afternoon
forwarding Alan's mail to him. "Alan gets
such a kick out of the letters people write
him," she said. "Letters make him very
happy. He has always taken a great pleasure
in reading his mail. And now I'm sure he
needs his letters more than ever."
Me, I'm going to sit right down and
write Pvt. Alan Ladd a letter. And tell him
what a grand guy everyone thinks he is.
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S GREENLAND
69
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Salute for Three
Continued from page 33
the stork just brought us !" Mac kept work-
ing away at his tinkertoy set. He didn't
look up as he had already grown to realize
that a sugar-coated adult voice was dis-
guising some sour adult fact.
The father continued, "You're a lucky
boy. You've got a pair of brothers. Not just
one new baby, but two. Twins, whom we're
going to name Charles and Gordon."
Macdonald's large brown eyes moved
slowly from one item to the other in the
nursery, taking in every intimate arrange-
ment, every precious dimension.
"Hmmm," he sniffed. "Looks like I'm
going to have to subdivide."
It wasn't until several years later that
Carey, major, devised a benefit for himself
out of the presence of Careys, minor. Mac-
donald, tapped at an early age, would have
been found to. have grease paint running in
his veins in conjunction with that bright
fluid that now goes into Red Cross Blood
Banks. Long before he knew who Shake-
speare was, he was following in The Bard's
iambic pentameters. He was writing, direct-
ing, and acting in his own plays.
So he used his younger brothers as spear-
bearers, voices yelling "Help" off-stage, and
miscellaneous one-line characters.
He was quick to learn that Charlie and
Gordie had a remarkable ability to stand
on their heads for incredible periods of
time; with the true Belasco touch, Mac
prepared a magic act, and used the twins
as set dressing. They emerged on his make-
shift stage first and assumed their inverted
stance, whereupon Carey, the magician, ap-
peared and went through his complicated
routine before this human proscenium arch.
The next stage in the development of the
Carey Brothers' "Beau Geste" could be
termed Cravats, Unlimited. All three of
them discovered that neckties were to be
had in hilarious colors and patterns and
what wild tie one didn't discover, the other
did. The interchange of neckwear went on
merrily. No one ever knew which belonged
to whom, and Mac swears to this day that
some of his best numbers are undoubtedly
tucked away in one of the twin's trunks.
Even Father Carey was suspected of "bor-
rowing" now and then, but he denied the
charge with Considerable heat.
Father Carey had other troubles; as his
trio grew up, they became a three-ring de-
bating society. With forensic zeal they set-
tled great problems of state ; a social evil
was soon disposed of, and they had a remedy
for any economic crisis that was not strictly
personal.
Finally, after having done everything but
tap on his glass with his knife, Mr. Carey
emerged with this plaint : "Nobody ever
listens to me!" Did this elicit any pity for
him? Did this wistful comment earn a re-
spectful silence from his three lusties? Well,
thereafter, whenever one of the boys was
having a tough time putting over a theory
and was being interrupted every three
words, he always fell back on his father's
quotation: "Nobody ever listens to me!"
This is known as having fun with your own
family. •
Macdonald nowadays describes himself as
"the great athletic failure of the family."
His father was a superb tennis player and
at one time held the Mid-West Champion-
ship. Mac had every right to suppose that
Nature would have endowed him with at
least a part of his father's prowess, so he
set to with a racket as soon as possible.
"With disappointing results," — to quote
Mac.
Having preempted the family tennis
rights in the son-department, Mac steered
the twins onto golf. And tried to play along
with them. Well, at 12, the twins were
shooting in the eighties. By the time time
they were 13, they grumbled mightily if
their scores weren't in the low seventies.
The silent departure you may have just
noticed was Macdonald Carey withdrawing
from golf competition with his younger
relatives. Nowadays Gordon and Charlie
gambol over the green in a mere sixty-or-so
shots. They got so good that they entered
separate tournaments (Minnesota Resorters
and Iowa Open) and made them Carey
Specials. Father Carey went with one twin
(he maintained that it was to cheer his son
on, but the family still insist that it was
to share the glory), and Mac managed to
help swell the gallery for the other.
For years, Mac maintained his supremacy
in the tennis (we refrain from saying
"racket") department, but several months
ago Charlie licked him in love sets.
Mac was four years ahead of the twins
in school, of course. His first college year
was spent at Wisconsin where he was an
Alpha Delta Phi. He is, by the way, a
fraternity brother of Fredric March and
lived in March's erstwhile room for one
semester.
When the twins started to college, they
chose Morningside in Sioux City, Iowa, as
their Alma Mammy, and were pledged to
Delta Tau Delta because there wasn't a
chapter of A.D. Phi located there. With fine
comradely spirit, brother Mac joined the
twins in an apartment just a few blocks
from the Delta Gamma house. (Delta Gam-
ma has long been noted for the smooth girls
it enlists.) Mac was working on his Mas-
ter's Degree, and — as a sideline — muscling
in on his brothers' dates.
There was one sitchiashun in which
Jeff Donnell, featured in the Columbia film,
"What's Buzzin' Cousin," makes a pretty pic-
ture in her smart crisp white cotton sunsuit.
70
SCREENLAND
Charlie brought home a very lovely number
as a dinner guest one night. The boys were
doing their own cooking, and a very fine
job it was, too. Charlie is noted, to this day,
for his delicious cakes. He can whip up a
chocolate fudge concoction that would make
Prudence Penny lock herself in her own oven
for very despair ; as for his angel food item
— is ya droolin', honey?
Mac always had charge of the coffee de-
partment, the vegetables and the entree. He
broils a mean steak, but he admits that his
roast is "indifferent." Gordon was famous
for his salads, tossed with the air of a
master.
To be invited to the Carey bachelor quar-
ters, therefore, was a treat of high degree.
Only trouble was that Gordon and Charlie
soon became wily ; they grew chary of invit-
ing femmes over for dinner, only to have
them fascinated by their older brother.
After all, Mac had glammer ; he had long
been one of the dramatic lights of the cam-
pus in such plays as "Another Language,"
"Yellow Jack" and "Prologue To Glory."
He had played Washington in "Valley
Forge" (but he says he has never been able
to make his money go as far as George did
with the help of the Rappahannock) and
Essex was his meat in "Elizabeth, The
Queen" by Maxwell Anderson.
To bring an impressionable co-ed into the
same room with Brother Mac was to leave
a dollar bill on a seat in Union Station.
Charlie, as a matter of principle, disap-
proved of Mac's acting career. He accom-
panied Gordon to any play in which Mac
appeared, but his reaction was negative. Not
until he saw Mac as Washington, did he
melt even slightly. Then his praise was not
what you would term effulgent. "Carey,"
he said (all the boys call each other
"Carey"), "your performance was passable."
What he must have said on previous oc-
casions to make this parsimonious statement
seem like praise of a high order may be
guessed by the fact that Mac swallowed
hard and said gratefully, "Gosh, Carey,
thanks a lot."
Five years later, when Charlie saw Mac
in New York in "Lady In The Dark." the
report of the family critic was "Carey,
you're all right." No matter what the pro-
fessional drama dopesters said after that,
their praise was as nothing to Mac. He
had been officially anointed "actor" by his
kid brother,
Charlie has one vulnerable side, exposed
to family buffeting. Both Mac and Gordon
are married, but Charlie is a bachelor —
hence a logical recipient of intensive family
assistance and criticism in 'matters of the
heart.
As you can see, the life of Macdonakl
Carey can never be considered as a unit
without the background of his twin broth-
ers. You must make it "Salute To Three."
And speaking of salutes : Mac, during
the filming of "Wake Island," was so sold
on the heroes of the saga (The Marine
Corps) that he went down to recruiting
headquarters and joined up. He reported
for duty on December IS, 1942, as a lowly
private, bound for boot camp.
And, should he meet either of his kid
twin brothers on the street, it's up to him
to tender a snappy "highball." A salute, no
less. Because Charles is an Ensign in the
United States Navy, and Gordon is a
Lieutenant in the Quartermaster Corps of
the Army,
"And even if I get through Quantico
and achieve my gold bars," sums up the
brother who had to subdivide some years
ago, "they'll still rate me. By that time,
Charlie will probably be a Lieutenant
J. G, and Gordon will likely be a Captain."
And the proudest man on earth, not only
of his twin brothers, but of his family in
toto — as he crisps off a salute— will be Pri-
vate Macdonald Carey, U.S.M.C.
WHO would have thought you'd
be a deserter from a dustmop
. . . when Mom's counting
on you? When your country's
counting on you? . . .
As Mom explained — it's girls like
you taking on "homework" who
release a whole army of mothers for
rolling bandages and selling
war bonds and driving drill presses.
That's how important you are . . .
but look at you now! Wondering
why you re different from other
girls who manage to do their part
every day of the month.
Because if they can whisk
through dusting and dishes . . . then
dash out for a late "skate-date"
t
... so can you
How? . . . well, why not learn their
secret? See for yourself how many
girls simply shrug their shoulders and say it's no secret at all
.. . it's just that Kotex sanitary napkins give more comfort!
Keep your promises — and your dates!
Actually, it's because Kotex is made to stay soft while wearing . . .
a far cry from pads that only feel soft at first touch.
None of that snowball sort of softness that packs hard under pressure.
And when you're truly comfortable, your confidence goes zooming!
You'll see pesky little worries vanish because Kotex
has flat, pressed ends! And remember — no other leading brand offers
this patented feature — ends that don't show because they're not stubby.
Then, for your added protection, Kotex has a 4-ply safety center.
And — -no wrong side to cause accidents!
So now you know how to join the Keep-Going Corps. And why more
women choose Kotex than all other brands of pads put together!
TIPS FOR TEENS! What every girl
should know about what to do and
not to do on trying days is contained
in the bright little booklet "As One
Girl To Another". Write today to
P. O. Box 3434, Dept. S-5, Chicago,
for a copy free!
if you suffer
For Certain ' KURB tablets, a
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Kotex product compounded (
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fnXpatagfLaseehow
KURBS can help you.
TJ-rTRes.u.s. ft- off
SCREENLAND
71
SCREEN-TOWN
CHATTER
QPENCER TRACY has to do a dreamy
0 waltz with Irene Dunne. Now Spence is
a good trouper but he just isn't the ballroom
type. When shoe rationing set in, he
thought he saw a way out. Spence informed
the studio that he couldn't use his precious
ration coupon for just dress shoes. He had
never owned a pair in his life. The studio
politely told him that he was going to wear
dancing pumps — which they would furnish.
Guess who's dancing with tears in his eyes
— and liking it!
RED SKELTON was working with a
director who seemed to forget that peo-
ple eat lunch. Broad hints didn't help a bit.
So Red, wearing top hat, white tie and
tails, walked out in front of the studio and
threw himself down in the gutter. Traffic
jammed, a huge crowd gathered. Red lay
there perfectly still. Finally, when he felt
the audience was big enough, Red sat up
and cracked : "Tell my children I starved to
death on the set." Then he proceeded to
"pass out" again.
I IMMY CAGNEY was rushing to a Vic-
J tory bond rally when his car broke down.
Fortunately a taxi swung in sight and Jim-
my hailed it. The driver was a woman.
Jimmy gave his instructions and asked her
to step on it. Driving a few, blocks more,
the woman pulled over to the curb. "This
isn't the address I gave you," exclaimed
Jimmy. "I know it," was the nonchalant
answer. "But you'll just have to wait. I've
get an appointment to have my wave set!"
Yes, this is war !
BESIDES many pleasant memories, Ty-
rone Power literally left his buddies
with time on their hands. Just before he
went into the Coast Guard3 Ty gifted them
with wrist watches. His own design and
most unusual too. Instead of the usual crys-
tal, a sliding metal door protects the hands
and face.
AFTER fourteen weeks of living up to
>the name of their picture, Ida Lupino
and Olivia de Havilland finally had it out
on the set of "Devotion." All those affec-
tionate sisterly scenes had to be shot while
the girls weren't speaking to each other.
Finally, their sense of humor won out. Dur-
ing a "take" Olivia's dog rushed in and
jumped on Ida's lap. Both were so surprised
they burst out laughing. After that the ten-
sion was broken and they got along like two
little love birds again.
Bob Hope supports Dottie Lamour, top, as she plants her footprint
in the concrete in the forecourt of Grauman's Chinese Theatre.
Above, Dottie describes Hope's cement-studded nose over a nation-
wide hook-up after Bob planted his nose print in the concrete.
Whenever Simone Simon goes out for a social evening, George
Guinle, the handsome Brazilian, can always be found at her
side. When asked to confirm the romance rumors, Simone just
looks coy as she is so sweetly doing, above, at the Mocambo.
72
Above, Veronica Lake with Jack Bell, Hollywood clothier, at Mocambo. Above right, skating-
star Belita and Alan Curtis, who is now in the service, at a Beverly Hills swimming party.
TOO bad someone doesn't put a bug in that
fading star's ear. At a Hollywood dinner
party recently, everyone was doing nip-ups
over Greer Garson. Everyone but the star
we have in mind. When she was asked what
she thought of Greer, she sweetly replied :
"Considering that she's in her late forties,
I think she does very well." No one thought
it was funny. In fact, they felt sorry for the
star who really docs look the age she tried
to make Greer. What's more, she herself
knows it. Therefore the bitter pill.
CARY GRANT swears he saw this on a
theater marquee, while driving around
trying to find a good movie : "Tonight,
Henry Fonda in 'The Immoral Sergeant !' "
Something had happened to the letter T.
QUITE inconspicuously Ray Milland has
been adding to his hours in the air at
a civilian flying school. Ray, who has ter-
rific family responsibilities both here and in
England, is making preparations to face the
future.
AS A goodbye present to his wife whose
■first name is actually Ruby, Bob Taylor
gave Barbara Stanwyck a ruby-studded
heart-shaped locket. She wears it on a chain.
It opens and inside are two pictures of her
man.
E 3 ;
FEATURE
ATTRACTION
JANE WYATT, ALBERT DEKKER
and RICHARD OIX, stars of
Harry Sherman Productions—
United Artists, now appearing
in "THE KANSAN".
In the Hollywood scene;. or
in home scenes everywhere
you'll find Pepsi-Cola. It's
the feature attraction at
thirst time.
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SCREENLAND 73
Things move fast in war time. Changes
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How To Get Along In Hollywood
Continued from page 39
A year or so after my sister and I made
our debut, I got a job .in a revue headed
by N. T. Granlund, theatrical showman. It
was a good spot. It gave me more experi-
ence. But I knew instinctively that I
wouldn't go on and on just being a show-
girl. Consequently, I kept my eyes open for
any likely breaks.
Without my knowing anything about it,
a break was developing for me. Back in
Cleveland, a girl named Orrel Johnson — ■
who is now my companion here in Holly-
wood— was rehearsing an all-girl band for
an eventual tour across the country. The
owners of the band decided one fine day to
hire a girl conductor. Orrel, you see, was
only helping out temporarily. For some
strange reason, they wired me and asked
me to come to Cleveland to audition for the
job. After much argument, NTG finally
agreed to let me go.
When I arrived in Cleveland for the au-
dition, I was told to start conducting the
orchestra. This was something entirely new
to me, but I picked up the baton, added
some rhythm plus a little personality, and
went into the number. I was given the job.
I was also given a new name — Rita Rio.
Everything was going along nicely with
my new work until the managers suddenly
decided to call it quits. Orrel Johnson and
I talked the situation over and made up our
minds that we would take over the act our-
selves. So we pooled our money and got
to work.
During the next year, I played more one-
night stands than I care to remember. But
I did build up something of a name for
myself, from New York to California. And
I was drawing a good salary. At least, I
thought it was good until Toby Wing,
Faith Bacon, and Marie Wilson joined my
troupe.
For some time, I had knocked myself out
dancing, singing, and leading the band. On
the other hand, Toby and Marie walked out
on the stage, looked cute, cracked a few
jokes, and Faith nonchalantly flung a
feather in the breeze. Yet, they were getting
all of the money and I was barely breaking
even. My act drew $4000 a week, but by
the time I had paid the salaries of my band
and of Toby, Marie, and Faith, plus the
usual production expenses, I didn't come out
so well. Finally, I decided to find out just
why my three headliners were worth so
much money.
"We have a name," they informed me.
So I said to myself, "All right, you'll get
a name, too." I had thought Rita Rio wasn't
doing so badly for herself, but it seemed
as though it wasn't enough. The obvious
place, then, for me to get that added fame
was Hollywood. I gave up the band and
came here March 14, 1940, with Orrel.
And so began my lessons on how to get
along in Hollywood.
To begin with, let me advise any girl who
wants to come here for work in pictures
that it's a very good idea to come with
enough money to hold her up until the
breaks begin heading her way. Fortunately,
I had enough to keep me going. Even at
that, however, it wasn't any too much dur-
ing that first year that I waited, wondered,
and hoped.
When I arrived here, it wasn't long be-
fore I was offered stock contracts with sev-
eral studios. You know what stock contracts
are. You get $75 to $150 a week and all
you do is pose for leg art or play bits so
small that no one ever knows — or cares —
who you are. This wasn't for me. I refused
all such offers. I made up my mind that I
wouldn't work for any $150 a week since
I had made far more than that on the stage.
I decided to sit back and wait until the
right offer came my way. And this is where
I found my money that I had saved very
welcome.
_ If any girl comes to Hollywood with any
kind of a decent bankroll, she won't run the
danger of being shuffled into the back-
ground. She can wait until her real chances
come along. She can afford to be inde-
pendent. And that's important. Every girl
here must be independent to get along. I've
always found that if you go into pictures
cheap — you stay cheap. In other words, if
you accept small offers, you'll remain a
small personality in Hollywood's eyes. This
is your first lesson on how to do the right
thing in Hollywood.
During my first six months here the only
thing I did was to make five "soundies" for
Jimmy Roosevelt, one with Alan Ladd. I
earned a good salary then, but the long spell
of idleness before and after soon cut deeply
into my savings.
Certainly I began to worry. I hate inac-
tion and doing nothing was tying me up in
knots. I actually became ill. When I con-,
suited a doctor, he told me that there was
nothing wrong with me but nerves. I could
have told him that myself. The only cure
was work, as I saw it. And that I wasn't
getting. I began to wonder if I had been
wise in refusing those first offers — but I
went on refusing all that came my way.
I was just about to decide to accept any
offer from any studio when I got a call
from Paramount. They said they'd pay me
$400 a week. I took it. The date was March
14, 1941, a year to the day that I had ar-
rived in Hollywood.
During that year, I had learned that most
of my preconceived ideas about Hollywood
were wrong. It wasn't a place of an abun-
dance of glamor. It was, on the contrary,
a small town. Everyone didn't have loads
of money and furs and jewelry. And I
learned that the name Rita Rio meant noth-
ing, absolutely nothing to anybody in Holly-
wood !
When I was signed by Paramount, I was
sure that what I had done in the past would
Here's Ray Montgomery, the handsome lad
who played Pvt. Henry W, Chester, the assis-
tant radio operator in Warners' "Air Force,"
74
S GREENLAND
carry some weight. But my first talk with
a producer certainly changed that idea. He
was only interested in what my last picture
was. I didn't have any last picture. I tried
to tell him of my stage work. He wasn't
impressed-. So he sighed, smiled nicely, and
the interview was over.
A few days later, the name I had thought
so important was changed. I was now Dona
Drake.
My experience should be helpful to all
young girls who want to come to Holly-
wood and get along. It should teach you
that no studio is going to go into yips of
delight when you tell them that you were
a hit back home in your little theater or
in college. Hollywood doesn't care what
you've done before. It only wants to know
what you are doing now.
To get along in Hollywood when you're
a newcomer, you've got to forget all of your
past dreams and all of your ideas about
your talent. You've just got to sit back and
wait — as I did — and keep your eyes open.
There is no way that I know of to force
open the doors here. It's all a matter of
breaks and being able to take care of your-
self until the breaks come. And it's espe-
cially a matter of patience. How well I
realize that now ! If you don't have patience
and the will to stick it out, you'll never
get along here.
It's not only important to be able to take
it on the chin before you get your contract,
it's also important to be able to take it
after you get your contract. That was the
next thing I learned about Hollywood.
I had' been at Paramount for six months
and I hadn't done any pictures. So I decided
to go to the producers and ask them what
was holding me back. You see, I have al-
ways fought for my career. I have always
believed that no girl can get ahead if she's
shy and afraid. I never was when I was on
the stage and I couldn't see why I should
be in Hollywood. So I talked to the pro-
ducers frankly and openly. I never went to
any subordinate men — only to the men
whose words were law, who could bring
about the opportunities I wanted. I was de-
termined that the studio wasn't going to
forget me.
Naturally, the results of all my talks
weren't all successful. I was told that my
chance would come. That I only had to be
patient. But at least my determination to
make good made the producers realize I
was on the scene. This, to me, is important
for any girl who comes to Hollywood.
You've got to fight for every break — for
every bit of progress. If you're backward
and quiet, afraid to speak up for yourself,
you'll be shoved into the background so fast
that your head will swim. The only thing
to remember as far as fighting for what
you want is concerned is that you must be
sure you can deliver the goods when the
opportunity comes. If you just talk a lot
and then can't come through, you'll still be
relegated to the ash heap. Fight — if vcti
are sincerely talented and want a oreak.
Don't come to Hollywood at all if you only
have beauty to offer. It may be a good in-
troduction, but it will never make you a
star.
While I fought to some advantage, it was
Dorothy Lamour who really got me my
first job in a Paramount picture. She sug-
gested that I play a role in "Aloma of the
South Seas." It seemed I was at last on
my way. Once again, I found that I hadn't
learned how to get along in Hollywood.
After "Aloma," there was another long
period of waiting. Finally, someone hinted
that my appearance was amiss.
My hair was dyed black when I came to
Hollywood. My make-up was — well, vivid.
I wore a lot of lipstick and mascara. I was
a type — and I thought I was attracting
attention.
I began to make changes. I let my hair
grow back to its natural color. I gave up
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SCREENLAND
ANN: "No hat seems to look well be-
cause my hair's so dull and drab-
looking! Oh dear! and I did want to
look my best when Jim comes home."
MISS BETTY: "Why don't you try Nestle
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loveliest hair who come into my shop
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It rinses away the dull soap film, you
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color. It's a million thanks from me to
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the flashy dresses I had worn and went in
for dungarees and plaid jackets. I became
a tomboy. I had always been a tomboy more
or less anyway. In short, I was the hotcha
kid who made wise-cracks, talked loudly,
and was always obviously present.
The result of this change was that less
attention than ever was paid to me !
Finally, I made up my mind that I wanted
to have some fashion pictures taken. When
I told the editor at the studio that I wanted
to pose for fashion art, she said, "That's im-
possible. I don't have any dresses to fit
you." You see, I wear size eight or nine. I
told her that I'd wear a twelve and pin it
up so that it would fit me. Then she said,
"I don't see how I can use you for fashion
art, Dona. The clothes you wear aren't
right. Your hair is wrong. You simply
aren't well-groomed." So that is why I
haven't been making any impression, I
thought. I'd been trying too hard. Well,
I managed to convince the fashion editor
that I could pose for the art. I bought a lot
of new clothes and added plausible acces-
sories. I fixed my hair up. And I ended by
being a suitable subject for fashion pictures.
I also threw away the dungarees and from
then on wore only smart dresses and suits.
I realize now that no girl can get along
in Hollywood by obviously trying to make
an impression. Simplicity should be the key-
note of your wardrobe — simplicity plus
smartness. Hollywood has cast more than
one part on a girl's appearance. If you look
frowzy, you'll get either frowzy roles or
none at all.
I've also found out that no girl can get
along here if she does all the talking and
never listens. No one ever had a chance to
talk when I was around — and, needless to
say, I never listened to anyone. I thought
I was letting everyone know what a good
"Joe" I was. Instead, I was only appearing
ridiculous and annoying. It didn't enter my
head that charm and poise counted.
My other important bit of advice in this
connection is : Be willing to learn and take
advantage of what you learn. I know this
pays, for when I corrected such mistakes
as appearance and obviousness, my career
began to move forward. My options were
taken up twice, and "Louisiana Purchase,"
"Road to Morocco," and the others fol-
lowed.
You might assume that because I dressed
as I did that I was one who made sensa-
tional entrances into night clubs in sensa-
tional gowns. On the contrary, I didn't have
any terrific gowns and I didn't go to night
clubs.
I have never cared a hoot about night
life. I don't drink and J don't smoke. And I"
can't see what fun it is to be pushed around
on a crowded dance floor. For a while, I
admit, I did go out a little, but I got so
bored with it all that I began to stay at
home or to go to a movie with the only
fellow I have ever gone out with in Holly-
wood— Tom Neal. At the same time, I
watched the kind of friends I made.
For a while after I went back to my
normal living, I was called a snob. Few could
understand why I stayed home so much
and was never seen with the crowds. But
that didn't worry me. You see, I love my
home. It's a modest affair and was actually
decorated around a sofa pillow that I liked
— and I'm not kidding. I'd sooner spend my
time reading a book at home or playing
with my three dogs and two Siamese cats.
For a while, I even had rabbits but I had
to get rid of them. For obvious reasons.
To a girl who wants a lot of friends, my
plan would probably not be very good. But
I've never wanted a lot of friends. A few
close ones are enough for me. And I've
learned that no girl, in Hollywood particu-
larly, can ever be happy living up to an
impression. Any girl is in for a fall who
comes to Hollywood and thinks that she
can be a success if she drinks, smokes, is
seen out in spectacular gowns and with a dif-
ferent fellow from a "certain" crowd every
night, and who is known as a "good sport"
who will do anything. She'll only tab her-
self as a night club haunter and Hollywood
will soon lose interest in her as far as a
career is concerned.
Only recently, there have been cases
where a star has been told by her studio
to cut out night life — or else. Acting on the
screen is tough, hard work, and it demands
the highest efficiency from the stars. Physi-
cally, no girl can step out every_ night and
do her best work the next day in front of
the camera. So don't think your success in
Hollywood depends on where you're seen,
with whom, and how often. It's your work
on the screen that determines whether you'll
be a success or not — and whether you can
get along in Hollywood. Forget glamor,
girls, and get ready for a tough job !
In this matter of being a good sport and
Mary Lee, Republic's 17-year-old singing star, will soon be seen in her first starring pic-
ture, "Shantytown." Scene from film, above, shows her with John Archer and Marjorie Lord.
76
SCREENLAND
being seen with the so-called right men in
the so-called right crowds comes the in-
evitable subject of wolves. Right here and
now I want to tell every girl who dreams
of Hollywood that the town isn't just a
place for designing men. As a matter of
fact, there are fewer unprincipled men here
than there are in most places I've visited.
I've always maintained that any girl can
take care of herself in any emergency — if
she wants to. She needn't date the wrong
type of men just to create attention for her-
self. That has been proved in one instance
lately where a star made her name by being
seen with questionable men. She is now
the laughing stock of the town.
It's my opinion, however, that in a good
many cases the man isn't always the "bad"
character. The girl is equally at fault. She
may think that all she has to do is to "im-
press" a prominent male and her career will
go sailing along. But she forgets that the
really important men are more inclined to
provide a chance for the girl who does not
think that she is irresistible to every man.
And if you think I'm wrong, try to point
out one big actress on the screen today who
has reached stardom by acquiring a reputa-
tion that only served as the means for un-
pleasant gossip.
Don't forget, girls, your success will
depend on you — not on whom you date. The
men here will respect you — if you command
their respect. You can't blame them if you
lead with your chin. No man is ever going
to mistake talent for cheapness. Forget all
you've heard about forwardness bringing a
girl the breaks. In short, be sure you aren't
a "wolf" yourself.
It's as important not to gossip as it is
not to be a wolf. As for myself, I have
never been one to indulge in gossip of any
sort.
I have always made it a point to defend
the underdog. If I hear someone being
criticized, I stand up for him. After all, if
I were being talked about — as no doubt I
will be sooner or later — I'd want someone
to defend me. Gossip is really a dangerous
thing in Hollywood. It can — and has —
started rumors that easily ruin lives and
careers. So my advice is don't think you
can get along here by joining in every bit
of talk that you hear. Keep yourself out of
gossip completely in Hollywood — and you'll
never involve yourself in any trouble that
might result. Ignore it — and it can't hurt
you.
It's as much a part of a girl's nature to
be jealous as it is to gossip. And jealousy
will get you no place in Hollywood either.
I've lost parts to other actresses at the
studio, but I haven't been jealous. I know
there are opportunities for everyone here.
Besides, I'm too busy to think about the
breaks someone else is getting that I might
want. When a girl resorts to jealousy and
envy in Hollywood, she is only advertising
her own limitations. Do your own work
and do it well. And you'll find that there
will be plenty of chances for you !
Yes, I've learned a lot from Hollywood.
And because I have been willing t6 learn,
my career has changed from a slipshod
thing — as it was before I changed my ap-
pearance— into one of promise. Hollywood
has taught me what discouragement and
heartache are — and both were new feelings
for me. Both were important, though. They
are necessary parts of the maturity of any
young girl. Hollywood has taught me to
check up on myself and to get some sense.
It has showed me my shortcomings. It has,
above all, taught me how little I've known
and how much I have to know before I can
attain success.
Now,. I know how to get along in Holly-
wood. You can learn too if you watch the
simple rules. Don't ever forget — the dis-
illusionment and the lost hopes will be of
your own making, just as fame and success
are up to you !
Hats Off
to you Moviegoers!
Moviegoers of America— what a grand, generous,
patriotic group of alert, loyal Americans you are!
And what an important part you are play-
ing in the home -front battles of this war.
Perhaps you do not realize just what a fine job
you are doing. Did you know that, in the theatre
drives, you have magnificently contributed all this:
Qreek War Relief
Army & Navy Relief
uso
United Nations Fund
Infantile Paralysis
Infantile Paralysis
over $1,000,000
over 2,126,000
950,000
1,500,000
1,450,000
1,500,000
over
over
(42)
C43)
(est.)
Whenever the call has come, you have re-
sponded—with your donations, with your scrap,
with your Bond-purchases with your heart!
and Now Comes
this Most Important Call of All...
If you have given — try to give again!
Dig deep for a cause deep in every American heart I
WAR ACTIVITIES COMMITTEE OF THE MOTION PICTURE INDUSTRY
SCREENLAND
"Lady of Burlesque
Continued from page 27
charity drives. Your whole set follows
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personally grooming you for stardom."
"No thanks to your first comic !" Dixie
burned. "Fossy, are they all alike? Don't
you ever make a new one?"
"Not with comics." Foss smiled his slow,
good-natured smile. "Only with girls, and
only S. B. Foss can do anything new with
them."
"Then I guess it's pp to me," Dixie said,
starting up the stairs leading to the dressing
room. "I'm just the gal to enjoy the job!"
The dressing room showed the theater
at its worst. It was long and cluttered but
none too big for the eight show-girls and
five dancers who made up the women prin-
cipals of the show. At one end of the room
was the window looking out on the roof a
few feet below it and across the roof was
the back of a second floor chop suey joint
where a couple of Chinese waiters usually
loitered on their rickety porch trying to get
relief from the heat of the kitchens. But that
end wasn't as bad as the other with the
door leading into the wash-room whose
plumbing went right back to the days of
good old Queen Victoria herself.
Alice Angel and Janine, two of the show-
girls who liked Dixie, ran over to her and
gave her an impulsive hug.
"If I could pleathe the cuthtomerth like
that," Alice lisped in her little-girl voice,
"I'd be the happieth girl in the world!"
Only Gee Gee saw the quick anger that
blazed in Lolita LaVerne's eyes as she
came in the door. Lolita didn't even try to
make a secret of how she felt about Foss'
latest discovery.
"Don't we get any congrats from the
'golden-voiced goddess'?" Gee Gee grinned,
her voice sticking in, the pins where they'd
hurt most.
"Oh, your act has its novelty appeal."
Lolita's mouth cracked in a hard smile,
"Well, there are plenty of novelties
around the old Opera House," Dixie began
hotly. Then she frowned as the sound of
applause with a couple of bravos thrown in
came from the ventilator that the girls used
to communicate with the men's dressing
room on the floor above. Dixie knew the
voice that had shouted those bravos ! "If
that's who I think it is," she shouted warn-
ingly through it, "I hope you brought your
shroud !"
"Now is that the way to talk when I
was just offering my congrats?" Biff's
breezy voice chided. "That was some act.
When we get around to our first date you'll
have to wear your working clothes."
The only thing that kept Dixie from
making a burned up comeback was Sandra,
one of the show-girls dashing out of the
wash-room.
"That settles it!" she said indignantly.
"We've got to have a new one !"
"New what ?" Dixie demanded. Then her
wry smile came as she gestured toward the
door. "Oh, the museum piece. I haven't seen
one like that since the Wilkes-Barre Regal."
"Some ways I think it would have been
better to stay on the farm," one of the show-
girls grinned.
"Hey !" Biff's voice boomed down through
the ventilator again. "Look, to keep you
tomatoes from squawking so much we're
chipping in a buck each for a down payment
on a new one. How's that strike you?"
"Our hero!" Dixie mocked.
"Biff ought to pay double." Lolita gave
Dixie a malicious look. "With his new in-
terest he'll be in here all the time."
"If you figure that way," Dixie came
back at her, "don't forget your saloon keeper
friend, Louie, even if he doesn't work here."
"Sure," Sandra laughed. "Anybody that
saved as much out of the rackets as he did
can support part of this joint's upkeep."
"And while you're at it you'd better put
Russell Rogers down for his whole salary,"
Dixie went on. She'd been there long enough
to see how things were between Lolita and
the slightly over-age juvenile.
"Is that so ?" Lolita blazed. Then her eyes
narrowed as Dolly Baxter came into the
room. "Well, someone else had better for-
get what he looks like, too," she added sig-
nificantly, her eyes fastened on Dolly's
flushed face. "Some dames never know when
a guy's fed up."
Dolly sprang at her, catching- up a nail-
file from one of the dressing tables as she
lunged and the girls caught her just in
time. But the racket could be heard right
down to the stage and when Sandra flung
By sharing her car and giving her co-worlcers a lift home, Marguerite Chapman, who is
featured in the Columbia picture, "Destroyer," is able to malce extra weekly contribu-
tions to the Red Cross. Above, Marguerite shows her collection box to a friends
SCREENLAND
CAST
"LADY OF BURLESQUE"
A Hunt Stromberg Production
Released Through United Artists
Based on the best-selling novel, "The
G-String Murders," by Gypsy Rose
Lee. Screenplay by James Gunn. Di-
rected by William A. Wellman.
Dixie Daisy Barbara Stanwyck
Biff Brannigan Michael O'Shea
6". B. Foss J. Edward Bromberg
Gee Gee Graham Iris Adrian
Dolly Baxter Gloria Dickson
Lolita LaVeme. ...... .Victoria Faust
Princess Nirvcna - . Stephanie B'achelor
Inspector Harrigan .... Charles Dingle
Alice Angel Marion Martin
Janine Janis Carter
open the door to push the struggling Dolly
out, the place was crowded. Sammy the
stage manager, was there, and Stachi the
doorman, and Jake the prop man. Even
the little old guy who everyone called the
Hermit because he so seldom came down
from his high seat up in the flies was trying
to push Moey the candy butcher aside to
have a better look at what was going on.
Lolita was slumped in front of her dress-
ing table by that time sobbing out her woes
to the picture of her mother under the mir-
ror, the way she always did when she was
upset.
"She tried to disfigure me," she whim-
pered. "She's always been jealous of my
beauty."
"Jealous of what beauty?" Dolly screamed.
She had strong lungs, the kind that come
with a big ample body like hers. "Dirty
hypocrite, always talking to her mother's
picture !"
Stachi shook his head at that. His eyes
looked steely. He'd never even tried to hold
back what he thought of burlesque people.
"Opera singers, I could stand," he mut-
tered, reminding everyone again he had
known the theater when it really was an
opera house. "But prima donnas were noth-
ing to burlesque artists."
"Trash ain't got no manners," the Hermit
said sourly. "Think they're better'n an hon-
est man who works for his living and
doesn't take his clothes off."
Sammy nodded at Dixie then and at Biff
who'd come racing down as the music
played the cue for the Pickle Persuader
number. Dixie was going to do it with Biff
and she felt she couldn't wait for the black-
out when she was supposed to slap his face.
But before that she had to kiss him. She
thought she'd hate it, but it was funny the
way she felt, even just kissing him on the
stage, as if part of her wasn't really mad
at Biff at all, that it was only the ambitious
side of her that still wanted to slap him for
the. way he'd practically made her break
down in her first routine.
As ^hey were coming out of the clinch
Dixie's eyes froze for she saw a line of
policemen take their place at the back of the
audience. The joint was being raided, and
something was awfully fishy. A red light
was supposed to flash when cops were in
the lobby, and no light had flashed. Biff
leaned over and gave her another kiss
which wasn't in the script so he could
whisper to her.
"When the lights black out try to make
a break through the coal chute. And cut
the end of the blackout."
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SCREENLAND
7<
I ALMOST CRIED when Peggy said that to me!
It was the last time I forced her to take that
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just too strong!
AFTER THAT, I changed
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"Not a chance, Branuigan !" Dixie sotto-
voced right back at him. "I've been saving
up for this all evening."
She gave him a terrific whack on the face,
putting in a couple of extra ones that
weren't in the script either, and then as the
lights blacked out bedlam broke loose in
the theater with the cops running up the
aisles and the customers trying to get out.
But it wasn't only the stage lights that
went out. Backstage was like an air raid
rehearsal with not a glimmer of light show-
ing anywhere. Dixie bumped into someone
as she tried to grope her way to the coal
chute. Then a ,peam from a flashlight
streaked past her and before she could even
scream two thin, long hands reached out
from the shadows and grabbed her throat.
There was that moment of wild terror be-
fore she went limp.
The next thing she knew the lights were
on and somebody was shaking her and
she looked into the grim face of a police-
woman. At first Dixie was relieved, seeing
it was the law that was holding her.
"Why did you have to — " she began. Then
terror closed in on her again as she saw
the woman's big, stubby hands. They
weren't the ones that had caught at her
throat after all.
It would have been funny seeing Lolita
make a dash for the telephone and seeing
the whole cast struggling with the cops
and Biff Brannigan calmly trying to do a
rope trick and looking as if it were all a
part of the performance if it hadn't been
for her terror.
"Be calm!" Foss shouted, holding up his
hands for attention. "S. B. Foss has never
let his actors down. No artist that's work-
ing under the Foss banner rides in a pie
wagon. I, out of my own pocket, have hired
limousines to take you to jail and in one
hour, I give you my word, I will have you
out !"
He kept his word all right. He even
went further giving them that swell party
afterwards.
"I drink a toast to my actors," he said as
they all sat down, Biff making sure he was
getting the seat next to Dixie. "Some peo-
ple think I'm a schlemeil, some people
want I should make a little room in the
manager's chair so they can move in. But
they can't because I own the stock and what
I say is the law." He pounded his fist on
the table. "Someone in my theater is re-
sponsible for the raid. It wasn't the cops
who kept the red light from flashing and
it wasn't the cops who cut the lights back-
stage either. It was someone right from the
middle."
"And it wasn't the cops who tried to
strangle me !" Dixie sprang to her feet.
"That female flatfoot had hands like a
couple of porterhouse steaks !"
"What some people will do to get atten-
tion!" Lolita said loftily.
"Shut up, you!" Gee Gee turned on her.
"Dix, what are you talking about?" she
asked.
"When the lights went out I made for
the coal chute." Dixie began trembling
again. "And somebody grabbed me."
Biff, the big humor man, couldn't resist
a chance like that. He had to cut in then,
his eyes on Mandy, one of the comics who'd
come pretty honestly by that name even if
it wasn't the one his mother gave him.
"Mandy, you ought to be ashamed of
yourself," Biff said.
"Oh, it wathn't me," Mandy said, and
you had to know him before you knew he
wasn't imitating Alice Angel but really
talked that way. "I'm not that thort of fel-
low."
"Dixie," Foss said and his eyes looked
frightened, "someone was only trying to
find his way out."
"A neck is a funny thing to mistake for
a sign post," Dixie said. "I don't say that
they wanted to kill me. It was dark. What
I'm saying is that somebody in that theater
tried to kill somebody else."
"Maybe somebody does want to get rid
of somebody else around here," Dolly said
suddenly, her eyes glaring at Russell and
Lolita sitting so chummily together. "I mean
three people get crowded at a table for two.
And when some people get crowded, they
push !"
"Please !" Foss entreated. "This has gone
far enough." He reached down under the
table and took up a bulging brief case and
when he opened it everybody's eyes bulged
too, for it was filled with Opera House
John Donat, son of Robert Donat, will be seen with Charles Laughton and Maureen O'Hara in
RKO-Radio's "This Land Is Mine," which tells the story of an occupied town in Europe.
80
SCREENLAND
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stock certificates and he was giving every-
one a paid up share. "Anybody who tries
to break up this little family is worse than
a schlemeil," he said, and it was funny
that he said it just as he was giving Lolita
her share.
Lolita started to say something, then
she changed her mind, for the door had
opened and somebody had come in. It was
the first time Dixie saw Louie Grindero
but she knew now why they had shortened
his name to Louie the Grin, for two scars
ran from the corner of his mouth to his
cheekbones, giving the impression of a
ghastly smile.
"So Sir Galahad finally got here," Lo-
lita said bitingly. "Why didn't you come
to the station and bail me out? I called
you, didn't I? You got money, haven't
you ?"
"I don't go near jails," Louie said in
that toneless voice that matched his smile.
"I don't go near cops. You know that."
"Big Louie the Grin turns grey when
he sees a cop like a punk," Lolita jibed.
"You shouldn't try pluggin' Brooklyn cops,
Louie." His face frightened her then. She
stopped. Nobody knew what to expect.
But when he spoke his voice was quiet.
"Get your coat," he said. Then as she
hesitated his voice got even quieter. "You
don't want your coat?"
That did it. She picked it up and started
for the door Louie waited just a minute,
He reached out and gave Russell a slap
with the flat of his hand that sent him
sprawling. Then he followed Lolita to the
door.
Things certainly were getting sudden and
violent all right. Everyone tried to be gay
and drank more champagne than they
should. Dixie had the makings of a bad
hangover when she left going on toward
morning. She didn't even try to argue when
Biff insisted on seeing her home or when
he suggested they stop at the drugstore for
breakfast
"I never have a headache," he grinned,
digging into the huge breakfast he'd or-
dered which made Dixie shudder.
"This is the first morning I've ever had
two," she snapped, "one in the head and
one sitting beside me."
"Let's relax and get down to why you
really came along with me." Even Dixie
couldn't get Biff down. "What's the sum
total of your reaction to me?"
"No!" Dixie said flatly in words from
the one syllable department.
"Is it the set of my shoulders, the look
in my eyes, the sound of my jokes?"
"You hand me a lot of laughs, some you
don't mean to," she shrugged. "You're a
comic."
"What's the matter with comics?" he
demanded.
"I went into show business at seven,"
Dixie said. "The first comic I ever knew
gypped me out of my piggie bank. When I
was eleven comics were looking at my
ankles and when I was fourteen they were
just looking. When I was fifteen I'd been
stuck with enough lunch checks to paper a
three-story house. They're shiftless, dame-
chasing, ambitionless — "
"I got it !" he grinned. "You're am-
bitious."
"Maybe I'd like to get away from com-
ics." She gave him a level stare. "Maybe
J'd like to be in a Broadway show and have
Sunday nights off."
"With your refrigerating technique you
wouldn't know what to do with them," Biff
scoffed. "You must have a heart like an old
hacksaw blade."
"And what does a comic have for a
heart?" She picked up her bag. "An old
makeup towel, soggy with grease paint and
cheap lipstick. Don't get me wrong, Bran-
nigan, this is just one girl who isn't going
to add her print to the collection."
The girls were dividing their attention
between the morning tabloid accounts of
the raid and Siggy, the G-string salesman,
when she got to the theater. Things were
settling down, especially when Moey the
candy butcher came in with the crate hold-
ing the new prop for the wash-room.
"It ain't hot, is it?" Gee Gee asked hav-
ing got to know some of Moey's early his-
tory.
"Whadya mean, hot?" Moey asked in-
dignantly. "A pal of mine I used to work
with took up plumbing when we went legiti-
mate and whadya know, he gives it to me
wholesale. And what's more I save you
plenty by installing it personally. Look,"
he said triumphantly yanking off the cover
of the crate. "It's got class enough for the
Queen of Sheba. Now you'd really have
something if you had a whole suite to
match."
It was beautiful. It looked just like mar-
ble and it was spic and span brand new.
Yes, there wasn't any doubt that wash-
basin would make the rest of the plumbing
look worse than ever. But one thing at
a time, Dixie told herself as the girls be-
gan planning a party to install the basin.
They'd get the beer from Louie's saloon
next door and food from the chop suey
joint across the way and they'd make it a
real opening. Only it didn't look good for
the food part of it when Lolita came in to
change and threw a soda bottle at one of the
Chinese waiters across the way who stared
at her as she stripped her dress off. "Maybe
that'll teach you," she said as the bottle
conked him on the head. "Ya sneakin' son
of a peeping Tom! A lady's entitled to
privacy."
"Why don't you dress away from the
window like everybody else?" Dixie de-
manded, "You'll get plenty of privacy if
that waiter's hurt. They have laws for
people like you. Listen," she went to the
window, "I'm going over there and try
to patch things up."
It wasn't easy even with- Dixie's warm
smile. When she first went over it looked
as if S. B. Foss would have to get himself
a new star.
"Now wait, boys," Dixie said as they
glared at her. "I'm carrying a white flag.
You Chinese fight too darn well for us to
want to mix with you."
That almost did it and when Dixie
showed Wong the waiter how to fix the
bump on his forehead by putting ice on it
that finished it. By the time she was leaving
she'd made friends with everyone, even
with Wong.
"Wait a minute," he said as she started
across the roof. He gave her a small box.
"Ginseng root," he bowed ceremoniously.
"Grows only under gallows where men have
died. You eat it, live forever."
"Thanks, thanks a lot," Dixie said, but
she felt frightened inside. She couldn't get
over that fear even when the girls started
kidding her when she told them about it.
Sandra took the box and began prying the
wax sealing the cover with her nail-file as
the wash-room door opened and Moey came
out.
"Everything's hunkeydory now," he said.
"But you'd better clear out early for the
finale. Jake has a few surprises he wants
to put in for the unveiling."
Suddenly Sandra screamed.
"Look," Lolita pointed at the root San-
dra was holding up. "It's shaped like a
man." Her voice sounded fascinated. "Not
so much like a man, more like a skeleton
hanging from the gallows. Want to trade
it in, Dixie?" . .
"You can have the fool thing, Dixie
shuddered. Then she looked up at the new
girl who came into the room as Moey left.
Everyone was staring at her with eyes
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that didn't even try to conceal their dislike.
"Look what the pack rats brought out of
the sewer !" Dolly was the first to recover.
"The Princess Nirvena !"
"I am the star of this theater," pro-
claimed the Princess, who, Dixie was to
discover later, had never been nearer Rus-
sia than the neighborhood around the ball
park in Brooklyn where she'd been born.
"I haff been in the hospital for the last two
weeks. Dislocated vertebrae."
Sandra sniffed. "She threw a bump that
shook the second balcony and sprung her-
self into the orthopedic ward!" she said.
"Maybe she took a little trip." Lolita
looked at the phony Russian meaningfully.
"Maybe to Toledo for old times' sake !"
"I don't go to Toledo!" The Princess
stamped her foot in quick temper. "Only
tramps work in Toledo." She started
haughtily toward the door. "I dress alone,
downstairs. I would rather live in a pigsty
than with you."
Sandra flung her mirror down on the
dressing table. "If it weren't bad luck, I'd
let her have it!" she cried.
Jake came in then and the girls hustled
out leaving him to finish the surprises he'd
promised for the unveiling of the new wash-
room gadget. Only maybe they wouldn't
have been so quick to go if they knew what
the real surprise was going to be.
Dixie wouldn't have gone up to the dress-
ing room before the finale if Sammy hadn't
sent her to look for Lolita who wasn't in
the wings with the others. Dixie didn't care
much if she was there or not after the way
she'd been fighting off stage with Louie
when he found her with Russell, screaming
so hard when he hit Russell it almost ruined
Dixie's scene. But she'd had presence of
mind to signal to the drummer who beat
the traps to cut out the furious voices.
Still she had to find her, for Sammy was
in a temper. So when Lolita didn't answer
her call she went into the room. She
grinned then as she saw the lock on the
wash-room door sealed up with wax to keep
snoopers out and curiously went over and
touched it. It was still soft and some of it
came off and stuck to her finger. Then
Sammy called up the ventilator from down-
stairs and she heard him groan when she
said Lolita wasn't there.
A minute later she heard him running
up the stairs. "Whadya mean she isn't
here?" he demanded, grabbing the knob
on the wash-room door. "Have you looked
in — "
"Look out!" Dixie warned him. "Jake
sealed that!"
Her voice rose in terror then for Jake
had pulled the door open and she saw Lolita
La Verne's body propped up against the
pipes of the wash-basin, the garish over-
head light spotlighting the rhinestones in
the G-string garrotted around her neck.
There was no doubt about it Lolita was
dead. Murdered!
"It's her G-string!" Dixie faltered.
Biff, who had come dashing up with the
others, nodded his head. "And it ain't there
for an ornament!" he said dully.
It was the wax on her finger and the
print on the door that made Inspector Har-
rigan single Dixie out for questioning first.
The mystery had deepened more than ever
by the time the police arrived, for the
G-string had disappeared from Lolita's
throat. Then, when one of the detectives
brought in Wong and another discovered
Louie the Grin had taken his car and dis-
appeared after a mysterious call from Moey,
Dixie for once was glad to lose the spot-
light.
"Okay, so I called him," Moey burst out
as the Inspector fixed him with a long,
steely look. "When we were in the rackets
he did me a couple of turns. All I did was
tell him she was dead. He's got reasons for
not wanting to be mixed up with the po-
lice."
"He may or may not be guilty," Harri-
gan said. "Miss La Verne was killed be-
tween the time she went upstairs after her
fight with him and the discovery of her
body. Anybody could have murdered her.
The stage hands wander about the theater
Hot stuff! Charming Jean Cagney and Helmut Dantine were guests at party at the St.
Regis, New York, after which anthracite engineers demonstrated how to properly tend
a hard coal burning furnace, and how to get the most heat from the least coal.
82
SCREENLAND
at will. The door man, the candy butcher,
the prop man who sealed the door, only it
turns out the murderer had time to strangle
La Verne, break Jake's seal and replace it
with one of his own before the body was
found. Then there was the stage manager
who was angry. Even the fly man." Harri-
gan fixed his eyes on the Hermit. "He
makes no secret of his dislike of burlesque
performers. And," he turned to the door-
man, "you don't like burlesque performers
either, do you, Stachi?"
"They're not the most easy in the world
to get along with," the doorman admitted,
but the violence was gone from his voice
now. It sounded guarded.
"Mr. Wong had only to cross the roof."
The inspector gave the waiter a long look.
"And oh, yes, Miss Nirvena — "
"I am the Princess Nirvena!" she cor-
rected him haughtily. "And I was in my
dressing room until I heard the excitement."
"Is that all?" Dolly taunted. "Ask her
about Toledo! La Verne was always mak-
ing cracks about Toledo!"
"I told her I nevaire worked in Toledo,"
the Princess turned to Mr. Foss. "Is it not
the truth ?" -
For just a moment he hesitated. It made
Dixie wonder. "Yes," he said in a low voice.
"She never worked in my Toledo theater."
Dolly shouldn't have spoken. She knew
that when the Princess brought up the ques-
tion of her fight with Lolita. Then Dixie
felt as if her brain had been caught in a re-
volving door when the investigation was
brought back to her again. The wax used
to seal the door the second time had come
from the wax on the box the waiter had
given her.
"Listen!" Biff spoke up suddenly. "You
can't think this girl committed murder. Look
at her sitting there, beautiful, defenseless.
Furthermore she wasn't out of my sight all
evening."
"That's a silly lie," Russell snickered.
"She's admitted she was alone in the dress-
ing room."
"Talking about lies," Biff wheeled on
him, "give yourself top billing. You didn't
mention that you told us guys this afternoon
you'd kill Lolita rather than see her stay
mixed up with Louie !"
"Perhaps I felt like killing her," Russell
admitted, "but I loved her too much to
really want to kill her. I wanted to marry
her."
Dolly gasped at that and the Inspector's
eyes challenged her.
"Isn't there something you want to say ?"
he asked. Then as she shuddered he turned
to the others. "Don't you want to tell it was
impossible for Rogers to marry Lolita since
he is already married to you?"
"We didn't want it known because Foss
doesn't like to hire married couples," Dolly
sobbed.
"Cry, go ahead and cry!" Russell turned
on her viciously. He took off the scarf he
was wearing. "Look at these marks ! She
did that a week ago when I told her I was
leaving her !"
"Please !" the Inspector said. He took the
note a policeman just coming in handed
him and his face sharpened. "This is the
coroner's preliminary report," he said. "Lo-
lita La Verne was poisoned! She would
have died in three minutes if the strangler
hadn't intervened. Was the murderer so
impatient he couldn't wait for his poison
to work? Or," he threw a glance at the
whole company, "are there two murderers
in the old Opera House ?"
He gave orders then that no one was to
leave until further notice and the company
broke up in little excited groups. Dixie
felt someone take her hand. It was Biff.
She didn't protest even when he led her
upstairs and took her into the dressing
room.
Drawn by a terrible fascination her eyes
stared at Lolita's dressing table and then
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she had all she could do to stifle her scream.
The picture of Lolita's mother was gone !
Only then did she see Biff jump down to
the roof below and come back with some-
thing in his hand.
"Lolita's G-string," Biff said, showing it
to her. "I threw it out on the roof. Listen,
Dix," he gripped her shoulders, "I found
the thing in my pocket. Someone slipped
it there but I didn't think they'd believe
that so I worked my way over to the win-
dow and threw it out. But I've got to tell
them now. It's the murder weapon, and
they're bearing down on you."
She felt his arms around her, and it was
different than his kiss had been on the stage.
She felt so safe in Biff's arms. It made all
the years when she hadn't known him seem
wasted. Then the door opened and it was
spoiled as Dolly came in. And it was queer
how the first thing she noticed too was that
the picture was gone and the way Biff
stared at the empty place on the dressing
table.
Dixie didn't look like a girl who might
be mixed up in a murder case any minute
as she went downstairs. Her heart was
singing until that awful moment when the
policeman came in holding Biff by the arm
and told the Inspector he'd found him trying
to stuff the missing G-string down a drain
pipe. So Biff hadn't been really thinking
about her after all. He'd just been trying
to make time with her. Even when he tried
to make it look like a joke, Dixie wasn't
appeased.
"You weren't using that drain pipe for a
May-pole," she said furiously.
"Oh, well, maybe that little kiss was
worth it," he flashed his most winning
Irish smile. "Maybe the electric chair would
be worth it too," he said, "if — "
"Maybe you'll get a try," the policeman
pulled him away. "Come on !"
"Goodbye, Dixie," he said.
But she wasn't going to be taken in again.
"So long, cmnic," she said.
But it was funny how she couldn't get to
sleep that night thinking of Biff in the
station house, even though she kept trying
to tell herself that she was still mad at him.
Stachi gave her a surprised look as she
came in the stage door the next day. "You
look thoughtful, Miss Dixie," he said. "I'm
not surprised. Every day gets more and
more troubled around the old Opera
House."
"Not like the old days, hmmm?" Dixie
said, automatically reaching for a letter in
her mail box. Her twisted smile came as she
read it. "Another one from the old gee in
row three." She tore the note up. "Is that
a new wrinkle, Stachi?"
"In the old days the prima donnas would
get notes in dozens of roses," he said
proudly. "And when the performance was
over the wealthiest men in the city would
be waiting in evening clothes and carriages.
I was a baritone," he said impressively, his
arm raised proudly as he pointed to the pic-
ture of himself on the wall back of his
chair.
Dixie looked at him fascinated, at his
operatic pose, his slender hand gesturing.
"And you lost your voice?" she asked
thoughtfully.
"So I took up smoking a pipe and sitting
here," he shrugged philosophically. "We
were no better than you people for saving
money."
Only a familiar voice back of her made
her take her fascinated eyes off the door-
man.
"Home !" Biff said, as she turned striking
a theatrical pose. "After twenty years in
prison, framed by the villain ! Ah, the light
in the doorway, the faithful caretaker, the
little woman waiting!"
"You're behind in your literature." She
looked at the faded copy of the Police
Gazette sticking out of his pocket and made
a face as she saw the date. "It's thirty-five
years old."
"You ain't whistling it's literature," Biff
grinned. "I found out more about burlesque
in one night than — "
"How come you are here?" Dixie cut
his spiel short.
"New evidence," he said. "They let me
go. They found Louie's car right around
Fay Bainter and Mickey Rooney, who were teamed as mother and son in "Young Tom Edison,"
are once again cast in those roles in the new M-G-M picture, "The Human Comedy."
SCREENLAND
the corner from the theater and they found
Lolita's bank book in her apartment. Yes-
terday she took ten thousand smackers
out of the bank. Where did that money go
to?"
"Maybe down the drain pipe with the
rest of the evidence." Dixie gave it to him
straight but he only kept on grinning.
"Aren't you a teeny-weeny bit glad to see
me back?"
"No!" she said flatly.
"O.K." Biff wasn't to be daunted. "You'll
see me in a minute. We're on next! You
and me and the old gazeeka box !"
It would have to be like that, just when
she wanted to be so formal and cool to-
ward him. She never had liked the routine
of the gazeeka box anyway. That act was
so old its disappearing lady should have
been pensioned off and the box looked
enough like a coffin to have been decently
buried long ago. Only that matinee the old
old gazeeka box had a new twist. A grue-
some new twist. And when Biff lifted down
the front panel Dixie screamed. For it
wasn't empty. Something rolled out of it,
something that had once been human.
It was the dead body of the Princess
Nirvena! And a jeweled G-string flopped
grotesquely behind her left ear. She too
had been strangled by her own G-string!
Sammy shouted and the curtain went
down with a bang. Then as everybody
rushed on the stage Dixie saw a shadow in
the wings running to the stage door. It was
Louie the Grin and he had a revolver in his
hand. Stachi barred his way and Louie fired
once but the gun was empty. He turned
then, rushing desperately to the Hermit's
iron ladder and began climbing up to the
flies, his distorted face mocking them as
he reached the cat walk up close to the
ceiling.
"I didn't kill her!" he shouted. "Don't
think you're going to get me for it, coppers."
Mickey Rooney heads the stellar cast which
includes Frank Morgan, James Craig, Marsha
Hunt, Miss Bainter in "The Human Comedy,"
the William Saroyan story which revolves
around a messenger boy, played by Mickey.
He jumped, and the sound of his crashing
body was blotted out by the screams from
the stage.
"He picked his way out of .it," the In-
spector said. "I guess we can cross out one
of our question marks."
"Or hang one more on our collection,"
Dixie said. "Put it down to woman's in-
tuition, but I'm feeling a chunk of it. Why
should he kill the Princess?"
It was almost as if fate was proving she
was right when a policeman came in with
a small battered lunch-box everyone rec-
ognized as belonging to Jake the properly
man. Then as even-one watched fascinated,
the Inspector opened it and took out the
torn fragments of the picture of Lolita's
mother.
"I found it, honest, I did," Jake cried
wildly. Suddenly he pointed an accusing
finger at Russell. "He didn't say nothing
about knowing the Princess. Ask him why
he took her to a hotel last night, why — "
Russell broke then, telling more than he
meant to as he protested his innocence of
the more serious charge of murder. He had
taken Lolita's G-string because she usually
kept her money hidden under its fringe and
she had promised him ten thousand dollars
to produce a play. But when he looked for
it there was no money there.
"You took that money after you killed
her !" the Inspector said.
"Stop it !" Russell almost screamed. "The
Princess gave me the money later. I — I
heard her kill Lolita. I heard them talking
through the ventilator. Lolita knew Foss
and the Princess had been sweethearts in
Toledo and that the Princess was black-
mailing Foss, for he didn't want his wife
and kids to know even if it had happened
a long time ago. Lolita wanted her share of
the Princess' racket and threatened to tell
Foss' wife herself. Nirvena pretended she
didn't mind paying off, that there was
it
HAS GOD FAILED?
iiiiii
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Certainly not — the trouble is that
the American people know little,
if anything, of the superlative,
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It's too bad that our ideas of
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Dr. Frank B. Robinson
Who has been ordained by God to
reveal the Power of the Spirit of
God to the human race.
to be received "after we die." But
we know better than that. For we
made a very singular discovery
some fifteen years ago. We dis-
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of this greatest of all Powers.
Now — all that can be changed, for
God has never failed the American
people. They just simply have not
known the electrifying Power, God
really is.
Knowing what this Power can
do, naturally we want our fellow-
Americans to know too. So, if you
will send us your name and ad-
dress, we'll see that full informa-
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two FREE lectures, both written
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of Spiritual Power. All we ask is
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plainly, in a letter or on a post-
card, and send it to "Psychiana"
Inc., Dept. 197, Moscow, Idaho.
Remember — we are the ones who
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enough for both of them. She suggested they
drink to it and I heard Lolita gag and I
rushed up as the Princess was coming
down. But she must have heard something
for she ducked back and I saw her open
the door to the dressing room. Don't you
see that's why she had to be killed? She
saw someone strangling Lolita !"
Of course he was arrested after that. It
was a relief to most of them. But not to
Dixie. Russell's hands weren't long and
thin and she couldn't get the picture of the
strangler's hands out of her mind.
Gee Gee was the only one she took into
her confidence. She had a plan to catch
the murderer herself. She knew he would
come for she was more than certain he knew
she had spotted him, that she had given
her knowledge away the first time she really
became conscious of his hands.
Putting Gee Gee on guard under the
stairs so she could call the police still guard-
ing the theater at the murderer's approach,
she went up to the dressing room alone and,
dragging out the old dress-making figure
the girls used when they were making their
costumes, she rigged it up in her own
cloths as bait for the murderer. But Dixie
made one mistake. She hadn't counted on
the possibility of him being already hidden
in the dressing room when she got there.
It was only when the curtain covering
the long built-in wardrobe rack moved and
she saw the long, thin hands slowly parting
them that she realized her danger. She tried
to scream but no sound came as she saw
her own G-string dangling from the long
fingers.
"You can't even scream," the murderer
mocked her. "Your throat is tight, your
tongue is dry. On one finger I hold the
costume of a lovely lady, so small, so dan-
gerous. It was only a few seconds for Lo-
lita, a little longer for the Princess, but
then she wasn't half dead already. And now
the time has come for another lovely lady
of burlesque, the loveliest of all." His voice
thickened as he came closer. "I've wanted
to kill every woman on that stage, to close
the old Opera House, see it gone forever
as its glory is gone. You'll never leave it
now. You aren't afraid of ghosts, lovely
lady of burlesque. You'll be one!"
Suddenly he threw the glittering rhine-
stone string around her neck, then as she
tried to fight him of? there was the crash
of the window breaking behind her and the
murderer was knocked down by the man
who catapulted through the broken glass
followed by the policeman who- pinioned
the mad man's arms behind him.
'Biff !" Dixie found her voice as she
clung to him. "Oh Biff, darling !"
"Remember a little misunderstanding
about a G-string and a drain pipe?" he
grinned. "I did it deliberately to be locked
up. I had a hunch about a dame's picture
that looked familiar and I had another
hunch I'd find something if I could lay my
hands on a Police Gazette dating far enough
back. Well, where could I find that but in
a police station? And I was right. I found
the picture of LaVerne's mother. And her
name, too. That was the key to everything."
Dixie was too happy to ask questions.
There'd be time for that afterwards, all
those long evenings when she and Biff
would be together always. Maybe after
they'd been married a while it would be
fun to mull over the adventures in the old
Opera House. But she didn't want to talk
now. She only wanted to stay there forever,
held in the warm circle of Biff's arms.
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SCREENLAND
BE SLIM!
Don't Depend On Clamor!
Continued from page 35
She was furious that he had found her
without any make-up on — though I'm sure
it didn't matter the least bit to him — and
started a quarrel that may never be
patched up."
From a press agent who accompanied her
on her recent bond tour I gathered that
Veronica had been "caught out" many times
herself, but bore up splendidly. There was
the morning she arrived in Detroit at 10
A.M. She had overslept on the train, and
when she found herself in the station she
pushed her hair under a hat, gave a quick
jab to her lips with a lipstick, and made a
little prayer that she could get to the hotel
before anyone saw her. But no — there at
the station were photographers, newspaper
reporters, and a committee of big shots and
their wives. They escorted her en masse to
the hotel. The average glamor girl from
Hollywood would have made a wild dash
for the bedroom, spent an hour glamorizing
herself while the guests sat around in bored
groups in the sitting room, and finally
emerged in a ravishing tea gown, and with
every curl in place. But not Veronica. She
sat right down on the sitting room couch,
pulled off her hat and let her hair tumble
down, and kicked off her slippers. The big
shots and their wives thawed out like Baked
Alaska in the sunshine. When a photog-
rapher said, "May we take pictures, Miss
Lake?" Veronica casually replied, "Cer-
tainly, if you don't mind how I look." The
press, accustomed to wait hours for the
glamorous ones from Hollywood to make
an entrance and strike a pose, were so de-
lighted with Miss Veronica that they gave
her more space than any star has ever re-
ceived in that city.
"Glamor," continued Veronica, "is so de-
pressingly artificial. If you depend _ on
glamor you eventually become cold, brittle
and artificial yourself. And the atmosphere
around you takes on all those unnatural
qualities. Have you ever noticed the re-
straint that comes over a room when a pro-
fessional beauty enters? Men have always
been fascinated, momentarily, by profes-
sional beauties, it's a hangover from Helen
of Troy days I suppose, but they recover
from their fascination very quickly. A pretty,
vacant face is easy on a fellow's eyes, but
awfully hard on his ego. All women know
that men like to talk about themselves.
What chance has a man got with a dame
who is busy making up her face all the time
he is relating his best adventures in finance,
or else monopolizing the conversation telling
him how wonderful she is ! If you want
to be popular with men, if you want lots
and lots of dates, it's much better to be a
human being than a model.
"People always react unfavorably to ar-
tificiality. A hostess, whether she lives in
Washington with three secretaries, or in a
small town with a party line, never wants
a guest at her dinners who just sits and
looks lovely and fragile like an orchid in a
florist's window. Such a guest can flatten
out a dinner party quicker than a steam
roller. When a hostess makes out her list
she thinks of women who are gay and witty
and intelligent, the ones who are noted for
their brains and ability, and not their glamor
and uselessness. Dorothy Thompson, Mrs.
Roosevelt, Lilian Hellman, Helen Hayes
are certainly not glamorous, but any hostess
in the United States would be glad to have
them come to dinner. And believe me, most
men would rather have Fannie Brice on
their right than Miss America.
"It's very boring trying to live up to
glamor," Veronica continued. "Naturally
you develop the Narcissus complex, and
since the only person you're interested in is
yourself you soon find that you have no
friends. You can't think because thinking
might give you a wrinkle. You can't read
because reading might give you crowsfeet.
You can't play tennis, golf, swim, ride, be-
cause sports might give you muscles. Life
becomes just one long beauty salon. Boring,
isn't it !
"Early in my Hollywood career I had an
object lesson tossed my way. A very big
and important star, a topnotch glamor girl,
invited me to lunch at her home one day.
'Come in slacks, dear,' she said, 'there'll
only be the two of us and we can gossip
our heads off.' I might as well confess I
like to tear into a bit of tasty gossip oc-
casionally, so I was looking forward to the
luncheon. But hardly had we started on the
soup than her pet photographer from the
studio arrived with her latest portrait sit-
Wanda McKay and
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drama of the Philip-
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Elissa Landi Donald
Woods, Otto Kruger.
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ting. 'They're beautiful,' he exclaimed ec-
statically, 'just as beautiful as you are!' She
is not one to deny she is beautiful. There
were about thirty or forty pictures, and not
only did we admire them once, but two,
three and even four times! We discussed
each and every one of them as if it were as
important as the Bill of Rights ! I was so
fed up with glamor by the time the luncheon
was over that I craved fresh air, something
sordid and soothing like a bus ride. 'Don't
go,' she said as I put on my coat, 'I have
a real treat for you at three. A girl from
Adrian's is going to bring over all the ex-
citing dresses I wear in my next picture.
They're a dream. You must stay and see
me have a fitting.' I suddenly remembered,
however, that I had promised to take my
mother to the dentist that afternoon, what
a pity I couldn't stay. I may say I did a
neat bit of acting. But my 'audience' wasn't
even watching. She was looking at herself
in the mirror.
"Furthermore," Veronica continued, "if
you rely on glamor exclusively it will an-
tagonize other women. Nothing antagonizes
them quite so quickly. I believe, though I
know a lot of my sex heartily disagree with
me, that one of the most important things in
life is to make women like you. You can
get farther with men, believe me, if women
like you. If it's business, for instance, if
you're trying to get a job in a Big Man's
advertising agency, you stand a much better
chance of landing the job if the Big Man's
wife happens to like you too. If you're all
wrapped up to your plucked eyebrows in
glamor, Big Man's wife is going to be
highly suspicious. And she'll see to it that
you don't get the job. If it's l'amour, for
instance, you stand a much better chance
of landing a proposal if your young man's
mother, or sister, or his other girl friends,
happen to like you. No mother wants to see
her son falling in love with a page from a
fashion magazine. Men, the world over,
have a way of believing what women tell
them. If you want to get places in business,
and in love, don't antagonize women."
When Veronica was in Washington on
her recent bond tour, so the press agent told
me, the newspaper gang there were invited
to a big cocktail party in her honor. When
Veronica arrived, looking like a movie star,
the press agent heard a bunch of newspaper
gals sneer, "Just another bird-brain glamor
girl." Veronica, instead of making a dive
for the men present, as most girls would
do, trotted right over to the sneering gals —
and soon they were as palsy as all get out.
When she was in Miami she met again a
certain man who had been quite rude to
her on her first visit there. Veronica had
every right to cut him dead. But she didn't.
At the end of her personal appearance she
took off her orchid corsage, handed it to
the man, and sweetly said, "Please take
these home to your very attractive wife."
He immediately became an ardent Lake fan.
Veronica's husband, Lieutenant Detlie, is
stationed in Seattle, and between pictures
Veronica, and her cute two-year-old baby,
live there with him in a small unpretentious
bungalow. Naturally when the officers'
wives learned that Veronica Lake, the
movie star, was going to join them they
definitely determined not to like her. She
would be snooty. She would be rich. She
would be conceited. She would be glamor-
ous. But Veronica arrived in Seattle, not as
a movie star, but as an officer's wife. In no
time at all she had won over the other
wives. It was canning time and she asked
them for recipes. She started a vegetable
garden and asked their advice about plant-
ing. Her dinner parties were just like their
dinner parties. She made no bones about
having to do her own housework. Her
clothes were no better than their clothes.
Seattle has yet to see Mrs. Detlie with
her hair over one eye. Except in the cinema,
of course.
SCREENLAND
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Inside the Stars' Homes
Continued from page I I
Coffee rationing being what it is, and the
younger set not caring for it particularly,
Virginia serves fruit punch, platters heaped
with sandwiches, chocolate cake and pop-
corn balls, made by combining popped corn
with honey.
FRUIT PUNCH
6 oranges
2 lemons
1 pint grape juice
]A can crushed pineapple and juice
1 bottle marachino cherries and juice
To this mixture add sugar to taste. It
should require very little. Just before serv-
ing, add one bottle of ginger ale. Do not add
this earlier, as it will lose its bubbly quality.
"Virginia's favorite sandwiches are made
with cheese, grated and mixed with Worces-
tershire sauce and cream," Virginia's mother
told me. "But there are always a variety
of fillings. Pabstette cheese with the
Worcestershire and cream is good. Cucum-
bers sliced thin and soaked in salt water,
lightly dried and crisped in the refrigera-
tor, put between slices of bread spread with
mayonnaise. We use mayonnaise instead of
butter, and find it excellent.
"Watercress sandwiches are a must, the
bread spread with mayonnaise.
"Now that it's hard to get meat, we serve
chicken, minced up with olives as another
sandwich filling. Chicken livers or calves'
livers, boiled and put through a sieve, mixed
with mayonnaise and onion juice and sea-
soned make a tasty spread.
"Peanut butter and jelly make good sweet
sandwiches."
Virginia doesn't eat cake, but her guests
welcome a special chocolate cake concocted
in the Weidler kitchen.
CHOCOLATE LAYER CAKE
% cup shortening
1 cup sugar
1 egg
1 cup milk
1^4 cups four
4 teaspoons baking powder
Y\ teaspoon salt
• 1 teaspoon vanilla
Cream shortening, add sugar gradually,
beating well ; add beaten egg, one-half the
milk and mix well ; add one-half the flour
which has been sifted with salt and baking
powder ; add remainder of milk, then re-
mainder of flour and flavoring ; beat after
each addition. Bake in greased layer cake
tins in moderate oven 15 to 20 minutes.
Spread the following between layers and
on top and sides of cake :
FROSTING
3 cups confectioners' sugar
Boiling water,
1 teaspoon vanilla
2 ounces unsweetened chocolate
Yz teaspoon grated orange peel
To sugar add boiling water slowly to
make a smooth paste ; add vanilla, melted
chocolate and orange peel.
An icing Virginia likes to serve because
it looks so pretty is Fresh Strawberry Icing,
made by crushing ten large berries with a
little sugar and a few drops of lemon juice.
Let this stand until juicy, then mix in grad-
ually three cups of confectioners' sugar and
spread between layers and on top of cake.
"You have to save up sugar coupons for
this," she advised.
Why I Am Happy In Free America
Continued from page 30
ceives his final citizenship papers, but in
the meantime he knows more about the
American way, and certainly more about
the American countryside, than many of us
who had the privilege .of being born here.
"Anyone," says Paul, "would be a fool not
to love America."
When Paul arrived in New York he
promptly developed two mad crushes, both
of them American: (1) drugstores and (2)
people. The play he had come over to do,
"The Jersey Lily," with Katharine Cornell,
was abruptly called off, and the Henreids
found themselves very low in cash. "A
couple of good meals at 21 or the Colony
and Mrs. Henreid and I would have had to
sleep on a park bench," said Paul. "It was
then I discovered the American drugstore.
There were no drugstores in London or
Vienna, or any Continental city I had vis-
ited. It was like finding a gold mine. For
twenty-five cents, or fifty cents at the most,
I could get all I wanted to eat, deliciously
cocked. I had never heard of tuna fish sand-
wiches, chocolate malteds, half and halfs,
tomato surprises, ham and eggs. I imme-
diately introduced Mrs. Henreid to the cor-
ner drugstore, and the thirty-five cent
special, and she shared my enthusiasm. Be-
lieve me, I have eaten much better cooked
food in New York drugstores — and cer-
tainly tasted much better coffee — than I
have in many of the glamorous and famous
restaurants in Europe.
"There were many set-backs during those
first few months in New York, and quite a
few desperate moments, and I am sure we
would have been disheartened if it hadn't
been for the American people. Americans
are the most generous, the most friendly
people in the world. They bend over back-
wards to give every foreigner a fair chance.
Everybody who has ever come from the
other side has been given every break pos-
sible by the Americans. Unfortunately,
some foreigners have groused. It's only hu-
man nature, I suppose, to forget the bad and
remember the good. They recall their bril-
liant success in 'Romeo and Juliet' — but
they forget all the discouraging and humil-
iating things that happened before, and
after, 'Romeo and Juliet.' But most foreign-
ers, I feel, are like myself, I remember only
too vividly the bad of the Old World.
"Soon after Mrs. Henreid and I arrived
in New York Helen Hayes invited us to
spend a week-end with her and her family
at her charming home in Nyack. Guthrie
McClintic boosted my morale when it was
pretty low. Sam Wood was a great help
during those first trying weeks. And it was
Gilbert Miller, a very busy man, who made
it possible for Mrs. Henreid and me to come
to America, under wartime restrictions.
Americans are a warm-hearted, happy peo-
ple. You have no idea what joy it is to
become an American.
"I would like to tell you about Mrs. Hen-
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89
reid's nurse. She's a dear old soul, and well
along in years. Her name is Mrs. Luchie
Pischler, and she thinks the sun rises and
sets on Mrs. Henreid. She went with us to
London in 1935, and when we came to
America she followed us as soon as she
could get a quota number. We were living
in Hollywood by then, but we had cabled
her the address of a lawyer in New York
who had promised me that he would look
after her while she was there, and see to it
that she caught the right train to the Coast.
She came over on a Greek merchant boat —
she told us later she scrubbed the entire
ship, and all the sailors besides — and landed
in Canada. She arrived in New York, un-
fortunately, on a Sunday. When the cab
driver drove her to the address we had sent
her he found an office building closed up
tight. 'Well, lady,' he said solicitously, 'you
just can't sit here on the curb until morning.
Especially since you can't talk English. And
I don't guess you got enough money to go
to a hotel. Tell you what. I ain't very busy.
I'll find the guy's home address for you and
take you there.' And he did. Though it took
him all afternoon, and he only charged her
for the original ride. Only in America could
that happen! 'Nana, I hope you tipped him
generously,' I said when she told me the
story. 'Yah,' she said. 'I give him piece of
green paper. He say thank you lady.'
"When she reached Los Angeles Mrs.
Henreid and I were at the station to meet
her. When the dear old soul got off the
train and saw us her eyes filled with tears.
But before she could rush into Mrs. Hen-
rcid's arms she turned to the colored porter
and gave him a big Viennese hug. 'He was
so kind to me,' she said.
"We have a colored girl from Texas who
helps Nana with the housework. They wor-
ship each other. The colored girl now speaks
Austrian to us, and Nana speaks English,
with a most decided Southern accent.
"A few months ago we brought my par-
ents-in-law to America. They had to come
by way of South America. They have a
little home in Santa Monica, near the Pa-
cific Ocean, and they are just as enthusiastic
about America and California as we are.
"The people you meet in the theater and
in the studios in America are much nicer
than the ones you meet in Europe. The
people here have a personal freedom that
always makes for kindness. If I invited a
stagehand, for example, to my home in
Europe he would be envious because I be-
longed to an upper class, because my clothes
were better than his, and I had a car and
he hadn't. I would go overboard trying to
be gracious, and everything would be phony
and un-relaxed. But if I invite a stage hand
to my home in California — ah, that is dif-
ferent. There is no feeling of class distinc-
tion. And certainly no feeling of envy. His
clothes are as good as mine, his car is a
newer model, and he is just as pleased with
his own home as I am with mine. We can
be pals together, and relax in this glorious
California sunshine.
"I will never forget my first day in a
Hollywood studio. I was feeling a little like
an outsider. Then the stage manager called
me Paul. I had never been called by my
first name in Europe. I liked it. I felt very
American suddenly, and called him Joe,
right back. I love the liberties of America —
the big ones, like casting a vote for a Presi-
dent every four years, and the little ones
too, like calling a fellow Joe.
"Of course you know that America tops
every place in sheer beauty. Some of the
happiest times of my life have been spent
in that grand American pastime — sight-see-
ing. When I signed my Hollywood contract
in New York Mrs. Henreid and I thought
we would splurge a bit, so we bought a car
and drove to the Coast. Not the short cut,
but the round-about way. We stopped off at
unbelievably beautiful Bryce Canyon, Zion
National Park, Yosemite, Grand Canyon
and the Painted Desert. We fell in love with
Santa Fe, New Mexico, and stayed there
several weeks. When I was a little boy in
Vienna I used to go to the American mov-
ing pictures every chance I had, and like
all little boys I was thrilled to the core by
Indians. Well, in Santa Fe, I met a lot of
Indians. I rather pride myself on my Indian
folk-lore.
"After I had finished 'Joan of Paris' I
went on a bond tour all over the South — a
part of America I had always wanted espe-
cially to see. Southern hospitality I had
heard about all over Europe, and I must
say the South lived up to its publicity. No
place have I ever been more cordially re-
ceived. When I told Nana about Southern
fried chicken she quickly added it to her
culinary accomplishments.
"One reason I am grinning from ear to
ear today is because I have just bought my
first American home. And I am as pleased
as punch. I feel now that I have roots in
the American soil, and it is a wonderful
feeling. I am a property owner. I am a tax-
payer. I belong here.
"Mrs. Henreid wanted to buy a home the
first week we were in California. 'That is
it,' she said, 'this is where we want to live
for the rest of our lives.' But I told her
that strange and unexpected things can hap-
pen in the moving picture business, and
she'd better wait. We rented a small house,
first in Westwood, and then in Brentwood.
After 'Now, Voyager' and 'Casablanca' were
released, and well received by the public, I
told her to go ahead and look around, but
nothing expensive, please. She would come
back with the most glowing accounts of
buttons that you push, a button for heat,
another for cold air, one for music, for
loudspeakers, for the incinerator — you don't
find any buttons in Europe, believe me.
"One Sunday we were lunching with
friends in Brentwood when Henry Fonda's
attractive wife said to Mrs. Henreid, T
hear from my gardener that you are look-
ing for a house. Why don't you come down
and look at mine ?'
"We can't afford it, I told Mrs. Henreid,
but we can look. Frances Fonda has ex-
quisite taste, and it is beautifully reflected
in her home. Everything was perfect. I fell
in love with the magnificent old trees that
surround the house, especially a tremendous
Christmas tree on the front lawn. In peace
times, Henry used to decorate the tree for
the children and it was a beautiful sight.
Well, we couldn't resist the Fonda house.
We bought it. Can you imagine anyone in
Europe buying a home these days ? Can you
imagine anyone having that much personal
freedom? I am very lucky to live in free
America. Needless to say I am very happy."
Anna Lee, who plays Brian Donlevy's heart
Interest in "Hangmen Also Die," doesn't have
to tell him what's in her heart because Don-
levy, who has the role of a doctor, is able
to detect it for himself with a stethoscope.
12
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TYPE: Height, 5' 3";
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SCREENLAND
3
Starring
MICKEY
ROONEY
in his greatest role since "Boys Town" with
FRANK MORGAN
JAMES CRAIG • MARSHA HUNT • FAY BAINTER
RAY COLLINS - VAN JOHNSON • DONNA REED
JACK JENKINS • DOROTHY MORRIS • ANN AYARS
JOHN CRAVEN • MARY NASH • HENRY O'NEILL
From the Story by William Saroyan
Screen Play by Howard Estabrook
Produced and Directed by CLARENCE BROWN
0 /flsU
_
4
SCREENLAND
Paul Hunter, Publisher
Delight Evans, Editor
HOMER ROCKWELL, Executive Vice President
Elizabeth Wilson,
Western Representative
Frank J. Carroll,
Art Director
Marion Martone, -/ lfc£^^^?5RMH ■'EAN Duval,
Assistant Editor y^^^M SM^^K^ Staff Photographer
iiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiuiiiiiiiiiiiiiiiiin in ■^^^^^^^^^^™^^^^^^^2^niiiiiiiiiiiiiniiiiii i iiiiiiiiiiiiiiii!iiiii!iiiiiiimiiimiin
~ — ^^fff££P IT UP h"1 """ """ '
June, 1943 Vol. XLVII, No. 2
EVERY STORY A FEATURE
How To Bait a Man Trap Alyce Canfield 20
Junior Fans! Enter Virginia Weidler's Prize Contest 24
Ginger Rogers' "No" Man Elizabeth Wilson 26
Latest About Leslie Howard Hettie Grimstead 28
"Mission to Moscow." Complete Photo Drama 30
Will Alice Faye Leave the Screen? Jack Holland 34
Why the Mickey Rooneys Fell Out of Love May Mann 36
Take A Picture, Darling! Claudette Colbert Ruth Tildesley 52
The Editor's Page Delight Evans 58
The Truth About That Sheridan-Flynn "Romance" Liza 60
FULL COLOR PORTRAITS:
Pvt. Alan Ladd, whose final film for Paramount for the duration
is "China" 19
Maureen O'Hara, appearing in "This Land Is Mine," for RKO-
Radio Pictures 29
Ann Sheridan, starring in Warners' "Edge of Darkness" 42
SPECIAL PICTURE PAGES: Mickey Rooney, Jock Jenkins, Alexis Smith,
Fred Astaire, Joan Leslie, Betty Grable, Hermes Pan, Lena Home,
Pierre Aumont, Richard Quine, Mike O'Shea, William Eythe, Van John-
son, Richard Derr, Don Granger, Mimi Chandler, Jimmy Lydon, Cary
Grant, Roy Rogers, Sweater Girls.
DEPARTMENTS:
Hot from Hollywood 6
Inside the Stars' Homes. Marguerite Chapman Betty Boone 8
Fans' Forum 10
Your Guide to Current Films Selected by Delight Evans 14
Honor Page 16
How Shall I Do My Hair? Josephine Felts 54
Guide to Glamor 55
Here's Hollywood Weston East 56
Recent Films Reviewed In a Flash 59
Movie Parade 70
Screen-Town Chatter 74
Natural Color Cover Portrait of DOROTHY LAMOUR,
by A. L. Whitey Schafer, Paramount
Paul Hunter, President
Homer Rockwell. Executive Vice President and Advertising Manager
Lee, Wagner, Circulation Manager
SCREENLAND. Published monthly by Hunter Publications. Inc., at 205 E. 42nd Street. New York. N. Y.
Advertising Offices: 205 E. 42nd St., New York: 410 North Michigan Ave.. Chicago; 427 W. oth St.,
Los Angeles, Calif. Manuscripts and drawings must be accompanied by return postage. They will receive
careful attention but SCREENLAND assumes do responsibility for their safety. Yearly subscriptions 51.50 in
the United States, its dependencies. Cuba and Mexico; $2.00 in Canada; foreign $2.50. Changes of address
must reach us five weeks in advance of the next issue. Be sure to give both the old and new address. Entered
as second class matter. September 23. 19:i0. at the Post Office. New York. N. Y.. under the act of March 3. 1879.
Additional entry at Chicago. Illinois. Copyright 1943 by Hunter Publications, Inc. Printed in the U.
MEMBER AUDIT r.UREAU OF CIRCULATIONS
S. A.
*
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★
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jl. Published In
this space
* every month
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The greatest
star of the
screen!
Well, this time we're presenting Judy
Garland in a piece called "Presenting
Lily Mars."
Don't tell anybody
but we're crazy about
the picture. It has
everything.
★ ★
"For Me And My
Gal" had punch—
and Judy. "Presenting Lily Mars" has
more punch and more Judy.
★ ★ ★ ★
Really, honestly, truly, it's a honey.
It's dream-like, it's comical, it's melo-
dious, it's a great entertainment.
★ ★ ★ ★
Judy plays a stage-struck little girl who
acts all over the place — emotes on cue,
tries to tear the heart of a producer who
just pays no attention.
★ ★
The producer is Van
Hefiin — the Academy
Award \ "an Hefiin. He
has that same inde-
finable charm that
captured so many
right from the start.
★ ★ ★ ★
"Lily Mars" is enriched with two big
name bands — two, count 'em — Tommy
Dorsey and his Orchestra and Bob
Crosby and his Orchestra.
★ ★ ★ ★
This Booth Tarkington adaptation was
directed by that comedy-master Norman
Taurog and produced by the proven
Joe Pasternak.
★ ★ ★ ★
We're shouting Judy all over the place.
★ ★ ★ ★
For action and excitement we're turn-
ing to another wonderful film — "Assign-
ment in Brittany."
★ ★ ★ ★
Based on the best-selling novel by
Helen Mclnness, it was directed by
Jack Conway who is without a peer in
melodrama.
★ * * . * , .
Two young stars come into their ^ very
own in "Assignment in Brittany." One
is Pierre Aumont— late from France
but definitely of America now — who
has the stuff that the late Valentino
once revealed.
The other star is Susan Peters. You've
seen her in "Random Harvest" and
you'll see exactly what we mean.
★ ★ .★ *.'
"Assignment in Brittany is bang-up
entertainment, a show
with Jiority, a story for
these times.
•k it -k
By the way, we suppose
you noticed who won most
of the Academy Awards.
None other than your old
friend, — _&>a
SCREENLAND
Errol Flynn waves
to a friend at an-
other table at Mo-
cambo while Mary
Ann Hyde, his at-
tractive "date,"
smiles her greeting.
DETTY GRABLE certainly has Holly-
D wood guessing. She never misses a week
dancing with the boys at the Hollywood
Canteen. She's seen here and there with
escorts who definitely are not the constant
George Raft. Yet Betty declares that she
loves George, that nothing has happened to
their romance.
THEY'RE saying that Katharine Hepburn
has had a great romantic disappointment
in Hollywood. She may not even remain
around long enough to make another pic-
ture, so the rumor goes. Say it isn't so,
Katie.
I I OLD everything! Dorothy Lamour has
' ' been asked to make house-to-house
calls and explain the use of point rationing.
It's a new phase of war work and a very
important one. If husbands suddenly take
to the kitchen, can you blame 'em? We
could use a few "pointers" from Dottie!
TROM 4F to IB is Orson Welles' current
' draft status. S© it looks as though the
genius might be devoting his talents to
Uncle Sam before long. Wouldn't it be won-
derful if he could scare the Japs as badly
as he scared civilians with that amazing
broadcast a few vears back ?
JUST before she left for Mexico and
New Hampshire on a vacation, Bette
Davis discovered her first grey hair. Maggie
Donovan, her close friend and hairdresser,
started to yank it out. "Don't touch it,"
cried Bette. "I got it the hard way and I
want to keep it. I've named it — Miriam!"
WHILE visiting in Mexico, Errol Flynn
discovered a beautiful Mexican girl
with marvelous photogenic qualities. He
got in touch with his studio, who are mak-
ing arrangements to bring the girl and her
mother to Hollywood.
(Please turn to page 13)
TOO LATE ... to save her from the Japs
...but in time to avenge her!
LORETTA
n
The hottest Ladd
on the screen in his
first big production!
ALAN
5'
Thgl' Wgke Island"
torpedo is about
lo explode again!
Alan Ladd dynamites a mountain . . .
to make a grave for the Jap Army!
DIRECTED BY JOHN FARROW, DIRECTOR OF "WAKE ISLAND!"
Screen Ploy by Frank Butler • Baled en a play by Archibald Forbes
A Paramount Picture
ASK rOUS THlATtR MANAGER WHEN Hf Will SHOW THIS THRILLING HIT!
E N L AN D
7
o you r c
having a
shower for
a wartime
bride! See
Marguerite
Chapman
*f o r ^
AT FIRST I didn't know what to do!
"Factory film"(dust that flies around
the factory) made my hair dull and
mousy-iooking — the ends became
straggly and unmanageable! Final-
ly, I spoke to the girl whose hair
was the envy of the whole shop.
NOW "factory film" never bothers
me either on the job or after hours
for Colorinse adds sparkle and
glamorous highlights to my hair.
Incidentally,N«//e5/&</zw^o0 BEFORE
and Nestle Superset AFTER Colorins-
ing makes hair still lovelier.
FOR YOUR NEXT PERMANENT, ASK FOR
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At 5 ohd 10/ no'W
AR brides have weddings and the
rest of us give them showers,"
laughed Marguerite Chapman.
"But, oh, how the showers have changed !
Even last June, we were giving brides china
and glass and all sorts of fragile- things that
looked lovely but had to be handled with
care. We never thought about weighing a
gift, or finding out if it would pack. Now
if a thing won't pack, it's OUT!
"Most war brides follow their husbands
around the country to be near them while
they train for service, so the only sensible
or welcome gifts are those they can take
along to make the homes-in-waiting livable.
"I'm having a shower for my latest war
bride friend, and invitations read : 'To fill
a bride's trunk.' You know those small,
compact trunks brides are buying now?
Every gift should be selected with regard
to whether or not the bride can carry it
safely from place to place — also whether or
not it will add to the new home."
Very few war brides who are setting up
housekeeping will be lucky enough to find
an apartment like Marguerite's. It's a du-
plex in one of Hollywood's prettiest studio-
apartment-courts. From her balcony on the
third floor, the leading lady of "Destroyer"
can look down on the courtyard with its
two avenues of tall cocoanut palms, its
flagged walks, its bubbling fountains and
giant ferns.
8
SCREENLAND
Inside, it's a compact, comfortable place,
with two bedrooms and bath upstairs, and
living room, dinette and kitchen below.
Marguerite boasts that you can stand in
the middle of the kitchen and reach stove,
sink, refrigerator and table without moving
more than six inches, so there's no waste
motion. However, Marguerite is too busy
making pictures and designing clothes to
occupy the kitchen often. There's a capable
cook on hand to take care of that.
Marguerite, being more or less of an
artist, has her easel in the living room,
with charcoal, crayons, paints and sketch
pad nearby. The informality of the room
makes these things part of its attraction.
It is a raftered room with a Russian-style
fireplace, French door windows, and an iron
railed stair ascending from one corner.
"I'm setting up a buffet in the dinette for
this shower," said my young hostess, as she
welcomed me. "Other years I've had sit-
down luncheons or suppers, but in wartime
everything's informal.
"Last year, I went to all sorts of fuss
and bother for my showers, making rose
crepe paper parasols for favors, with a large
one to conceal the gifts. But this year I shall
bring in the packages in one of those 'civil-
ian jeeps' you use to go marketing. The
bride may take it home with her and use
it while she's in town. I doubt if it will
pack. I'm covering it in red, white, and
blue paper with airplanes on it. Her bride-
groom is in the Air Corps."
Marguerite's gift suggestions for girls
who must make a home in a rented room,
a little cabin, an unprepossessing flat or a
bungalow that leaves something to be de-
sired, are most practical.
"You can't have a playroom, but you can
have a game set," she pointed out. She has
two — a small Chinese checkers set that can
be carried in a hand-bag, and a larger one
that will go into a suitcase or can be
carried by its handle. This one opens up
into a board and provides backgammon,
chess, checkers and a number of other
games.
"A Batik throw is an excellent gift. If
there's a bad place on a wall, you hang
the throw over it as a decoration ; if you
need a daybed cover, it looks well there, and
it can be used as a table cover, if your
table turns out to be too awful," advised
the young actress.
"The laundry problem is going to be
terrific, so the bride will need table mats
that can be sponged off. A set of attractive
washable mats are useful on side tables or
dressers, too, for it may take three weeks
to get your linens back from the laundry,
and accommodations for washing things out
yourself are seldom too good.
(Please turn to page 79)
Marguerite Chapman poses proudly with photo-
graphs of her three brothers — Richard, Edward
and Harold — all of them in the armed forces.
Since this picture wa* tal Miss Chapman's
fourth brothr joined the Navy.
a Story Jncomparable
of a Pe ople Unconquerable !
A very thrilling team in a very thrilling picture
SCREENLAND
9
BIG PICTURE
Ihe screen
and rhythm
test
■ EVE
Mary
COOPER ' ^ ^ m s
«THV DANDRll>6E
D0Rp° H NO LOUl»
P° MUSIC MAI«>S
CHlNVfA
#7
GOLDEN
QO AJRfETTE
GATE
FREDDY
MARTIN
He'll put you in a
romantic mood!
COUNT BASIE
He's simply sizzling
with low-down beat!
ray Mckinley
1943's top new •,
band discovery!
Wait till you
hear him ! Lily
BUY WAR BONDS
AND STAMPS
REPUBLIC PICTURE
ans Forum
FIRST PRIZE LETTER
$10.00
I'm only a lonely soldier here in Okla-
homa and I may not be very talented in
the art of molding words together in a
vain attempt to tell you how much we
appreciated the splendid love story of "Ran-
dom Harvest," but all the superlatives in
all the dictionaries in this crazy universe
couldn't even begin to tell you what we
thought of this tender, moving drama. We
are trained here to endure the most trouble-
some things possible. This makes us a group
of hard-fighting men striving to help save
democracy, yet when we witnessed such
a stirring movie as "Random Harvest,"
we softened up to the extent where the
lumps in our throats were nothing com-
pared to that feeling within our hearts.
This, to me, only proves true Americanism
because an American soldier can never be
as cruel and heartless as he should be, ex-
cept to defeat the enemy in the only way
they know. I repeat, "Random Harvest"
was too marvelous to the soldiers here to
even attempt writing praises about it.
SGT. ANTHONY M. CHIECO, Gruber,Okla.
SECOND PRIZE LETTER
$5.00
I used to squirm at the very name James
Cagney. I'd ask myself, "What does that
fist-fighting, wise-cracking Irish lad have
that Hollywood eats up like a platter full
of hot, fried chicken?"
Last night I saw "Yankee Doodle
Dandy," in which Cagney starred, and he
was superb, dynamic, truly deserving of the
Academy Award he won !
As I watched Cagney's performance, I
forgot that I was sitting in the crowded
balcony of a dingy, small-town theater. I
was right there in the picture with him,
rejoicing over his theatrical triumphs, weep-
ing with him at the bedside of his dying
father, marching beside him as we sang
the stirring war song, Over There.
Through his own consuming love for Old
Glory, Cagney taught me a fuller, deeper
meaning of the term patriotism. It seemed
as if he asked me, "What are you doing
to help preserve the beauty and freedom of
our America?" And I am sure that every-
one else in that theater felt the same way
about Cagney that I did.
A million pictures like "Hitler's Chil-
dren" can't begin to do the great good for
our country that Cagney did in the ail-
American show of shows, "Yankee Doodle
Dandv." Yes, sir ! Cagney's okay !
MYRA HAMANN, Bagley, Iowa.
An Invitation
Calling All Fans! Here's an invita-
tion from the Editor of Screenland
to all moviegoers — it doesn't . matter
whether you're in the Army, Navy or
Marines, a WAAC, WAVE or SPAR,
work in a war plant, or if your job is
keeping the home fires burning — to
write a letter to this Forum that may
win one of the monthly prizes of.
$10.00, $5.00, and five prizes of $1.00
each, payable in War Savings Stamps.
If you attend the movies you must
have your favorite stars and pictures,
a pet peeve, or you may be in the mood
to write one of those "hearts-and-
flowers" letters about your favorite
stars, so let us hear from you. Closing
date, 25th of month.
Please address letters to Screen-
land's Fans' Forum, 205 East 42nd
St., New York, N. Y.
FIVE PRIZE LETTERS
$1.00 EACH
'Twas the month of winds and Oscars,
when the forces of Cagney came and got
one. Last year's winner, Mr. Gary Cooper,
presented Jim with the famed hunk of metal
and extended his congratulations for the
stuff that won it.
However, I demand, "Where was one
Miss Joan Leslie?" Doesn't it strike you
slightly green (I'm Irish) that each of the
two Academy Award winners had the
strictly "all right" young maiden as his
leading lady? It certainly goes to show
you that "Les" has got plenty on the ball.
Being a most admiring and conscientious
fan of Miss Joan, I cannot let her go
unrecognized. No, ma'am. Joanie, the fair,
to you I give my own special Oscar. 'Tis
a bouquet of the most genuine, Irish sham-
rocks for the very spontaneous perform-
ances you gave in "Sergeant York" and
"Yankee Doodle
{Please tu .2)
10
Screenland
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SCREENLAND
11
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Fans' Forum
Continued from page 10
Messrs. Cooper and Cagney should re-
gard Miss Leslie as their pearl in the oyster,
their" "Yankee Doodle Dandiest," for she
helped to make Oscars out of "Sergeant
York" and "Yankee Doodle Dandy."
Joan Leslie is a fine actress and a very
worthy co-star for the best of them in
Hollywood. So, if there's any Oscar stuff
left over, shine it up, and send it to Miss
Joan Leslie.
MARGUERITE SULLIVAN, Batavia, N. Y.
I have just read the announcements of
the Academy Awards and I would like to
say that I am thoroughly disappointed.
I am very glad that James Cagney won for
"Yankee Doodle Dandy" and I think "Mrs.
Miniver" was by far the best picture of
the year, but I do not think Greer Garson
should have won the award for the best
performance by an actress. I saw "Mrs.
Miniver" and I also saw "Now, Voyager."
Bette Davis' part was much more difficult
compared with Greer Garson's. I do not
argue that Miss Garson's acting wasn't
wonderful but I don't think it was good
enough to win an award. If the selectors
took into consideration that Miss Davis
had won twice before I think they were
unfair.
The thing that burned me up the most
was Teresa Wright's winning the "support-
ing" Oscar. In 'my opinion it should have
gone to Agnes Moorehead for "The Mag-
nificent Ambersons." I don't believe I've
ever seen such a superb job of acting as
Miss Moorehead turned in. Miss Wright's
was a mere drop in the bucket alongside
Miss Moorehead's. I would very much like
to know why the selectors chose Garson
and Wright.
William Wyler fully deserves the direc-
tor's award for "Mrs. Miniver" and I think
Van Heflin deserves the award for the best
supporting performance by any man. He
turned in a splendid job of acting.
Now that I've gotten this off my mind I
can wait until next year and hope that I
will find nothing to crab about.
O. F. MILLER, Jr., Quincy, 111.
This is my first contribution to your in-
teresting page, and I hate to write my
first letter on a subject that will probably
bring down the wrath of fandom on my
head.
I read everywhere that Bette Davis is a
great, an inspired actress — another Duse,
another Bernhardt. I wait for her pictures
and I go to see them — and I am again dis-
appointed. I realize that this is practically
treason, but I can't help it !
For instance, in "The Letter" Miss Davis
was not a lying, ruthless wife — she was
just a good actress creating the role of a
lying, ruthless wife.
In "Of Human Bondage" she was not
Mildred, the little drab who held a boy's
heart in her hands and did not know it —
she was just a competent actress playing
the part of Mildred.
In "Now, Voyager" she was not really an
unhappy, inhibited woman — she was merely
playing a part. Doing it well, of course, but
the ACTING showed through.
She, to my mind, is definitely typed, also ;
not in her parts, but in her mannerisms and
the way she talks. In other words, she
always acts and talks like Bette Davis —
her nervous gestures, her constant lighting
of cigarettes, prowling about a room, abrupt
and sometimes indistinct way of talking —
well, it all adds up to another Davis picture.
MRS. B. W. BO WEN, Columbus, Ohio.
"Just who is this guy," I said, "this
blond-sort-of-homely creature, with the
breath-taking smile?" My neighbor echoed
my , question. We were seeing "The War
(Please turn to page 89)
Bob Crosby is pictured here with the Wilde Sisters, Lee and Lynn, glamorous twin
soloists who figure in several musical interludes with Crosby's band in M-G-M's lilt-
ing musical, "Presenting Lily Mars," in which Judy Garland is teamed with Van Heflin.
12
SCREENLAND
Summer is the Open Season
for Underarm Odor!
DON'T let 'em sell you short on the
Phyllis Brooks-Cesar Romero romance.
Cesar thinks Phyllis is wonderful company,
good for a million laughs. But she isn't the
little lady he hopes will eventually fill the
empty bridal suite. He takes out Arlene
Judge too. And Faye Emerson. A certain
press agent would like to make you believe
that Phyllis is the gal who really is num-
ber one.
WHEN Van Heflin (who won a well-
deserved Academy Award this year)
married Frances Neal, Weston East re-
ported a former Mrs. Heflin. Leo the Lion
got very angry and shook his shaggy mane.
It wasn't so. Van had never been married
before, Leo roared indignantly. The mar-
riage of Eleanor Shaw, Broadway actress,
to George E. Shibley, attorney, confirms
our original story. Their marriage license
proves that Eleanor was Van's first.
THERE wasn't much humor left in chunky
' Lou Costello, when a bad case of flu
turned into rheumatism. The comedian was
really in agony and the studio was plenty
worried. His picture has been postponed
and a long rest on the desert is doctor's
orders. We hope our favorite "ba-a-a-d boy"
will soon be back with us again..
r LEA NOR POWELL and Glenn Ford
L couldn't be more amused at all those
"inside" rumors. A New York columnist
said in no uncertain terms that the romance
was off. Hollywood columnists had them
dining out with separate parties. They were
through, finished ! "But why do they bother
about us?" Glenn wants to know. "They're
not interested in the truth. At least six have
printed we're not going to be married.
Not one has actually come to us and asked
us. We have our marriage plans. We
couldn't be happier. There's a reason zvhy
we have been waiting. If others are bored
with it all, how do they think we feel?"
There, that should shut a few mouths !
WE THOUGHT we had heard every-
thing. Now Warner Bros, is giving ze-e
be-eg build-up to Dolores Moran, who is
sixteen, tall, blonde and sexy. They've
named her "The Target For Tonight Girl."
A prettier target we defy any soldier to find.
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SCREENLAND
13
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Ij/ouA, GUIDE
CURRENT FILMS
SELECTED BY
THE HUMAN COMEDY— M-G-M
A screen drama from the William Saroyan story
which depicts life in a small California town, as seen
through the eyes of a philosophical Postal Telegraph
boy. It's an unusual picture and has some touching
scenes which tug at the heart-strings. Don't miss see-
ing it. Mickey Rooney, who does a top-rate job as
Homer, the high school lad who goes to work as a
messenger when his older brother (Van Johnson)
joins the Army, proves he can play serious, restrained
parts as well as he does those smart-aleck roles.
Jack Jenkins, who plays the baby brother, gives a
performance which comes close to stealing the show.
Mi. ■ ■
HELLO. FRISCO, HELLO — 20th Century-Fox
This musical about Los Angeles theatrical business
at the turn of the century, brings Alice Faye back to
the screen, lovelier and better than ever, as an enter-
tainer in Johnny Cornell's Barbary Coast shows. She
accepts a musical comedy offer when the ambitious
Johnny passes her up for a society girl (Lynn Bari),
but returns to help him when he goes broke and his
marriage fails. John Payne, fine as Johnny, his final
role for the duration. Jack Oakie and June Havoc
dance, sing and furnish comedy. Old catchy tunes are
revived. Costumes are a technicolor treat. Entertaining.
CHINA — Paramount
A stirring screen drama about an American oil dealer's
adventures in war-torn China, before and after Pearl
Harbor. Alan Ladd gives a forceful performance as
Jones, who sells his product to the highest bidder —
Jap or Chinese — until an American school teacher
who is helping evacuate Chinese children and who
falls in love with him, makes him change his non-
intervention attitude by bringing him face to face
with Jap atrocities. Loretta Young is excellent as
the teacher. The sequence showing the dynamiting of
a mountainside to stop the oncoming Japs, is exciting.
SLIGHTLY DANGEROUS— M-G-M
A Cinderella tale which combines comedy and ro-
mance and has Lana Turner portraying a small town
girl who rebels at her job of soda-jerker and disap-
pears after her boss (Robert Young) reprimands her.
An accident makes it possible for her to pose as an
amnesia victim — a long-lost heiress — until her ex -boss
catches up with her and exposes her, but the father
(Walter Brennan) has become attached to her and
won't let her go, and by this time, Bob realizes he
loves her. Story is not worthy of Lana's beauty and her
good acting job nor Bob's excellent light comedy touch.
HIT PARADE OF 1943 — Republic
A musical in which the tuneful songs fit the story —
in fact, they're an important part of this tale about
a dishonest publisher-vocalist who pirates a girl com-
poser's first song. She agrees to work with him on
other numbers in an effort to get information which
will help expose him, but hate turns to love. The role
of the handsome, unscrupulous gent is made-to-order
for John Carroll ; Susan Hayward, fine as the girl —
her best role to date; Gail Patrick, good as her rival.
Gay tunes, good gags, spectacular dance routines and
three orchestras combine to make it a cheerful picture.
14
Screen land
THE OUTLAW — Howard Hughes
Howard Hughes' long awaited, much pub-
licized "$2,000,000 Western" has at last
been released. And luscious Jane Russell
can now be seen in her first motion picture.
Hughes promised that he would show it
just as he made it, or he wouldn't show it
at all. Every scene originally shot was in
the picture — when caught at its first screen-
ing in San Francisco — including the much
discussed scene of the girl warming the boy,
the love scene in the hayloft, and other
scenes said to be too intimate. The film,
based on sex and action, has plenty of both.
It also introduces Jack Buetel, who is hand-
some with a definite romantic appeal. Plot
concerns Billy the Kid's friendship with a
gambler (Walter Huston) and his last meet-
ing with Sheriff Garrett (Thomas Mitchell).
THE MOON IS DOWN — 20th Century-Fox
John Steinbeck's book has been made into
an impressive motion picture, as produced
by Nunnally Johnson and directed by Irving
Pichel. "The Moon Is Down" emerges as
powerful drama as it records the terror and
violence endured by the brave people of an
occupied Norwegian town, from the heroic
little mayor who gives his life in the cause
of freedom, to the young widow who
avenges her husband's murder by her cold-
blooded killing of a Nazi officer. Vigorous
writing and uncompromising direction bring
out superb characterizations, far stronger
than the original Steinbeck portraits. Sir
Cedric Hardwicke's Colonel Lanser and
Henry Travers' Mayor Orden are superb.
HANGMEN ALSO DIE — United Artists
A thriller! No documentary this, but an
exciting melodrama of Prague's "Under-
ground" on the march against Hitler's Ges-
tapo. It pulls no punches in its vivid scenes
of the Nazi reign of terror after "the Hang-
man's" execution, as the assassin escapes
to become a symbol of freedom to the
Czechs, who conceal his identity though
it means the slaughter of hostages. There
is real suspense in the chase led by brutish
Inspector Gruher which involves a pro-
fessor's family who pay dearly for their
loyalty. The web of evidence against the
local Quisling, by which the "Underground"
outwits the Gestapo, is cleverly managed. A
capable cast has Brian Donlevy, Anna Lee.
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SCREENLAND
15
Most powerful drama on
current screens is "The
Moon Is Down," Nunnally
Johnson's stirring adapta-
tion of Steinbeck's novel
Steinbeck's widely
discussed novel has
become a fine and
honest motion picture
under the brilliant
guidance of writer-
producer Nunnally
Johnson. The courage-
ous stand of a brave
and freedom-loving
people against Nazi
oppression is a great
theme which has re-
ceived inspired treat-
ment in 20th Century-
Fox's impressive film.
Screenland Honor Pane
Most controversial character
in Steinbeck's book was Colo-
nel Lanser, the German offi-
cer of the old school who
found it hard to stomach
mass executions as a cure
for sabotage. As played in
the screen version by Sir
Cedric Hardwicke, (left),
Lanser emerges as a cold and
uncompromising enemy with
no hint of softness or sym-
pathy. Irving Pichel's direc-
tion makes him automatical-
ly eligible for an Academy
Award and public applause.
16
Screenland
Tyrone Power
Leading a reckless crew on the war's most daring
mission! Battling death in a depth-bombed sub-
marine! Blasting Nazis on a bold Commando raid!
Finding love in precious, stolen moments!
BAXTER-ANDREWS
James GLEASON - Dame May WHITTY
2b*
CINTURV-rOX
DM by ARCHIE MAYO
frocWby MILTON SPERLING
Scram Hoy by Jo Swirling • Original Story by W. t. tomtit
18
S GREENLAND
W m
Sociology class at the University of Cali-
fornia, Los Angeles, answers question-
naire on "What's Wrong with Women f"
Most answered: "Nothino's wrong!"
A
1 ,000 men were
interviewed! Hoi*
lyweod stars
helped! Girls, find
out here how to
seal the deal with
your dream man
and hat to USO receptions, in my little wispy formal to
the officers' ball, I went around interviewing one thousand
men. Nice interviewing, if you can get it.
Glamor Puss had asked me to find the answer to a most
intriguing question, and now with the statistics compiled
and the survey all completed, I have my little fist full of
the most terrific information. And it's all yours, baby, for
the ' i of one Screenland magazine ! -
E to attract men like a honey attracts eyes ?
Th< ila for success. Perhaps you've known it
rigl if you're one of the legions of women
wh< going around getting their hearts broken,
yot '.now that you know. At any rate, you're
not applying this knowledge to yourself and your particu-
lar problem.
According to one thousand men, girls ALL make the
same mistakes. And, stubbornly, even when they see the
mistakes they have made in the past, they make them all
over again. They break their hearts with each new ro-
mance.
If you've lost your heart throb to some luscious lady-
wolf (there ARE such things!), or if he's not interested
in any one else but neither is he interested in you, if your
heart has been tossed back to you by a runaway boy
friend, little girl, you're on a vicious merry-go-round,
and you'd better get off. If you don't, even if you're ro-
21
Interviewing 1,000 men on how to trap a man! That's
what oar representative did. AND SHE FOUND OUT
At the air cadets'
ball, ''Glamor Puss"
gets a good answer
from, a happy young-
ster on leave, with a
pretty girl partner:
"There's NOTHING
wrong with girls !"
r
if
mancing at 80, you'll be so used to doing the wrong things
that you'll still be doing them. The incredible thing is that
no matter if vou are Judv O'Grady or the Colonel's lady,
•you'll both be making the SAME IDENTICAL MIS-
TAKES. Every girl who loses the man she's in love with
makes the same errors. Wouldn't vou like to know what
NOT to do?
Do you know what ALL men definitely do not want ?
Well, in the first place, they don't want to feel you are
stalking them. The old hunter instinct is as definitely a
part of the masculine setup as it was when the first cave
man dragged the first cave woman to his lair. Men like
to feel that a romance is all their idea. "You should be
wooed and won." says attorney-at-law Roland Wiley ui
Xevada, who should know since he has married and
divorced the same woman four times ! But even should the
wooing be a bit on the anemic side, don't lifi ' y
right there in your parlor, little girl, and 1
Air Cadet Mike Pedersen can't imagin e,
for instance, ever chasing a man. Quiet, r a
subtle sparkle and charm, she'd let the man lg
because she just naturally couldn't make he r-
wise. ,
But typical of the clever girl, not by iv
violet, but smart enough to give a man iat
he has ideas, is mantrap Paulette Godi ne
22
thousand men believe that she is
canny enough' to throw out bait and
then snatch it away, and by such
tantalizing methods wind up with
their world her lollipop.
Be like Paulette, and when things
are going along at a nice clip with
that boy you just met, even if you're
going off the deep end, but good, be
clever enough not to let him feel
chained. Don't ever let him feel that
he can't get away. Man is such a con-
trary creature that if you put no re-
strictions on him, no chains, if you
don't imperil his freedom, then, per-
versely, he'll want to stay around.
You may be spinning a web to
catch him, but be clever. Don't let
him know it. When hunters trap wild
horses, they build a trap that is green,
camouflaged so the animals don't
know they are being caught. Man is
a wary animal. Don't push him into
a cage and lock the door, or he will
beat the door down to get out. Make
him want to go into the cage. Don't
even let him know that it IS a cage.
Don't make advances.
Be provocative and intriguing, sug-
gests tall and tantalizing Lockheed
engineer Dusty Girton, but stop there.
Once a girl starts chasing, a man just
sits back and lets her do everything,
while he is off to greener pastures
looking for other fields to conquer.
You can be companionable, fun. You
can make him believe that being with
you is the best thing in the world.
But don't push him, don't force him.
Be subtle. The old come-hither look
is as good as the first day Eve gave
her boy friend the once-over-lightly.
And look what happened!
How should you act? I'll try to tell
you, or, rather, I'll let you tell your-
self. I'll draw you two pictures. Re-
member back to that boy you used to
know that you didn't give a snap of
your fingers (Continued on page 88)
Ann Sothern is one of those girls who knows
how to bait a man trap. Here she is with her
beau, Bob Sterling, on one of his furloughs.
LANA TURNER, IN THE M-G-M PICTURE, "SLIGHTLY DANGEROUS"
gives a luscious pale S°
*">f*t ro-nubuiv sua**
FLlu>ui.««orshepede«.<e
Rachel (Hedy vpir^x Rose
(LucUle Ball's shade) ^
(Rita Hayworth s shade) ^ ^
of Woodbury Powder,
WOODBURY POWDER
Her Matched Make-up. Lana Turner's rouge
and lipstick shades are in the $1 box of Woodbury
Champagne Rachel. The SI box (any shade) has
matching rouge and lipstick — at no extra cost!
You fans who are autograph collectors must have many amusing,
interesting experiences as you chase screen celebrities to ask for
their signatures. Virginia, a fan herself as well as a starlet, would
like to hear your anecdotes. Her prizes are well worth striving
for. Boys, as well as girls, will be interested in this competition
because the 4th, 5th, and 6th prizes, those autograph albums,
are filled with "rare," hard-to-get signatures, with room for more.
Read our rules, fill out the coupon on facing page, and write
that letter! Judges will be Virginia Weidler and the Editor of
SCREENLAND Magazine, and their decisions will be final.
You'll enjoy entering Virginia's own prize contest!
The little starlet plays an autograph hunter in her
new picture, M-G-M's "The Youngest Profession,"
and she knows that most of you young fans also
enjoy collecting signatures of noted stars. So her
contest is based on this hobby. Just write an orig-
inal letter describing "My Strangest (or Most Ex-
citing, or Most Difficult) Experience in Autograph-
Hunting." Be yourself in your letter — entries will be
judged on the basis of originality and sincerity.
JUN/OR ENTER VIRGINIA
FANS!
WEIDLER'S
■
Virginia and Jean Porter (left) are
real as well as reel life autograph
hunters, and Greer Garson obliges.
Lana Turner makes guest appearance as herself
in "The Youngest Profession." Director Eddie
Buzzed lends support as Lana autographs.
Robert Taylor's signature is one of the most
important to autograph collectors. Below,
Bob obliges Virginia with his Johnhancock.
CONTEST RULES
All letters will be given equal consideration re-
gardless of age or sex of contestant. No letters
will be returned.
In the event of a tie, prizes of equal value will
be given to each tying contestant.
Contest closes midnight, June 8th, 1943.
Enclose coupon at bottom of page with your
letter and address Virginia Weidler Prize Con-
test, Screen land, 205 East 42nd Street, New
York City, N. Y.
Compete for prizes personally selected by Virginia Weidler, star of
M-G-M's "The Youngest Profession."
1st Prize: Spring ensemble: tailored suit in light-weight beige flannel
pictured above and on facing page.
2nd Prize: Accessories of matching bag and "beanie" of brown felt
embroidered in green and white, and beige gloves.
3rd Prize: Play-suit pictured by Virginia Weidler at right, and top left
on facing page — one-piece shorts suit with separate matching skirt,
of red and white striped seersucker.
4th, 5th, and 6th Prizes: Virginia Weidler's own autograph albums, al-
ready filled with signatures of famous stars including Clark Gable,
Mickey Rooney, Lana Turner, Greer Garson, Hedy Lamarr, and others,
with space for more autographs.
mn
cmm
Scene from "The Youngest Pro-
fession" with Walter Pidgeon
as autograph hunters' victim.
Hollywood has its "Yes" Men,
but a "No" Man is a Novelty!
ONCE to every girl comes a best friend. With a
nice padded shoulder to cry on. The best friend
at best is usually a comfortable old bore. But that
Ginger Rogers, that girl, she gets all the breaks. For a
best friend she ups and draws not a goon, not a fuddy
duddy, but Don Loper, one of the most attractive young
men in America, and certainly the most fun.
Besides being Ginger's best friend Don Loper is a
dancer, designer, composer, director and producer. He
is famous for his passion for making women perfect.
Possessed of a Pygmalion complex he simply can't resist
telling a gal what's wrong with her clothes, her hair-do,
and her make-up. But as he has never been caught in a
case of bad taste no one resentS it. His first words to
Ginger were "Child, take those gadgets off your wrist,
pin your hair up, and change the color of your lipstick.
You look dreadful." Ginger loved it.
Don and Ginger met on Broadway in 1929 when Ginger
was a leggy kid knocking her brains out in "Top Speed.'*
Don had high hopes of dancing with Ginger in that show,
Top, Ginger Rogers, rehearsing with Don Loper, who sings a ' -'-•nces
with her in "Lady in the Dark." Joe Liliey, popular song writ :h
hits as Jingle Jangle Jingle, is the young man with them. L< e,
Lela Rogers, the star's mother, and Dick Powell visit Ging te
set; and Ginger with Warner Baxter, who also plays in he e.
GINGER'S NO MA
but he soon discovered that the show was being backed
by his wealthy uncle who thought the stage was just
about as bad for a young man as opium. "Better luck next
time, Don," said Ginger consolingly. "I think we are a
couple of great kids," said Don. "I think we ought to be
great friends." And so they have been, ever since.
Naturally the studios have had an eye on the talented
Mr. Loper for some time (Metro offered him $50,000 a
year to become the studio's head fashion designer when
Adrian went into business for himself) but he just wouldn't
be lured to Hollywood until Paramount suggested that he
<lance with Ginger Rogers in their super terrific "Lady in
the Dark." Don took the first train West. "Dancing with
Ginger," he said, "will be sheer heaven."
Several months ago when he, fresh from the Santa Fe,
appeared on the Paramount lot he and Ginger fairly fell
into each other's arms with a hysterical, "Darling! Kiss-
kiss-kiss !" Soon afterwards the columnists and radio chat-
terers announced that Ginger Rogers and Don Loper were
practically at the altar. Don and Ginger and a guy named
Jack Briggs got a great big laugh out of this — because
they knew, and only they knew, that Ginger was just
about to become Mrs. Briggs.
So when I wanted to hear the details intime of Ginger's
recent most romantic marriage I went to her best friend.
Over cold cuts and coffee at Lucey's we dished Miss
Ginger to a fareyouwell.
Marine Private Jack Briggs, it seems, was stationed at
San Diego, California, in charge of public relations for
the Marine Corps. Jack, by the way, was the first actor
to enlist in the Marines. He had been in boot camp for
five weeks, and he was pretty homesick for Hollywood.
Ginger Rogers, accompanied by Eddie Rubin, her press
agent and friend, was on the last lap of her cross-country
bond tour, and was well nigh pooped out.
But she forgot all about being tired when she got a good
look at the tall, handsome, whole- {Please turn to page 83)
By
Elizabeth Wilson
Meet Don Loper, Ginger Rogers1
best friend and severest critic!
First picture of Gin-
ger Rogers in her
big new role, that of
Liza Elliott, magazine
editor, in "Lady In
the Dark," right.
LATEST
ABOUT
LESLIE
HOWARD
AS YOU walk from the railroad depot up to the
/— \ Denham Studios, the war seems a very long
/ \ way off even today. Green fields, quiet wood-
land, little redstone houses in their well-tended gardens
— everything looks peaceful and gentle.
But when you turn in through the studio gates, you
come hack to reality again. The doorman is a crippled
ex-soldier and many of the middle-aged carpenters and
painters are in the khaki uniform of the Home Guard
Howard, above, behind the camera supervis-
ing scenes for his new picture, "We're Not
Weeping." Center left, closeup of Jean Gillie,
who plays one of the leading roles. Far left,
scene filmed at one of Britain's big training
camps for Howard drama of women at war.
and there are myriad rows of cycles parked where once
the limousines and the roadsters stood.
Most of all you sense the war-time atmosphere when
you enter the hig plainly-furnished room which Leslie
Howard uses. Quiet-seeming as it is, this office still
pulses with activity and the sense of vital planning in
progress, though Leslie himself sits lazily at his desk in
an old blue sweater and grey slacks talking softly and
charmingly to several of his (Continued on page 81 )
28
Davies: Young lady, when I fish I catch. Why, back in Wiscon-
sin when I was a boy . . .
Mrs. Davies: Yes, Joe, we know thai story. Let's get started.
That fateful summer America was still laughing at the absurd
little house-painter who looked like a caricature and whose
real name Schicklgruber sounded as if it had come out of
Joe Miller's joke book. What if Italy had invaded Ethiopia,
Japan had thrust at China and a grim rehearsal for war was
going on in Spain? This was America, a country guarded by
two oceans, a country powerful enough to stay at peace. Even
astute Joseph Davies, vacationing at his Adirondack Camp
with wife Marjorie and daughter Emleri, was more concerned
with a coming shower than the storm brewing in Europe.
Davies: When we come back home again, every tree, every lamp
post is going to seem like the most beautiful thing in God's
world.
But one man saw disaster coming, the President of the
United States. He wanted the hard facts of the European
situation, the truth behind Hitler's raucous speeches, the truth
about Russia. So it wasn't a diplomat he summoned but a
realistic business man, his friend Joseph Davies, offering him
the post of Ambassador to the Soviet Union. Politically a
liberal, but also a capitalist, attorney for some of the richest
corporations in the world, Davies wondered if Russia would
accept a man of his background. The President's assurance
was enough. The Davies family left for the mission to Moscow.
Mrs. Davies: / feel as if we'd walked onto a musical comedy -stage.
Emlen: So 0*0 /. And not very good music at thatqg^
Davies: Wo, nor very good comedy either.
The mission began in Berlin. Certain Hitler was bluffing in
his hysterical denials that he wanted war and that all he
demanded was freedom of the seas and access to raw materials,
President Roosevelt wanted Davies to call the Dictator's hand.
The Ambassador's first glimpse of the Nazi capital was far
from reassuring. The grim small boys of Hitler's Youth
Movement, staging a demonstration to the strains of the
Horst Wessell song as they goose-stepped through the station,
the seig heiling onlookers, the ominous shadow of the swastika
afforded very small hope for the eventual peace of the world.
History in the making, as
filmed in the fascinating
screen drama starring Wal-
ter Huston, with Ann Hard-
ing and an impressive cast
30
Schacht: What is the plan?
Davies: Mr. Roosevelt proposes that all nations of the world limit
armaments to weapons a man can carry on his shoulder.
Forthright, forceful Davies impressed Dr. Schacht, head of
the Reichbank when he told him President Roosevelt would
support any German claims based on her legitimate needs or
her legal rights if she would enter into an agreement with
all the nations bf the world to disarm and live together as
good neighbors. It made sense to Schacht the business man,
but Von Ribbentrop, the diplomat, laughed derisively when he
was informed of the plan. Davies left for Moscow unable to.
see Hitler except at a distance as he reviewed his troops. The
war drums had started beating, Davies was certain of that.
Complete Photo Drama from new Warner film based on famous book by Joseph E. Davies,
Davies: I'm not a professional diplomat. The only language I know
is what I think.
Kalinin: Then you and my people will speak the same language.
The very air of Moscow seemed clear and realistic after
Berlin. At his first conference with President Kalinin of the
Soviet Union, Davies felt that here there would he no evasion.
They were two men with varying political ideas, each think-
ing his own country's system the right one. But they were also
two men admiring the other's honesty and tolerant of his views.
Kalinin felt assured Davies was a man who had come to
Russia with an open mind and the American Ambassador
was equally convinced of Kalinin's sincerity when he declared
Russia wanted only peace but would defend herself if necessary.
Madame Litvinov: I'm glad we met like this instead of at the re-
ception. Whenever I wear tight shoes I'm apt to
say the most extraordinary things!
Mk. Davies: But you are an extraordinary woman. How on
earth do you manage to do so many things?.
The warm friendliness of the Davies family brought them
instant friends. Foreign Minister Litvinov and Ivy, his Eng-
lish-born wife, showed their pleasure when Mrs. Davies paid
them an impulsive visit instead of waiting for a more formal
rodnction at the reception they were giving later to honor
lericans. Mrs. Davies returned Ivy Litvinov's admira-
ne was deeply impressed by this talented, witty woman,
fe of one of Russia's most important men, who spent
>f her time teaching and helping the children of the
/ she had adopted as her own when she married Litvinov.
Paul: This reminds me of a Russian story I read as a kid. All we
need is a wolf running behind the sleigh.
Emlen: Then why don't you?
But Emlen had found more than friendship. The greatest ad-
venture of her life had come, here in this foreign country,
under an alien moon and strange stars, when she met Paul
Grosjean, a young engineer, and knew that she loved him.
Nothing was as thrilling as that, the drive in the troika, the
ski troops they met coming back from manoeuvres led by their
General, Timoshenko. They would hear of that General some
day, their host, a young Russian Major, assured them. But
even though the saying in Russia is that spring is for lovers,
winter for soldiers, it wasn't the General she remembered.
Emlen: It'll probably be a very dull party. Both Daddy and I get
bored at anything formal. But we have to go.
Tanya: I'm glad you're coming, Miss Davies.
Later, after they had stopped at the small inn far out in the
country where the youth of Moscow came for the winter
sports, they met the young dark girl who didn't think it was
extraordinary at all that she belonged to the Russian Women's
Parachute Corps. She seemed amused when Emlen expressed
her fear there would be only staid waltzes at the reception
the Litvinovs were giving that night in honor of her father,
and Emlen realized one diplomat in tl Davies family was
far from sufficient when she discovered .ie girl she had been
talking to so frankly was Litvinov's young daughter, Tanya.
Molotov: You know, Mr. Davies, this is the first formal reception the
Soviet Union has ever given to a foreign diplomat.
Davies: So T understand, sir. It's a great honor to my country.
Ambassador Davies made another friend when Ivy Litvinov
introduced him to Premier Molotov and his wife at tine re-
ception and the American expressed his admiration of the
things he had seen on a tour of Soviet factories. But when he
showed his surprise that in many of the factories the in-
stallations were not fixed in cement and were movable,
Molotov explained the plans had been conceived that way in
case it ever became necessary to move them. Davies' ad
miration for Russian realistic thinking increased. Here was
a country which could be a formidable enemy or good ally
31
U. S. Ambassador to Russia
\
Emlen: / like it even better than the Ballet Raise in New York.
Tukhochevsky: This is the real Ballet Russe, Miss Davies.
It began so gay and enchanting that evening at the ballet
Tukhachevsky who had invited the Davies family there as
his guests was being very debonair and charming as he
pointed out the ballet proved that the Soviets for all their
efficiency loved beauty too. Only later, after the Russian police
had come to their box, arrested their host, did the Davieses
know that the colorful spectacle on the stage had been the
background for a grim drama. Davies was troubled when he
heard of the other high officials who had also been taken into
custody, and dismayed that Stalin shrouded the issue in secrecy.
Davies: Based on twenty years' trial practice, I'd be inclined to
believe those confessions.
Then the trials began and one after another the prisoners
confessed they had plotted with the exiled Leon Trotsky to
throw over the Stalin regime by involving Russia in a war
with Germany and Japan. Goebbel's assertion that the defend-
ants had either been tortured into confessing or were fanatics
who would face even death in loyalty to their leader found
too many ears willing to listen and believe any story dis-
crediting the Soviets. Davies, attending the trials, interested
as a lawyer as well as a diplomat, sent a report to the Presi-
dent that he felt sure the condemned men were reallv traitors.
Shigemitsu: The China incident will be settled to our mutual satis-
faction. It's a matter of concern only to Greater Ash.
Davies: If Japan had wanted peace so passionately there would
be no China incident.
In contrast to the directness of the Russians there was the
smiling affability of Shigemitsu, the Japanese diplomat whose
eagerness to impress Davies with Japan's friendship for the
United States did not fool the practical Ambassador. He
had seen and heard enough of the representatives of the
various Fascist countries to know his President had been
right, that the fires of war were already being laid and that
soon the spark would come to ignite the blaze. Now more
than ever it was imperative to learn the truth about Russia,
know which side she would align herself with when time came.
Tulchachevslty: You have read Karl Marx?
Emlen: It was required reading in sociology. I didn't enjoy it.
Tanya kept her promise. There were fox trots. Emlen want-
ing to dance every one of them with Paul wasn't at all im-
pressed with the honor of having the important Marshal
Tukhachevsky of the Red Army single her out as his favorite
partner. And while they were dancing Litvinov received the
news that an explosion had destroyed another Soviet defense
factory. These seeming accidents had been occurring too
often to be dismissed as anything but sabotage. Stalin was
certain that it was the work of traitors, that the fifth column
had come to Russia as it was soon to come to every country.
Reporter: It's just as if back home the F.B.I, locked up most of
the Cabinet, Supreme Court justices and Congress.
Davies: Listen, boys, tf you want my advice don't jump to any
wild conclusions until you know the facts.
The world shared the Ambassador's shock over the arrests.
What was happening? Was Stalin purging the army? Had
the defendants been executed ? Editors in democratic and fascist
countries alike were demanding the news from their Russian
correspondents. But no one could penetrate the censorship
that had settled like a pall over Moscow. Davies had no more
information to give his own government than he had for the
newspapermen clamoring for facts. He refused to allow him-
self to be swaved or to condemn until he knew the truth.
32
Davies: I'm going to impress upon my government how grave the
situation is.
Litvinov: Good/ Mr. Roosevelt can wake the people to their dan-
ger if anyone can.
The sensational trials over at last, Davies saw that instead
of weakening the Red Army the fact there had been traitors
among them had strengthened it He was impressed with the
Russian forces that day Stalin reviewed the Soviet forces.
The planes, the tanks, the show of mechanical strength was
no idle boast. There was no bluster here in Moscow, no
fanatical singing or swagger such as there had been in Berlin.
Instead there was that quiet determination which made Davies
inform his own government that experts had underestimated
Russia. Here was a country ready to fight if war should come.
Davies: Why were these people taken to Moscow?
Chinese Ambassador: Because Russia is our friend as she is the
friend of anyone who fights Fascism.
Davies' mission to Moscow had been completed. He had dis-
covered what he had come to find out, when Litvinov declared
that Russia would stand with the United States, France and
England against the aggressor nations. And he knew Russia
was a country who remembered her friends and was loyal
to them when the Chinese Ambassador took him to the hospital
where Chinese refugees from Japanese violence had found
sanctuary. And it was that night when he returned to the
Embassy he knew the flames were emerging from the banked
fires of war. Hitler had started his long march of conquest
Churchill: As you know, I'm not a member of the government.
Davies: But you have tremendous influence with the English peo-
ple. Bring home to them the terrible danger we're all in.
Before Davies arrived in England, Chamberlain had completed
his Munich pact with Hitler. The Ambassador tried to im-
press the government in power with the danger of their
appeasement of Germany and of sacrificing a military alliance
with the one country Hitler really feared. At last in despera-
tion Davies went to the one man who would listen, to Winston
Churchill. And even as they talked Hitler's triumphant voice
came over the radio, making -another of his endless promises
that Czecho-Slovakia was the last territory he desired, that
it would be peace in our time as Chamberlain had promised.
Stalin: We must be able to rely on our mutual guarantees with
the other democracies or we may be forced to protect our-
selves in some other way.
Davies: On my way home I'm stopping off in England. May I quote
what you have just told me?
Russia had taken the honest Ambassador Davies to its heart
but there was still one more honor to be conferred on him.
Before his departure he was told that Stalin, the aloof, the
mysterious, the man who had never before talked to the repre-
sentative of a foreign country wanted to see him. He was a
blunt man, Stalin, and Davies respected that bluntness. In a
few words he voiced his opinion that the reactionary Cham-
berlain government had made Germany strong so that she
would attack Russia, but that Russia would keep her pledge
to aid Czecho-Slovakia if England and France kept theirs.
Davies: / want to lay the ghosts our Fascist propagandists have
been brewing about Russia and tell our people the facts.
These were the facts about Russia as he saw them, Davies
pointed out to the State Department on his return home, the
reasons Russia had made her much criticized pact with Ger-
many. Cordell Hull, Davies, President Roosevelt warned a
peaceful country of danger coming closer. Only some lis-
tened. It took bombs to wake the others, bombs falling that
Sunday morning on Hawaii. Only then did the forces of evil
start receding and hope spring up that swords would again
become plowshares and the seeds of peace sown in a free world.
By Jack Holland
Why should Alice Faye— still
young, still beautiful, still
popular — threaten -to retire
from pictures? You'll find the
answer in this exclusive story
The cause of if all! Alice Faye Harris, Jr., at
the age of eight and a half months, is the reason
her mother says: "I need no more from life."
future 1
It Wc
her on
is some
it is he
retired
househo.
LE it's not a certainty, it is at least a pos-
lity that 'Hello, Frisco, Hello' may be my
picture. So much depends on what the
ing to me."
:e Faye who told me this when I talked to
t of her new picture. "Hello, Frisco, Hello"
in the nature of a comeback for Alice since
film in over a year and her first since she
the screen to welcome into the Harris
ctle Alice Harris.
In all of my long friendship with Alice, I had never
seen her looking as beautiful and as slender as she did
that day on the set. I hadn't seen her for several months,
so it was this new vivacity, this new beauty springing
from great happiness that impressed me so vividly. Not
that Alice wasn't always lovely. But, to coin an ad,
something new had been added. Something new that
came from her eyes and seemed to illuminate every-
thing about her.
We were talking about her "comeback" and what it
meant to her. Her only reaction to returning to the
screen was her surprise in finding that there was still
a great deal of fan interest in Alice Faye.
"I was sure that I'd be more or less forgotten in this
past year," Alice told me. "I simply couldn't imagine
anyone having interest in an actress who has been idle
as long as I have. Naturally, I am extremely grateful
to know that my public is still pulling for me. And I
hope they won't be disappointed.
"I did a lot of thinking before I actually made up my
mind to do another picture. Phil and I talked it over.
When baby Alice was born, pictures seemed, somehow,
very far away. Phil made no attempt to make up my
mind for me. He offered no objections to — well, shall
we say a return engagement. And he did not go out of
his way to encourage it. He left it up to me. He simply
thought it wasn't for him to interfere — although I would
have welcomed any idea he might have presented. But all
he said was, 'You have never tried to make decisions
for me in my work, so I see no reason why I should
influence you one way or another. I want you to do what
will make you happy.'
"But, you see, I already had happiness, something I
hadn't known for a long time. My marriage was proving
to be so wonderful and when the baby came, I was so
thrilled I could scarcely believe such a thing had actu-
ally happened to me. I had always wanted a child.
"I might have remained undecided, but I guess curi-
osity— and maybe a challenge — made up my mind for
me. And then when I read the script of 'Hello, Frisco,
Hello' and saw its entertainment possibilities, I thought
I'd come back. For the most part, I am glad that I did.
The world today needs entertainment, and I have en-
joyed working in the picture a lot. Everyone has been
very kind to me. And I was glad to find that nothing
seemed strange to me during production."
It wasn't so much what Alice said as the way she
said it that made me wonder about her career. The
impression I got was that family life had superseded
ambition and career. That what was finally hers was so
great that the glamor of being a motion picture star was
of secondary importance to Alice Faye.
This may sound like so much balderdash.
Many of you have been fed up with movie stars
going idealistic about family and babies, prob-
ablv V /ou've seen how short a time such
i( it in Alice's case, it's a different
s an be no doubt that she is honest
her belief. Being a star has never
i i any tremendous amount of ex-
i she has liked her work and she
lard and long to gain her success,
)i e's friends felt that when the day
ca : found (Please turn to page 76 )
FELL 0U1 01
Exclusive! The touchingly human story of
the break-up of the Rooney romance
WHEN his marriage to pretty Ava Gardner broke
up, Mickey Rooney was a bewildered boy. He is
still confused, hurt, puzzled. With his vibrant
enthusiasm, Mickey put his whole heart into his dream
of Mrs. Mickey Rooney, their home, companionship,
perhaps a Mickey Rooney, Jr. And right now you can
believe that Mickey is doing an Academy Award piece of
actfng. With manlv fortitude Mickev is acting at being
36
By May Mann
s
MICKEY ROONEYS
Beautiful Ava Gardner was
born in Smithfield, North Caro-
lina; went to high school in
Wilson, N. C. Picture on oppo-
site page is one made by
M-G-M when the film company
was about to give her a "build-
up" as a starlet. Now she
wants to resume the career she
left off when she married
Mickey Rooney. Reconciliation
scene, below. The young
Rooneys made up, went to
Ciro's. The reunion didn't last.
he carefree, wise-cracking Mickey with his usual huoyant
broad grin — hoping that no one will suspect that dis-
illusionment, bewilderment and heartbreak still linger.
Mickey was genuinely in love with the little Carolina
luty. Ava was new to Hollywood. Like any other girl
she is a bit bedazzled by its overpowering glitter. Mickey,
accustomed to fame, has long taken it in his stride. But
it can readily be understood that Ava at nineteen is im-
pressionable— and was literally swept off her pretty feet
then Andy Hardy asked her to marry him !
You have to know Mickey to understand his sincerity,
le does everything the hard way. No effect is too great.
10 detail too small for his dynamic exuberance and am-
otion. At golf he hits the 70's. He was Junior Singles
Jhampion of Southern California in tennis. He'can hoof
nth Astaire, put over songs and impersonations in a way
that has earned him the reputation of a second George M .
~ohan. Tommy Dorsey offered him the drummer's job in
lis band — Mickey's thai good at beating the skins. Always
Mickey works to elevate himself into the champ class.
One day on a Florida beach he saw an acrobat doin<4
back handsprings and Hip-overs. Mickey practiced all
day long. Fell on his back a hundred times trying to do
the difficult trick. Hut he mastered it. So it is. small wonder
with his indomitable spirit that he made so many attempt.-
to save his marriage.
The split-up came as a complete surprise to Mickev.
Had he known that Sunday night that Ava had told a
radio commentator she was filing suit for divorce, rest
assured that Mickey would have persuaded her otherwise
But Mickey didn't know in time to avert the disaster of
personal tragedy and loss that was about to befall him.
Mickey had never been engaged ' Continued on [>acic 72 )
37
Hit of M-G-M's "The Human Comedy" by William Saroyan, Jack Jenkins (better known as "Butch"
Dudley) is just five years old. Son of actress Doris Dudley and grandson of New York newspaperman
Bide Dudley, "Butch" was playing on the beach at Santa Monica when director Clarence Brown spied
him. As Mickey Rooney's kid brother in the Saroyan classic,, he's the new child wonder of Hollywood.
Three brothers! Mickey Rooney shows "Butch" a picture of
their "older brother" Van Johnson, killed in action in
the Saroyan story. Other cast members including Frank Mor-
gan and Fay Bainter give fine performances, but "The
Human Comedy" is really a triumph for Mickey and "Butch."
m
i,«4
For those furlough dates, Alexis (en-
gaged to handsome Corporal Craig
Stevens) always wears her gayest
gown. Above, lovely for evening in
white with bright flower-strewn skirt.
Facing page, in streamlined blue.
Right, smart suit of navy blue striped
in red and gray — for that lunch date.
From top left: Black and white checks
are goc - waistcoat front on two-
piece new Spring dress with
drar «ne has short crossed-
ov erf*s. New Spring coat of
.a tan is plaided in white,
w. jwn velvet collar. See Alexis
in Warners' "Thank Your Lucky Stars."
fef,Astaire Can Pick Em
Joan plays girl photographer who
chases celebrities with charm and
camera while Fred just chases.
Benchley, above, is tor laughs.
Trust Fred to grab himself
off the most glamorous new
gals to dance with, and act
with, and make love to! He
seems such a retiring, quiet
guy — but you remember he
picked Ginger Rogers, and
Rita Hayworth, too— and
now it's Joan Leslie who's
"glorified" in new Astaire
film, "The Sky's the Limit."
Every time Joan corners a celebrity,
there's Fred in the way. But even-
tually, after a dance or two, and
some woo, Fred wins her over.
RKO-Radio photos
DANCES THE
"Maxixe
South American dance popularized
(pre-World War I) is brought
partner Hermes Pan in "Coney
COIN" THE "MAXIM-
\
heel, down ot shown.
J W.rm.s toe* eoch other with o/^
. < ii. Hermes throws Bei
with orms w.H t*>ck-
N*' 5- £Stion with Wf>
„as Betty up a, pictured, and does o d,p
Mo 6. Hermes winds Be*r> "P
NO" in proration «or I*.
Arows Betty in air and do« a turn «t the
No. 7. Hermes throws '
«me time. _01u, ^ w,th l«9»
No • They finiA in - »ow dip on oppos-t.
NO* ond bodies on an angle.
NOW YOU TRY AND DO IT!
20fh Century-FoxPro*
by Irene and Vernon Castle
back by Betty Grable and
Island," to the tune of Dengoza
y . \
\
45
erre Aumont, in "Assignment in Brittany.'
Richard Quine, in "We've Never Been Licked,"
Mike O'Shea, in "Lady of Burlesque."
William Eythe, in "The Ox-Bow Incident."
Van Johnson, in "The Human Comedy.
Richard Derr. in "Tonight We Raid Calais."
Right now, the men pictured on this page are the best star bets for Spring. '43. But we can't promise
they will all be around Hollywood indefinitely. Pierre Aumont, for example— the sensational new
actor in "Assignment in Brittany" — will complete only one more picture for M-G-M ("A Thousand
Shall Fall") before reporting to Fighting French headquarters in London for military duty. So femme
movies fans are advised to take several good, long, lingering looks at these personable players
YOUNG AMERIC/
"Oh, boy!" says Don. "Now Mom can quit her job
at the five-and-dime, and I can buy her a new
davenport for the one my gang wrecked rough-
housing around the living room!" Mrs. Granger,
pictured here with her son, was at one time promi-
nent in San Francisco Peninsula Society, but finan-
cial reverses compelled her to seek a job. .Her boy
Don is six feet tall, weighs 159, has dark brown hair
and eyes. His screen debut in "The North Star,"
Goldwyn's new picture, will be as a peasant who turns
17-year-old Don Granger of North Holly-
wood High School answered a four-line $2
want ad. Now he has a $1 00,000 film contract!
Fantastic, but true! Don has featured role opposite Anne
Baxter in Samuel Goldwyn's big new drama of Russia
today, "The North Star." Few weeks ago he was sacking
groceries in a super-market for his spending money. The
ad he answered read: "BOY, over 17 but not 18; theatrical
experience desirable but not essential. Send photo and
brief biography." It pays to advertise and to answer:
Don got his chance for screen test and won a contract;
Goidwyn found the bright new lad he had been looking for.
Cory 6ton*
Once more Cory gets a good role.
Better say, he grabs one, for he
selects all his own stories, has un-
canny knack of picking winners. As
an ex-gambler reformed by love
and patriotism, who enlists in the
Merchant Marine Service, Grant
gives one of his brilliant, appar-
ently casual but actually carefully
planned performances. Below, with
Laraine Day, who plays the society
girl smitten by "Mr. Lucky." Lower
left, Charles Bickford in scene with
star. Picture finished, Cary left
to entertain our boys in service.
RKO-Radio photos
.V r v n « • s above show R o y
Rogers with Smiley Burnette
a it d with Virg i ni a Ore y
By
Ruth
Tildesley
TAKE A PICTURE.
*
Meet Colbert, the demon camera-
woman! When she plays a girl photog-
rapher in "No Time for Love" she isn't
just acting, she really knows her stuff
Right out of Claudette's private camera album are pic-
tures above (reading from far left): Spencer Tracy, peas-
ant woman, Mt. San Michele, French fishermen, her dog
Hansi, Man o' War and son, street scene in Brittany.
WHEN "No Time for Love" comes to your local
theater you'll see Claudette Colbert handling
various types of cameras like a seasoned veteran.
Even Margaret BoUrke-White couldn't be more pro-
fessional. Why? Claudette has real know-how.
She's modest about it, laughs it off the way Claudette
always laughs off the things she does well, but the camera-
men on the set tell me she's "good — and we mean good!"
Claudette and her Graflex were dodging in and out
of an underground tunnel that was flooded with a slimy
mud made of mineral gelatine, fireclay and water. She
wore a metal helmet, white blouse, a pair of beautifully
cut beige slacks, and red shoes ; pretty soon, no doubt, the
mud and the girl would become intimate but at that
moment no Graflex ever had a more glamorous operator.
"I've had a Leica, a Rolleiflex and a portrait camera,"
she confided, presently, "but I never had one of these
before. I had to learn about the bulb. Today every kid
knows how to use them, but' the first time I made a
shot with it, I grabbed the bulb on top — wouldn't you
know! — and burned my hand. Then I learned to take it
from underneath, not touching the glass. I had to learn
to do it like lightning.
" I wish I had more time to pursue camera work as a
hobby. Before the war, you know how I used to go in
for enlarging and silhouettes and all that — remember how
I ruined my rug with acid? But now I feel, as we all do,
that spare time should be given to bond sales, canteens,
knitting and camp entertainment, so I've shut the dark
room up for the duration."
A sailor and his bride of three hours were brought up
for photographing with the star. Claudette turned her
high candlepower dark eyes on them. "My husband's in
the Navy, too," she told them, proudly. "He writes me
every day, and we've been married six years ! You write
her every day — hear me? Best of luck from one Navy
wife to another!"
She almost told them to send each other pictures but
snatched it back because the Navy might have its own
ideas on that.
Back in her dressing room, she poured a shower of
snapshots out of a shopping bag. Snow scenes from the
Tyrol, religious processions in Brittany, street scenes in
Vienna, faces of peasants, legendary castles, old-time
markets spilled from couch to chair to carpet.
"My record of yesterday," she commented. "It's more
than four years since my husband and I were in Europe ;
since then the sort of life we caught with our cameras
Subject: Director Mitchell Leisen. Photog-
rapher: Claudette Colbert. On the set
of their new picture, "No Time for Love."
has vanished completely; this is history. This is what
makes taking pictures get into your blood.
"We were in Austria during the Anschluss. We were
staying in Innsbruck when the Nazis marched in. There
was tremendous excitement — I've never lived through
such tension, such feeling. Nobody paid any attention to
me, they had too much else to think of, so I darted around
shooting pictures in the streets as fast as I could."
Claudette thought the Nazis had planted Germans in
the town to organize the cheering, and because she had
loved the old Austria she was too furious to be frightened.
She kept Dr. Pressman on tenterhooks for fear she'd be
arrested.
"Men would give me the Heil salute." she recalled,
"and I'd say: 'Oh, go away, you make me tired!' and
wouldn't return it. as you were supposed to do.
"'Be careful, won't you?' my husband would urge.
'These people don't trifle. You'll wind up in jail.' But I
said: 'I'm an American. I won't Heil anybody. I hope
everyone knows I'm an American. I'm proud of it!'
Maybe they were too busy to {Please turn to page 87 )
HOW SHALL I %
00
By
Josephine
Felts
Lucille Ball, lovely star of Metro's "Du Barry Was a Lady,
likes sophisticated up-swept hair-do; for long or short hair.
ANEW hair-do is like a new hat — it gives a girl confi-
dence. Some people go so far as to say it is an indi-
i cation that the lady's in love. We won't go into this
right now as it is more a matter of psychology than of
good looks and therefore out of our province. But we do
know that the way you do your hair has a great effect in
the way you look at the world. As well as the way the
world looks at you. And there are no priorities in hair
styles !
To begin with, have a good permanent wave even if
it costs a little more. Most good things do. And have it
given by a competent operator. In permanents as in other
things it pays to buy from a well-known maker under a
specific brand. It's possible today to have a permanent
all the essentials of which are packed in one special box.
Insist that the seal be broken before your eyes. Then you
know that everything inside is surgically clean, sanitary
designed to work harmoniously together to give you best
results. This means there is nothing hit or miss about it
... or about the lovely glossy smoothness of the way
your hair looks after it.
. In choosing your style, study the shape of your head
as well as the shape of your face, using a good hand
mirror to consider the back view. You can quickly tell
if you can wear your hair swept up in back by the sim-
The Chinacana! That's
what they call Donna
Reed's exotic new coif-
fure. You can't see that
it makes use of hair wool
inside. She plays in Met-
ro's "The Human Com-
edy." Pretty, young Janet
Blair prefers the up-swept
effect using small combs
in back. You won't want
I to miss her in "Victory
Caravan," by Columbia.
le process of brushing your hair all for-
ird and having a good look at the back
your neck.
Consider too the hats you want to wear.
This year some of the hats perch up in
ront and demand that the hair sweep up
the back; others fit down snugly over
ie head in back and cry aloud for curls
3ver the forehead. The prettiest hat in the
vor\d can be ruined by the wrong hair
yle under it. So plan your hair writh the
dnd of hat you want to wear, in mind.
Everybody is talking about- hair length
today. Shall it be long or short? We arc
a great individualist in this matter and say.
have it short if you like or medium with
Lucille Ball and Janet Blair or long with
Donna Reed, But long or short, it should
be smooth, no fly away curls to catch in
the winds that blow or in machinery' if
you work in a war plant. Short hair is
easier to care for and wear it by all means
if it becomes you.
For daytime-wear it is a -good rule,
though not a hard and fast one, to have
your hair clear your collar. If you wear
the up-swept style as Janet Blair does, little
combs are an excellent idea to hold the
ends up in place.
If your hair is long and heavy and your
great pride and joy and you. wouldn't cut
it for anything, coil it neatly behind as
does Donna Reed. It will look sweet and
individual.
This particular style is called the China-
ana which is the name of an American
adaptation of a hair style worn by the
ladies of China. The front hair is parted
in the middle from the center top to the
mid-line. Then the front hair is parted and
rolled under a small piece of hair wool to
form bangs. The side hair is brushed up
and rolled leaving part showing. The side
ack hair is rolled in a short knot behind
ach ear. The long center back hair is
jraided and rolled.
Lucille Ball's new coiffure shown on fac-
ing page is particularly interesting because
it can be arranged with either long or short
hair. The front hair is curled into one large
curl with several short fluffy ones. At the
crown of the head the hair is brushed into
a smooth cap. Then, if your hair^s short,
a roll of false hair is pinned, circling the
crown, and the short bob is brushed up.
Hair pins or small combs hold it in place.
The pretty soft curls at the top of the hair
line before the side rolls start keep this
coiffure from any severity.
In order to do your hair as Janet Blair
es (pictured on facing face) you part it
the right in back then sweep the back
air up to the left. The sides are drawn
up into sleek rolls ending in softly sculp-
tured flat curls. There is a right side part
in front and you get an effect of pompadour
bangs which blend into the curls at either
side.
GUIDE TO GLAMOR
Tremendous trifles go together to make up the
lovely thing that is Beauty and may be yours
Two smart Dura-Gloss shades; one light,
one dark, matched to different moods.
WINEBERRY and Tropical, what
lovely names for summer polishes !
Dura-Gloss makes them both and for
smooth, long -lasting, sparkling polishes
they are hard to beat They contain a
special substance that makes them stay on
the nail longer. There is a nice touch
about their botcles too : on the cap you
will find a simulated fingernail, just the
color which the name indicates. Try them
out this way in the store with the bottle
next to your hand. See what that partic-
ular color does to the tone of your skin ;
try it with the dress you want to wear;
look at it in reference to your lipstick.
This will all save you time and trouble.
Considerate person. Mr. Dura-Gloss.
HELENA RUBINSTEIN predicts that
'American women will stay beautiful
for the duration" and goes ahead to help
make it true. For her Cologne Compact
is a stroke of genius : a cologne without a
drop of rationed alcohol, in a compact
you may carry with you, keep in your desk
or purse or locker without fear lest it
Powd'R-Sose, the make-up foundation
in stick form that glamorizes faces.
Merle Oberon, as charming as usual, will be
next seen in Columbia's "Attack by Night."
evaporate. You use it just as you would
perfume, a touch on your ear, your wrist,
your hair. It"s amazingly lasting and is
now available in Heaven-Sent. later, also
in Apple Blossom.
SPEED and convenience are important
make-up items these 'days. When to
them you add a glorious new quality to
vour complexion, vou have an exciting
find. Hampden's Powd'R-Base is just such
a find. The unique stick form makes it so
easy to apply, does away with waste. And
what it doe's for the appearance of the
texture of your skin will please you no
end. You will find that in addition to
holding vour make-up a fine long time,
this creamy foundation will help conceal
fine lines and blemishes.
Cologne Compact, Helena Rubinstein's
brilliant, gay, new fragrance formula.
KEEPING cool and comfortable poses
something of a problem in stocking-
less days. Moreover, warm, sticky feet in
precious shoes are to be avoided. Here
comes a good foot powder to the rescue !
It is called Blue Jay Foot Powder, is
soothing, cools your feet and deodorizes.
You sprinkle it right into your shoes and
between your toes before you slip your
foot in. We seem to stress comfort and
that is important but it is also a fact that
perspiration has an acid reaction which
wrecks havoc with the shoe linings. That
is why this fine powder protects your
shoes at the same time it makes your feet
so much more comfortable.
VARVA has just introduced a new help
for busy girls in the form of a Cosmetic
Kit to earn- all make-up in one place, where
it won't get mixed up with rationing books.
It comes with two treasures already inside :
a bottle each of "Follow Me" and Eau de
Toilette. This silky fabric bag with shirred
pockets inside is beautifully finished. There
is plenty of room inside for your handker-
chief, change purse, compact and lipstick.
And of course the two bottles of Varva's
"Follow Me" fragrance. It comes in five
different color combinations among wrhich
you will be sure to find your favorite.
EVERY so often each of us needs to be
reminded that it is possible to take the
odor out of perspiration, and to do so pleas-
antly. We use that word advisedly for Mum.
one of the creamy deodorants, is so soft
and gentle that your sensitive skin won't
rebel when you use it even immediately
after underarm shaving. The first precau-
tion, of course, is always your daily bath
but Mum protects you against perspiration
odors acquired later during the day. It takes
but half a minute to apply and lasts during
hours of even the most strenuous activity.
Use your deodorant regularly. It's so much
better to be safe than to be sorrv!
Never run the risk of underorm persp.'
ration when it's so easy to be sure.
Lowly Ingrid Bergman, seated between her husband, Dr. Peter
Lindstrom, and Producer David Selznick ot the Academy dinner.
No dancing at this year's banquet, so Dottie Lamour and Capt.
William Howard had fun ribbing Paramount boss B. G. De Sylva.
THE front office may not like it, but the
cast and crew of "Lady In The Dark"
were delighted whenever Ginger Rogers'
new husband visited the set. Ginger, who
has blossomed out like a new bride, quit
work early whenever her Marine was in
town. Hollywood is still finding it hard to
believe that this is the same Ginger, who
used to brush off everyone but a few well-
chosen friends. Ah, l'amour, l'amour !
TOUGH break for Ann Sothern and Bob
Sterling. His last leave before his trans-
fer to Thunderbird Field, Arizona, was
naturally to be spent with Ann. Bob caught
the measles and was sent to quarantine.
So all he did was write letters. Every time
Ann received one (which was often) across
the back of the envelope in large letters,
Bob had printed: "This letter has been
baked." Just one more way of keeping his
love warm.
SIX months ago you could have bought up
Bonita Granville's contract for a good
set of dishes. Then she went into an un-
heralded picture called "Hitler's Children."
So great has been its reception, Bonita is
hailed as a new star, has been given a won-
derful new contract and every producer on
the RKO lot is trying to find a script with
a Bonita Granville part in it. By every
right Bonita should really make them eat
dirt. Instead, she onlv smiles.
Candids by Jean Duval
Gossip by Weston East
ANNE SHIRLEY is now legally free
from John Payne. She received her
final decree and left soon after to visit New
York. On the way back she stopped off in
Maryland to see Eddie Albert. Hollywood
was positive these two would marry, Anne's
close friends had other ideas oh the subject.
In the meantime Pat Nerney carries a torch
for Anne during off-shore duty. When he's
on-shore, guess who's phone Pat keeps
dinging. What a far cry from Dawn O'Day
who got her break in "Anne of Green
Gables" and grew up to be Anne Shirley..
Yet nothing has ever detracted from her
sweetness.
SOMETIME ago the script of "America"
was given to Spencer Tracy to read.
According to the story, this pet that King
Vidor had worked on for two years was
turned down by Spence. Just what the rea-
sons were or why, we wouldn't be knowing.
So the studio borrowed Brian Donlevy for
the part. Now, as they get ready to shoot
it, the part turned down by Tracy appears
to be one of the most important of the year.
They say Spence would give anything to
do it. But Brian has it sewed up, and darned
good he'll be too.
THAT adorable little shamrock, Margaret
' O'Brien, is already a contender for an
Academy Award. For her work in "Journey
for Margaret," she was presented a silver
loving cup by the Gaelic Athletic Associa-
tion. She is the first child to win the cup
and was named "The outstanding Irish
actress of the year." Shure an' we're mighty
proud of you, Maggie!
QUITE mysteriously a sign appeared
out in front of the Paramount com-
missary. It read : "Bing Crosby will posi-
tively autograph every pound of horse-meat."
Why should we put our neck out and say
it was Bob Hope — just because we saw him
buying a paint brush !
'TIS whispered that Fred MacMurray and
'Joan Crawford will be just as pleased,
if they never make another picture together.
To all evidence they got along beautifully.
But someone on the inside reports that Joan
resented Fred's exclusiveness and what
looked like indifference to her and the part
he was playing. On the other hand, our in-
formant says that Fred, who is as real and
regular as they come, wasn't too keen over
Joan's constant group of admiring ward-
robe girls, hairdressers and hangers-on. At
any rate, if the story is true, both parties
concerned were polite enough to keep silent
at least while the picture was in production.
Judging by attention Roz Russell is getting from Janet Blair Maureen O'Hara was lucky (ond happy) to have her husband,
and Producer Harry Cohn, at dinner, it must be a good story. Marine Will Price, with her to witness the Academy presentations.
T^EAR JOHN:
* Hollywood must seem a long way off to you now, with
your past career as the movies' number one bold, bad charmer
just something you dreamed, those gay nights at Mocambo
surrounded by the current crop of glamor girls having hap-
pened to some other fellow, now that Uncle Sam is keeping
you busier in his Air Corps than Republic Pictures ever did
even in "Flying Tigers."
But cheer up, we're still Carroll-conscious. Saw a preview
of "Hit Parade of 1943" the other day, and there's still no
one who can play a fascinating heel with the daredevil humor
and charm that you can. Sat beside Susan Hayward, and we
both enjoyed it: Susan especially enjoyed the scene where she
slaps you, hard — remember? Of course you remember. You
said at the time, "I've been hit hard before, but that kid
really made me feel it." I'd heard the story of how you two
fought all through the picture until the weary director finally
said, "See here, you two. Let's have a peaceful lunch and talk
it over quietly." Well, the story goes that you two looked at
each other again, and fell in love. I never believed it; just
publicity, I thought. But now I've changed my mind. That
slap was no fake. Neither were the love scenes. Never a dull
moment when Carroll meets Hayward.
Later I asked brown-eyed Susan how she liked the picture.
"I like it very much, because for once I got my man."
(Please turn to page 82 J
An Open Letter
to :
PVT. JOHN CARROLL
(Somewhere in Colorado)
from
She who got spanked, and he who got slapped! John
Carroll wasn't acting in this scene with Susan Hay-
ward from Republic's super-duper musical, "Hit
Parade of 1943." And Susan wasn't acting, either,
when the script called for her to slap John.
These two fought all the way through the picture,
and then fell in love. With John now in the Air
Corps, the happy ending hasn't been written — yet.
RECENT FILMS
REVIEWED
IN A FLASH!
STAR SPANGLED RHYTHM — Paramount.
Super musical crammed with comedy and celebri-
ties. Victor Moore as the gateman of Paramount
Studio masquerading as the head of the film com-
pany to show sailor son Eddie Bracken and pals
the sights. The studio is turned upside down by
Betty Hutton and a big show put on by the great-
est stars. Bob Hope as the master of ceremonies ;
stars include Crosby, Lamour, Goddard, Ladd,
Lake, MacMurray. See it.
RANDOM HARVEST — ■ M-G-M. James Hil-
ton's great love story becomes a memorable mo-
tion picture. Greer Garson and Ronald Colman
give splendid performances as the gallant actress
and the shell-shocked soldier whom she befriends.
Susan Peters, brilliant newcomer, gives an out-
standing performance. This film ranks with
"Goodbye Mr. Chips," in interest and importance.
FOREVER AND A DAY — RKO-Radio. Some
of the fun of seeing this war charity film in
which 78 prominent players contributed their
services without pay will be derived from trying
to pick out top stars in bit parts. It's an in-
teresting tale, told in flashbacks, about an old
house and its occupants for generations back by
a modern Trimble (Ruth Warrick) to a Pomfret
(Kent Smith) in its bombproof cellar during a
raid. Anna Neagle, Ray Milland, Merle Oberon,
Ida Lupino are in it.
AIR FORCE — Warner Bros. Exciting entertain-
ment. An excellent fictional account of American
history in the making. This is the story of the
Flying Fortress, nicknamed the "Mary Ann" by
her courageous crew. The heroic adventures of
the "Mary Ann" after thrilling brushes with the
Japs are stirringly set forth by a splendid cast
including John Garfield, Harry Carey, Gig
Young, John Ridgely. Magnificent photography.
THEY GOT ME COVERED — Samuel Gold-
n-yn-RKO. A nitwit newshawk on the trail of
Nazi saboteurs comically complicated by Bob
Hope hilariously falling into a nest Of spies and
safely out again. Uproarious climax has the in-
imitable Hope rounding up the ring single-
handed, and you rolling in the aisles. Bob, Doro-
thy Lamour as his long-suffering girl friend. Otto
Preminger, Marion Martin, cute Phyllis Ruth are
on their toes every minute.
THE AMAZING MRS. HOLLIDAY — Uni-
versal. For the first time in her brilliant career,
Deanna Durbin has to cope with a poor story.
She tries hard to overcome the obstacles of a
hodge-podge script which presents her as a ref-
ugee from the war in China, a giddy masquerad-
ing matron, and finally as a lovelorn girl — but
not even the Durbin voice and personality can
make this anything but routine entertainment.
Barry Fitzgerald and Edmond O'Brien appear in
the cast.
ONCE UPON A HONEYMOON — RKO-Radio.
You won't want to miss this ! Ginger Rogers
teamed for the first time with Cary Grant, and
both give grand performances — Ginger as an
American girl married to a Nazi baron, Cary as
a newspaper man. Between them they expose
the baron and further the cause of democracy,
not to mention cupid. Has witty, original dia-
logue. Good entertainment.
CASABLANCA — Warners. With a front page
title, an exciting spy plot, and excellent per-
formances by a superlative cast — this is a "must."
Humphrey Bogart plays a cafe proprietor in
French Morocco who, under the guise of cold in-
difference, helps refugees to escape from the Nazis.
It's fast, suspenseful stuff with Bogart at his
best. Beautiful Ingrid Bergman is seen as the
girl he loves. Claude Rains, Paul Henreid in cast.
FLIGHT FOR FREEDOM — RKO-Radio. An
inspiring tale of adventure and love in which
Rosalind Russell plays Tonie, a girl flyer who
deliberately vanishes in the Pacific so that
searching parties may photograph Jap fortifica-
tions. The role was inspired by the life of Amelia
Earhart. Fred MacMurray is fine as the dashing
aviator who romances with Rosalind and Herbert
Marshall is good as the "other man" in her life.
HITLER'S CHILDREN — RKO-Radio. Sen-
sational drama based on the best-selling book,
"Education for Death," exposing Nazi methods
of "educating" the German youth to the ruthless
ideo'ogy of their Fuehrer. It relates the cold-
blooded conditioning of boys and girls and the
brutal treatment of any who fight against the
system. Bonita is poignant, persuasive as the
heroine; Tim Holt, convincing as the Gestapo
boy.
IN WHICH WE SERVE — United Artists.
Magnificent war drama — produced, directed, writ-
ten, starred in by Noel Coward — records the ex-
ploits of a British destroyer, Torrin, and her
heroic crew in the historic battle off Crete.
Tremendously moving, this is truly an inspired
epic. Coward and fellow players are superb.
SHADOW OF A DOUBT — Universal. Alfred
Hitchcock's gripping mystery drama is packed
with shivers and full of suspense. A daughter of
a typical American- family idolizes her "visiting"
Uncle Charlie until his strange behavior makes
her suspicious. She discovers that the uncle for
whom she was named is a murderer. Teresa
Wright, fine as the horror-stricken girl ; Joseph
Cotten, splendid as the charming but terrifying
Uncle.
SALUDOS AMIGOS (Hello Friends)— Dis-
ney-RKO. A travelogue-cartoon, filmed as part of
our "good neighbor" policy, based on the South
American tour made by Disney and his artists.
Actual movies of the party's trip, combined with
their impressions of natives, their songs, dances
and fiestas, and the Latin American countries'
vivid scenic splendor, plus amusing animated
comedy sequences, make this novel cartoon en-
tertaining and instructive.
THE SIEGE OF LENINGRAD — Artkino.
An impressive documentary film, showing with
stark realism the heroic stand of our Russian
allies, both soldiers and civilians. It's a dramatic
screen record of superhuman courage and en-
durance and a great job of candid camera re-
porting of history in the making. Its stirring
scenes are unforgettable.
COMMANDOS STRIKE AT DAWN — Colum-
bia. Stirring screen drama based on C. S. For-
ester's "The Commandos," depicting the plight of
an invaded nation, with Paul Muni as the patriot
who leads his people in revolt against the Nazis
and, after escaping, returns to guide the British
Commandos in a victorious raid which costs his
life. Raids with actual trainees have authentic
ring. Forceful war document. Skillful performance
by Muni. Capable support by Anna Lee and Lil-
lian Gish. Don't miss it.
CABIN IN THE SKY — M-G-M. An entertain-
ing all-negro musical fantasy, based on the
Broadway play. It has the many varieties of
song, dance and comedy for which colored per-
formers are well known and all players featured
in it are at their best. The action takes place in
"Rochester" Anderson's dream. While in a coma,
he dreams of the struggles of the forces of good
and evil for possession of his soul. Ethel Waters
is flawless as wife Petunia, who wins Joe back
from sultry Georgia Brown (Lena Horne).
JOURNEY FOR MARGARET — M-G-M. W.
L. White's best-selling book about two young
British blitz victims, has been fashioned into a
fine, if weepy film. Robert Young gives his best
performance as the sympathetic correspondent
whose valiant efforts to bring the children, Mar-
garet and Peter (Billy Severn), back to Amer-
ica with him provides scenes of powerful appeal,
particularly little Margaret O'Brien's outbursts.
HAPPY GO LUCKY — Paramount. Gay spon-
taneous movie fun ! It's one long, hearty laugh
from the time Mary Martin and Betty Hutton
arrive on a Caribbean isle and meet Dick Powell
and Eddie Bracken. Mary's fortune hunt for
Rudy Vallee and Betty's frank pursuit of re-
luctant Eddie lead to hilarious situations, ac-
companied by smart new songs, delightfully sung.
The Hutton-Bracken team is sure-fire for explo-
sive comedy. See this.
SOMEWHERE IN FRANCE — United Ar-
tists. A thrilling, exciting war picture which tells
about the experiences of a British enginee'
( Clifford Evans ) who goes on a dangerous mir
sion to France before the Nazi invasion. F"
shows encounters with fifth columnists, bo
ings and pitiful scenes of French refugees tr
to escape the enemy. Constance Cummings '
an American girl and Tommy Trinder fun
comedy as a British soldier.
THE IMMORTAL SERGEANT — 20th
tury-Fox. Realistic war drama about the e>
of heroic soldiers lost in the Libyan desert. ?
Fonda is at his best as the Corporal who
over command when the Sergeant ( Thomas
chell) dies. The Sergeant's memory helps 1
in making important decisions and in encou
with the enemy. A man's picture, with a
story for the ladies told in flashbacks, sho'.
Fonda reminiscing back to happier romantic a
with Maureen O'Hara.
THE BLACK SWAN — 20th Century-Fox. If
you want sheer escapist film fare, here's your pic-
ture. Raphael Sabatini's swashbuckling yarn of
piratical practices in the Spanish Main make a
riproaring adventure movie with Tyrone Power
in the lusty role of the daredevil captain. Maureen
O'Hara is the gorgeous heroine.
TENNESSEE JOHNSON — M-G-M. An enter-
taining and instructive screen biography of An-
drew Johnson, only U. S. President ever to face
impeachment charges. Van Heflin forcefully por-
trays the Vice President who became President
when Lincoln was assassinated, and who fought
to carry out his predecessor's policies. Picture
points out that unity must prevail now, as then.
Highlights: impeachment trial and fights from
Senate floor. Lionel Barrymore, Ruth Hussey in
cast. For grown-ups.
THE POWERS GIRL — United Artists. Ro-
mantic musical glorifying long-stemmed Ameri-
can beauties of the John Powers model agency
featuring Carole Landis, George Murphy, Anne
Shirley, and Dennis Day, also a collection of
Powers pretties. Miss Landis scores as the ambi-
tious model ; Day's melodious voice heard in his
song numbers ; but George Murphy over-acts as
the photographer. Amusing Alan Mowbray plays
the Powers part.
SILVER SKATES — Monogram. A musical on
ice with entertainment for young and old. The
financial problems of an ice show and the ro-
mances of its members, introducing spectacular
skating sequences and solos by wizards of the
blades: Belita, sensational star; her partner, Eu-
gene Turner, champion figure skater; Frick and
Frack, riotous comedians ; and a graceful skating
chorus. Kenny Baker, fine as band leader ; Patricia
Morison. good as show's producer and girl Kenny
loves. Good tonic foi tired nerves.
WHITE CARGO — M-G-M. Hedy Lamarr in her
brief costume as Tondeleyo, little terror of the
tropics, is chief attraction of this drama of white
men disintegrating in the brutal climate and bore-
dom. Hedy gives a sizzling performance as the
halfbreed who drives her victims to distraction.
Walter Pidgeon, good as the tough overseer who
is immune to her charms. Hedy's dance alone is
worth admission price. Richard Carlson, fine.
I MARRIED A WITCH — Cinema Guild-U.A.
Triumph for Veronica Lake, this picturization
of Thorne Smith's last novel is a rare treat for
those who enjoy film fantasy. Veronica, as a
lovely ghost, returns to haunt the 1942 incarna-
tion of the man ( Fredric March ) , who caused her
to be burned at the stake in 1670. It's all fine,
imaginative fun. See it by all means.
NOW, VOYAGER — Warners. Women will like
this drama of suppressed desires, in which the
inhibited daughter of a domineering mother
fights for the freedom to live her own life. It
is the best Bette Davis movie in a long time.
Paul Henreid, as the lover, Claude Rains, as her
doctor, and Gladys Cooper, tops in a fine cast.
FOR ME AND MY GAL — M-G-M. A sen-
timental filmusical about the old vaudeville days,
with Judy Garland, Gene Kelly, George Murphy
as troupers touring the sticks with an eye on
the Palace. Song-and-dance acts are well done.
Old favorite tunes will bring back memories to
oldtimers and thrill youngsters. Judy gives a
knockout performance as the girl who gives up
boy friend Gene (also a hit in his role) because
he's unpatriotic. You must see this fine film.
LUCKY JORDAN — Paramount. Alan Ladd is
featured in this exciting film -ibout the regenera-
tion of a gangster chief who deserts when he
can't buy his way out of the Army and gets
mixed up with Nazi agents. He hands them over
to the FBI and returns to the Army when his
dormant patriotism is aroused. Ladd gives a
smooth, convincing performance. Helen Walker
heads a fine supporting cast. Has suspense.
MRS. MINIVER — M-G-M. Jan Struther's book
about the British wife and mother who could
"take it" has been made into s great motion pic-
ture. It's a masterful message 3f courage and a
fundamental lesson in fortitude. Greer Garson
rises to heights in a poignant performance.
Walter Pidgeon is splendid as the husband,
ROAD TO MOROCCO — Paramount. Bing and
Bob are on the road again. This time it leads to
Morocco where they meet Dorothy Lamour, a
princess *>»"J - " ' -qimont.
\
1
THE TRUTH ABOUT THAT
SHERIDAN-FLYNN ROMANCE
Exclusive! Photo scoop of
Ann's visit to Mexico,
and the frank answer to
the romance rumors link-
ing her with Errol Flynn
Viva Mexico! In gay "China
Pablana" costume for her
visit to the bull-fight, Warner
Bros, star Ann Sheridan is
shown during her recent vaca-
tion south of the border.
Ann's kidding name for her-
self is "China Pablana de En-
cino," Encino being her Cali-
fornia home. Her latest pic-
ture, "Edge of Darkness," co-
stars her with Errol Flynn.
Ann with Mexican friends, above left. Right
above, with Mexican starlet Esther Fernandez,
and Mario, master of ceremonies at El Patio
night club. Bottom of page, Ann at bull-fight.
\ A /HEN Ann Sheridan decided to divorce George
\/\ /Brent last winter she looked around for an
y y accessible divorce town. Like all movie stars
Ann didn't want to- get too far away from home base —
Hollywood. Besides there might be retakes on "Thank
Your Lucky Stars." And there was no point in estab-
lishing a residence some place and after a week or so
having your studio order you back to work. Then you'd
have to start doing your time all over again.
Reno and Las Vegas, the two most popular spots with
American divorce-seekers, require a six weeks' residence.
"Six weeks," thought Ann, "brother, a lifetime!" That's
the way it is with movie stars. They moan and groan
and gripe about Hollywood (don't we all), but the
minute you suggest that they take their pretty selves
to some other part of the map they act as if they were
being banished to the Siberian salt mines.
Then someone suggested Mexico to Ann. And Ann's
ears perked up immediately. She has always loved any-
thing and everything Mexican. Frijoles, chile con carne,
pappas fritas. La Golandrina. The rhumba. "If it's Mexi-
can," Ann always says, "I like it." Ever since she was
Clara Lou Sheridan with pigtails in Dallas, Texas, she's
wanted to see a real honest-to-goodness bull-fight. Mexico
City requires six weeks' residence, she learned, but the
town of Cuernavaca, ninety- four miles from the capital,
required only fifteen days. "That's for me," thought Ann.
"If I should happen not to like it I can get my divorce
quickly and come home."
With Gwenn Woodford, her girl friend from Texas,
Ann flew to Mexico City, and soon after established a
two weeks' residence in Cuernavaca. She rented an
attractive house, with only one unattractive feature: she
never knew what kind of water was going to gush out
of What faucet. One day she was washing her hair in
the bowl in the bathroom, and turned on the cold water
for the final rinse. Out of the cold water faucet came the
fiery contents of the nearest (Please turn to page 85)
61
The sweater's place in war plants
may be problematical, but there's no
question that, in Hollywood, the
sweater is an institution. On movie
beauties Janis Carter, right; Evelyn
Ankers, Jane Frazee and Marie Mac-
Donald, left above; and Marguerite
Chapman, right above, it's becoming!
67
The sweater dispute started in a
Bridgeport war plant where the man-
agement sent girls home because their
sweaters were said to "slow down pro-
duction," went on to Washington, was
discussed in Hollywood, where Ann
Sheridan offered to act as a "sweater
mediator," but was rejected. Jane
Russell and Elyse Knox laugh it off.
Says
SWEATERS
Must Go?
We say sweaters must stay-
on shapely Hollywood girls!
Above, Private Tyrone Power of the Marines
and his attractive wife, Annabella, in the uni-
form she wears in "Bomber's Moon," the 20th
Century-Fox motion picture in which she makes
her screen comeback. Left and below, Tyrone,
very handsome in Marine dress uniform with
Annabella at the Academy Award dinner.
"Crash Dive" is Ty's last film for the duration.
A BREAK for Margo at long last ! RKO-
Radio are so excited over her work
in "The Leopard Man," they immediately
signed her to a three-picture deal. Margo
wants to play an ill-fated Japanese girl, in
a story they are thinking of filming. It
will give her a wonderful chance to spread
anti- Japanese propaganda. She's just the
little lady who would like nothing better !
AN INTERVIEWER asked Dennis Mor-
gan if he was planting anything use-
ful in his Victory garden. It was a silly
question (in these times) and deserved a
silly answer. "Yes, I am," said Dennis. "I'm
planting shoe trees!"
MARLENE DIETRICH was asked to
present the T flag of the Treasury
Department to employees of California
Shipbuilding Corporation. Of course she
was pleased, because the flag symbolizes
the achievement of more than ninety per-
cent of the employees having invested ten
percent of their pay checks in war bonds.
Marlene appeared at four in the morning
for the "graveyard shift." She returned at
noon and at eight o'clock again that same
night. Let's give the little girl a hand.
(Please turn to page 66)
FROM COLLEGE TO WAR INDUSTRY
— Phylis tests tensile strength of fabric
for parachute bags, tents, summer
uniforms for the armed forces. She is
one of 6 college girls being trained in a
big Textile Company, to replace young
men called to the services.
Another charming Pond's engaged girl
— daughter of Mr. and Mrs. W. Henry
Gray of Great Neck, New York. Her
engagement to Ensign Allen Hughes
Jones of Chevy Chase, Md., now with
the United States Coast Guard Reserve,
was announced September 15th.
PHYLIS AND ALLEN ARE SAILING ENTHUSIASTS: Her blue-green eyes are change-
able as the sea. Her soft-smooth Pond's complexion has a delicate, rose-fresh beauty.
HER RING is exquisite — a
shining solitaire with 3 smaller
diamonds deep set each side
in the platinum band.
'T GUESS girls all over the country
X are feeling extra grateful for Pond's
these busy days," Phylis says. "A war
job certainly doesn't leave you much
time for fussy beauty care — so it means
a lot to have a luscious, soft-smooth
cream like Pond's to help keep your
face bright and fresh, and soft-to-touch.
It's the grandest cleansing and softening
cream I know."
Here's how Phylis uses Pond's for soft-
smooth cleansing!
She slips Pond's Cold Cream over her
face and throat and pats — gently, quickly,
IT'S NO ACCIDENT SO MANY ENGAGED GIRLS USE POND'S!
to help soften and release dirt and make-
up. Then — tissues it off well. She "rinses"
with more Pond's for extra cleansing and
softening. Tissues off again. "It's a joy,"
Phylis says, "how made-over my face feels !"
Use Pond's as Phylis does — every night,
for daytime clean-ups, too! You'll love it.
And you'll soon see why war-busy society
beauties like Mrs. Nicholas R. du Pont
and Mrs. Elliott Roosevelt are Pond's
users — why more women and girls use
Pond's than any other face cream.
At beauty counters everywhere — all
sizes popular in price. Ask for the larger
sizes — you get even more for your money.
SCREENLAND
65
Left, from top, Gracie Allen and George
Burns with the Eddie Cantors at a recent
premiere; Lieut. Van Heflin and his very
attractive wife, the former Frances Neal,
with Ronald Colman at the same film open-
ing; and in group pictured below them, at
party following the showing, are Nancy Cole-
man, Tonio Selwart and Dame May Whitty.
ANN SHERIDAN swore us to secrecy.
^ But at least we can tell you that she
has been receiving phone calls and letters
from one of Hollywood's greatest stars,
now in service. If this romance breaks, it
will really be one that makes that rumored
Sheridan-Flynn two-some look like warmed-
over hash. Weston East promises to let you
in on it soon as possible.
WHEN his Beverly Hills neighbors com-
plained about his rooster's crowing,
Ray Milland put on his thinking cap. The
fine bird cost him $25.00. He sent all the
way to Seattle for him. So Ray wasn't
anxious to take a total loss. What to do?
Why, sound-proof his chicken coop, of
course! Ray did it himself and now every-
one is happy.
NOW that K. T. Stevens has severed re-
lations with David Selznick, look to
see her in a future picture directed by her
father, Sam Wood. So far, the promise
K. T. held when she started out has failed
to materialize. Lack of opportunity is partly
the reason.
THE passing of Tully Marshall, grand old
character man of one hundred and twenty
five pictures, is a great loss to Hollywood.
While making "Sergeant York," he asked
Joan Leslie her age. "I'm just sixteen,"
Joan answered. "When you've made pic-
tures for sixty more years, then you'll be
my age," said Tully with a twinkle. "By
that time you should be used to 'em !"
THE Cornel Wildes have named their
little daughter Wendy Wilde. Pretty cute,
huh? When Wendy was born, Cornel had
planned on taking a room in the hospital
to be close to his wife. But with ol' Doc
Stork really working overtime in Holly-
wood, it was out of the question. So Cornel
curled up on a bench in the lobby of the
hospital. He slept there for two nights.
{Please turn to page 68)
Below, left, Irene Dunne and her husband,
Dr. Francis Griffin, attending one of the big
premieres of the season; and Jimmy Riti stops
to chat with Randolph Scott, who is dining
with pretty Pat Stillman at Ciro's, below.
IF A GIRL ISN'T
DAINTY, NO OTHER
CHARM COUNTS. A
DAILY LUX SOAP
BEAUTY BATH
MAKES YOU SURE !
SCREEN STARS ARE
RIGHT— THIS CREAMY
ACTIVE LATHER DOES
THE TRICK I LEAVES
SKIN DELICATELY
PERFUMED. TOO
BETTY GRABLE, like so many other Holly-
wood stars, uses her complexion soap as a
bath soap, too. Lux Soap's ACTIVE lather
is so rich, so creamy, swiftly carries away
every trace of dust and dirt. Leaves skin
soft, smooth, delicately perfumed with
a fragrance you'll love !
9 out of 10 Screen Stars use Lux Toilet Soap — //^/&e?fes S&S? SW^^Tl^
SCREENLAND 67
The Ronald Colmans, above, at the festivities following a Holly-
wood screening; the Gary Coopers, below, arriving for the premiere.
Jerry Colonna beams as the lovely singers, Dinah Shore and Harriet
Hilliard, snuggle up to him at one of the recent benefit performances.
FOR the sixth time, Una Merkel plays
Charlie Butterworth's wife in "This Is
The Army." Una's husband, Ronnie Burla,
holds down a very important position as
assistant to the president of North Ameri-
can. Una was in- a reflective mood. "You
know something," she sighed whimsically,
"Ronnie is away so much of the time,
Charlie really seems much more like my
husband !"
WAIT until you see the new gown that
Alexis Smith will model for the Treas-
ury Department. It's made entirely of Vic-
tory Stamps. Seeing it on Alexis should
certainly boost the sales !
AS A RULE when one star monopolizes
* the spotlight at a dinner party, other
stars burn to a crisp. But ever since Kay
Francis returned from her European tour,
she has been the welcome lady of the eve-
ning. Kay never tires of telling of her ex-
periences. At Mary Pickford's recently, she
kept the guests spellbound for hours. Kay's
already planning a return trip. Sweater
girls please apply.
MOST unusual and interesting is
Jeanette MacDonald's new ring. It
looks a bit like the old-fashioned gold sig-
net ring. However, the top is actually a
knife-edge lid. It lifts up and underneath
is framed a tiny picture of Captain Gene
Raymond, now overseas.
(Please turn to page 70)
Paul Henreid attending one of the important social Jeanette MacDonald, whose hubby, Capt. Gene Raymond, is overseas,
events of the movie capital with his wife, Lisl. invited a serviceman from each armed force branch to a theater party.
68
Would you turn your back
on a wounded Soldier ?
You think you wouldn't . . . you don't mean to...
But unless you are giving every precious
minute of your time . . . every ounce of strength
that you can spare . . . towards helping win
this war as a civilian, you are letting down
those soldiers who are sacrificing lives to win
it for you.
What you are asked to give up isn't much
compared with what they're giving up. The
extra work you undertake is small compared
with the gigantic effort they are making. But
to a wounded soldier, what you do can mean
the difference between life and death.
You make the choice.
Look Around You! Pick your war activity—
and get into it! In your local Citizens Service
Corps or Defense Council there is something
for every man, woman and child to do. If no
such groups exist in your community, help to
organize them. Write to this magazine for
free booklet, "You and the War," tellinc
what you can do to help defeat the Axis.
Find your job— and give it all you've got!
Contributed by the Magazine Publishers of America
EVERY CIVILIAN A FIGHTER
SCREENLAND
69
INGRID BERGMAN doesn't mind re-
• porters on the set. She doesn't even mind
visitors too much. But when she's asked
to pose with visitors, that's another story.
It proved a bit embarrassing on the "Sara-
toga Trunk" set. The visitors happened to
be very important representatives of another
continent. The studio was trying to promote
good will. Bergman's will was good. Also
strong. She wouldn't pose.
IN "I DOOD IT" Eleanor Powell has to
• plant a terrific smacker on Red Skelton,
who wears an amazing "muff" as a Civil
War general. Eleanor now refers to Red
as "the poor man's Monty Woolley."
IIKE Garbo, Lana Turner wants to be
L-alone. So she and her mother are living
quietly on the desert. Lana has her hair
dyed back to that original shade of red,
which doesn't exactly keep her from being
recognized. But it makes her look like the
old Lana, who was discovered at a drug
store counter sipping a soda. With all that's
happened to her, wonder if Lana ever wishes
she was back to that girl again?
JOE E. BROWN certainly had a surprise
waiting for him, when he returned from
entertaining American troops somewhere
in the South Pacific. They tried their best
to reach him to let him know he was a
grandpappy. Joe cabled too but their mes-
sages always crossed. It's a little girl, born
to Corp. and Mrs. Joe L. Brown. If you
think big Joe had a wide grin before, you
should see him now.
FIRST it was the pompadour hair-do that
Hollywood revived. Then bustles. Re-
cently Irene Dunne dragged out an old
set of steel cut shoe buckles. The style has
swept the town. Rosalind Russell threatens
to wear one of those old-fashioned jewelled
dog collars. If she does, you can rest as-
sured that everyone else will wear one too.
What, no corsets?
QOOR Keenan Wynn (son of Ed Wynn)
'is really bewildered. Director Gregory
Ratoff decided to supervise the Russian
accent he wanted Keenan to use for his
role in "Russia." All of which would have
been just dandy — only Keenan wound up
sounding more like Ratoff than Ratoff
sounds like himself ! They finally had to
call in an "interpreter."
Portrait of Anne Lee, above; and, left, In a
scene with co-star Brian Donlevy from the new
film story about the underground activities of
Czech patriots, fighting against Nazi tyranny.
XA/ILLIAM BENDIX, the new Para-
" V mount actor, hasn't even been able to
buy a second hand stove since he came to
Hollywood. Finally, he found a toy stove
in a local department store. It works by
electricity and is big enough to cook one
egg. So what does Bill cook on it ? So he
cooks an egg!
HELMUT DANTINE, the Nazi of "Mrs.
M iniver" and "Edge of Darkness," only
wanted to be a stage actor. He couldn't
get a break. His wife, Gwen Anderson,
only wanted to be in the movies. She got
the lead in the Broadway production of
"Janie." The same day that Katharine
Cornell wired and asked to have Helmut
in "The Sisters," Gwen got a wire offer-
ing her a contract in Hollywood ! Being very
much in love, Helmut isn't going to New
York and Gwen is heading for home. Love
is still greater than ambition, which is the
way it should be.
SEEN at Romanoff's : Ty Power on leave,
dining with Annabella. Their dinner got
cold, they were so busy holding hands and
looking into each other's eyes.
IN "NEVER A DULL MOMENT" one
I of the Ritz brothers does a scene with a
three-inch-thick New York cut steak. Turn-
ing directly to the camera, he points to
the steak and says to the audience, "Don't
get excited, folks — it's only a prop." Just
thought we'd tip you off and save your
blood pressure.
FOLLOWING is something to be added
I to your vocabulary. It's Army slanguage,
created by the soldiers of "This Is The
Army." Eagle spread, pay day . . . Shady
nook, the drill field . . . Honey wagon,
a garbage truck . . . paper soldier, office
clerk . . . Gabriel, the bugler . . . G man,
a soldier who is on garbage detail . . .
Butcher, the barber . . . Chow hound, a
big eater . . . Shoulder pads, griddle cakes
. . . Fire trap, moustache . . . File 13, the
waste basket . . . Snow White, a nurse
. . . Superman drawers, woolen underwear
. . . Armored cow, canned milk . . . Bub-
ble dancing, dish washing . . . Scamper,
juice-gin.
THE engagement ring Susan Peters got
from Richard Quine is the pride of her
life. It's a square gold frame frosted with
diamonds. Set in the sunken center is a
single emerald which reflects against the
gold background and casts the shadow of
a cross. On Susie's third finger, left hand,
it's mighty becoming.
70
you'ie having your picture taken, to send to him — if so, don't forget
.Dura-Gloss — you want your fingers to look beautiful! And whatever you're
oing these days, Dura-Gloss on your fingers will help you do it better. Its
rilliance and sparkle makes you look your best, makes you feel better. Every girl who
ses Dura-Gloss, says she gets a lift from it. It stays on your nails better, too,
•ecause of its special ingredient, Chrystallyne. It's at all cosmetic counters, io^.
Lorr Laboratories • Paterson, N.J.
unded by E.T. Reynolds
DURA-GLOSS
PLUS
TAX
POLISH
SCREENLAND
71
Why The Mickey Rooneys Fell Out Of Love
Continued from page 37
to a girl before he slipped the emerald-cut
diamond on Ava's third ringer, left hand.
Marriage was no transient ceremony. He
meant it "only forever," through thick or
thin. Mickey was determined to keep it that
way.
That Sunday night Mickey was stand-
ing at the end of a long line waiting to buy
a ticket in front of a movie house on Holly-
wood Boulevard. In the dim-out I caught
his slightly forlorn, wistful expression. I
was surprised to see him alone — a rather
old hat pulled down low on his head.
"Hello, honey," he said in characteristic
greeting, a cheerful grin lighting his face
— which might have fooled me had I not
seen him first, off-guard.
"Where's Ava?" I asked.
"Well," Mickey fumbled quickly for
words — "she had a committee meeting to-
night."
There'd been the usual H ~>od ru-
mors that beset all newlyv. ids v the
happiest couples have misundc in
adjusting themselves the first fev
marriage. True love never runs sn
Most of Mickey's friends disregarded
rumors, for Mickey was all-out proud
Mrs. Rooney. So happy with their apart-
ment. So elated in telling everyone about
her cooking ability. Every day Mickey
drove home for lunch. He seemed devoted.
Besides, there has never been such a word
as "failure" in Mickey's vocabulary. It is
understandable that he would try to make
his marriage a masterpiece.
"Everything's great," Mickey said.
"There's no truth in those rumors. We
don't listen to 'em. I got the best little wife
a man ever had," he ended bravely on a
cheerful note.
Had Mickey turned on the radio a half
hour later he would have heard the startling
news that Ava was going to file suit for
divorce. When he did hear the news, Mickey
was stunned. He telephoned Ava. Surely
she didn't mean it? You don't break up
anything so sacred as marriage just over
little misunderstandings ? "Remember,"
Mickey said, "we didn't elope. We had our
marriage in the church, and for keeps."
Ava filed suit for divorce stipulating the
conventional "extreme cruelty." But to her
closest friends, Ava could say nothing but
the best about Mickey. And Mickey who
lives religiously by the gentleman's code
of honor, where a lady's name is concerned,
said nothing. But he went about with a be-
wildered air. Here was a problem he
couldn't quite handle, couldn't cope with.
Mickey moved to his mother's ranch. Ava
left to visit her mother in North Carolina.
Mickey certainly sat down and took stock of
himself. Where had he failed? Perhaps he
hadn't been romantic enough. After all, he
isn't the Bob Taylor type. But he always
sent Ava flowers — and boxes of candy and
new perfumes — after they were married.
He loved to take her shopping and buy her
lovely clothes. Mickey may be a top-salaried
star, but from the beginning his personal
allowance has been geared comparatively
low. There's been no lavish spending, no
extravagance. They lived on a rather modest
budget — but then so do most young couples.
Where had he failed?
Mickey is accustomed to rising early for
a round of golf in the morning. But Ava
came before golf pals. "You can't be a golf
widow, Ave' " — his pet name for her. "You
come out with me. I'll show you how."
For weeks he'd painstakingly taught Ava
the rudiments of golf. And because Mickey
is never satisfied with less than perfection,
lie hired a pro. When Ava's golf got down
to the 90's Mickey beamed. At tennis it was
the same.
. True, perhaps he should have encouraged
Ava to continue her movie career, which
had just begun when they married. But Ava
herself said she wanted to be just a wife and
be with Mickey.
Mulling it over in his mind Mickey pic-
tured Ava as he first saw her. Tall and
willowy and graceful, with long red hair
and green eyes, and the cream and peaches
complexion of a Southern belle. She had
been walking down the studio street.
"Gosh," Mickey had gulped. "A dream
walking. Who is that stunner?" He'd been
introduced. "May I call you sometime?
Maybe I could show you about Hollywood.
Be a sort of guide," Mickey had offered.
Only four days in Hollywood and to have
a date with Mickey Rooney was almost un-
believable, Ava told me. "He was so gentle-
manly. There's nothing of the little boy at-
titude in Mickey. You never think of his
height — that he's shorter. It was so exciting
going out with him. Everywhere people
stopping us to shake hands with him. Peo-
'e asking: 'Who's the girl with Mickey?'
'•ographers taking our pictures — imagine
ring the spotlight with one of the
'ars in Hollywood!" Ava fairly
bu -1 what girl wouldn't !
Av e to visit her sister Beatrice
in New t completing high school
in Wilson, "arolina. Her brother-
in-law, a phu took some pictures
of her and sent he M-G-M office
in New York. Av^ iphs sold Ava
to Metro. She was sij, ontract and
sent to Hollywood.
Sister Beatrice gave up New
York to chaperone her baby siste 'as
the pride of the Gardner family 01 r
brothers and sisters. Ava was the
doll — to be petted, humored, cajole*,
was more beautiful than most girls hi. ,
right to be. All of her life she'd been
prettiest girl in her family, in her home tov*
circle. "She's as pretty as Lana Turner.
She'll be a star in no time at all," everyone
said.
But Ava met Mickey that very first day
in Hollywood. Two days later they had their
first date — bowling. Ava had dressed for
Mocambo's. She visualized the smart night
club with Paulette Goddard, Norma Shearer
and the most sparkling glamor names of
Hollywood rubbing elbows on the dance
floor. But Mickey has never been a night
club habitue. Sensing her disappointment
Mickey said, "Come on, sugar. Tomorrow
night I'll take you to Mocambo's." And the
next night he sent Ava a corsage such as
she'd never seen except in a florist's adver-
tisement— and they went to Mocambo's.
I glimpsed them from a wall table.
Mickey was more than attentive. Linda
Darnell, whose name had been romantically
linked with Mickey's, danced by. Mickey
proudly rose and introduced Linda and her
escort, Alan Gordon, to Ava. Lana Turner
stopped by their table. So did Jackie Cooper
and Bonita Granville. Then Spencer Tracy,
who was making one of his rare night
club visits. Surrounded by the celebrities
of the movie world, small wonder Ava
pinched herself to be sure she wasn't Alice
in Wonderland.
Mickey took Ava out to meet "Mom."
And Mom gave Ava as genuine a welcome
as a girl ever received. "Mickey's told me
so much about you," Mom said.
Then Mickey called his father and intro-
duced Ava on the telephone. She called her
mother in North Carolina and Mickey
talked via long-distance. Everyone beamed.
Everyone seemed happy about the young-
sters.
"Gee, to think I'd get such a beautiful
girl," Mickey would say — plainly doing a
bit of hero-worshipping at the shrine of
beauty's feet.
Mickey has a host of friends. Friends who
admire him for his endless talent, for his
engaging personality. Soon Ava was in the
thick of Hollywood's younger social set.
Parties at Judy Garland's. Sunday after-
noons around a pool. Jam sessions at Mick-
ey's ranch. Tennis and golf. Driving all
over the beautiful southland. Attending
sneak previews and being besieged by fans.
Her pictures in the newspapers and maga-
zines with Mickey. For six months the two
went together. Mickey was certain that his
love was the real thing. Ava thought hers
was. So they were married — in a simple
ceremony in the Community Church at
Ballard, California. They honeymooned at
Del Monte. A few weeks later they went to
Washington, D. C, for the President's
Birthday Ball — then home to North Caro-
lina to meet Ava's folks.
Back in Hollywood, they moved into a
beautiful little apartment in West Los An-
geles. "Close to M-G-M so Mickey could
come home for lunch," Ava said. "He didn't
want me to be lonesome.
"We talked it over and decided that one
career in a family is enough. Mickey
wanted an old-fashioned kind of wife who
loves her home, who is always there to be
with him — without any outside distractions
or interferences."
So Ava learned to cook. "I made some
beautiful cakes and biscuits ! I fried chicken
— and Mickey'd bring home people to eat.
It was really wonderful at first. At least
Mickey was very enthused. I did my own
housework — so I kept busy."
But love's young dream was lacking for
A.va's romantic imagination — for eight
onths later she told me : "Mickey is a
ular dynamo of energy. He rises around
^very morning to play golf. He plays
He goes bowling. I just couldn't get
ed in so many sports. I'm not the
i. >pe. Mickey is always on the go.
H music. He writes plays. He and
Sia. 'er produce little theater plays.
"M s not explosive — nor did we
have i as people have reported. It
was jus. s interests were so different
from min we just didn't have a great
deal in co.
"True, 1 misunderstandings.
Mickey is ass Te believes that a man
is definitely tht c a family. He asked
me to call him ! I'd been used to
having my own w
"Mickey certainl; » to be a model
husband. But I guess vhat you irt'Vht
call a career girl. I hi ance e
good in pictures. And i t wc d
and be someone too."
After their reconciliat. »c e
about when Mickey called A e
every night during her visit .
lina, Mickey took Ava on a
ping spree. He bought her a , e
helped her choose many beautnu! ;.
Tommy Dorsey and Mickey's gang , i
party. It looked as though the I
marital problems were over.
Mickey took Ava house-shoppinj r
moved into a lovely little six-roor :
in Cold Stone Canyon, quite close
Garland's. Mickey hired Hennie, a
ous housekeeper, a Norwegian, i
some friends. And the future look*
But now Ava had more time on he
than she knew what to do with.
72
H
ow MUCH are
YOU smoking?
♦Government figures show smoking at all-time peak.
WHETHER you are smoking more — or smoking
less— note this:
When smokers changed to PHILIP MORRIS, every
case of irritation of nose or throat— due to smoking—
either cleared up completely or definitely improved!
That was reported in medical journals by distinguished
doctors— their findings in work with actual men and
women smokers.
NOTE we do not claim curative power for Philip
MORRIS. But this evidence clearly proves them less irri-
tating to the nose and throat.
Call
for
PHILIP MORRIS
America's
FINEST
Cigarette
made "The Human Comedy," and imme-
diately after that went into "Girl Crazy"
with Judy Garland. Ava interested herself
in a variety of activities. But she was rest-
less, more ambitious.
At Marion Davies' afternoon garden
party for war relief, Ava came alone.
Mickey was working at the studio. At five
o'clock he surprised Ava. "Had an hour
off for dinner so I ran over, honey," I
heard him say. Mickey could only stay
about fifteen minutes, in order to make it
back to M-G-M in time. Immediately peo-
ple clustered around for autographs. And
Ava, beautiful and lovely, suddenly became
the center of interest along with Mickey.
And that's highly contagious for a beautiful
girl.
"One night I told Mickey that I had re-
tired from the screen before I even started,"
Ava told me. "We had a long talk. I was
unhappy doing nothing. We couldn't make
our life seem to fit. Mickey said if I wanted
a career it was all right with him. He didn't
object.
"I called the studio and went back to re-
port for two small parts. A couple of lines
in one picture as a car hop. A switchboard
operator in another. I began taking dramatic
lessons."
It was then that Ava's sister Beatrice
returned to Hollywood. She had had great
hopes and plans for Ava's future as a
screen star. She now furthered these am-
bitior.s in Ava.
Perhaps Mickey no longer felt the head
of his household — with the addition of rela-
tives. True, most newlyweds should be left
alone to iron out their own difficulties with-
out outside interference. Be that as it may,
I observed Mickey and Ava at the Pal-
ladium one night with Tommy Dorsey and
Pat Dane. There was a heated argument.
Ava rose and left. Mickey followed. A few
days later the Rooneys announced in a
joint statement that they regretted that their
marriage was over.
Ava still lives in the beautiful little house
Mickey provided in Cold Stone Canyon.
She's played her first important movie role
in Monogram's picture, "Ghosts in the
Xight," with the East Side Kids. While she
has only nice things to say about him she
told me, "This time it is definitely over.
Mickey and I are not seeing each other any
more. We had nothing in common. I just
wasn't happy !"
Mickey has been labeled an extrovert,
due to his uncanny ability, his genius — you
might call it — to excel in any endeavor that
interests him. But actually Mickey is not the
show-off he's been pictured.
One night recently I was invited to a
party. It was to be a jam session with a
group of musicians and artists. When I
arrived Mickey was seated playing the
piano — and good! Sidney Miller was play-
ing a horn. Several other instruments jived
in for harmony. Someone said unceremoni-
ously, "C'mon, Mickey, you've been play-
ing long enough. Let Joe play for a while."
Mickey got up from the piano bench and
came over and sat down by me on the steps
leading into the living room — since all of
the chairs were occupied. Someone brought
out a silver platter and a spoon. "Come
here, Mick — give this a beating," they said.
Obligingly Mickey took the platter and
really amazed everyone with the clever
rhythm he tapped out on that platter.
Later I noticed him sitting alone in a big
arm chair. Here was one of the biggest
box-office stars on the screen, sitting quietly
in the background — listening. He neither
demanded attention nor sought it. A little
later I smiled. For Mickey had dozed off to
sleep. About eleven o'clock he woke up.
Said goodnight — shaking hands all around
— saying he had an early golf date in the
morning, and departed.
At present Mickey is living at home with
Mom on their five-acre ranch in San Fer-
nando Valley. His step-father was recently
drafted. Mickey, 21, was deferred because
of a physical defect. At any rate, being
barely five feet tall, Mickey might do more
good in pictures than in the Army.
You see Mickey at the fights, at the
movies. Usually with his father, Joe Yule,
or his pals Les Petersen or Sidney Miller.
But noticeably stag.
While Mickey keeps his own council re-
garding his marital woes he hasn't lost his
sense of humor. Clarence Brown, director of
Saroyan's "The Human Comedy," in which
life evolves through the eyes of a messen-
ger boy played by Mickey, told me an inci-
dent amusingly and typically Rooney.
"Butch" Jenkins, age four, juvenile hit of
the season, protested wearing a long old-
fashioned night gown in a sequence with
Mickey. "I was having trouble with the
kid," said Mr. Brown, "when Mickey came
over.
" 'Butch, do you know why I wear this
night gown too?' Mickey asked. Butch
shook his head negatively.
" 'Because General MacArthur wear;
one !' " Butch was convinced.
There's probably one reason the Mickey
Rooneys fell out of love. It was unfor-
tunately a one-sided love in the beginning.
You can't blame pretty little Ava for be-
ing swept off her feet by the attention of
Andy Hardy, Young Tom Edison — Holly-
woods Mickey Rooney. But it takes a
strong enduring love to build a solid founda-
tion for marriage — and in Mickey's case,
there was only half enough !
SCREENLAND
7 3
WHOEVER seated the press at the
Academy Award banquet used pretty
bad judgment. The tables were so far back,
reporters had to wait until the stars went
to the little boys' and girls' rooms to see
who was there ! The speeches went on for-
ever. Greer Garson, the winner, who said
she was "practically unprepared," had no
trouble finding words. Jimmy Cagney, ac-
cepting his "Oscar," was natural, sincere,
brief. Teresa Wright's gasp when her name
was called, was by far the most sincere
"act" of the evening. Van Heflin thanked
the Army for letting him off for the eve-
ning, the Theatre Guild for his dramatic
training and Mr. "Metro" Mayer for giving
him a job. The camera boys did not have
to beg Joan Fontaine (last year's winner)
to be in the pictures with Greer. Bob
Hope, as master of ceremonies, was really
the great star of the evening. Our personal
"Oscar" goes to him.
EVIDENTLY Nancy Coleman agrees with
Priscilla Lane that Victorville has its
attractions. Every week-end Nancy heads
for the great open spaces. It may be the
fresh air and the peace and quiet of the
desert that appeals to Nancy. But she spends
a great deal of time with Bob Abbott, who
owns a four hundred acre ranch there. Bob
is tall, blond, and a rich Bostonian. We're
asking you, is that bad?
IT TOOK the Academy Award banquet
I to bring Olivia de Haviland and Cap-
tain John Huston out in the open where
the camera boys could get at 'em. And get
at 'em they did! The flashing bulbs left
Livvy seeing more stars than there were
in attendance.
EVERYONE in Hollywood is talking
L- about Henry Robert (Bob) Montgom-
ery. From lieutenant senior grade he has
advanced to lieutenant commander. They
say that Bob's hair is now heavily greyed,
his face lined, his manner much more ser-
ious than the carefree Bob Hollywood used
to know. Heavy active service is the cause
of it.
YOU won't be seeing Teresa Wright on
the screen very much longer. She's ex-
pecting the stork. Her health hasn't been
too good, so Teresa is taking time out
while waiting to play her greatest role.
Romancers John Loder and Hedy Lamarr seem
to be in a little world all their own as they
dance at one of the popular night spots, at
right. Below, Mary Pickford at Mocambo, with
Commander John Ford, the Hollywood director
who is now famous for his "Battle of Midway"
film; and Georgia Carroll, Kay Kyser and
Lucille Ball with hubby Desi Arnaz. Kay, who
has given so much of his time to entertain-
ing at Army camps, is going into the service.
74
Frank Morgan congratulates Arthur Lake on the birth of
his baby son and the proud papa offers him a cigar,
above; right, Jinx Falkenburg, Frances Langford, Kay
Kyser and Olivia de Havilland looking over the script
for a "Command Performance" to our boys overseas.
HEDY LAMARR'S suit against M-G-M
will probably be settled long before
you read this. The studio is already send-
ing her scripts to read. Hedy certainly
has taken a beating from the headlines.
Unfairly too, because her side of it has
never been printed. Right from the start
Hedy has steadfastly insisted that salary
has nothing to do with her suit. She wants
good parts, carefully selected parts that
are suitable to her talents. Hedy is wise
enough to know that even a personality
as glamorous as her own can't possibly
survive, if she isn't allowed to back it up.
We think she's got something there.
DAGWOOD" in the comics had nothing
on "Dagwood" of the movies (and we
do mean Arthur Lake) when his eight
and a half pound son was born. Arthur's
cute sister, Florence Lake, had to admin-
ister smelling salts at five minute intervals.
"I'm a mother at last," sighed Arthur,
then wondered what he had said that
sounded so funny to everyone. The baby
has been christened Arthur Patrick.
STUDIO executives are still trying to
catch their breaths. Jack Carson, who
made such a terrific hit in "The Hard Way,"
threatened to go on strike. They sent for
Jack, expecting him to make a scene. In-
stead, Jack very quietly told them he was
making enough money and wasn't a bit
interested in a raise. But he did feel he
had earned the right to better parts and
from now on he expected them. P.S. See
him as the tippling butler in "The Animal
Kingdom" and you'll know he was right.
WHEN Private William Holden became
Lieutenant William Holden, he pre-
sented Brenda Marshall with a set of min-
iature gold bars. She wears one on each
shoulder. On a plain black dress it makes
a stunning effect.
TERESA WRIGHT, Samuel Goldwyn star, and JOSEPH COTTON, boih
starring in "SHADOW OF A DOUBT," o Universal Production.
No "shadow of a doubt" about it: of homes from coast to coast. Wherever
Pepsi-Cola goes over big with the big- you are, whenever you're thirsty, open up
time stars same as it does in millions a Pepsi-Cola for swell, swell drinking!
",.Long Island City, New York. Bottled locally by Franchised Bottlers from coast to coast.
SCREENLAND 75
Will Alice Faye
Leave The Screen?
Continued from page 35
complete happiness, career would take a
back seat. Besides, Alice has been about
the only one who never felt that her con-
tribution to the screen was important and
noteworthy.
"Before you ask me if motherhood has
changed my talent any and made me a
better actress," Alice said, reading my
thoughts and my next question, "let me
state that I have never considered myself
much of an actress at any time. Maybe I'll
have more depth now — I don't know. But
the nearest I ever came — or ever will come
— to an Academy Award was the time
when Joan Fontaine had my dressing room
during her work on 'This Above All.' As
for motherhood making a woman a greater
artist, I can only say that Bette Davis has
nothing to worry about," Alice added
laughingly.
This is typical of Alice. Before, she was
acutely conscious of any shortcomings she
might have had. She tried hard to improve.
But now — she looks at herself objectively.
She smiles at any talk of great acting. In
short, she is more modest than ever, and
her modesty is more sincere than it ever
has been.
Despite her lack of concern about her
career, however, the cast and director of
"Hello, Frisco, Hello" are voicing their
enthusiasm for her work in the film in no
uncertain terms. John Payne said that Alice
is better than ever. Jack Oakie claims that
she has never been as impressive. And June
Havoc has said that Alice, in this picture,
is not only a new personality but also a star
with depth and real emotion.
"To be perfectly honest," Alice went on,
"I didn't miss my work at all while I was
absent from the screen. I never even
thought about it. Then, when I actually
began work, there were several days when
I just didn't want to go to the studio at
all. I wanted to stay home and tend to the
house and be with the baby.
"I think my working conditions would
have been better if my home hadn't been
so upset. But a short time after I went back
to the studio, Phil entered the Merchant
Marine, where he now has much to do
with entertainment for the men. I didn't
want him to leave, but he felt that it was
the least he could do and he was deter-
mined to take advantage of the opportu-
nity. Even though he is thirty-eight and in
spite of the new manpower ruling, he in-
tends to remain in the service.
"While he is away, it isn't pleasant to
come home. Of course, the baby is there,
but she is always asleep. I hardly ever saw
her during the picture, for she was asleep
The "Boops-a-Daisy" is given new verve by
"glamor gal" Stan Laurel and "Beau" Oliver
Hardy in 20th Century-Fox's new picture,
"Jitterbugs." Redding across top of pages:
they "shake a leg"; Hardy twirls his part-
ner; the jitterbugs' version of "bean por-
ridge hot"; and the last may be the "boops."
when I left and asleep when I got home.
I admit I am lonesome. But whenever I
begin to feel sorry for myself, I stop and
think about other women in this country
who are far, far worse off than myself.
Then I realize how lucky I am and how
unimportant my difficulties are. But I think
every woman will know what I mean when
I say the house is filled with emptiness.
"Yet, my every waking moment is cen-
tered on my home. When I came to the
studio, I thought of all the things that I
had to leave undone at the house. I have
let all of the help go, except for the nurse,
and I have practically closed up part of the
home. So it has been a case of being able
to find so much to do at home that my
work very definitely suffers in comparison.
"Now that I realize how vitally impor-
tant it is for any woman to have a family
America's latest "dancing sweethearts" go
on with the dance at bottom of these pages.
First, Ollie gets set fo "send" Stan aloft;
success — Stan "hits the ceiling"; (sorry, we
can't tell how it's done — it's a production
secret); the last photo shows Stan coming
"down to earth" with Oliver quite relieved.
76
and to want to be the one around whom it
revolves, I am glad that I didn't place too
much emphasis on my career. If I had built
my whole life around my work, I not only
would have presented myself with many
problems and obstacles, but I would never
have been able to get the complete thrill
that I do out of being a wife and a mother.
And I can't tell you how much of a thrill
that new job has given me! It is something
that is so wonderful it is almost incompre-
hensible. It has brought me completeness
and sufficiency. It is a final answer to all
I had expected of life."
You may assume from this that Alice is
very much the mother. She is. To an ob-
server, her daughter has changed her
greatly.
"Perhaps I can't say that I know yet
how much my daughter has changed me,"
Alice continued, "but I do know that she
has made things that used to seem impor-
tant now seem very unimportant.
"For example, before, I was always sen-
sitive. If I thought anyone was annoyed
with me, I had to find out why. Innocent
remarks hurt me. I was interested only in
pleasing everyone. I worried about what
was said and thought about me. Now I no
longer care. My mind is too occupied with
important things to allow me to worry
about inconsequentials. Not that I intend
to go out and be rude and inconsiderate —
definitely not ! I still want to be liked. But
I'm not going to become upset by anything
that is obviously unreasonable and sense-
•Like he said... ^^y^
G^Xette first
\ IVe ever kissed/
REASY grime left
my hands rough as
sandpaper. Just wouldn 't
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wise to Hinds Honey and Almond Cream. ..yep,
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Use Hinds before
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lead to ugly der-
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HINDS A HANDS
Buy War Savings
Bonds and Stamps
and wherever
skin needs
softening !
SCREENLAND
77
FOR YEARS, I used to dose myself with a terrible-
tasting medicine whenever I needed a laxative.
And what that stuff did to me! I'd feel the effects
for a whole day afterwards. It was just too strong!
THEN I TRIED another
laxative whichl thought
would be easier on me.
But, instead of giving
relief, it only stirred
me up and left me feel-
ing worse than before.
It was just too mild!
I WAS A"DUMB BUNNY"
for not having discov-
ered Ex-Lax sooner!
How pleasant it is to
take ! You eat a little tab-
let that tastes just like
chocolate — and that's
all there is to it ! Ex-Lax
works so well, too. It's
not too strong, not too
mild.../7'j just right!
Ex-Lax is effective — but effective in a genffe
way! It won't upset you — won't make you feel
bad afterwards. No wonder Ex-Lax is called:
THE' HAPPY MEDIUM" LAXATIVE
— it's not too strong!
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As a precaution, use only as directed.
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TO BE SET TO MUSIC
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Get foot happy today the Ice-Mint way. Your
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less. In this day and age, where everyone's
life is so filled with problems, trivialities
certainly cannot be very important.
"My daughter has also taught me to view
my life more objectively. Because I have
her, I know now that many of the things I
fought so hard for in the past weren't partic-
ularly important. And that in fighting so
hard for them, I blinded myself to what life
can really hold for anyone who wants to
grasp those little every-day things that slip
past us so often — those things that seem
trivial to anyone who has too many hopes
and too much misplaced ambition.
"I am only just beginning to know Alice,
though. Now she is developing a personality.
She has reached that stage where every
mother can proudly say, 'My baby knows
me.' I have been especially pleased to find
that, at least from all indications, she has
an ear for music. Of course, I don't see how
she could help liking music with such par-
ents as Phil and myself."
There were several reports that Alice
had a choice to make in the hospital — either
her life or the baby's. That is not true. As
a matter of fact, all Alice could think of
while she was in the hospital was, "When
can I go home?"
After the baby was born and as soon as
she was well enough, Alice went to Texas
and New Orleans with Phil while he com-
pleted his tour. Some people couldn't un-
derstand how she could leave her baby so
soon. Her reason is an interesting one.
"I went with Phil because I wanted to
spend as much time as possible with him
before he went into service," Alice began,
"but I also wanted each of us to have the
same amount of time with the baby. This
may seem a little strange. It was simply
that I felt if Phil had to be away from
Alice, I should be away too. If I had stayed
home while Phil was away, I'd have had
the joy of having her to myself, a joy he
could not share. Then, too, I also wanted
the thrill of seeing her again to be had by
both of us in the same way.
"Phil is really the typical father. He just
sits and stares at Alice. Already he has
bought her an anklet. His whole reaction to
her is one of complete surprise. He is simply
agog. And I must admit that he handles her
better than I do. His fatherly reprimands
are amusing, though. Whenever she cries
too much, he'll say in a slightly raised voice,
'Now, now, now,' as though Alice knew
what he was talking about. She merely
looks at him and smiles. I am glad that he
is amazed by her, however. I don't want to
have any more of her love in the days to
come than he has. And I try never to lose
sight of the fact that I don't have a priority
on her just because I went through the
process of having her while Phil stood in
the father's room and chewed his nails."
It has been said that Alice would like
her daughter to be an actress. Because I
knew about Alice's own career, I asked her
about this report.
"Yes, I would like to have her be an
actress — if she wants to be," Alice replied.
"But that's up to her. As yet, Daddy and
I haven't had time to go into a fireside chat
and discuss any plans for her. It's still a
little early for any definite plans anyway.
All we can do is to see to it that she gets
every possible advantage. At the moment,
we are both too afraid of her and too awed
by her to think about the future much. Our
future is in her present."
When you come right down to it, then,
Alice's future is wrapped up in her baby.
What will happen to her life at home in the
days to come will decide Alice's career. If
the demands on her time as wife and mother
grow as they are growing now, if she con-
tinues to feel that a career is so definitely
secondary, and if she continues to find as
much happiness in her life as she does now,
then it's my guess that she will make fewer
and fewer pictures. To her many fans, this
may not be a pleasant prospect. To Holly-
wood, it will not be pleasant either, for
Alice has always been one of the nicer con-
tributions to the town. But even if she does
continue with her career, the new happiness
she has found in her home will continue
to be representative of the real Alice Faye.
The old Alice Faye is gone. The new
Alice Faye is a person who will command
the admiration— and the envy — of every fan
and of every star especially. She has the
courage to say, "I need no more from life."
Plus the courage to give up her career —
if need be — that has taken such a heavy toll
from her in favor of being talked of in days
to come along the lines of, "Do you remem-
ber Alice Faye? What has happened to
her?" The answer will be, "Don't you
know? She's found what we're all looking
for. Let's hope we'll be as lucky."
You've Done Your Bit — Now Do Your Best!
Buy More War Bonds and Stamps!
Ginger Rogers is helping Uncle Sam by making personal appearances to promote sales of War
Bonds and Stamps. This picture shows Ginger with the Brownsville, Texas, Bond Committee.
78
SCREENLAND
on iianu — can oe usea to vary scenery.
With four brothers in the services, Mar-
guerite's views on the problems of a service-
wife _ are anything but academic, although
she is still what she calls, an "unclaimed
blessing." She is tall and slim and very
young, with a long brown bob and intensely
blue eyes. She looked taller and younger
in her white sharkskin hostess pajamas.
There's nothing boyish about Marguerite.
Only a very feminine person would fit into
her pretty bedroom with its white string
rug, its four-poster bed, canopied in white
net to match the white net ruffles of dress-
ing and perfume tables. The perfume table
is laden with perfume — in candlesticks, in
great square bottles, in slim, tubular ones,
in squat round ones.
She designs her own clothes, and spends
hours devising ways to disguise her inches,
intricate arrangements of stripes, clever
slashes of contrasting color, pockets set at
angles to attract the eye from the length.
All this seems intensely important to Mar-
guerite. Myself, I like tall girls.
"No matter what kind of shower you
give, food is never unimportant," she as-
serted. "For June showers, I like turkey
or chicken a la King— if you can still
get curry, chicken curry is grand ! — a pretty
moulded salad, ice-cream and cake.
"Or, if you want something different, a
good hot soup, chicken salad with dainty
bread-and-butter sandwiches or small rolls,
and a bride's pie."
Marguerite's cook, who is one of those
gifts-from-God with a way with food, sup-
plies recipes :
Now that wartime duties are added to your day-to-day activities... now that you're
on the go all day every day . . . many of you must often wish fervently for a lipstick
that ONCE ON, STAYS on! If that is your wish, I sincerely recommend that you use
one of our new Tangee satin-finish Lipsticks . . .Tangee's exclusive satin-finish
makes each Tangee Lipstick so smooth it literally applies itself ... creating a soft
and glossy sheen, an exquisite long-lasting grooming, which every woman hopes
to achieve . . . And remember : There is a matching rouge to every Tangee shade ;
a matching shade of Tangee's UN-powdery face powder for every complexion!
NEW TANGEE MEDIUM-RED
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TANGEE RED-RED . . ."Rarest, Loveliest Red of
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TANGEE THEATRICAL RED . . The Brilliant
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flattering.
TANGEE NATURAL. . ."Beauty for Duty"-
conservative make-up for women in uni-
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produce your own most becoming shad<> of
hlush rose.
beauty — glory of woman . . .
LIBERTY— glory of nations . . .
Protect them both . . .
BUY WAR BONDS AND STAMPS
Screenland
79
thanaNtc
In the Spring (or any season), a young
man's . . . well, eyes . . . turn to shapely
calves. For every male is versed in the art
of husbandry... and his love of calves has
been cultivated since Adam.
Look to your own calves, lady. See that
they're "smooth" calves, free from glam-
our-stealing hair, whether stockinged or
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assurance that comes with the knowledge
that they're perfectly groomed ... are truly
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"Better get neet today"! This cosmetic
hair remover will, in a few moments, lit-
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courage hair growth. Buy a tube of NEET
today, at drug, department, or ten cent stores.
80
finely chopped, and i cup iresn
shroom caps, broken in pieces. Cook 4
minutes; then add 2 tablespoons flour; stir
until well-blended. Add 2 cups cream grad-
ually, stirring constantly until the boiling
point is reached.
Set sauce pan over hot water, add 3 cups
of chicken, cut in cubes, cover and let
steam until heated through. Cream % lb.
butter, add 3 egg-yolks, 1 teaspoon onion
juice, 3 teaspoons lemon juice, and ^
teaspoon paprika. Add to chicken mixture
and stir until eggs are set.
Serve on buttered toast or in patty shells.
ASPARAGUS GELATINE SALAD
1 large bunch fresh asparagus
2 teaspoons gelatine
2 tablespoons cold water
1 cup hot water (in which as-
paragus was cooked)
1 tablespoon vinegar
teaspoon salt
Mayonnaise dressing
Boil and drain asparagus. Cut tips in 2
lengths and rest in 1-inch lengths. Soak
gelatine in cold water until soft. Add hot
water, vinegar and salt. Arrange tips in
circle around mould and fill center with inch
pieces. Fill to depth of an inch with gela-
tine mixture and chill. Fill center with
peas and mayonnaise dressing.
Border with parsley and radish roses.
LOBSTER SOUP, SUPREME
1 can condensed asparagus soup
1 can condensed cream of mush-
room soup
1 can light cream (using soup
can as measure )
1 can lobster meat
3 tablespoons sherry
Combine asparagus and mushroom soups,
add cream. Pick over canned lobster meat
SCREENLAND
1/4 cups chicken
\s/> cups chopped celery
1 onion
4 eggs
1^4 cups chopped apple
]/i cup mayonnaise
1 teaspoon salt
2 tablespoons vinegar
. Lettuce
Cook chicken with tops of celery and
onion ; simmer until tender ; then chill and
dice. Hard cook eggs, chill and chop.
Wash and dice celery ; peel, core and cube
apples. Mix mayonnaise, salt and vinegar
together. Combine ingredients, serve on
lettuce after chilling.
BRIDE'S PIE
(Filling for one 9" pie)
1 envelope plain unflavored
gelatine
J4 cup cold water
1 cup cream, whipped
y2 cup sugar
3 egg whites, beaten stiff and dry
1 teaspoon vanilla
Soften gelatine in cold water and dissolve
over hot water. Beat egg whites until stiff
and fold in sugar gradually. Add dissolved
gelatine gradually to beaten egg whites,
and fold in whipped cream and vanilla.
Pour into chocolate crumb crust and
chill. Just before serving, garnish with
whipped cream.
CHOCOLATE CRUMB CRUST
\l/2 cups chocolate wafer crumbs
r/t cup butter
3 tablespoons confectioners' sugar
Cream butter and sugar together and
blend with chocolate wafer crumbs. Put
mixture into pie pan with finger tips and
chill before pouring in filling.
Latest About
Leslie Howard
Continued from page 28
assistants at once. Howard is more than a
leading actor-producer nowadays. He is an
Ambassador for Britain to people in all the
countries of the world, tireless and inspired
as he explains the country's cause and puts
forward all the reasons for the Allied ef-
forts, strengthening international ties and
promoting understanding. They accept Leslie
and what he says as they would not coun-
tenance many professional politicians be-
cause they feel they know him so well
through his films and so they like to listen
to him on the radio too.
After hours of hard work at Denham,
Leslie regularly goes to those secret under-
ground studios from which the British
Broadcasting Corporation send out their
news and propaganda all around the clock.
He speaks to every country in the world at
different times but he makes no secret of the
fact that he is happiest when he can talk
to the United States and Canada, both of
which he knows and loves so well. Polls
show he is one of the most-appreciated
English commentators on the trans-Atlantic
services. His own years in Hollywood and
New York have taught him just what our
cousins across the ocean like to learn about
us and what in turn the British people need
most to know about the man and woman
on Main Street.
All the films he makes now have the
same deep underlying purpose, though be-
cause he is such an experienced artist they
are good entertainment as well. Think of his
moving performance in "49th Parallel"
which so bitterly indicted the Nazi ideology
and how deliciously but tellingly he guyed
Berlin when he played the apparently absent-
minded college professor in "Mr. V." He
has just finished producing, a brilliant
screenplay about the girls who wear the
uniform of the British Army, serving gal-
lantly beside their men comrades at the
gun-stations which ring our coast. It's
called "We're Not Weeping" and shows the
world how fearless and splendid young
womanhood has proved itself in answering
the call. Now he is planning to make a
saga of the Merchant Navy, those steady,
brave-hearted men who help maintain the
life-lines of the Allied Nations right around
the world despite all the perils lurking in
the seas below them and hiding in the
clouds overhead. Leslie himself is going to
play the officer of an oil-tanker as well as
supervise the production.
He has been told much of the war at sea
by his own son Ronald, who has been serv-
ing as a lieutenant in the Royal Navy these
past two years. His only daughter, nineteen-
year-old blonde Leslie, who used to play
small parts in her father's films, is now
married to a Canadian officer and works in
the uniform green sweater and fawn
breeches of the Women's Land Army, tend-
ing the horses and cattle on a farm in
Southern England. She was out with the
animals one morning when a Messerschmitt
suddenly swooped down and scattered a
stick of incendiary bombs all round them.
But Leslie kept her head and the cows got
back to the farm at milking-time. Perhaps
she thought of her father then and was
strengthened by his example.
Even people who know Leslie Howard
comparatively well like to describe him as
"dreamy" and "inclined to be grave" but
that is because they have never been privi-
leged to see beyond the screen of essentially
British reserve and under-statement which
he characteristically erects around himself.
This famous star is an idealist — vou can
Do
( and I don't mean maybe )
REMEMBER how glorious it all was
... landing your job the very day
school ended? It was your way of
enlisting . . . doing a man's work while
he's away fighting for freedom!
You can still see Mom when you
brought home your first week's pay,
safely salted away in War Stamps. And
Dad, proud as punch . . .
with his glasses all misted up.
But today it's different . . . you wish
you'd never even started! And you
wonder how other girls alivays manage
. . . never seem to feel down in the
dumps. They'll sail through
their full eight hours and their dates,
too . . . without a care in the world!
Maybe you were thinking out loud!
Because Sally, the starter, takes you
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that Kotex sanitary napkins are made to stay soft while wearing!"
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How right she was (and you're glad you didn't break your date) ! For
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All this— and confidence, too! No need to forfeit a moment's poise,
thanks to that 4-ply safety center . . . and you can depend on
those flat, pressed ends to keep your secret safe!
With all these advantages, you'd naturally expect
more girls to choose Kotex than all other brands of pads put together
. . . wouldn't you? And they do!
/Ceep go/ng /n comfort
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read that in his slim, sensitive hands and
in the finely-chiseled lines of his face and
in his voice, so clear and cool and yet as
expressive as a musical instrument when a
master plays upon it. War has fanned the
flame of Leslie's enthusiasm for freedom
to a glowing white heat which permeates
all he thinks and says and does. Nothing is
too much trouble, no personal exertions too
heavy if they serve the cause he has set up.
He used to love his gracious home-life
with blonde Mrs. Howard at their old-
fashioned country house with its rose
gardens and the horses and the dogs, but
now he has given all that up, just as the
fighting soldier turns his back upon his
home when he goes off on service. When
Leslie isn't filming and broadcasting, he is
helping in other ways, sometimes through
other people whom he infects with his own
burning passion.
It was Leslie Howard who suggested to
his friend Laurence Olivier that he take the
part of Christopher Columbus in the broad-
cast play, and now Laurence is working at
Denham Studios too, having been given
special leave from his duties as a naval air
pilot to act in a new production called
"Demi-Paradise." This has as its theme the
mutual understanding between Britain,
America, and Russia — and Russian friend-
ship is another ideal close to Leslie's heart.
Somehow he found time to go to the
Soviet National Day celebrations at the
Empress Hall in London and recite extracts
from a speech by Stalin on the platform.
I have seen him as the honored guest of
Maisky, the cultured Soviet Ambassador
who lives in a greystone mansion in Lon-
don's "Millionaire's Row." Leslie was sitting
in the glass room there, with its palm trees
and flowering shrubs, between those two
famous authors H. G. Wells and George
Bernard Shaw, and he was quite at ease
in that rarefied intellectual atmosphere.
But I have also seen Leslie sitting un-
recognized on a bench in Trafalgar Square,
in the shadow of Admiral Nelson's monu-
ment, with the pigeons fluttering round him
while he talked to the American and Cana-
dian and Australian soldiers and sailors and
airmen who frequent this London sight-
seeing spot. He was extending his knowl-
edge of what the ordinary fighting man
thought about things in general. Appropriate
he should be so close to the stone figure of
the sailor who is one of his own greatest
heroes. He took the part of Admiral Nelson
in an impressive open-air play called
"Cathedral Steps" which was staged before
thousands of people on the entrance porch
of St. Paul's, with the bombed ruins of the
City buildings all around. Later the show
was repeated in that tragic empty space
where once the ancient Cathedral of Coven-
try stood in all its greystone stateliness.
I have seen him lunching or dining in
Mayfair's most exclusive restaurants too,
along with other famous folk of screen and
stage, talking to them, learning from them,
often imbuing them with his own fine spirit.
Lieutenant Douglas Fairbanks, Ann Dvorak
and Eric Portman who are now making a
new film here about the Royal Air Force
called "Squadron-Leader X," Director An-
thony Asquith, Beatrice Lillie and Clive
Brook — all these he knows as old friends
from California and England too.
Naturally Leslie was delighted to meet a
kindred spirit in Edward G. Robinson, who
came to London to broadcast to the peoples
of Europe. As well as being a clever actor,
Edward is an unusually fine linguist and he
spoke in French, German, Rumanian, Italian
and Spanish during his series of talks.
"Look at me," he said, "look at me well. I
was born in Bucharest, have a British name,
and I am an American citizen. That's the
sort of place America is." Then he went on
to mention his films. "You've *een me as
the gangster a good many times, haven't
you? But did the gangster ever win? No,
and neither will Hitler." No wonder Leslie
Howard, fellow-idealist and worker, was so
enthusiastic about Edward's visit.
Some of Leslie's friends are wondering
anxiously whether he does not attempt to do
more than his health will stand — not that
personal considerations would ever deter
him but still. . . . He frequently misses his
meals and goes without his proper ration
of sleep and relaxation. He hasn't taken a
single day's vacation since the war began
in 1939. "Far too much to do," he explains
briefly.
Ev.en at Denham he rarely goes to the
studio restaurant to eat. It saves his precious
time to eat at his own desk, his lunch com-
ing out of a box which his secretary pre-
pares. Cheese sandwiches, home-made war-
time cake with just a few raisins, apples
and pears that are specially brought for
him by Oscar the property-man, coffee in
old yellow cups. Leslie lunches with one
hand while the other is busy gesturing in
accompaniment to his conversation. Even
through his meal he is planning and organ-
izing and maybe answering mail or reading
newspapers.
His desk is bare and essentially work-
manlike, just in keeping with his own
modest personality. He has photographs of
his wife and children on the walls and on
the side-table stand his mascot, an old
stuffed sea bird that appeared with him in
Hollywood many years ago, and a collec-
tion of the airplane models which recently
served in "The First of the Few." Books
are everywhere, topical books of course,
for Leslie is one of those people who can
read several at the same time and still
digest the contents lucidly.
So next time you watch Leslie Howard
on the screen or maybe listen to his voice
over the radio, don't just think of him as
a film actor with an attractive personality.
Remember he is serving the war effort as
loyally as any fighter or factory-hand, giv-
ing his time and his comfort and his money
to the all-important cause.
An Open Letter to Pvt. John Carroll
Continued from page 58
"In a picture," I said. "Yes, in a picture,"
she replied. "But serious romance? Don't
be silly."
"Think what a story it would make," I
said. "You two fight, you make up, you
fall in love, he goes into the Army, you
miss him, you fly to Denver, you — "
"No, I don't," smiled Susan. "Sorry to
disappoint you, but there are things one
cannot do even for one's art."
"No scoop?"
"No scoop," said Susan. "I'm starting a
new picture. Besides, heavy romance and a
career just don't mix." Then she got that
impish look that transforms her from a
routine movie beauty into a piquant and
charming character. "I will say this,
though, I've never met a man who made
me laugh as much as John. He weakened
me with his laughter. What a guy," she
added dreamily.
What a gal, too, this Susie Q. Just
thought you'd like to know, John, why your
ears have been burning. D. E.
82
SCREENLAND
Gin,ger's "No" Man
Continued from page 27
some looking young Marine seated next to
her at dinner. "Hmmm," she whispered to
Eddie, "he's kinda cute." And Eddie had
a nice quiet laugh all by himself because
two years before when Jack was playing
a bit in "Tom, Dick and Harry" starring
Ginger Rogers, Eddie had heared Jack say,
"Whew-ew, what I'd give to have a date
with that little Rogers number!"
Well, after dinner Ginger had to appear
at Consolidated Aircraft where she was
selling bonds. The General gave Private
Briggs orders to run interference for Miss
Rogers through the crowds. "Hmmm,"
thought Ginger, "brawny, too." So when
the bond rally was over that evening she
asked Eddie to come to her hotel suite
for coffee and sandwiches, and Eddie took
the hint and brought along Private Briggs.
But just as he and Ginger were getting
acquainted who should arrive but the Gen-
eral and his staff, and what chance has a
private with all that gold braid?
"Ginger had made up her mind between
the shrimp cocktail and the roast beef that
Jack was the cutest guy she'd ever met,"
said Don, flicking his cigarette ash in his
hair, his favorite gesture, "but she didn't
want Eddie to know. So when she got back
to Los Angeles the next day she said, very
casually, 'That nice little Marine (Private
Briggs is anything but little) what was his
name — the one who sat next to me at
dinner? I think I ought to write and thank
him for looking after me at the rally. Could
you get me his address, Eddie?' I don*t
know who she thought she was fooling."
So Ginger wrote a nice, polite little note
to Private Briggs in which she said that
if he ever came to Hollywood he might
give her a ring — and she enclosed her pri-
vate telephone number. And a star's private
telephone number in Hollywood, believe me,
is far more precious than anything you'll
find at Tiffany's. Jack got leave the next
week-end.
When he came by Ginger's house to take
her to dinner at the Mocambo on Saturday
night he and Don met for the first time.
"I could tell Ginger wanted me to think he
was terrific," Don grinned, "and strangely
enough, I did. Which is certainly more than
I thought of some of her other beaus in
this town. I should have caught on that
evening that this was the one for Ginger,
but I didn't. Lela (Ginger's attractive
mother) caught on sooner than I did. Gin-
ger left for her ranch in Oregon a week
after she met Jack to join her mother and
get some rest after the strenuous bond
tour. Lela told me that she had never seen
anything like the way Ginger pounced on
the mail every day. It wasn't like Ginger.
"I didn't realize that Ginger was really
honest to goodness in love with the guy
until I heard her rehearse Suddenly It's
Spring at the studio. (This is the song
number Ginger and Don sing and dance
together in "Lady in the Dark") Dreamy,
you know, and sort of other worldish. That
girl was actually starry-eyed. I took her
to lunch that noon and said, 'Well, tell
Uncle Don all about it' She was coy at
first, and then she broke down and con-
fessed that she was planning to marry the
guy, and no one knew it but me, and if
I told she'd brain me.
" 'What's he got that your other beaus
haven't got?' I asked curiously. 'Take it
easy, kid. I never saw you in a dewy dither
like this before.' "
And Ginger told him.
"Jack," she said, "has a wonderful sense
of humor which is very important — espe-
cially these days. He's more fun than any-
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one I've ever met. We're completely com-
panionable. My mother and my friends like
him too. My mother told me she liked him
from the first minute she met him, and
that's very important to me. And the night
you met him, Don, I could see that you
were impressed with his charm and easy
manner. He's so sweet and kind and con-
siderate. And," she added with a giggle,
"he's pretty cute too."
The week before they married Jack
came up for the week-end and they had
dinner at Ginger's to celebrate their engage-
ment. The only people there, were Lela
Rogers, Mr. and Mrs. Benjamin Katz,
Jack's mother and stepfather of Los An-
geles, and Eddie and Don. They planned
to have their wedding kept secret so they
applied for a marriage license in Los
Angeles under their own names — Virginia
Katherine McMath and John Calvin Briggs
— which seems to be the best way of dodg-
ing the press. They planned to marry
Saturday, January 9th, but when Jack
found out that he could get away from
camp early Friday they changed their date
to the 8th. Ginger called Don at the studio
and told him to hurry over to her house
to kiss the bride goodbye.
"Erma, Ginger's maid, met me at the
door. 'Mr. Loper,' she greeted me with a
worried look, 'y°u aren't going to like it.'
'Hat, or accessories?' I asked quickly,
taking two steps at a time. Sure enough,
Ginger had on a beautiful brown hat which
she had slanted forward at a perfectly
dreadful angle. 'Girl,' I said sternly, 'the
hat, it's beautiful, but it goes back of the
pompadour, and the veiling comes over your
hair.' Ginger was as nervous as a bride and
told me she certainly had no intention of
doing over her hair just to please me.
But before Uncle Don finished with her
she had a first class straightening job. Then
she showed me the corsage of orchids she
planned to pin on her brown suit. 'No,' I
said, 'no, Ginger, definitely no.' I rushed
out and bought her a circle of baby white
orchids and outlined her mink muff with
them."
Jack's train from San Diego was late,
and poor Ginger was left waiting at the
Union Station for hours. When he did ar-
rive finally they drove to Pasadena where
they were married in the First Methodist
Church at one A.M., so it turned out that
they were married on Saturday after all.
After the ceremony they drove back to
Los Angeles for a wedding breakfast at
the home of Jack's parents. They had a
three-day honeymoon, which they spent in
Hollywood, and then the bridegroom re-
turned to the Marine Base at San Diego
and the bride to "Lady in the Dark."
Don tells a most amusing story on Pri-
vate Jack Briggs. Seems that when Jack
first reported to the Marine headquarters
at San Diego he had a tough sergeant who
used to ride all the recruits connected with
the movie industry by saying, "Sure, I
guess you'd rather be back in Hollywood
having tea with Ginger Rogers." When
Jack or any other actors were drilling the
sergeant would say out of the corner of
his mouth, "Sure, I know, you'd rather be
dancing at Ciro's with Ginger Rogers."
Private Briggs took all this for weeks,
but the day he was leaving camp on his
three-day furlough he couldn't resist stop-
ping by to see the sergeant. "Is there any-
thing you want me to tell Ginger Rogers?"
he inquired politely. "I'm marrying her
today."
"Ginger," Don continued on his favorite
subject, "has been a very lonesome girl
these past few years. You know how it is
in Hollywood for a star. This marriage
is the best thing in the world for her. In
all the fourteen years I've known her I
have never seen her so completly happy.
If you go there for dinner now you wait
forever. Ginger knows that Jack will call
her long distance from a pay station in San
Diego every night as near seven as he can
make it, so she dashes home from the
studio and sits by the phone in her bed-
room until his call comes through. Then
she floats down the stairs all dewy-eyed
and dreamy. That's love, brother."
Don thinks that Ginger has the most
beautiful figure of any girl on the screen,
and there are not many who would give
him an argument about that. He also knows
there have been a great many people who
consider her one of the worst dressed girls
in Hollywood. He once discussed the prob-
lem of dressing with Ginger and she ex-
plained that after "Kitty Foyle" her public
thought of her as a white-collared girl and
she felt she should oblige them by dressing
that way. He informed her he didn't believe
a word of it — that he felt her fans appre-
ciated the fact that she had a perfect clothes
figure and would like to think she dressed
accordingly.
Her wardrobe in "Lady in the Dark" is
a new all-time high in sophistication. The
results of wearing these gowns are already
being noted in her personal taste. It is Don's
honest belief that with the release of the
picture public opinion will swing away from
the "little navy-blue and white pique" type
opinion and vote her one of the best dressed
women on the screen.
Jennifer Jones, 1943 screen find who has been given the top dramatic part of the year — the
title role in the picturization of Franz Werfel's best-selling novel, "The Song of Bernadette"
— is shown going over scripts with William Goetz, Vice President of 20th Century-Fox studio.
84
S GREENLAND
The Truth About
That Sheridan-Flynn "Romance
Continued 'from page 61
volcano. Ann screamed, caught her hair in
the chain on the stopper, and had to be
rescued by Gwenn with a pair of manicure
scissors. For the rest of her visit Ann's
hair had scalloped edges.
Two days after Ann received her divorce
in Cuernavaca a law was passed requiring,
in the future, a six months' residence.
"Well, Ann," someone said to her in
Mexico City, "you just slid under the wire
in time." "Why couldn't they have passed
that law while I was there?" Ann said
indignantly. "I would have loved to have
stayed six months."
When the De La Pena Realty Company
heard about that they promptly lived up to
the Mexican hospitality tradition, and pre-
sented Ann with a deed to some beach prop-
erty near Acapulco. "Is it under water all
the year round?" asked Ann, whose family
once lost money in the Florida boom. "No,"
said the agent pleasantly, "only part of the
year." So Ann immediately bought up a lot
of lottery tickets in hopes that she would
win enough dough to build herself a beach
house. "I wasn't lucky," said Ann. "I never
won. But after the war I hope I'll be able
to scrape up enough money, left over from
taxes, to build a home there. I'd like to
make two pictures a year in Hollywood,
and live the rest of the time in Mexico.
Brother, that would be living. Mexico's the
most hospitable place in the world. And
certainly the most relaxing."
Outside of the hot water episode Ann
met with only one unpleasantness during
her entire trip. It seems that the press and
the syndicates, taking a tip from the Holly-
wood gossip columns, tried to link Ann's
name romantically with that of Errol Flynn.
Now Ann likes Errol, she has known him
on the Warner lot for years, but she was
not having any romance with him. She got
pretty annoyed a few days before she left
when she discovered that one of the syndi-
cates had had her followed by a detective
while she was there. Ann was born with a
sweet, goodnatured disposition, and it takes
quite a bit to* rile her. But this riled her.
And in Phoenix, on her way back, she lost
her sense of humor. H'mmm, she got hop-
ping mad.
She was buying some magazines at the
newsstand in the airport when a reporter,
fresh as paint, dashed up to her and de-
manded, "Miss Sheridan, did you marry
Errol Flynn in Mexico?"
"I don't recall what I said to him," said
Ann later, "but it must have been good.
The more I glared the more he shrunk.
And when I last saw him he was backing
away from me into the men's room."
How did those Sheridan-Flynn romance
rumors get started, anyway? The answer's
easy. Last winter romantic news in Holly-
wood had reached a new low. There was
plenty of news about movie stars going on
bond tours, and entertaining soldiers and
sailors all the way from Alaska to Ireland.
But there just wasn't any romance news.
And what's a gossip column without a ro-
mance? Dull, that's what. Ann separated
from George Brent while she was co-
starring with Errol Flynn in "Edge of
Darkness." Any single actor working with
Ann at that time would have had his name
connected with hers. It is what is called
in Hollywood a "natural." Ann likes to
laugh and kid, and so does Errol, so they
had a lot of fun on the picture together.
There was also a location, which is always
good for stimulating romantic rumors.
Then one day after the picture was
finished Ann went into Westmore's to have
her hair done. While she was there Errol
Flynn came in to get his hair cut by his
favorite barber. Hearing Ann's laugh he
strolled over to her booth, and they swapped
a couple of jokes. Immediately it was all
over town. What-do-you-know, Ann Sheri-
dan and Errol Flynn are meeting secretly
in a beauty parlor !
"How silly," said Ann, when someone
told her she had become the talk of the
town. "If I wanted to meet anyone secretly
I certainly wouldn't pick a beauty salon."
A few days later a trade paper columnist
printed that every morning Errol left a
huge bunch of American Beauty roses at
Ann's door. When a press agent asked Ann
about this she laughed and said, "Well, if
Errol's sending me roses why doesn't he
get the right address? I haven't received
any so far."
For a few days after that the columnists
held off. At least they held off of Flynn.
They had Ann romancing, secretly again,
with Tony Martin who was in Hollywood
a few days before his induction in the Army.
When questioned about Tony, Ann frankly
announced, "Why, I've never even met
Tony Martin."
That rumor died a quick death. But the
Flynn rumor was quickly revived. Soon after
finishing "Edge of Darkness" Errol left for
Mexico City, where he often vacations. So
when Ann announced that she had decided
to get her divorce in Mexico, that was all
the columnists and radio commentators
needed : Ann and Errol were meeting in
Mexico. Ann and Errol had secretly mar-
ried in Mexico. Every day a new rumor.
The truth of the whole thing was that
Ann and Erroll met only once the entire
time they were in Mexico City. And that
was at a huge cocktail party with hun-
dreds of people around. Ann stayed at the
Reforma Hotel, and Errol stayed at a hotel
on the other side of town. Ann was sur-
rounded by her Mexican friends. And Errol
had his own personal friends who had come
to Mexico with him.
If there had been any romancing, any
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meeting, of those two, the world wuuid
have known about it. A detective, hired by
a prominent syndicate, shadowed Ann day
and night.
When Ann returned to Hollywood, at
the request of her studio, and later discov-
ered that the script of her next picture was
far from ready, she gathered up another
girl friend — this time, Mina Fairagut, a
dancer — and left for Mexico again. Immedi-
ately, but immediately, it appeared in all
the columns that Errol Flynn was on his way
to Mexico City too. One column had him
in Mexico City a week after his trial. All
that week he was very much in evidence
on the Warner lot where he was testing for
his next picture. An important news syndi-
cate had it spread on the front pages of the
Los Angeles papers that Errol Flynn was
at the Reforma Hotel in Mexico, trying to
forget, along with the other Flynn — the one
who didn't make Australia. The very night
this story appeared on page one of the news-
papers Errol was having dinner at Roman-
off's with George Raft, Eddie Mannix,
Judy Garland, and a group of other friends.
Must have been two other people.
Back in Mexico City for the second time
Ann was amused to read in the column of
Mexico City's leading gossip writer, "I re-
gret to say that Ann Sheridan's second trip
to Mexico City is for love of our country,
and not for love of a man."
And this time the lady columnist was
cooking with gas. You've never seen anyone
as enthusiastic over our southern neighbor
as Missy Ann. And her enthusiasm is prov-
ing contagious. Bette Davis, who just
couldn't finish her picture soon enough to
get to her farm in New England, left, un-
expectedly, for Mexico City instead. After
talking it over with his ex-wife, George
Brent is leaving for Mexico City as soon
as he has received his honorable discharge
from the Army. Olivia de Havilland and
Alexis Smith and Ida Lupino are studying
maps. If this keeps up Jack Warner will
have to open up a branch of his studio there.
On Sundays Ann and her Mexican
friends attended the bull-fights. She got a
kick out of hearing the Mexicans call her
'Anita," and she was especially thrilled
when one little man kept calling across the
arena to her, "Anita, I am your friend," in
English he had learned for the occasion.
To the bull-fights she would wear a big
rodeo hat that one of the night clubs had
presented her with, because, when they
asked her what song she wanted the orches-
tra to play she had said, "Just so it's
Mexican. It will be a favorite of mine."
On week-days she and Gwenn would go
on sight-seeing trips. She particularly loved
her visit to Tasco — although she wore high
heels and nearly broke an ankle on the
ancient cobblestones — where she bought
lovely old bracelets, necklaces, and ear-
rings. In the shops in Mexico City she
bought a wardrobe which she describes as
"out of this world" it's so beautiful. She
is especially pleased with one of her new
evening dresses which has a rustly white
taffeta petticoat — and when the Hollywood
girls see that it's a cinch the old-fashioned
petticoat will come into its own again.
Can you imagine the pin-up girls in
petticoats ?
The day Ann returned home from her
second trip to Mexico, she walked right in
on a little fiesta staged by Mother Nature.
California had been having some of its "un-
usual weather." Ann's four-acre ranch at
Encino was practically under water. A new
hired man had given the chickens a spe-
cially-prepared hot mash. The chickens
were laying so many eggs, they didn't even
have time to get off the nest. Annette, a
bovine beauty that was a Christmas present
from Annie Sheridan to Annie Sheridan, had
arrived. To top everything, when she walked
in, the first words to greet Ann from the
cook were, "Your ex-husband just called."
"Which one?" answered Ann dryly.
"It could have been Mr. Norris. But it
sounded more like Mr. Brent," was the an-
swer. Ann never did find out which it was.
The next few days were spent in decorat-
ing the house with those fancy painted
trays, finding a spot for Ann's silver laden
sombrero. For hours every day Ann hung
on the phone, trying to locate the wonderful
recordings that were being held up at the
border. Finally she put through a phone call
to Mexico. Every day the operator called
to say they were "working on it." Finally
the call came through. "Just what did Miss
Sheridan wish to talk to Mexico about?"
By this time Miss Sheridan decided to just
plain skip it. In Mexco they believe in
taking things casually. They skipped it.
Strangely enough, despite all the romance
rumors, the linking of the Sheridan-Flynn
names, it was Edmund O'Brien who was
seeing Ann during the time they said she
was seeing Errol. Ann's last day on the
Warner lot before her first trip to Mexico,
was spent in the portrait gallery. Edmund
came out and watched her pose the entire
afternoon. This didn't even reach print.
But shortly after Edmund joined the armed
forces, a columnist reported that Edmund
had flown down to Mexico to be with Ann.
When he arrived, according to the story,
he discovered that Errol Flynn had gotten
there first, so he checked out immediately.
Just for the records, Edmund O'Brien
did not fly to Mexico at any time while
Ann was there. He might have wanted to,
but Uncle Sam had different plans. Ann
has been in Hollywood too long, has seen
herself misquoted too many times, not to
have developed a keen sense of humor about
the whole setup. Long ago she learned there
is no use to let it get you. Typical of Ann,
the first day she arrived back on the
Warner lot, someone introduced her to the
thirteen-year-old Marine — recently signed
for a picture they have in mind.
"Well, at least," cracked Ann gaily,
"here's one they won't announce my engage-
ment to — but on second thought — now will
they?"
Fashion hint! Starlet Helene Reynolds is a
resourceful and patriotic young lady. She
made the stylish frock she is wearing out of
gunny sacking by ripping up sacks, washing
and ironing them, cutting them with a dress
pattern, and sewing them up into this dress.
86
SCREENLAND
Take a Picture, Darling!
Continued from poge 53
bother with me, for nothing ever happened.
The Pressmans noticed during the Nazi
entry into Austria that trucks and tanks
rolling in to occupy the country were all
old and shabby, vintage of World War I.
"We've often said that their use was an
example of Xazi strategy," said Claudette.
"They wanted the rest of the world to think
they had no first class equipment, that they
were taking a country with practically
nothing but a 'superior race' of men."
The Austrian shots reflect the excitement
of the time, but Claudette's favorite pictures
are some she made of Britanny fishermen.
"Uusally when I was getting shots of
peasants or other people in various Euro-
pean countries, I hadn't much time," she
confided. "They wouldn't pose for me, they
just kept on going, or doing what they
were doing, and if I got something it was
by good luck. This time, though, we were
dow n on the pier watching the fishermen
below, so we could talk to them first.
"On the pier were two old men, one 86
and the other not much younger, sitting
there looking on. 'We're old. We don't work
any more,' they said, but we could see they
were dying to get down among the fish
again. I have their pictures and those of
the fishing fleet enlarged for my album."
The album has other enlargements, too,
scenes in the marketplaces of cities and
towns now under the swastika, then little
havens of peace.
"Look, here are some snow scenes I shot
in the Tyrols where I attended the famous
school for ski-ers. That school was the
finest in the world until it was closed by
the war, and I learned all I know of the
art there. Do you know, when I made my
first Sun Valley picture, I couldn't ski, I
could only skate, but now I'm not so bad.
This is my teacher. When the Nazis went
in, they put many of the boys at the school
into concentration camps, but a number got
away and are over here now. My teacher
is in this country, I'm happy to say."
"Nazis are clever but not as clever as
they think they are," she observed, taking
a much-handled postcard from her bag.
"Toda.. I had this card from a British
prisoner of war in Germany. How it got
out is beyond me ! He asks for my picture
and says that the last film he saw before
leaving England was 'Arise My Love' ; he
thinks of it often and hopes the sentiments
expressed in it are as widely held in Amer-
ica as they are in England. I suppose to the
censors 'Arise My Love' sounded like a
romance, not a story of a newspaperwoman
covering the war !"
If she hadn't gone on the stage, Clau-
dette would have been an artist. She was
studying art when she got a part in a play
as a gag. She expected to go back to sketch-
ing, but stage success prevented. Ever since
then, she's thought : "I must get out my
charcoal — I believe I could do something
with that face !" She worked in charcoal
and water colors, never in oil. Somehow
she never actually got out the charcoal and
her pictures remain in the might-have-been.
Hollywood became camera-conscious.
Camera fiends told her that theirs was a
short cut to art. So when she took a round-
the-world trip some ten years ago, a camera
sounded like an easier way to get pictures
than dashing about with an easel, palette
and brush.
"I got a little Leica and ran about click-
ing the shutter industriously," she remem-
bered, "but I found that camera a compli-
cated affair, not very handy for a girl
unless she is an expert. Men seem to enjoy
working with them and love the fast lens.
"Look, I stopped a horse in the fourth
race !' or 'I stopped a train at top speed !'
the\' tell you. and they don't mean they
halted the things at all ; they only took a
picture of them without blurring.
"My results weren't especially good, and
it made me nervous to try to see what I was
getting with my eye jammed close to the
finder. So when I went to Europe four years
ago, I got a Rolleiflex. You can look right
down into it and focus it by turning a knob
until you can see what you are taking
clearly.
"You have to be clever to succeed with
a Leica, but no matter how stupid you are,
you can get a picture with a Rolleiflex !"
Dr. Joel Pressman, husband and compan-
ion on the European trip, is a camera en-
thusiast, too, but he handles their home
movie outfit as a rule. Now and then he
tries his skill with the Rolleiflex, and one
result of this effort is a picture of Qaudette
with a white goat made at Bluebeard's
Castle.
"These are the ruins of the castle of
Bluebeard, the fairy-tale monster who killed
so many wives," recounted my hostess. "We
had such fun that day ! The white goat came
out while we were shooting pictures and
the doctor said he was the ghost of the
old man himself. Up there is the window
where Sister Ann sat and looked down the
road to see if Bluebeard was coming — re-
member ?"
If you are a candid camera fiend and can't
help taking pictures, take good ones or don't
pester your friends to look at them, is
Claudette's urgent advice.
"There's nothing duller than looking at
poor snapshots. Your victim is at your
mercy and he lias to endure it. You usually
feel a little guilty, so you start out with an
apology : 'I don't think I got the focus
quite right on this one,' you say, 'but if
you look hard you can see that this is a
man down here in the corner, and that's a
— let's see now, Jack, can you remember
if this was the dog Lucille had with her
that day, or is it the kitten their little girl
was playing with?' Lots of fun for the
victim !
"If you show your prints, show only the
ones you're proud to show. Saying which
I produce this mountain view taken through
a train window while the train was speed-
ing!" She laughed that choky little laugh
you like to hear from the screen.
"At first on the trip, every time we saw
what I thought would make a good picture,
I'd cry-: 'Oh, stop! Wait a minute, I want
to get this. It's glorious !' So we'd stop and
I'd fuss around with the camera and move
up or down or back and forth and keep the
car waiting. Finally my husband said firmly :
'Look, now, are you making a travelogue ?
Or was it in the plans that we get to our
destination some time this month?' That
explains the shot through the train window.
"These pictures are souvenirs I wouldn't
like to lose. I hope, though, that I'll never
have to look through heaps of pictures of
my own country, America, and feel as I
do about the ones I took in Europe."
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Day dreaming, Dorothy Day, one of the featured players in "Thank Your Lucky Star,"
elaborate new musical production in which every star and performer on the Warner Brothers'
lot plays a part, relaxes in her studio dressing room while waiting for a call to the set.
How To Bait A Man Trap
Continued from page 23
for, while he was plain nuts about you?
Remember how you skipped an evening
now and then, how you were generally out
with six other guys when he telephoned
for last minute dates, how you never
called his office to ask why he hadn't been
over, how you didn't give a continental if
he was in love and wanted to marry you or
not, how you didn't go all to pieces in his
arms and never inquired how many girls
he had been out with and if he loved you?
You were inviting; you were interested in
him, but you were hard to get.
Believe me, three hundred out of three
hundred and ten college boys interviewed
hit the nail on the head when they said
their dream girl was — guess who? — LANA
TURNER. Not just because she is beauti-
ful and glamorous, but because she looks
hard to get. Said Bob Doud, prominent
fraternity man at the University of South-
ern California : "Lana Turner is smart
looking besides being beautiful. She has that
best-sorority-on-the-campus look. She's the
girl all fraternity row would like to date,
the prize package who leads the grand co-
tillion at the senior ball. For all her invit-
ing, seductive glances, she still looks as if
you'd have to work like hell to get a kiss.
But to be the guy who got the kiss — WOW !
Heaven can wait, I'll take Lana Turner!"
And now for the other picture I prom-
ised I'd draw for you. Remember back to
that boy you can't quite forget who still
makes your heart jump when you hear
songs you once danced to together? He
hasn't called for six months? Lessee, now,
how did you play that deck of cards ?
Let's face it. What you did was all wrong
from A to Z. One thousand men have told
me. so. In the first place, you broke your
neck to be with him and let him know it.
You lived for his phone calls. He didn't
have a doubt in his head, not a, thing to
worry about. You were too easy. He didn't
have to work at all to get you absolutely
in a dither. Now it's all right to be in a
dither, but, if you're smart, until you are
as sure that the B.F. is as much in love
with you as you are with him, don't let
him know about it. Until the psychological
moment, keep your dithers to yourself.
You lost that boy friend because he was
SCREENLAND
so sure of you that you might have been
tied to his_ front door, like Fido. Before you
had any right to be, you were so possessive
you began to reproach him for not spend-
ing seven nights out of seven with you.
(How could he chase you, baby, with you
coming straight at him in a P-38?)
So you lost him. You did all the wrong
things. Well, from now on, do the RIGHT
things ! Make him chase you. If he says,
"How about Friday night?", you say, "Oh,
dear, I can't!" (Say how SORRY you are.
That flatters his vanity.) "Let's make it
next Friday!" (That keeps you from losing
the date altogether.) Don't worry that he
won't keep it. He will, and he'll value it
more. But give your brush-offs with warmth
and sympathy. Don't ever let a man feel
that you think you are too good to go out
with him.
That one little FEMININE trick alone
made six hundred and fifty-eight defense
workers say they would rather ask Ann
Sothern for a date than any other movie
star! Because why? Because they said they
wotddn't be afraid of Ann Sothern. There
is the secret of her success — men know that
she is kind. She's warm, human, friendly,
real — with a heart of gold. A man feels
comfortable with her. Make no mistake,
Ann has a keen, razor-edged intelligence, a
brilliant mind, but she never makes a man
feel inferior. She is shrewd in the art of
handling men, of making them happy. "I'll
bet you ten bucks," said North American
defense worker David Moran, "that Ann
Sothern would NEVER say the wrong
thing to any man." Listen to that, Mr.
Metro-Goldwyn-Mayer. Your "Swing Shift
Maisie" is a hit. Listen to that, you snooty,
hard-to-get-a-smile-from society gals, and
take a tip from six hundred and fifty-eight
builders of planes and ships !
And when you are out with that boy you
hope will tumble for you, don't talk about
other boy friends. Don't drool over men you
happen to notice. Keep your attention fo-
cused on your escort. Don't forget what
every high school girl knows : Make him
feel he is the most wonderful man in the
world.
Glamorous Hedy Lamarr, when asked if
she had any clue as to why so many, many
men had fallen so madly in love with her,
smiled her Mona Lisa smile and said : "It's
very simple ! All you do is talk to the men
about themselves !" What canny "man-
knowledge" ! Any woman who follows
Hedy's advice will have a man believing
she is the most intelligent, charming, bril-
liant woman he has ever met. Because even
a child knows that the most interesting
topic in the world is yourself.
Of course, the man of your dreams is
wonderful, and don't let him forget it. But
he has no priority on the deal. So when he
says, "What did you do last night?", give
an answer like, "Don't get nosey, bub !" or
a reasonable facsimile thereof. Don't talk
about past dates, but, on the other hand,
don't let him believe you never have any.
Keep him guessing. Until the ring is on
your finger, a man likes competition. When
he finally wins you, he feels he must have
been smarter than all of those other men.
This doesn't mean that you shouldn't be
natural. Don't put on an act. But until HE
genuinely feels that he is in love, have the
good sense and the good taste not to em-
barrass or frighten him by jumping the
gun. Don't make him feel obligated to you.
Don't indicate that he . should fall in love
with you to keep from hurting your feel-
ings. Because then he will feel uncomfort-
able, trapped, tricked. Too often, he will
pretend, and when this pretense comes to
light, there you'll be again with your little
heart all broken.
But all of the points emphasized by one
thousand men did not belie the fact that
fundamentally a man wants a real woman.
According to Bob Brooks, night club owner,
a man wants a woman — not only with depth
of passion and emotion — but one he can
turn to in life's emergencies. Being the pro-
tected feminine sex is fun in casual living,
but when a man's world crashes around him,
that is where someone like Greer Garson
would give him faith and hope. Sometimes
he needs someone to turn to, himself. Men
are just little boys in long pants.
Men like honesty. You'd be surprised how
they warm up to this quality. Oh, not the
kind of honesty that blurts out: "You look
awfully funny without your toupee !" or "I
always thought you were smart until I
talked to you !" No broadsides like those !
No, the kind of honesty that Ann Sheridan
has. You know she's the real thing. She has
no pretense or sham about her. Ann Sheri-
dan won't lie about her age. She won't
go into histrionics or hysterics about her
personal life. If you ask her a straight
ciuestion, she'll give you a straight answer.
No cat and mouse games. "A guy would
know where he stood with Ann Sheridan,"
said Lt. Struthers "Strut" Brann, from Offi-
cers' Training deep in the heart of Texas.
Other men placed heart stimulants Betty
Grable, Dorothy Lamour and Ginger Rog-
ers in this same category.
And don't ever be fooled by the woo!
woo ! whistles the boys give the girls with
too tight sweaters and the swaying hip
walk. When it comes time to put the ring
on her finger, a man wants a girl who is
a lady. Handsome Jim Bosch, photographer
for Basic Magnesium, Inc., cites Greer
Garson, .Katharine Hepburn, Linda Darnell
and Joan Crawford as the "lovely lady"
type. _ . C^v/'i
What else did one thousand men have to
say? Listen to Bill Moore, manager of
Hotel Last Frontier, Las Vegas, Nevada :
"Look," he smiled, "there's something
you've forgotten in romance, in marriage,
in life itself, a sense of humor is the most
important thing in the world. Myrna Loy
humor, making light of the daily trials of
living. A marriage can't be a success with-
out it."
A lot of people carefully skirt around the
subject of kisses. But I wonder if they know
how important kisses are ? A doctor, a
psychiatrist interviewed, said that his son
broke up with his girl because "she couldn't
kiss worth a damn." Response is the key-
note of your success here, just so you don't
go too far. Don't get hit by the moon, for
the age-old reason that anticipation is a
greater thrill than realization.
Besides, nine hundred and ninety-nine
men confessed to keeping moons in their
pockets, all sizes and varieties, just in case.
So now you know, and forewarned is fore-
armed, I always say ! But if you're in the
mood, kiss him. And how ! I might add.
It'll give him something to remember you
by. Just pause and reflect, a little goes a
long way. The surest way to really lose a
man is to make him feel he has added an-
other feather to his cap.
Another thing. No matter how long
you may have to wait by your telephone,
never call a man for a date. If he's inter-
ested, your phone will ring. If he's not, there
are better fish in the Army. There really
ARE, you know. And there isn't a man you
can't live without. (Look who's talking!)
Don't be chattery. Don't be vain. Don't
act superior. Don't be noisy, or silly. Don't
be an exhibitionist in makeup, clothes or
manners. Don't make a man feel -«~"--are
doing him a favor when you go oui with
him. And Public Don't No. 1 — DON'T BE
POSSESSIVE!
Be natural. Be human. Be feminine. Give
him something in the way of encouragement
and sympathy and faith that will keep his
ego zooming, and he'll picket your doorstep.
That's a promise. He is one man you'll
never have to worry about !
It's always dangerous to give advice, but
— what the heck ! — I have only one life to
give to my sex. So, looka me ! I'm sticking
my neck out ! And even if I have to pussy
foot down dark alleys from now on, if one
romance is saved, it's worth the risk.
Of course, there are some women who
enjoy having their hearts broken. To them
— pouff! We won't worry about them, be-
cause they're having a lot of fun in a
twisted kind of way.
But for those of you all dewy-eyed and
dreamy about the romance that didn't jell,
wake up, your torch is showing !
Start a new man-trap campaign !
Fans' Forum
Continued from page 12
Against Mrs. Hadley," and this blond-sort-
of-homely creature was smiling at Jean
Rogers across a canteen counter. Lucky,
lucky Jean!
After the movie, we eagerly checked the
list of players and found an unfamiliar
name — Van Johnson. And we weren't sur-
prised to find him the chief topic of con-
versation later in the lobby and lounge.
Folks were wondering who he was and
where he had been all this time. One cute
little number said, "Gee ! He does some-
thing to you."
She was right — he "done_ something to
me." I've looked for additional pictures,
but found only one — "Dr. Gillespie's New
Assistant." It was good, but it wasn't
enough. Aren't there any more to be had
or have I been missing them? Hollywood
has a FIND there !
H. T., Columbus, Ohio.
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89
Pint-size siren! Diana Lewis (Mrs. Bill Powell in private life) suns herself in the Powell home
patio and incidentally provides the M-G-M cameraman with material for a very fetching picture.
I am a teen-age girl and I speak for
most of the teen-agers in general when I
say that Donald O'Connor is tops when it
comes to playing a rug-cutting jitterbug
and I also think he is cute. Now don't get
me wrong. When I say he is "cute," I don't
mean one of those pretty boys. I mean he
is natural and acts like one of the boys in
your home town.
After seeing him play in "Get Hep to
Love" and "It Comes Up Love;" I am
afraid I could not give the movies I saw
after those two all the credit they deserved,
for wishing they were more like the ones
Donald appeared in. Many of the older
people do not seem to care for them and,
since Donald O'Connor hasn't such a big
name as Mickey Rooney (whom they go
to see and like), they turn away and go to
some other theater. But those who do go
to see him like him, and some day soon his
name is going to be bigger than Mickey
Rooney's ever was.
So from now on, let's see more of Donald
O'Connor and Gloria Jean (another one of
my favorites) together and give us teen-
agers a break.
MARY ATKINS, Richmond, Ind.
HONORABLE MENTION
Paging Mr. DeMille! Now that the Four
Horsemen are again loosed upon the world,
why not give us a modern version of that
classic story of the Argentine? For two
decades, "The Four Horsemen of the
Apocalypse" has stood as unapproachable
in the heart of many an older lover of the
screen. With modern photography, sound,
and all the recent developments in film tech-
nique, a return of that masterpiece should
pack all movie houses. More than that, it
should drive home the lesson of the futility
of war as no other film has ever been
able to do.
You have no Valentino? Pardon the sug-
gestion, C.B., but have you seen that side-
splitting comedy, "The Road to Morocco" ?
H not, go and look long at Anthony Quinn.
He has not been featured in any write-ups ;
there is no publicity in the film magazines
about him ; but he is the first man in all
these years to remotely resemble "The
Sheik." It is not a definite resemblance of
feature, for Valentino was much "smoother'
than this Quinn who strides th rough the back-
ground of Crosby's and Hope's nonsense.
The resemblance lies in a certain reserved
quality, of leashed fire, of composure, that
none of those who have been heralded as
"second Valentinos" have possessed. If you
are not struck by this resemblance as Quinn
looks out under his lashes at Dottie Lamour,
it will be because, not being a woman, your
heart never went into a dive as the "Great
Lover" did his stuff !
Give Anthony Quinn a chance, and we
predict you will have a more masculine,
more virile "Valentino" who will not only
pack the box office but have the calibre to
carry the greatest war film of movie his-
tory to a second victory. Bring back "The
Four Horsemen of the Apocalypse" with
Anthony Quinn I
PAGE HUNTOON, Chula Vista, Calif.
The fellow I am writing about is not such
a handsome guy but if .1 were a girl I
could surely fall for him. For he has the
material that I wish I had.
I have had lots of dates to go to the
movies when he was playing on the screen
and was always lucky enough to get a date
with a girl I cared most for when he was
playing. I don't know whether it was he or
me she wanted to see but we always en-
joyed his pictures very much.
Although I have seen him in very few
pictures, I think he is tops myself and I
feel that most of the people agree with me.
Some of the pictures I have seen him in,
although they were not big time stuff — one
of them, especially — gave enough thrills to
make the people realize that he has the
ability to give them what they want. George
Raft, I hope to see you soon in your next
picture and I will be punching for you.
ELI C. TURNER, Columbia, S. C.
The bank cashier, the grocery man, the
newsboy, and the landlord were enthusias-
tically acclaiming "Bambi" as a picture to
see, not once, but twice, and thrice !
The coloring, so beautiful that it hurt,
the human drama enacted by Bambi, his
mother, Thumper — whose ears were an
automatic V for Victory, Flower, the old
owl, and each and everyone of the cast
surpassed the acting of man !
It was an escape picture — perhaps — yet
the underlying theme seemed to shout
HOME— AMERICA— and the joy that
comes with peace and security.
Walt Disney has not only given the world
great pleasure, but has endowed these crea-
tures of the forests with new significance.
JANE RINGLER, Cuyahoga Falls, Ohio.
Nothing has brought Hollywood and its
screen public so close as the all-embracing
war-time restrictions, bans, etc. Formerly,
Hollywood was a kind of little kingdom in
itself, immune from ordinary laws and so
be-glamorized that it scarcely seemed human
at all, but semi-angelic as it were. Now,
thank goodness, we are all one mold. The
stars can't get their accustomed luxuries
any more than we can ; their servants have
left them for war work even as ours ; tinsel
crowns are rolling in the dust. In a word,
we're all one great big happy family, with
no playing of favorites on the part of Dame
Fortune. And do we love it? It took a
global war to do it. Hiya, Toots ! Shake,
Pal ! Three cheers for Hollywood's good
sportsmanship.
J. D. BAYNE, Vancouver, Can.
CAST
"MISSION TO MOSCOW"
(Warner B'rothers)
Based on the famous book by Joseph
E. Davies, former U. S. Ambassador
to Russia. Produced by Robert Buck-
ner. Directed by Michael Curtiz.
Joseph E. Davies Walter Huston
Mrs.. Davies Ann Harding
Freddie George Tobias
Litvinov Oscar Homolka
Emlen Eleanor Parker
Paid Grosjean Richard Travis
Major Kamenev Helmut Dantine
V yshinsky Victor Francen
Von Ribbentrop Henry Daniell
Spend I er Jerome Cowan
Ivy Litvinov Barbara Everest
Tanya Marie Palmer
Schacht Felix Basch
Kalinin Vladimir Sokoloff
Winston Churchill,
Dudley Field Malone
Stalin Manart Kippen
Molotov Gene Lockhart
90
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Bursting with the most fun
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with
LENA HORNE • BILL ROBINSON
CAB CALLOWAY AND HIS BAND
and KATHERINE DUNHAM and HER TROUPE
FATS WALLER • NICHOLAS BROTHERS^*?
Directed by Andrew Stone • Produced by William LeBareft ^^.^^
Screen Play by Frederick Jackson and Ted Koehler • Adaptation by H. S, Kraft
CCNTURV FOX
PICTURE
JL
use Mum after this bath ?
0f *«*e /
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She knows this Charm Secret-
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Every GIRL knows ways to heighten her appeal to a man! Her
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Product of Bristol-Myers
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SCREENLAND
3
/rs o*FF£KMNTf
The most refreshing pre fare to
come ouf of tfo/fywooc/ w years/
yom&sr
fX0f£SS/0/V
with
VIRGINIA WEIDLER • EDWARD ARNOLD
JOHN CARROLL • JEAN PORTER
Screen Play by George Oppenheimer, Charles Lederer
and Leonard Spigelgass • Based Upon the Book by
Lillian Day • Directed by EDWARD BUZZELL • Produced
by B. F. ZEIDMAN . A Metro -Goldwyn- Mayer Picture
SCREENLAND
Paul Hunter, Publisher
Delight Evans, Editor
HOMER ROCKWELL, Executive Vice President
Elizabeth Wilson,
Western Representative
Marion Martone,
Assistant Editor .
Dliliiiiiiiiiiiiiiiiliiiiliiiiiiliiiiiiiiiiiiiiiiimiiiiiiiiiiiiiiiiiiiiiiiiiiiin '
Uiiiiiiuiiiiiniiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiii i
July, 1943
iMPIWh
Frank J. Carroll,
Art Director
Jean Duval,
Staff Photographer
niiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiii!iiniiiiii!iiiii|iiii
liiiiiiiiiiiiiiiiiiiiiiiiiiiimiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiii
Vol. XLVII, No. 3
EVERY STORY A FEATURE
The Editor's Page Delight Evans 19
What It Takes to Be a Pin-Up Girl Betty Grable 20
Songbird With Sex Appeal! Janet Blair .Liza 22
Kay Kyser's New Girl May Mann 24
Lamour Takes the Veil Liza 26
Why Abbott Quit Pictures for Costello Rachele Randall 28
Jean Arthur As I Know Her John Wayne 30
Carole Landis' War Diary Kirk Darrell 33
Me and Men.. Maria Montez 36
John Sutton's Romantic Technique Maude Cheatham 42
FULL COLOR PORTRAITS:
Janet Blair, playing in Columbia's "Victory Caravan" 23
Ronald Reagan and Craig Stevens, on the set of "This Is The
Army," Warners 32
Joan Leslie, appearing in Warners' "Thank Your Lucky Stars". ... 40
SPECIAL PICTURE PAGES: Robert Taylor, Spencer Tracy, Irene
Dunne, Jose Iturbi, Kathryn Grayson, Joan Fontaine, Orson Welles,
Margaret O'Brien, Ann Sothern, James Craig, Joan Crawford, Fred
MacMurray, Phillip Terry, Linda Darnell, Dolores Moran, Esther Wil-
liams, Dorothy Lamour, Anne Gwynne, Shirley Patterson.
DEPARTMENTS:
Hot from Hollywood 6
Your Guide to Current Films Selected by Delight Evans 8
Streamlined Living. Mary Astor Betty Boone 12
Fans' Forum 14
Right Face for Your Summer Josephine Felts 54
Guide to Glamor 55
Here's Hollywood .Weston East 56
Honor Page 59
Recent Films Reviewed in a Flash 62
Screen-Town Chatter 72
Natural Color Photograph of BETTY GRABLE, 20th Century-Fox Star
Paul Hunter, President
Homer Rockwell, Executive Vice President and Advertising Manager
Lee Wagner, Circulation Manager
SCREENLAND. Published monthly by Hunter Publications, Inc., at 205 E. 42nd Street, New York, N. T.
Advertising Offices: 205 E. 42nd St., New York; 410 North Michigan Ave., Chicago; 427 W. 5th St.,
Los Angeles, Calif. Manuscripts and drawings must be accompanied by return postage. They will receive
careful attention but SCREENLAND assumes no responsibility for their safety. Yearly subscriptions $1.50 in
the United States, its dependencies, Cuba and Mexico; $2.00 in Canada; foreign $2.50. Changes of address
must reach us Ave weeks in advance of the next issue. Be sure to give both the old and new address. Entered
as second class matter, September 23, 1930, at the Post Office, New York. N. Y., under the act of March 3, 1879.
Additional entry at Chicago, Illinois. Copyright 1943 by Hunter Publications, Inc. Printed in the U. S. A.
MEMBER AUDIT BUREAU OF CIRCULATIONS
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Published In
this space
every month
The greatest
star of the
screen !
Shortly you will hear about and see a
great heroic production entitled sig-
nificantly "Bataan." This will go down
through the years as a great contri-
bution to American motion pictures.
★ ★ ★ ★
A future column will be devoted ex-
clusively to "Bataan." For the present
we wish to tell you
about a comedy — a
delightful, young
comedy that features
great stars and
virtually stars
the great Virginia
Weidler.
★ ★ ★ ★
Do you know Vir-
ginia? She's the
young lady you may
have seen in "The
Philadelphia Story" — the nuisance, the
thorn in Katharine Hepburn's side.
★ ★ ★ ★
Like Judy Garland (whose "Presenting
Lily Mars" is now hitting the boards
and proving its entertainment merit)
Miss Weidler has come of age.
★ ★ * ★
Well — almost of age. For she plays the
part of the president of an autograph
club in "The Youngest Profession." This
uproarious picture was instantly
booked by the world's largest theatre,
New York's Radio City Music Hall.
★ ★ ★ *
Cleverly introduced in well- written
and well-played scenes are the great
guest stars Lana Turner, Greer Garson,
Walter Pidgeon, Robert Taylor and
William Powell.
★ ★ * *
Edward Arnold, John Carroll and in-
fectious Jean Porter join Virginia Weidler
in a production of which director
Edward Buzzell can be proud.
★ ★ ★ ★
As for the guests. Lana
Turner is herself in this
one — and a nice self
too.
Greer Garson again
reveals the charm
that made "Random
Harvest" a buy-word.
Walter Pidgeon does a
scene that imparts his
true human sympathies.
Robert Taylor just
knocks 'em dead.
And William Powell's
presence alone makes a
fade-out situation that
provides laughter in the
theatre and on the
way back home.
★ * ★ *
The youngest art wel-
comes the cleverness of
"TheYoungest Profession.'
—£ea, The Youngest Lion
SCREENLAND
WOT from
jfc Hollywood
MEMORIES of a great lady's visit to
Hollywood : To Mickey Rooney, Mme.
Chiang Kai-shek said, "Oh, I know you,
how are you doing now — all right?" To
George Raft: "I'm delighted to meet you."
To Adolphe Menjou: "I've seen you many
times before the war — but not so often
since." She asked Joan Bennett about her
children and Marlene Dietrich about her
daughter. She told Fred Astaire that a
member of her family had tried to re-create
some of his famous dance steps, but had
proven a failure. She complimented Claud-
ette Colbert on her performance on a China
Relief broadcast. China's "Missimo" greeted
hundreds of members of the film colony in
the Gold Room of the Ambassador. She
displayed a wonderful memory for faces
and facts, greeted them all with a strong
handclasp and a bright smile. It was a day
Hollywood will long remember.
THE following telegram was received by
our Editor on April 21 :
IT'S A GIRL 6 POUNDS 11
OUNCES SUSIE FINE LOVE-
LADDIE
This means the Alan Ladds are the proud
parents of a baby girl. Alan is in the Army
now, and Mrs. Ladd is the former screen
star, Sue Carol. Alana is the cute name
they've given the baby.
EVIDENTLY someone forgot that Sonja
Henie was due back on the lot. They
gave her dressing room to Joan Fon-
taine. When Sonja arrived she naturally
wanted her own room back. What's more
she got it, though Joan wasn't too happy
about giving it up. Speaking of Joan, the
rumors still persist that she and Brian
A heme are no longer at the lovey-dovey
stage. They say Brian wants a wife in the
home, not a career girl who has many out-
side interests.
HOLLYWOOD is getting such a kick
out of Irving Berlin. He is refusing
all social engagements because he won't be
a civilian again until the war is over.
Actually, Irving is a civilian. But he re-
ports daily to "This Is The Army" and
works all day on the production. He even
salutes the officers. Irving's time, talent,
and complete salary are all donated to the
success of this tremendous propaganda film.
The Great Gildersleeve's wife "breaks up"
his romantic interlude with Veronica Lake.
IN REAL life Veronica Lake is no bigger
' than a minute. One night she walked into
a tea room with a couple of girl friends.
Ronnie was wearing flat heels, bobby
sox, a pinafore and hair in braids. Abso-
lutely on the level, the tea room hostess
put a thick pillow on the chair and all but
lifted la Lake up on it. Ronnie played it
straight and thanked the lady with a curtsy.
WHEN Dorothy McGuire of "Claudia"
fame arrived in Hollywood, they asked
her to pose in a bathing suit. "Do men really
enjoy looking at pictures of legs?" Dorothy
asked seriously. "Even if they're on a piano,"
cracked the cameraman.
How this Dietrich gal does get around!
Above, with Orson Welles. At left,
with her devoted escort, Jean Gabin.
MEN are scarce these days in Holly-
wood. But Betty Hutton met a new
boy friend, who seemed pretty snappy. The
next morning, following her first date with
him, Betty met Bing Crosby on the lot.
Bing wanted to know how the evening
went. "Terrific," cracked Betty. "That guy
spent money like water — one drop at a
time !"
DON'T be a bit surprised if Shirley Tem-
ple returns to the screen in "Junior
Miss." She's perfect for the teen-age heroine
and everyone is plugging for her. Of course
some glamor girl in her middle thirties may
fight to get the role. It's happened before
in Hollywood. In that case, they can
change the name of the picture to "Junior
Mess."
IT STILL must be love. Victor Mature
• sent Rita Hay worth a picture of himself
wearing a long beard. She's framed it and
put it in her bedroom !
(Please turn to page 10)
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CURRENT FILMS
SELECTED BY
EDGE OF DARKNESS — Warners
A powerfully stirring screen story about the ravaging
of a Norwegian fishing village by the Nazis, show-
ing underground activities of its people and how they
work against the invaders. Ann Sheridan and Errol
Flynn do their best work in the starring roles — Flynn,
as leader of the underground movement; Ann, as the
girl he loves and who helps in the fight for freedom.
Helmut Dantine does a good job of making you loathe
the Nazi officer he portrays. Lewis Milestone deserves
a big hand for his direction of this rousing war drama,
especially the film's many tense moments. Walter
Huston, Nancy Coleman, Judith Anderson are in it. .
THIS LAND IS M I N E — RKO-Radio
Don't miss this gripping war drama about the Nazi
occupation of another European town. It is also the
story of the regeneration of a timid soul, and Charles
Laughton will long be remembered in the role of the
cowardly schoolteacher who awakens to his respon-
sibility to his country, when he is wrongly accused of
being a Nazi informer by the girl he secretly loves.
Courtroom scenes in which he pleads his case, de-
nounces the Nazis, and from which he emerges a
hero who is not afraid to die, are splendidly done.
Maureen O'Hara, fine as the girl. Walter Slezak, good.
TONIGHT WE RAID CALAIS — 20th Century-Fox
This war film relates the experiences of a British
Commando (John Sutton), who lands in a French
village to spot a Nazi munitions plant so he can guide
RAF flyers when they come to bomb it. He enlists
the aid of villagers to set the fields afire to light the
way for the bombers. Odette (Annabella), a French girl,
refuses to help and turns informer, but when rewarded
by the sight of her parents being killed by the Nazis,
joins the saboteurs. Not an exciting film and it doesn't
rate with the best movies about underground move-
ments, but it has some suspense and acting is good.
SPITFIRE — Goldwyn-RKO
This British-made picture is not an action film even
though it is about the Spitfire fighter plane — the plane
that helped save England during the 1940 Battle of
Britain. It's really the story of R. J. Mitchell, the
man who designed the feared Spitfire, and reveals
what inspired him to build it and shows how he worked
day and night at cost of his health, and later his life,
to realize his dream. Leslie Howard, who directed it,
plays Mitchell and David Niven is seen as Crisp, his
test pilot and friend — fine, convincing performances.
Interestingly told. You won't mind its lack of action.
WHITE SAVAGE — Universal
This film fantasy of adventure and love on a South
Sea island again teams Maria Montez, Jon Hall and
Sabu. If you saw the trio in "Arabian Nights," you
know what to expect. Maria is seen as Princess Tahia,
a temptress in form-revealing costumes and sarongs —
a beautiful sight in technicolor; Jon, as a fisherman;
Sabu, as the boy, Orano, who is always "fixing"
things for Jon. The tale about villain Thomas Gomez's
attempts to gain possession of a jeweled pool, is un-
believable, but it has enough fun, romance and an excit-
ing earthquake to make you forget story's weaknesses.
SCREENLAND
CRASH DIVE — 20th Century-Fox
Tyrone Power's farewell film for the dura-
tion will leave his fans happy. It's a per-
sonal triumph for the screen's most romantic
young actor, and a spirited, exciting show.
If it paints the war picture in rather bright
colors, it will certainly call forth no com-
plaints from the Power following, accus-
tomed to their hero's hairbreadth escapes
and sure to be disappointed if he ever failed
in his super-human assignments. As the
dashing young naval officer who is ordered
from his beloved "P-T" boat to submarine
duty, where of course he covers himself
anew with glory, Tyrone performs with
grace and gallantry. Anne Baxter is the de-
lectable heroine. Dana Andrews also scores.
SOMETHING TO SHOUT ABOUT — Columbia
A gay, tuneful musical film in which an
untalented ex-chorine (Cobina Wright, Jr.)
backs a show with her alimony money so
she can star in it. Press agent Don Ameche
discovers a pretty composer (Janet Blair)
who sings as well as writes music and, when
the show flops at its tryout, William Gax-
ton, as producer, has his star falsely ar-
rested so he can open with Miss Blair as
the star. Cobina withdraws her support and
show closes, but Ameche and Jack Oakie
put on a vaudeville hit revue in which they
present Janet in songs and dances ; a dog
act called "The Bricklayers" ; ballet and
rhumba dance numbers ; and Hazel Scott
at the piano, all of which add up to good
entertainment. Janet is fine ; Don at his best.
DESERT VICTORY — 20th Century-Fox
Most stirring factual film of World War
II thus far, this actual record of the rout-
ing of Rommel's Afrika Korps by the
British Eighth Army has hundreds of heroes
— the men who manned the guns, the tanks,
the planes which helped General Bernard
Montgomery to victory. The General him-
self is one of the most striking figures ever
caught by a movie camera, his every ap-
pearance the signal for applause. "Desert
Victory" is the thrilling story of the 1300-
mile advance from El Alamein to Tripoli,
made in the Western Desert by the Eighth
Army's Film and Photographic Unit under
combat conditions, and dramatically as-
sembled by Colonel David MacDonald.
PRESENTED BY
WARNERBROS
starring
WALTER HUSTON • ANN HARDING
George Tobias* Oscar Homolka • Gene Lockhart
Helmut Dantine* Directed by [VIICHAEL CURTIZ
Screen Play by Howard Koch • Frcm *he Book by Joseph E. Davies • Music by Max Steiner
SCREENLAND
It's a
BIG PICTURE
ftfiF0TA OF FU/\f ^
# with your favor/Ye fadro Stars/
You see them — and hear
them — in a joyous musical
romance ! Just set your dial
to J-O-Y and get set for the
time of your life!
Blossoming Into one of Hollywood's real beauties and best ac-
tresses, Lynn Bari goes out with her beau, test pilot Sid Luft.
Hot from Hollywood
Continued from page 6
ONE of the loneliest women in Holly-
wood is Dolores Hope, wife of our
own Bob. She figured out that she and Bob
hadn't spent more than two weeks' time
together in the last year. Bob is always
away entertaining soldiers at camps, or ap-
pearing on some benefit program. Dolores
doesn't mind too much, because it's helping
the war effort. Recently she took to rais-
ing chickens. When Bob learned about it,
he cracked: "Dolores misses those eggs I
lay, so she's gone into business for herself !"
WITH only six pictures to her credit,
Nancy Coleman has been upped to
stardom. When they broke the news to her,
they also told her about a wonderful new
part she was going to play. Nancy was all
enthusiasm until she was informed she'd
have to let her nails grow extra long.
"That's out," she said firmly. Her pro-
ducers looked their surprise and demanded
to know why. "Have you ever tried to pull
on a girdle with long finger nails?" Nancy
answered. P. S. She got her way.
Deanna Durbin dances with a soldier at
the Hollywood Canteen. Below, funny-man
Billy Gilbert, out for an evening at Giro's
with Mrs. Gilbert, the Mischa Auers,
Fay MacKenzie and Harry Ruskin.
S GREENLAND
CHARLES BICKFORD • GLADYS COOPER
ALAN CARNEY" HENRY STEPHENSON
PwlucfJ DAVID HEMPSTEAD • 3>iuct*J H. C. POTT
■«un Cloy bv Milton H«lm»*oi»d A4«
SCREENLAND
Summer
Discovery
(Tarn pax cannot chafe!)
NO BELTS
NO PINS
NO PADS
NO ODOR
Work or play, summer is a
trying season from the stand-
point of monthly sanitary
protection . . . And Tampax
helps a lot at such times be-
cause it is worn internally
and cannot produce chafing, wrinkling
or bulging. No pins, belts or pads— no
odor can form! Tampax is easy to carry,
quick to change.
Tampax was perfected by a doctor and
is made of pure surgical cotton, ex-
tremely absorbent but compressed to a
dainty size. Each Tampax comes in a
patented one-time-use applicator, so
your hands need not touch the Tampax.
And the whole thing is so compact there
is no disposal problem.
Sold in three sizes (Regular, Super,
Junior) providing a variety of absorbencies
— at drug stores and notion counters.
Introductory box, 20^. Economy pack-
age gives you a real bargain and lasts 4
months, average. Tampax Incorporated,
Palmer, Mass.
3 Absorbencies
REGULAR
SUPER JUNIOR
Accepted /or Adver-
tising by the Jour-
nal of the American
Medical Association
INSIDE THE STARS' HOMES TODAY!
By Betty Boone
MARY ASTOR lives in the pictur-
esque Riviera section of Santa Mon-
ica, a "sleeper jump" from Holly-
wood studios. Her house is a gracious red
brick Colonial mansion with green shutters,
tall white pillars, trim iron balcony above
the white front door which is approached
by red-bricked terraces. The rooms are
large and well designed ; most of them, ac-
cording to Colonial tradition, have man-
teled fireplaces, and all the windows are
huge.
In normal times, such a place would re-
quire a corps of domestic servants. Today,
with such a corps unobtainable, the only
way Mary can hope to keep her home run-
ning is to streamline it.
Slim and handsome in well-cut slacks of
beige and brown, with cream colored tai-
lored shirt, red hair in the Astor swirled
bob, she explained her theory to me : "War
changes everything, and we're smart if we
change with it, instead of trying to hang
on to yesterday and make ourselves mis- The war has radically changed Hollywood's
erable because we can't," she remarked. design for living. Mary Astor, above, is
"I've stripped my house to fundamentals, just one of many movie stars who have
eliminating all unnecessary articles that Victory Gardens and really work in them.
SCREENLAND
mean extra work. For example, I've put
away all my window curtains for the dura-
tion. Venetian blinds and plain straight
drapes remain. Fussy white curtains, lace
or net panels mean either laundry or clean-
ing; laundries have urged us to send them
only limited bundles, and maids have a full
schedule of duties without adding to it.
"Scatter rugs that must be kept clean
and in place don't belong in a streamlined
house, either, so these are also packed away.
Ornaments that used to require dusting or
polishing, including those cases and shelves
filled with collections of miniature figures,
tiny animals and various souvenirs or spe-
cial treasures, have all been retired. I will
not tolerate a messy place, and the way to
avoid it seems to me to be certain that only
essential things remain. It takes much less
time to keep an uncluttered house neat and
shining."
Only a few large pictures are hung in
the rooms downstairs, and only a few or-
naments decorate the mantels. In the living
room, a green circular rug covers most of
the floor space, couches are burgundy tap-
estry with plain blue pillows, chairs are
patterned in beige and green, and the
coffee table is a large solid round of dark
mahogany, a wood repeated in the piano.
The few side tables hold lamps or flowers.
"All music sheets are kept in the cabinet
when not in use," Mary pointed out, "and
the same rule applies to the records for the
radio-phonograph in the den."
As it is summertime, all fireplaces are
neatly screened, and such drapes as are
hung between the rooms in wintertime,
when drafts may be expected, have all been
taken down.
The dining room has been streamlined
to the extent of eliminating china cabinets
with their interesting plate and cup collec-
tions. Mary's beautiful silver pieces no
longer adorn the buffet, but are stored in-
side, each in its chamois-lined sack. Un-
necessary polishing and dusting are thus
avoided.
"We no longer use elaborate tablecloths,
fine linen napkins, plate doilies or em-
broidered panels. That laundry problem
again ! Instead we use table mats that can
be wiped off and paper napkins for most
meals. Did you know you can get these
mats monogrammed and made up in all
colors? Paper napkins also come mono-
grammed, if you like the idea.
"We, like most Calif ornians, have a good
choice of garden flowers. When I'm not
working, I usually pick and arrange bou-
(Please turn to page 89)
Mary Astor swings out of her stream-
lined home on her way to the studio.
DOROTHY LAMOUR
speaking:
Starring in "DIXIE/* a Paramount Technicolor Production.
"Hollywood
knows a
girl should
sparkle . . .
"Hence our
accent on
dazzling
teeth!
"I depend
on CALOX
for my
daily care."
A dentist's dentifrice—
Calox was created by a dentist for persons who
want the utmost sparkle and brilliance consistent
with utmost gentleness. Look for these profes-
sional features:
1
SCREENLAND
Scrupulous cleansing. Your teeth have a
notably clean feel after using Calox.
Unexcelled efficiency— even for problem
teeth. And Calox is a miracle of delicacy.
Especially lustrous polishing.
No mouth-puckering, medicine taste. Con-
tains no strong ingredients. Even children
like the cool, clean flavor.
Made by McKesson & Robbins, Bridge-
port, Conn— a laboratory specializing in
professional drugs.
13
YES, it was Joan's lovely
hair that Bob first no-
ticed. I remember the day he confided
to me— !•"! must meet her — that girl
with the glorious hair! Have you
ever seen such sparkling hair? It
seems so alive, so soft, so . . . He
stopped confused and I chuckled, for-
IT WASN'T SO LONG AGO that Joan's
hair was as dull and drab as a blue
Monday. Then Mary, the girl at the
beauty shop, recommended Colorinse
for adding richer color and brighter
highlights to the hair — for making it
silkier, softer and so much easier to
manage. Well —
IT WORKED LIKE A CHARM. Today Joan's
hair is as lovely as any girl could hope
for. And a happy bride says "thanks"
to Nestle Colorinse. Joan also uses
Nestle Shampoo BEFORE and Nestle
Superset AFTER Colorinsing. Why
don't you try it, too?
P£ FOR YOUR NEXT PERMANENT, ASK FOR
A NESTLE OPALESCENT CREME WAVE.
COLORINSE
7 rmtcs
5 nmt
At 3 and 10/ iters*
o«db««tytiiwnl»r»
{ r ans' rorum
FIRST PRIZE LETTER
$10.00
For a long time now, I have stoically
held my tongue as to what I think about
the movies and their stars. Now, I'd like
to put forth just a few of the many things
that I as an ardent movie-goer and fan feel
would benefit the motion picture business :
Remove Veronica Lake and Gene Tierney
from the celluloid, for keeps ! Their respec-
tive figures delight, but their invariable
dead-pans bore.
Recognize and utilize the versatility and
unmistakable talent of Marsha Hunt, Rich-
ard Whorf, and Geraldine Fitzgerald, for
starring roles in "A" pictures.
Please, please stop publicizing the glamor
boys and gals as "loving their own dear
little ranch in Cold Gulch and shunning
the dens of night life," and then incon-
sistently showing them always cutting ca-
pers at the various bistros. Honest, we fans
don't mind if they go out and have fun !
Ration the big name bands for those tre-
mendous musicals, so as to feature only one
or two at a time, instead of the dozen or
so usually jammed into one picture.
This is on the side — won't someone please
send me Frank Sinatra by return air mail ?
Of course, I have very little hope of these
things ever coming to pass — I'm too much
of a seasoned fan to presume that a mere
fan could dictate to this headstrong but
marvelous Hollywood !
BETTY ALDRICH, Austin, Texas
SECOND PRIZE LETTER
$5.00
This movie righteousness is getting me
down, and I mean dovtm. Why, it's getting
so we can actually take Grandma to any
picture at all now and the old dear thinks
she has strayed into Sunday School or at
the worst a political rally. Where are the
guys who used to talk out of the sides of
their mouths? Where are the gold-digging
hussies? Gone, gone with the breeze. Ev-
erybody's wearing a uniform and a semi-
angelic look. I tell you, I can't stand much
more! I just wasn't brought up to it. I can
take a little holiness or leave it alone but
give me back a taste of the bad old days
when wickedness and lush extravagance
brought a little zip into our drab days.
After all, some of us are more than twelve
years old. Come on, Hollywood, get back
your reputation and give us some POSI-
TIVELY NOT FOR CHILDREN fare.
It's good medicine for morale.
DORIS L. DAVIES, Vancouver, Can.
Get Into the Fight!
In more ways than one this is a
fightin' department! You fans battle
out your preferences and prejudices,
for and against certain films and stars ;
and in addition, when your letters are.
published, you may win a War Savings
Stamp prize to help fill up that stamp
book and so help to win the Big Fight,
the one for Victory. Say what you
please about movies and players and
start a fresh scrap ! The more con-
troversial your letters, the better we
like 'em ! Prizes : First, $10.00; second,
$5.00; and five prizes of $1.00 each,
payable in War Savings Stamps. Clos-
ing date, 25th of month.
Please address letters to Fans' For-
um, Screenland Magazine, 205 East
42nd St., New York, N. Y.
FIVE PRIZE LETTERS
$1.00 EACH
Here's a toast to a new face. A face
which is probably one of the homeliest mugs
in Hollywood. A face which is attached to
an ideal "Dead End Kid's" hero.
In other words, here's a toast to William
Bendix, of the broken nose and huge heart.
In my opinion, he was the whole show in
"Wake Island" and I adored him as the
dumb detective in "Who Done It?" I also
thought he was a swell barkeeper in
"Woman of the Year" — so I salute Wil-
liam Bendix, the ugliest guy in Hollywood !
NORMA RAICICH, Somerville, N. J.
If it could be arranged, why not team
the following?
1 : DEANNA DURBIN— NELSON
EDDY. It would be worth the price of ad-
mission just to hear them sing together.
Besides, they'd make a charming screen
couple. She is sufficiently matured now,
and Nelson is at that interesting age that
attracts girls from sixteen to sixty.
2: MICKEY ROONEY— SHIRLEY
14
Screenland
TEMPLE. What if she IS taller ! So are
most of his screen girls. And who cares
anyway, unless Mickey is foolish enough
to ! He is such a grand actor and has such
a delightful personality. I'd rather see him
than a dozen tall, dark and handsomes.
3: BOB HOPE— PATSY KELLY.
(Where is she?) For some real BELLY
laughs ! We need 'em !
4: GREER GARSON— WARNER
BAXTER. Because they are two of my fa-
vorite people ; it would be a break for him;
and they would compliment each other per-
fectly.
5: Long, lanky GARY COOPER and
tiny, pert VERONICA LAKE. They'd be
a deliciously cute couple !
6: MAE WEST— WALLACE BEERY.
Well, no need to explain why !
RUTHKING, Cranford, N. J.
Being a tired business woman I depend
a great deal on the movies for relaxation
— and believe me those horror pictures are
NOT antidotes for jumpy nerves. Now, I
ask you, what good do those horror pic-
tures do anyone ? Certainly they are not
apropos, with everyone's nerves jittery
anyway.
Why not have more pictures that, sort
of slow down the tempo? Why, heaven's
to Betsy, after seeing Rita Hayworth in
"Strawberry Blonde" and "My Gal Sal,"
I was so relaxed and rested I was ready
for another day's work. And right now
with so much work to be done, those are
the kind of movies we need — for they pro-
vide relaxation and entertainment.
MRS. CELIA SCHOOLEY, Wichita, Kansas
Here is a list of songs that remind me
of movie stars :
Lou Costello : Mr. Five-by-Five
John Payne: Oh, Johnny!
Hedy Lamarr: That Old Black Magic
Betty Grable : There are Such Things
Carmen Miranda: Brazil
Lana Turner: Why Don't You Fall in
Love With Me?
Gene Tierney : Green Eyes
Betty Hutton: Murder, He Says
Alice Faye: Don't Get Around Much
Any More
Ann Sheridan : A Touch of Texas
Jeanette MacDonald: Skylark
Every American Boy in Ireland : Johnny
Doughboy
A. R. ALTOBELLO, Providence, R. I.
You probably receive many letters from
girls like myself telling you what they
think of their "dream man," but I want you
to know I really mean what I say. I'd like
to see another actor in Hollywood play
the part of a criminal, a punch-drunk fight-
er, a hard-boiled brush pilot from Canada,
and a "song and dance man" and do it so
magnificently. Yes — I'm talking about
James Cagney, who so beautifully por-
trayed the original "song and dance man,"
George M. Cohan, in "Yankee Doodle
Dandy." I say (and I'm sure I'm not alone)
three cheers for Jimmy Cagney.
MARY ANN ZIEMER, Ogden, Utah
HONORABLE MENTION
After seeing the movie "The Hard Way"
I cannot help but give praise to Ida Lu-
pino's acting. I had never seen her in any
movie before, thinking she was just an-
other actress getting a big buildup. Now
I am convinced I have missed some of the
best movies, by not seeing the pictures she
has acted in.
Ida, I predict, will be one of the greatest
actresses of all time. I put her in the same
class with Bette Davis when it comes to
Handsome twosome: Gene Tierney and
her dinner partner, Gary Cooper. How
do you like Gene's Chinese-y hair-do?
dramatic acting. These two girls put their
whole hearts in their work and we love it.
I recommend "The Hard Way" to all
movie fans. And I nominate Miss Lupino
for the 1943 Oscar.
FRED HALFMOON, Tulsa, Okla.
Soon I'll have a wealth of War Bonds !
How? Well, the movie-moguls won't like
it and it won't make music at the box-
office, but I've so wearied of the avalanche
of war pictures, that when the film-fare
is so laden, I stay home and buy War
Stamps, instead !
{Please turn to page 88)
We dedicate to tlie WAV
IRRESISTI
Today, it's your duty to look lovely! In the serv-
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a luscious, crushed strawberry shade is doing
its big bit for beauty! whip-text through a
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10* AT ALL 5 AND 10* STORES
TO STAY ON LONGER . . . S-M-O-O-T-H-E-R!
TOUCH OF IRRESISTIBLE PERFUME IS GOOD FOR THE EGO
SCREENLAND
15
DANCE of ROMANCE
First pictures of Fred Astaire and his new partner, Joan
Leslie, doing their ballroom number for "The Sky's The Limit"
"My Shining Hour" is the
new tune written by Har-
old Arlen and Johnny Mer-
cer for this new dance
team. It's a dreamy, se-
ductive waltz which you'll
be dancing to yourself!
16
Will eighteen-year-old Joan Leslie turn out to be an-
other Ginger Rogers? Fred says she is a remarkably
receptive dancing partner, and from her past perform-
ances she seems to show, like Ginger, great dramatic
talent as well as a flair for light comedy. In "The Sky's
The Limit" Joan has every chance to prove what she
can do, for Astaire, as always, shoves his leading lady
into the spotlight, even at the expense of his own close-
ups. These exclusive photos are by Fred Hendrickson.
17
NORSES AIDES
^REGISTER
DO YOUR BEST. . . AND
ON the production line, or
in the home, wherever you
serve, today you have an added
obligation to "Do your Best . . .
Be at your Best."
America needs you strong and
well. So don't neglect those daily
precautions so important for health
and well-being. Dress properly. Eat
protective foods. Get plenty of sleep.
Watch out for colds. Now, of all
times, it's your duty to care for
yourself . . . for your country!
Yes, America needs you healthy
. . . but she also needs you cheerful,
friendly, cooperative. So put on a smile
Cultivate old friends and make new
ones. Look your neatest! Be your
18
sweetest! Friendly ties will help keep
us all pulling together!
On the job, and in your relation-
ships with others, Do your Best . . .
Be at your Best.
111
Today, more than ever, it is impor-
tant to have always on hand a safe,
trustworthy antiseptic and germicide
for prompt use in the thousand
minor emergencies that continually
arise. As you undoubtedly know,
Listerine Antiseptic has stood pre-
eminent in the field of oral hygiene
for more than half a century.
/ / i
It is hardly necessary to add, that
with so many fastidious persons who
know the meaning of halitosis (bad
breath), Listerine Antiseptic is the
delightful precaution against offend-
ing this way when the condition is
not systemic. Listerine Antiseptic
quickly halts food fermentation in
the mouth, so often a cause of the
trouble.
Lambert Pharmacal Company
5/. Louis, Mo.
LISTERINE ANTISEPTIC /g* J^tene
SCREENLAND
HERE seems to be quite a bit of confusion over
I what a Pin-Up Girl really is. My family and friends.
even my studio, seem to be somewhat vague on the
)ject. Coming home from work earlier than usual the
er afternoon I heard my aunt discussing it over the
nias with several of the neighbors. "Betty has just
n elected the favorite Pin-Up Girl of the soldiers,"
said with evident pride — my family, I may say, is all
out for Grable — "No, I don't know what 'Pin-Up Girl'
ins exactly. I think it has something to do with under-
nings. In the studios, underpinnings are what they
legs, you know."
V few days after that I was having an ice cream soda,
:out ice cream, at the lunch counter on the 20th
ltury-Fox lot when I overheard two females at a
e back of me tearing me apart without too much
h-hush. "I don't think they're so hot, do you?" one
hem whispered to the other. "I mean her legs, of
rse, silly. She's just been voted the favorite Pin-Up
I of the soldiers. Huh, anybody can be a Pin-Up Girl
i has her picture taken in bathing suits all the time."
as just about to swing around on the counter stool
let her have it, when I remembered that my mother
brought me up better.
Pin-Up Girl, in case you don't know, is a girl whose
jre is cut out of magazines and pinned up by the
« in service. Sometimes they pin up the picture in
- barracks, sometimes in their mess hall, sometimes
he galley of their boat, (Please turn to page 67 )
r forthcoming 20th Century-Fox film, "Sweet Rosie O'Grady,"
is more alluring than ever, as she warbles in the bath-tub,
>f these pages, and teases Robert Young, in photo at right.
WITH
*XAPPEM-X-
THE trouble with songbirds, in general, is that
they are either centenarian or Wagnerian. Or
as homely as sin. Though personally I never
thought sin too unattractive. Not as unattractive as
a lot of warblers. But once in every lifetime there
comes along a canary who is young and pretty, whose
face looks freshly scrubbed, whose notes are as well-
rounded as her curves, and her curves plenty pleasing.
Janet Blair of Altoona, Pa., is the one in your life-
time. Lucky you.
Every time Janet plans something big and im-
portant in her life, those curves, which we'll now call
sex appeal whiie the Hays ofhce is out to lunch, get
in her way. Every time she starts to make her life
one of superb classical (Continued on page 70)
Janet, in New York for a benefit show., surrounded
by Boyer and the Ritz Bros. Lower left, she sings
to accompaniment of Private Louis Busch, her best
beau; audience, Ameche, Oalcie, studio workers.
Closeup of that
canary with curves,
Miss Janet Blair
By Liza
/"FORGET where you are ! Pretend you are singing
to me — that I'm the only one listening. And re-
member, no matter what happens I'm right here at your
elbow, backing you up every bit of the way."
(So Kay Kyser reassured the beauteous Georgia Car-
roll, twenty-three-year-old model whose face and figure
have graced more than one hundred magazine covers all
over the world. The tall languorous Southern beauty who
came to Hollywood merely to decorate the screen — yet
here she was stepping into the spotlight vacated by
Ginny Simms ! )
Georgia began to sing in that soft, low, rather husky
voice. The words Embraceable You came easily. She was
singing to Kay. The band was completely in accord. The
broadcast was originating from a Navy Base at San
By May Mann
Pedro Harbor, California. Kay followed Georgia's every
word. Was she making the grade ? Was she another Ginny
Simms ? She was half-way through the song. When sud-
denly . . . !
"I almost had apoplexy," Kay said. "Georgia sud-
denly stopped imagining. She suddenly realized she was
singing on 147 stations and being short-waved all over
the world with millions listening. She became aware of
that endless sea of faces tuned in — looking, listening.
She became panicky. She began to sway as though she
would topple over in a faint. I stood there behind her,
ready to catch her any minute. I was thinking fast —
how would I ad-lib?"
"I was simply scared to death," Georgia told me.
"Everything started going black. Suddenly I felt Kay's
Y
v.
I
il
A
I
hand reaching for mine. I felt the pressure
of his firm grip. I still couldn't hear the band,
but I kept singing — to Kay."
And it was over. Georgia Carroll was a hit !
Hollywood trade papers reported the new girl Kay
Kyser had signed to star with his band — in his movies,
on the radio, and at Army camps. "Georgia Carroll will
be given the same buildup that made Ginny Simms,"
itemed the reporters. "Gorgeous costuming, lessons in
singing, diction, dramatics for the Carroll beauty, under
the supervision of the Old Maestro."
Another Svengali and Trilby combination, of maestro
and star — endless grooming, training, minute details,
fabulous clothes, glamor pub- {Please turn to page 75)
Announcing — fhe new beauty in Kay
Kyser's band and heart: Georgia Carroll
/r
Portrait of Afixn Lamour
oy A. h. M'hitey Schajcr,
Paramount,
LAMOUR
Takes the Veil
CONTRARY to all rumors Dorothy Lamour — known
both as the Sarong Girl and Uncle Sam's Favorite
Niece — did not meet Captain William Ross Howard
III on a bond tour. This1 rumor, we suspect, was started
by Mr. Morgenthau as sort of bait to encourage other
glamor girls to go out on the- road and sell bonds. (As a
bond saleswoman Dottie rang up millions for her country.)
If it's bait he is, we may say that Captain Howard is the
best-looking bait that has been seen in these parts ever.
No wonder the glamorous ones took one good look at
Dottie's new mate and immediately phoned the Treasury
Department regarding tours of their own.
As a matter of fact, Dorothy did not meet her future
husband on any of her bond tours. Seven months ago,
however, when she had returned from a tour she felt tired
and bedraggled, and decided to rest up at Arrowhead
Springs, about three hours' drive from Hollywood, before
26
By
Liza
she started her next picture. There she was taking sun-
baths, drinking water, and getting eight hours' sleep,
when she received a phone call from the commanding
officer of an Army Base in nearby San Bernardino, ask-
ing her if she would come down to the base one evening
and entertain the boys. Dorothy said okay, she is not one
to turn down a request from the Army, Navy or Marines,
and the commanding officer said, "Fine, I'll assign a mem-
ber of my staff to bring you heYe." (Please turn to page 78)
WHY ABBOTT QUIT PICTURES
28
'URE it's hard to quit," Bud Abbott admitted. "But
Lou would do as much for me. We started together.
We'll finish together."
Three weeks before, Lou Costello, the short, stocky,
lovable partner of the nation's No. 1 box office champs,
had been suddenly stricken with a strange malady.
"Think I've got a char ley-horse
in my left leg," he said one night
as he dressed to go to the Holly-
wood Stadium fights.
The next morning, the other
leg stiffened. The doctor was sum-
moned. "Lou Costello is a victim
of infantile paralysis." the radio
said. The unconfirmed announce-
ment gave birth to terrifying ru-
mors. That Lou would never walk
again. That the team was split up.
That Abbott would carry on
alone.
Lou's mother, in New York,
greatly alarmed at the reports,
long-distanced Bud whom she
loves as a son. She asked for the
truth.
"Lou will be all right." Bud
told her over the wire. "It is not
paralysis — but rheumatic fever. In
its present form, traveling about
the body, it will not settle. The
doctors have successfully checked
it from reaching the heart. It is now a matter of complete
rest, time, and treatment. Lou will be around again in a
few months. We'll soon be working together just like
we always have."
On that first Thurday night, Lou listened in to the
Abbott and Costello broadcast. As
Bud signed off the air, instead of
his usual "Good night, folks," he
said, "Good night, Lou." The
radio audience heard his voice
choke on the last word.
Bud carried on alone for one
week. At the American Legion
Post, where he and Lou had been
scheduled to entertain, Bud said
simply and sincerely, "We will
never separate. Nothing can ever
I break up our act."
To his radio sponsors and to
the studios, who had lined up top
comedians to work with him, Bud
declined. "We made the grade to-
gether. Now we're laying off to-
gether."
Bud's loyalty and devotion to
Lou, personally, is understand-
able. But professionally it is rare
if not unparalleled in Hollywood.
Rivalry and jealousy are human
ai.d not uncommon in comic
Photos on this page show Abbott and Costello with
Lou's family; Bud with Mrs. Abbott; Lou with Lou, Jr.;
the team, right, honored by Lt. Col. Jesse J. France
at Fort MacArthur, Calif., as "unexcelled morale-
builders"; and, right below, Lou with his pretty wife.
FOR COSTELLO
teams. Several such teams have reached stardom, only to
split up. Oliver Hardy and Stan Laurel separated at the
zenith of their career. But they discovered professionally
that one couldn't get along without the other. Clark and
McCullough. a standard comic act on Broadway, split
because one complained that the other hogged all the
credit. The other ate his heart out — which led to ultimate
suicide of their act.
Bob Hope, Red Skelton, Dorothy Lamour, the Great
Gildersleeve, Bert Lahr were among the top names men-
tioned to continue with Bud for the run of the Abbott
and Costello contract which has seven years to go. Bud
persuaded Metro-Goldwyn-Mayer to shelve their new-
picture "for a while until Lou can make it."
Bud spends as much time with Lou as the doctor and
nurse permit. It is Bud's encouragement, his deep and
abiding faith in Lou's recovery that has bolstered Lou's
morale. That is giving him the strength to make what is
hoped will be a rapid recovery.
"Lou, I don't think or feel right, going on alone, unless
you feel it best "for all concerned,'' Bud told Lou at the
beginning.
Two weeks later he said, "As partners we've come
a long way together. We'll go out the same way. I've told
them I'm laying off as long as you are, Lou. But you've
got to back me up. The studio {Please turn to page 82)
"Nothing can ever break up the act of Abbott and Costello," says Bud Abbott.
"We made the grade together, now we're laying off together until Lou is well!"
29
She's the most
criticized star in
all Hollywood! Yet
a man who knows
her well comes to
her defense so
convincingly that
there may be a
decided change of
opinion about
Jean Arthur. Read
what John Wayne
says and then see
what YOU think
In scene, right, from new
picture, "A Lady Takes A
Chance," John Wayne dis-
poses of Don Costello as
Jean Arthur registers that
frightened-heroine expression.
The film is produced by Frank
Ross, Jean's husband, and
released by RKO Radio.
ABOUT five years ago, the Tom
/-A Lewises (Loretta Young and
/ \her husband) invited me to
attend one of the Little Club parties
given by the ultra-swank Mayfair
group. It was an affair for the Holly-
wood elite, the social register as it
were. I was looking around the place
when I happened to see a famous
actress standing in a corner talking
to some people.
"Isn't that Jean Arthur?" I asked
Tom. He nodded. "But I thought
she didn't come to these Hollywood
parties. I was sure I'd never see her
here."
"This is one of her rare appear-
ances," Tom replied. "Want to meet
her?"
'When you say that, smile!" Here's how John Wayne would
I can't say that I was anxious to
meet her. I'd heard so many Holly-
wood tales about her aloofness, her
reserve, her coldness. And since I
like people who don't go mysterious
on me, I didn't think Jean Arthur
and I would have much in common.
- The next thing I knew, I heard
Tom saying, "Miss Arthur, may I
present John Wayne?"
She smiled pleasantly, said, "How
do you do," and I mumbled something
or other.
We talked a little and then I left.
I remember two very definite impres-
sions of her: (1) she was one of the
most natural, unaffected persons I'd
ever met; (2) even though she was a
little shy, she had a definite sense of
humor. It was the kind of humor that
made you think she could laugh easily
at herself.
I met her again a short time later,
and this time we had quite a conver-
sation. I was a little bowled over by
that talk of ours. Not once did she
go in for the small chit-chat. She was
up on everything and could talk on
any subject intelligently. Before long,
I was dragging far behind trying to
keep up with her.
That second meeting made me
realize why part of Hollywood is so
anti-Arthur: She is just too normal.
The natives here aren't hep to anyone
who is consistently normal.
Whenever I have seen Jean out
socially. I have never heard her talk
about pictures to the exclusion of
everything else. "I" is scarce in her
conversation. To gossip is not part of
her nature. She's the kind of person
who goes quietly about her business
to such an (Please turn to page 84 )
AS I KNOW HER
[ As told to Jack Holland]
Wayne is a straightforward,
hard-hitting fellow, and he
pulls no punches in this ex-
clusive article, the best im-
pression of the aloof Miss
Arthur we've ever read.
Top right, a more placid
scene from their new movie.
wallop anyone who said a word against Jean Arthur!
31
Lt. Ronald Reagan and Corp. Craig Stevens
between scenes of Irving Berlin's big show,
"This Is The Army," which is being pro-
duced for the screen by Warner Bros.
.1 *«rv»n9
< 1 X'
1 1 •
CAROLE LANDIS
(Note: In some instances, exact dates and localities
cannot be given for obvious military reasons. Other-
wise, this diary is completely authentic. C. L.)
Oct. 17: I'm thrilled beyond words! Today,
at two o'clock, I got word that I would be able
to make the trip to England to entertain our
boys. Ever since September, 1941, I had been
wanting to go overseas. The desire was an
obsession with me. I don't know what it was
that made me feel that I had to go. I only
knew I had to make the trip.
It looked for a while as though I. wouldn't
be through with my last picture in time to go.
Everything went wrong. I had practically given
up all hope, and I was heartsick. Only mother
kept on insisting that I'd make it. She had
As told to
Kirk
Dorrell
Carole, her new
husband, Ca pt.
Wallace, and maid
of honor Mitzi
Mayfair immedi-
ately after cere-
mony in London,
January 5, 1943.
Kay Francis and Carole Landis
give their autographs at unnamed
American Army base in England.
Martha Raye, Miss Landis,
Miss Francis doing their
stuff for the soldiers.
Intimate report of Carole Landis' thrilling experiences entertaining
our soldiers at American Army bases in England and Africa!
Pages from a movie star's personal diary, written while on her morale-building tour
The girl* in Africa, with the beys in the
chow line. Carole 'i next film for 20th Cen-
tury-Fox it "Winter Time," with Sonja Henie.
Carole, Kay, and Martha Raye along torn*
road in Africa. Mitzi Mayfair took this pic-
ture. Note the road sign and native with fez.
even packed my bags. And now there's no more uncer-
tainty. I'm going !
Only had four hours to do my shopping as the plane
was to leave at six for New York. Dashed over to Saks
in Beverly Hills to get some woolen underwear and a
trench coat. When I walked into the store, I was told
that they had received a shipment of woolies only an
hour before — and it was the first time in their history
they had ever carried them. After weighing and re-
packing my baggage so it wouldn't exceed the allotted
fifty pounds, I made the plane with only a few minutes
to spare.
Oct. 19: Met the rest of the troupe — Kay Francis,
Mitzi Mayfair, and Martha Raye, in New York. Our
departure has been delayed, so we're beginning to re-
hearse our show, make transcriptions. Can't tell our
friends when we are leaving. It's a military secret. I had
told mother before I left that I would send a wire signed,
"Your darling daughter." Then she would know I had
actually left for abroad.
Oct. (?): We left New York today ! Our first stop is
Bermuda. We had to fill out the usual forms on the way.
Mitzi, Kay, Martha, and I filled out, "Transient." When
we landed, though, the officials said we were wrong. We
weren't transient. We were to stay in Bermuda, they said.
We argued that we were going to England and that it
was another troupe on the same plane who were staying.
But they insisted. We stayed in Bermuda. We're very
upset about this and can't imagine how it all happened.
Next day: Did a show today. {Continued on page 60)
Above, taken in Ireland, where American Army officers entertained
the girls with the best meal the Emerald Isle afforded, and Colonel
Wm. Rollo gave each a priceless present — 18 eggs! Left below,
the girls take part in the distribution of mail from home. Below,
Carole singing for the boys. You'll be seeing Carole in "Four
Jills in a Jeep," 20th Century-Fox's fictional version of her war tour.
As told to
Gladys Hall
MEN : They are divine creatures. At their worst,
they are so nice, aren't they ? And women in
love with men — they, too, are divine. I believe
love makes a woman beautiful. It makes her exciting;
makes her good, too, and kind. A woman happy in love
is the kindest person in the world. A little vague, perhaps,
but sweet and kind.
What do I expect of a man ? I expect him to be always
romantic. I want him always to remember to be romantic
and sweet with me. I expect him to be very flattering, and
to send flowers. If he can afford them, I like him to give
me nice presents. I do not expect anything from a man
he cannot give. But always, when a man is in love with
you, he wants to give to you.
Like Jean Pierre Aumont. He knows how to treat a
woman. If he knows you like white flowers, as I like
them, he sends you, not like everyone does, a box, a
bouquet, but boxes and boxes, gardens and gardens of
white flowers until you swoon in them, drown in them.
He does fantastic things,, fabulous things. He makes a
woman feel very desirable, and very beautiful. He knows
there is no gift of Cartier to compare with these. Always
he is- devoted when he goes out with you, and neveHooks~
at another woman. The little, flattering things, all of them
he does for you. You know it is flattery. It is, at the same
time, very nice.
I married when I was very young. My marriage lasted
for a year and a half. Then I came over here, to New
York. I had decided, one day, it just would not do. It
was not his fault. He was a charming, sweet person. It
was just that we were unsuited to one another. The little,
important, romantic things which mean so much to me,
were missing.
I am gay. Not only in my heart, but in my nature.
I want to play gay, sparkling parts on the screen because
I am like that. It is very difficult for me to be quiet, I am
like this, always going. But temperamental ? No! If any-
one is rude to me, then I get temperamental and walk
out. But I never lose my temper without reason, or unless
I am taxed to the limit. I know this because I try to un-
derstand myself, I am very deep in psychology, I study
MAKE-BELIEVE LOVE ♦
The exotic Maria reveals, with startling
frankness, the state of her mind and heart
a great deal. I read everything from Plato to Swedenborg.
But let me pick up the thread of my thought again.
Men, yes. I expect from a man in love with me fidelity
and concentration. But not to change his personality ; not
to NOT notice other women. For when he does rove his
eye, then he can compare me. It is like a challenge. I like
a challenge. I am always at my wittiest and best when
there are beautiful women present, like Ingrid Bergman,
Paulette Goddard, Hedy Lamarr.
I do not expect the man I love to spend all his time
with me — he must have great enthusiasms and his own
interests. But I want reminders that, no matter what he
is doing, he does not leave me altogether out of his
thoughts. Or perhaps I want him to think that I am with
him, like a pervasive perfume he cannot quite, and does
not want to quite escape. Like Jean Pierre.
And he is sweet. He is very charming. He has solici-
tude. If I forget my vitamin pills, he worries about that.
So he sends me a little trinket, (Please turn to page 86)
In "White Savage" Miss Montez has another smouldering, romantic
role. At left, a love scene with Jon Hall. Below, Maria with Pierre
Aumont, her real-life "heart," at El Morocco on New York vacation.
THE REAL THING? t
g Nips,
geanf Bill
buddy
.They
nt: stop-
idvancc.
IT S TIME TO GET
You can never call Bob Taylor a
"Glamor Boy" again! Last movie
role for duration shows him as a
tough sergeant in "Bataan's Last
Stand," holding his own in a hard-
bitten all-male cast. Recently com-
missioned a lieutenant, j.g., USNR,
Taylor hopes to be made a
Ferry Command pilot. Good luck
to a fine actor and a real man!
Up and at 'em! M-G-M's wartime epic, "Bataan's Last
Stand," pictures a doomed Yank patrol in the Philip-
pines. Actors in scene at right include George Murphy,
Lee Bowman, Thomas Mitchell, Taylor, and Lloyd Nolan.
38
Tracy
without
Hepburn
JOHN SUTTON'S
TECHNIQUE
When bis wife saw one of John's love
scenes she said, "Don't tell me you
didn't like that!" and he replied. "Of
course I did, I enjoyed every minute
of it." P. S. They're still married
By Maude Cheatham
AS JOHN SUTTON came toward me, I could feel
J~\ the stir this handsome Englishman was creating.
/ \ All eyes followed him through the crowded studio
Cafe de Paris. Apparently unaware of the interest he was
exciting, he slipped quietly into a chair at the table where
I was waiting.
"I was afraid you wouldn't speak to me," he said,
flashing a contagious grin as he fingered the sprouting
side burns that decorated his face. "For 'Jane Eyre,' you
know," he explained. Then added, "The screen occasion-
ally demands its pound of flesh. Side burns, my word !
That's a heavy pound."
John is easy to talk to and by the time we had ordered
luncheon, we were fully launched into the subject of love
— on and off the screen.
"Love scenes," he was saying, "are just part of our
movie job — but a very nice part. They seem to require
more retakes than any other because they are important
in the upbuilding of the drama and the director himself
must feel the impact of emotions being projected by his
players. He keeps at it until he gets this high-tension
emotional response, even if it takes all day. But don't get
me wrong — I like retakes ! Why shouldn't I ? Consider
the charming girls I've made love to, cinematically — Betty
Grable, Annabella, Rita Hayworth, Gene Tierney, Lynn
Bari, Nancy Kelly, Maureen O'Hara, Nan Gray — a list
of adorables that would please any man.
"Love scenes are usually the crux of the drama and
offer wonderful opportunities for an actor, and the
warmth of these scenes depends on the type and setting
of the story, and also on the temperament of the two
involved in the romance. Personally, I believe that deep
emotions are restrained, and a scene of terrific power can
be built up by repression, the suggestion of fire and flame
— held in check. This is more effective than the obvious
and exaggerated emotional expressions.
"My technique?" John repeated the question. "Who
knows the right technique for romance ? I don't even stop
to analyze when I'm making love. Usually, we have
worked up to this scene and we are already swept by the
breath of illusion until it now seems reality. Having
absorbed the mood of the drama, I endow the heroine with
the love-qualities demanded for this particular situation.
Then, I plunge in.
"You see," he added mockingly, "I'm not really an
actor. An actor is one who simulates emotions. He care-
fully charts each feeling, then acts it out — per rule. I can't
do that. I must believe what I'm doing, actually feci
the emotions I am portraying.
"Romance is intriguing material for the author and
a well-written love scene can cast a spell of enchantment
over the players. Always, too, the approach to a romantic
scene is important, for it sets the tempo for all that fol-
lows, be it the thrill of gunpowder or a lyrical burning
of incense. An actor's emotions must be pliant, ready to
flow into any mold required for the scene.
"To create the illusion of love," John was warming to
the subject, "one must stimulate that feeling through the
imagination. So I'd say the best way to play a love scene
convincingly is to imagine yourself in love with the girl
in the drama, to experience, for the time being, all the
exquisite joy and torture that real love brings.— Love and
passion must be projected (Continued on Page 87 )
Treat for music lovers! Jose
Iturbi, eminent conductor-pian-
ist, makes screen debut in "As
Thousands Cheer," with Kathryn
Grayson. The role he plays is
that of himseJf, conducting a
symphony orchestra in several
selections and playing a solo
Iturbi in Technicolor! The famed musician
makes his movie bow in blaze of glory, and his
concert and radio followers will find M-G-M's
motion picture, "As Thousands Cheer," an in-
teresting departure for this colorful personality.
45
EYRE COMES BACK!
Here she is again, that hard-
luck heroine of the great
Bronte melodrama, your old
friend Jane, in the person of
Joan Fontaine. With Orson
Welles as Rochester and little
Margaret O'Brien as Adele,
David Selznick has fashioned
a super-duper screen thriller
Photos by
20th Century-Fox
In what may be his lost picture tor the duration of the
war, Orson Welles has a juicy role which he plays with
his customary gusto. Miss Fontaine is the ideal selection
for gentle, tormented Jane — and the baby tear-jerker,
Margaret, will delight you in her first costume character.
47
THE DOGS
Ann Sothern starts some-
thing! In her role of "Swing
Shift Maisie" she has to learn
to be an animal trainer, as-
sisted by James Craig. Meet
Maisie's educated mutts!
It's a dog's life, if
you ask "Butch,"
one of Ann Soth-
ern's trained ca-
nines in her new
picture. "Butch1
gets his "4-F"
classification be-
cause of his
very short legs
That Crawford Character
Handsome hardy perennial of Hollywood stars, judicious Joan is envy of younger
actresses who lack her stamina and stick-to-itiveness. Her latest coup is priie role in
"Above Suspicion," with Fred M acMurray. Her private life, happy as Phil Terry's wife
Movie beauties soak up the California sunshine and
show off their gayest play clothes at the same time
Facing page, lovely Linda Darnell poses
in an exotic print. Dolores Moran looks
saucy in her tuffied hat and dirndl. On
this page, Esther Williams, far right,
models her favorite swim suit, Dottie
Lamour wears practical but pretty shorts
and bright plaid shirt — and see her play
shoes; while Anne Gwynne, top above,
prefers white midriff play suit, and new-
comer Shirley Patterson, above, selects a
multi-colored, brief skirt and "bra" top.
mm
5j
RIGHT FACE
FOR YOUR
SUMMER
With lots
of cream
and care-
ful use of
a lipstick,
your face
can keep
soft charm
all sum-
mer. So ex-
plains Lu-
cille Ball.
By Josephine Felts
KEEPING your skin lovely in summer is very much
a matter of how you begin. Don't let the sun get
ahead of you for it is hard to catch up ! It is usually
much easier to take your troubles now than later.
Pretty Anne Gwynne, whom you see below getting
ready for her daily sun bath, has some definite ideas on
the subject of that right look for summer. She says:
Don't tan too fast. It is better to be careful than to tan
in haste and repent at leisure. Get out of the sun before
things have gone too far !
Protect your hair in the sun.
Don't neglect your figure — get a little exercise every
day to be lithe and limber so that summer sports won't
end in stiff muscles.
Don't copy someone else's make-up coloring. Be vour-
self.
Don't wear too dark a powder. The best ones now
have a rosy rather than a tan undertone.
We like her philosophy very much. It all sounds com-
mon sense and practical. We like too the way she looks
from taking her own advice. Don't you ?
If and when the time comes for you to take that
refreshing vacation out in the sun (we probably won't
You'll be seeing Anne
Gwynne soon in the new
motion picture, "We've
Never Been Licked."
Here Anne demonstrates
for you her secret of
getting a lovely tan
for a pleasant summer.
GUIDE TO GLAMOR
Here are new Beauty Tricks, especially designed,
easy for you to use yourself in your own home
"Evening in Paris," that glamorous Face Powder which helps so many girls to
flawless make up, has added charm, fragrance of "Evening in Paris" perfume.
but we like to think about it!) take your
sunburn precautions ahead of time. Every
moment counts more these days whether
for work or pleasure, so refuse to let any-
thing as painful as sunburn spoil your holi-
day or lessen your efficiency later on the
job. The sun is a great restorer and you
will come back to work with more vim, for
having had that brief refresher course out
of doors, if you have protected your skin
to begin with.
The first time you go out in your bathing
or sun suit, take your sunlight straight for
a few moments on an unprotected skin. Just
long enough to get that warm, tingling sen-
sation and the least bit of a pink glow.
Then spread on your sunburn preventive.
Select this preparation with care from the
many good ones and then, like Anne, make
it your boon companion out of doors. A
lovely smooth tan is her reward as it will
be yours.
Back in the days — remember ? — when you
had a long lazy summer before you, you
could spend all the time you wanted to,
acquiring a tan. This made it easy, for if
you tan gradually enough and expose your
skin to the sun's rays for a short time each
day, nature helps do the trick. Your skin
develops its own immunity. But such times
are gone for all of us for the duration and
we want to get in shape quickly to enjoy
the time we have in the sun.
So if you use this "straight sunlight" trick
for a few minutes before you put on your
cream or oil, you will find that in the end
not only will you have a lovelier sun-toned
skin, but will have it more quickly. Tiny
pigment cells gather in the skin from the
sunlight and are a natural protection. This
is why, as your tan deepens, you need less
and less protection. Under the sunburn pre-
ventives, tanning usually continues but it
is slowed up because so much of the sun
is reflected or absorbed and so doesn't hurt
you.
If you are going stockingless, whether
from convenience or just because you like
it, try getting out in your backyard or up on
your roof or wherever you go for sunshine
and lie with your legs in the sun a little
while each day. Spreading sun tan oil on
them will help them tan more quickly. Then
when you come to put on your stocking
lotion you will have a good brown start,
and the lotion will give your legs even more
of that sculptured, well groomed look.
Many of you write to ask me how to
change your make-up for summer and for
times like these. First of all, good taste
today calls for conservative make-up. To
look garish or exotic while everyone is so
busy is as out of place as to wear an evening
dress in an airplane factory.
Save time in applying all your good
grooming aids. Learn and use all the short
cuts so as not to be bothered repairing
your face every so often. There are good
foundations which, applied according to di-
rections, will last the greater part of a day.
If you are skilful, a good make-up should
take you only a few minutes to apply.
For instance, put your lipstick on per-
fectly dry lips in the morning. Use it fairly
heavily in a carefully well marked curve
as Lucille Ball shows you on page 54. If
you have a lipstick brush and can put your
lip rouge on with it at home, so much the
better for a long-lasting job. Let the color
"set" while you are doing your hair or your
nails. Then when you powder, dust your
lips with powder lightly. This sets the color
still further, making it last longer. Then,
after you have finished your other good
grooming chores, blot off the excess lipstick
with tissue and add just a touch of fresh
color on top. You will find that the color
thus put on will last an amazingly long time.
Of course to say that you should make-
up at any time to look anything but your-
self is nonsense, but the right summer
(Please turn to page 81)
IADY, you are being serenaded! Bourjois
l— presents a "Serenade to You," Evening
in Paris Perfume, with Evening in Paris
Face Powder. The powder has all the fine
qualities of a good face powder — it is fine
textured and clinging, it gives the illusion
of transparency to your skin. Then, it
matches the perfume not only in name but
in fragrance as well. Yes — this face powder
has the delightful fragrance of the perfume
you love so much, the light gay essence of
a spring evening in the city that once was
the center of the world's gaiety. In the
powder you have your choice of six shades,
to suit both fair and sun-tanned.
DO YOU wash your own hair at home?
Then look into this little matter of Halo,
that wonderful, soapless shampoo that can
simplify your hair problems. For Halo
leaves your hair so clean and shining that
it is a pleasure to use. Here, you'll say to
yourself, is a shampoo that is a real beauty
treatment. Halo contains, they tell us, a
new type of patented ingredient which
brings up oceans of lather on the slightest
provocation even in hard water. It is easy,
with Halo, to be sure both that your scalp
is clean and that your hair is bright.
PERHAPS you have never considered
your feet a beauty problem. But you well
know what an unhappy look foot discom-
fort can put on a face. If your feet arc
tender and sensitive these warm summer
days, massage them in the evening with Dr.
Scholl's Foot Balm. It helps counteract
irritation and do away with muscular sore-
ness and that burning sensation most of us
walkers-and-workers know only too well.
ONE solution to Summer's most distress-
ing beauty problem is Arrid, the
greaseless, stainless cream deodorant that
actually stops perspiration from one to
three days. We find it keeps underarms as
dry as a desert ! It saves your dresses too,
and these days a dress saved is, like the
penny of old, a dress earned. Arrid is easy
to apply and this is a great advantage
when you try to sell the man in your family
(the man who doesn't like any fuss) — on
using a deodorant cream both to save his
coat and your feelings.
HAND neglect is a fifth column gesture,
say the personnel experts. When hands
have a bad case of dirt and grease to deal
with, here comes Cutex Hand Cream to the
rescue. Wash them first, then massage them
with this hand cream. See how the grime
rolls away ! Cutex Hand Cream is a rich
whipped-up confection which smooths in
well because of its creamy texture.
Halo, the soapless shampoo that does such For your double life! Wear Cutex On-Duty
pleasant wonders for your hair in summer. polish for work, Off-Duty shade for play.
HERE'S
"pATIONING has certainly changed things," says Bob Hope.
"I walked into my own pantry the other night and it was
positively uncanny !"
WITH the news that Bette Davis' contract has less than two
years to run, Warner Bros, has announced that Ida Lupino
has been signed to a terrific new deal. No longer will Ida share
her contract with 20th. Her new Warner arrangement calls for
her exclusive services for the next ten years. Options being taken
up and, of course, happy working conditions provided. Does this
mean that Bette has signified her intention of not re-signing? We
know she is very tired and would like to make fewer pictures
per year. Evidently, something's in the air.-
IMAGINE how Spencer Tracy felt when he learned how Van
I Johnson met with his terrible automobile accident. Van, who
is a terrific Tracy fan, was on his way back to the studio to see
a special showing of "Keeper Of The Flame." Van, who was also
working with Spence at the time, had seen the picture twice
before. When he learned of the head-on collision, Spence raced
to the hospital and offered his blood. It may be months before
Van is well again. His terrific courage through brain surgery
is what saved him.
PRIVATE TYRONE POWER is going to be Lieutenant Power,
• if he has anything to say about it. He has left for Quantico,
Virginia, to attend Officer Candidate School. This means he
won't be seeing Annabella on week-end leaves. Like every other
wife, she put up a bold front and encouraged Ty to take the step.
FOR years Julie Bishop was just another featured player on the
Warner lot. No one was much interested until Errol Flynn
gave her a big rush. They met for the first time when both were
sent to Mexico to attend the premiere of "Yankee Doodle Dandy."
Right away the studio, sensing a romance, tested Julie for Errol's
next picture. She was so darned good that, instead of leading
lady, they made her Errol's co-star in "To The Last Man."
A LITTLE thing like distance didn't prevent John Payne from
getting back to Hollywood on his first leave. John drove all
the way back from Arizona on his motorcycle ! First person he
went to see was his ex-wife, Anne Shirley. But imagine John's
shock when he rang the bell and Betty Furness opened the door.
It seems that Anne was visiting Marsha Hunt and suddenly
broke out with the measles. So she couldn't return home and
carry the germ to her own baby, or to Betty and her baby, who
were Anne's house guests. Kinda sounds like a plot for a Lubitsch
picture, doesn't it?
Chief Petty Officer Rudy Vallee arriving at Ciro's with his pretty
date, Ann Fredericks. Lucky Dennis Day with two popular Holly-
wood beauties — Hedy Lamarr and Janet Blair; and Hedy hav-
ing a bit of fun while Capt. Meredith Wilson conducts Dennis,
Victor Moore and William Gaxton at a Command Performance.
HOLLYWOOD
Gossip by Weston East
Candids by Jean Duval
THIS actually happened to Janet Gaynor recently. She had been
wanting to order several new dresses for sometime. Adrian,
her husband, was so busy in his shop he just couldn't make them.
Recently they went to New York. In Chicago, Janet did a bit of
shopping. In one of the smartest stores there she found Adrian's
complete line. So she bought herself a few little numbers !
A PERSONAL plea to Lana Turner:. "You and Steve Crane
have remarried. You're expecting a baby in July. You say
you are very much in love. That you have never been happier.
M-G-M has forgiven you and awaits you w*ith open arms. What
more can you possibly want? Dear Lana, please relax at least
until the war is over. Our nerves are on edge enough as it is."
THE reviews on "The Outlaw" didn't make Jane Russell very'
happy. However, her marriage to Bob Waterfield will more
than make up for it. Jane, whose "features" have made her a
famous "Pin-Up Girl," has been going with the handsome
U.C.L.A. quarterback for over four years. She had a luke-warm
romance with John Payne that didn't last. They say that Jane's
discoverer, Howard Hughes, who has invested a fortune in Janie's
possibilities, wasn't too pleased at the news. But what could he do
— nothing ! He did just that.
USUALLY calm and collected, Hollywood stars were positively-
quaking at the pageant held in the Bowl for Madame Chiang
Kai-shek. In alphabetical order, they marched in twos down a
long ramp that led out to the huge amphi-theater. Judy Garland
could hardly make it, she was so nervous. Both admirable and
amusing were Lana Turner, Joan Bennett and Rosalind Russell.
All three, who are expecting babies, marched out carrying folded
fur coats in front of them! It was a great day for the magnificent
Missimo, and for Hollywood.
AH, these Hollywood fathers ! Franchot Tone bought out Ray
i Milland's workshop, so he could make all the furniture for
the new Tone nursery. Franchot, who has always wanted a son,
can hardly wait for the great moment. He's so excited at the
possibility, every week he gives his lovely wife some beautiful
present. Well, it won't be long now.
NOW that the picture is finished, those closely associated with
it admit that Claudette Colbert and Paulette Goddard didn't
exactly adore each other. There were no fireworks. But the girls
didn't share one soda with two straws. Quite innocently for was
it?) a local columnist wrote about Claudette Goddard. That must
have pleased the girls !
Lonesome-for-Grable Raft, with Lynn Bari and father-to-be
Franchot Tone as they appeared at a recent broadcast. Right,
from top: Newlyweds Pat Dane and Tommy Dorsey; Patricia
Morison with Wynn Rocamora at Mocambo; Kenny Baker, Judy
Two top crooners —
Dinah Shore and
BIng Crosby — get to-
gether for a rehear-
sal while awaiting
their torn on Com-
mand Performance,
air show which is
shortwaved to our
boys over se as.
Carried away by the
romantic atmosphere
at Dorothy Lamour's
wedding reception,
Harry Crocker '"pro-
posed" to Betty Hut-
ton. No, the Blonde
Bombshell didn't ac-
cept. It was all in fun.
THE George Murphys are hoping the stork will cooperate with
them and send little Dennis Michael a baby sister. If Dennis
gets a sister next October, her name will either be Georgette,
Georgina, or Georgianna. Big Murph couldn't be more excited.
NO ONE could have been more stunned at the death of Conrad
Veidt than the Paul Henreids, Hedy Lamarr and John Loder.
They had all been together the night before. "Connie" was in ex-
cellent spirits. The next day he died of a heart attack on the
golf course. Surprisingly enough, it was Marlene Dietrich who
really went to pieces at his funeral. Not many knew about the
wonderful Veidt humor. All were aware of his charm. He is a
great loss to the industry.
HOLLYWOOD was shocked at the appearance of Lieutenant
Commander Robert Montgomery. He arrived home suffering
from the effects of tropical fever. In two years' time Bob had
greyed, paled, and lost twenty-two pounds. After thirty days'
leave, he once more leaves his wife and family for active duty.
CONNIE MOORE and Johnny Maschio have decided that
their marriage is worth trying to save. So they've leased
Rosalind Russell's house on Elm Drive in Beverly Hills. Holly-
wood is hoping that these two nice people stay married, to each
other.
ERROL FLYNN is now a free man. Lili Damita received her
final decree on the first of April, this year. Thus ends one of
the most tempestuous marriages Hollywood has ever known. If
you can believe Errol, he's going to remain single until he's old
enough to replace Lewis Stone in the Judge Hardy parts.
MOTHERS, sisters, and sweethearts all over the United States
are very grateful to Martha Raye. She brought back hun-
dreds of letters written by the boys overseas and mailed them
all in this country. Not only this, but wherever she could, Martha
called up and delivered messages to loved ones in person.
HAPPIEST autograph Joe E. Brown ever gave was the one
he painted on a 1000 pound bomb at a New Guinea air field.
Joe has been visiting United States bases to entertain the soldiers.
On the bomb he wrote, "To Tojo, from Joe."
59
WHEN
COWBOYS
MEET!
Carole Landis' War Diary
Continued from poge 35
Kay was our very capable mistress of
ceremonies, Mitzi danced and beautifully,
Martha did her inimitable stuff, and I did
some patter and four songs. Kay also did
a number called, Baby, That's A Wolf.
During Mitzi's act, an amusing incident
occurred. She and the musicians hadn't had
time to rehearse much and her dance con-
sequently didn't go so well. To pick things
up, she decided to do a jitterbug number.
She asked for a volunteer partner from
the soldier audience. At the end of the
dance, she put him on her shoulders and
carried him off. It was a riot. So good
we're keeping it in the show.
Oct. (?): Three more shows today. Had
a grand time lunching with the soldiers,
talking to them. There are a good many
British negro soldiers here, too. They're
all a fine bunch of boys. I'm too tired to
write any more.
Next day : We did our show today in
the rain. In fact, it's rained almost every
day here. None of us wore coats either.
We just stood and got soaked.
Sometime later : During the past nine
days we have done 20 shows, all running
an 1 jr. Left Bermuda today. And we have
just learned our stay in Bermuda was all
pre-arranged ! I've lost my voice and so
has Kay. We stopped next at a very lovely
place. We had to stay overnight because
of unfavorable weather. They had a festival
here tonight and Mitzi and I stayed until
the wee sma' hours. We sang and danced
for them and we even participated in their
dances. They were pleased and begged us
to return one day.
Later: Arrived in Lisbon. Nothing ex-
citing happened except that we insulted
two Germans without being aware of it.
We were talking about what we would do
if we saw a Hun. We weren't very com-
plimentary. Just then, two men got up
and walked out. The waiter at the Aviz
60
Hotel where we were dining came over
and said, "Those were two Nazis." We felt
very pleased with ourselves.
Nov. (?): Arrived in England. We got
our first sight of a bombed city — and it
was unbelievable. Terrible ! It was dusk
and the ruins looked like skeletons rising
out of gray nothingness. This place has
taken a terrible beating. It was late at
night when we arrived in London. I have
never seen anything as black as London
in a blackout. I'm not exaggerating when
I say it's almost impossible to see a person
standing next to you. We got into a car.
The man who drove us to the hotel didn't
seem worried about the blackout. I have
never had a faster ride and, frankly, I
was scared stiff. I can't imagine how he
knew where he was' going.
We arrived at the Savoy Hotel. Had
sandwiches, got our instructions from the
Army officers, and now — gratefully — I am
in bed.T have never been so completely ex-
hausted. Yet I can't sleep. I'm too excited.
I keep wondering if there will be a raid
tonight. It's strange the way I feel. I don't
want anyone to get hurt or anything to be
bombed, but I want the experience of being
in a raid. Mitzi feels the same way. She
rooms with me.
Nov. (?): We had planned on seeing
the sights in London today, but when we
woke up, there was a terrific fog. I'd
heard about London fogs, but this was
more than I had ever expected. It was so
thick it came into the hotel and even into
our rooms. It wasn't clean, either. It was
dirty and heavy. When we were told that
it was unusual, we smiled to ourselves and
thought of the California weather and our
natives saying, "Oh, this is unusual
weather." But later we discovered in the
papers that it was the worst fog in over
200 years. Since it was impossible to travel,
we lounged around the hotel.
A couple of Air Corps officers stopped
Mitzi and me and asked us if we were
"short-snorters." That's a term applied to
anyone who has flown over the Atlantic or
Pacific. Each "short-snorter" must carry
a dollar bill signed by two other "short-
snorters." If he's caught without the bill,
he has to pay a dollar or treat the other
"short-snorters" to drinks. Luckily, we were
members and had our bills. We signed the
officers'. Their names are Major Jim Wil-
son and Captain Mack McKay, two swell
chaps.
Nov. 12: Jim and Jack took us all around
London today. What a thrill ! Westminster
Abbey, Waterloo Bridge, Tower of London,
Buckingham Palace, Hyde Park — and then
to the bombed section of the city. Never,
never can I forget what I saw. You read
about bombed cities, you see newsreels, but
until you actually see what has happened
for yourself, you simply cannot imagine
the reality of the thing. Beautiful St. Paul's
Cathedral — probably the most beautiful
sight in London — was partly blown up. And
then I saw something that will be engraved
on my mind for the rest of my life. A large
cross inside the bombed part of the Cathe-
dral stood proudly and alone and unharmed.
And yet, all around it for blocks and blocks
were nothing but leveled buildings, desola-
tion, mute evidences of human tragedy.
That cross was like a beacon to heaven.
A reminder to us all that Christianity can
never die. A symbol of the faith for which
we are all fighting. It was indestructible
The cold was terrific. I began to feel
numb and I ached all over. Of course, it was
my own fault. I didn't put on my woolies.
When I got back to the hotel, I put them
on quickly. I felt so silly in them. I had
never worn them before in my life, so I
was sure that everyone was pointing to
me and saying, "There goes a girl wearing
woolies." As I left the hotel, there were
more children waiting for autographs.
Adults never seem to ask for autographs
here in England.
Nov. 13: We have made up our minds —
the four of us! We must go to Africa
before we go back honje. Ever since our
Pictures you never
thought you'd see:
those two great
rival cowboy stars,
Gene Autry and Roy
Rogers, together!
Facing page, Sgt.
Autry and Rogers
with Tommy Master-
son, youngest radio
announcer in the na-
tion, at Station
KTSA, San Antonio,
Texas. Right, Repub-
lic Pictures' pride
and joy, Roy, doffs
his sombrero to Col.
U. S. Nairn, Com-
manding Officer of
6th Training Camp,
Col. Charles H. Tips,
Post Commandant,
Col. H. N. Herriclt,
In charge of anti-
aircraft training,
Camp Wallace,
Houston, Texas.
boys landed there, we knew we had to
make the trip. We have asked about our
chances of going to Africa and we have
been informed that they are slim indeed.
But. we're not going to give up trying!
We left London today to do our first
show at a U. S. Air Corps base. While
we were having a cup of tea to warm
us up before show time, Neal Lang,
Martha's husband, came in with two Amer-
ican flyers. I only saw one, and understood
but one name Captain Thomas Wallace.
Something hit me right in the heart. I
only looked at him for a minute, but I
saw his wonderful dimples, his tremen-
dously expressive eyes, his curly hair. I
took a deep breath and said, "Hello." My
heart was beating a mile a minute. I
reached for my tea cup to steady myself,
but my hand only shook. We talked for a
bit and he asked me to have a cocktail with
him after the show. I quickly accepted.
What has he done to me? I'd never felt
like this. '
We did the show. It was magnificently
received. I hadn't the least idea of what I
was doing, though. I just thought of Cap-
tain Wallace. After the show, some high-
ranking officers spirited us away to their
headquarters. I was terribly concerned
about my appointment with Captain Wal-
lace. I tried to find him. No luck. Went to
the Officers' Mess for dinner and then de-
tailed an old friend of mine, Captain Stuart
Mills, to find Capt. Wallace. Stuart re-
ported that he had gone into London. I sat
down to write a note. Suddenly, I heard a
voice behind me say, "Were you looking
for Captain Wallace ?" I turned around and
there he stood ! Again, I had that sinking
feeling. November 13 ! What a wonderful
day ! We talked and talked. And we made
a date for tomorrow night.
Saturday, Nov. 14: No shows today.
Tommy — yes, I'm calling him Tommy now
— called three times today and came into
London after six. He took me to dinner at
the Pastories. After dinner we walked in
the blackout to Piccadilly Circus. The night
was so still. We felt as though we were
the only ones in the world. Caught the tube
(subway) and went to a little pub in Vic-
toria. This pub meant a. great deal to
Tommy because his friend, Bill Geiger,
used to go there with him. Bill has been a
prisoner of war for over a year now. We
left the put) — where I had my first bitter,
incidentally — and went to the 400 Qub
where we danced and talked, talked and
danced. We were sitting at the table, just
looking at each other, when Tommy asked
me to marry him. I wanted to say "Yes"
so badly, but I thought he must be kidding
me. (So this was what is meant by love at
first sight!) I told him I'd let him know.
We made a date to see each other the fol-
lowing Saturday. Back to the Savoy, where
we met Mitzi and Mack. I'm floating on a
cloud. I used to laugh at such things when
I read about them in fiction stories. But
now it's happened to me. Hurry, hurry, next
Saturday! What a long week it's going
to be!
Sunday, Nov. 15: Did three shows today.
Started out at eight in the morning. I just
got home and it is one A.M. Am going to
write to Tommy and then I'm going to bed.
Even though I'm tired, I'm thrilled at being
able to bring our wonderful boys at the
camps some pleasure. They are so appre-
ciative and responsive.
Monday, Nov. 16: More shows. More
talks with the boys. You needn't worry
about their morale, America ! They're itch-
ing for a fight and they're afraid of nobody.
They do miss not being able to get packages
from home anymore, however. They get
real yens for things from home.
Tuesday, Nov. 17: More shows. Heard
from Tommy today.
Wednesday, Nov. 18: Ditto.
Thursday, Nov. 19: Did a show at an air
base. Watched a flight of bombers come
in from a raid. The officer told us how
many planes went out. With genuine appre-
hension and anxiety, we tried to count the
returning ships. I know now what suspense
is and how much hope means — how much
it is held on to. I saw it all in the faces of
the officers around me and in the faces of
the men of the ground crew as they watched
the sky and listened for the sound of a
motor and waited and waited for their ship
to come home. Each of us girls counted a
different number of planes. Before we did
our show, the commanding officer came on
the stage and told all the men that the
mission was very, very successful and that
all the planes had returned safely. There
was only one slight casualty. The men
practicaly tore the place up. The walls
seemed to quiver as they yelled and shouted.
That was a wonderfully thrilling moment.
I shall never forget it.
After the show, we went to the hospital.
I talked to the boy who was wounded on
the raid. His spirit was remarkable. He
just wanted to get out and go back over
the channel. I talked to another boy — a
non com of the ground crew — who was
critically ill. Yet he kept saying over and
over, "I want to get out. Why won't they
let me out? I should have been on the line
today to meet my plane and the boys. They
need looking after." I couldn't help crying.
It was the most heartbreaking thing in the
world to listen to him.
Friday, Nov. 29: More shows. Tomorrow
I see Tommy! I've written him every day.
And he's wired or written me. This is no
"romance on a leave." It's so real it hurts.
Saturday, Nov. 21: Got in London at
three this morning from a week of camp
shows. Much to our amazement, we have
been informed that we are to do a Com-
mand Performance at the Grenadier Guard
Barracks in Windsor before the King and
Queen, their Royal Highnesses, the Prin-
cesses, and the Grenadier Guards, in one
week. It was startling but thrilling news
to hear at three A.M. We're scared already.
Tommy telephoned this morning. Can't
wait for tonight.
Martha, Mitzi, Kay, and I spent the day
with Lt. Peter Lang who has begun to
teach us all sorts of things about court
etiquette — how to bow, when to speak, and
all of the other details. We were told to
address the King and Queen as "Your
Majesty" until the conversation got going.
Then we could call the King "Sir" and the
Queen "Ma'am." But if the conversation
{Please turn to page 64)
61
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THE OUTLAW — Howard Hughes. Howard
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makes her screen bow. Every scene originally shot
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not even the Durbin voice and personality can
make this anything but routine entertainment.
Barry Fitzgerald and Edmond O'Brien appear in
the cast.
ONCE UPON A HONEYMOON — RKO-Radio.
You won't want to miss this ! Ginger Rogers
teamed for the first time with Cary Grant, and
both give grand performances — Ginger as an
American girl married to a Nazi baron, Cary as
a newspaper man. Between them they expose
the baron and further the cause of democracy,
not . to mention cupid. Has witty, original dia-
logue. Good entertainment.
CASABLANCA — Warners. With a front page
title, an exciting spy plot, and excellent per-
formances by a superlative cast — this is a "must."
Humphrey Bogart plays a cafe proprietor in
French Morocco who, under the guise of cold in-
difference, helps refugees to escape from the Nazis.
It's fast, suspenseful stuff with Bogart at his
best. Beautiful Ingrid Bergman is seen as the
girl he loves. Claude Rains, Paul Henreid in cast.
FLIGHT FOR FREEDOM — RKO-Radio. An
inspiring tale of adventure and love in which
Rosalind Russell plays Tonie, a girl flyer who
deliberately vanishes in the Pacific so that
searching parties may photograph Jap fortifica-
tions. The role was inspired by the life of Amelia
Earhart. Fred MacMurray is fine as the dashing
aviator who romances with Rosalind and Herbert
Marshall is good as the "other man" in her life.
HITLER'S CHILDREN — RKO-Radio. Sen-
sational drama based on the best-selling book,
"Education for Death," exposing Nazi methods
of "educating" the German youth to the ruthless
ideology of their Fuehrer. It relates the cold-
blooded conditioning of boys and girls and the
brutal treatment of any who fight against the
system. Bonita is poignant, persuasive as the
heroine ; Tim Holt, convincing as the Gestapo
boy.
IN WHICH WE SERVE — United Artists.
Magnificent war drama — produced, directed, writ-
ten, starred in by Noel Coward — records the ex-
ploits of a British destroyer, Torrin, and her
heroic crew in the historic battle off Crete.
Tremendously moving, this is truly an inspired
epic. Coward and fellow players are superb.
SHADOW OF A DOUBT — Universal. Alfred
Hitchcock's gripping mystery drama is packed
with shivers and full of suspense. A daughter of
a typical American family idolizes her "visiting"
Uncle Charlie until his strange behavior makes
her suspicious. She discovers that the uncle for
whom she was named is a murderer. Teresa
Wright, fine as the horror-stricken girl ; Joseph
Cotten, splendid as the charming but terrifying
Uncle.
SALUDOS AMIGOS (Hello Friends)— Dis-
ney-RKO. A travelogue-cartoon, filmed as part of
our "good neighbor" policy, based on the South
American tour made by Disney and his artists.
Actual movies of the party's trip, combined with
their impressions of natives, their songs, dances
and fiestas, and the Latin American countries'
vivid scenic splendor, plus amusing animated
comedy sequences, make this novel cartoon en-
tertaining and instructive.
THE SIEGE OF LENINGRAD — Artkino.
An impressive documentary film, showing with
stark realism the heroic stand of our Russian
allies, both soldiers and civilians. It's a dramatic
screen record of superhuman courage and en-
durance and a great job of candid camera re-
porting of history in the making. Its stirring
scenes are unforgettable.
COMMANDOS STRIKE AT DAWN — Colum-
bia. Stirring screen drama based on C. S. For-
ester's "The Commandos," depicting the plight of
an invaded nation, with Paul Muni as the patriot
who leads his people in revolt against the Nazis
and, after escaping, returns to guide the British
Commandos in a victorious raid which costs his
life. Raids with actual trainees have authentic
ring. Forceful war document. Skillful performance
by Muni. Capable support by Anna Lee and Lil-
lian Gish. Don't miss it.
CABIN IN THE SKY — M-G-M. An entertain-
ing all-negro musical fantasy, based on the
Broadway play. It has the many varieties of
song, dance and comedy for which colored per-
formers are well known and all players featured
in it are at their best. The action takes place in
"Rochester" Anderson's dream. While in a coma,
he dreams of the struggles of the forces of good
and evil for possession of his soul. Ethel Waters
is flawless as wife Petunia, who wins Joe back
from sultry Georgia Brown (Lena Home).
JOURNEY FOR MARGARET — M-G-M. W.
L. White's best-selling book about two young
British blitz victims, has been fashioned into a
fine, if weepy film. Robert Young gives his best
performance as the sympathetic correspondent
whose valiant efforts to bring the children, Mar-
garet and Peter (Billy Severn), back to Amer-
ica with him provide scenes of powerful appeal,
particularly little Margaret O'Brien's outbursts.
HAFFY GO LUCKY — Paramount. Gay spon-
taneous movie fun ! It's one long, hearty laugh
from the time Mary Martin and Betty Hutton
arrive on a Caribbean isle and meet Dick Powell
and Eddie Bracken. Mary's fortune hunt for
Rudy Vallee and Betty's frank pursuit of re-
luctant Eddie lead to hilarious situations, ac-
companied by smart new songs, delightfully sung.
The Hutton-Braeken team is sure-fire for explo-
sive comedy. See this.
SOMEWHERE IN FRANCE — United Ar-
tists. A thrilling, exciting war picture which tells
about the experiences of a British engineer
(Clifford Evans) who goes on a dangerous mis-
sion to France before the Nazi invasion. Film
shows encounters with fifth columnists, bomb-
ings and pitiful scenes of French refugees trying
to escape the enemy. Constance Cummings plays
an American girl and Tommy Trinder furnishes
comedy as a British soldier.
THE IMMORTAL SERGEANT — 20th Cen-
tury-Fox. Realistic war drama about the exploits
of heroic soldiers lost in the Libyan desert. Henry
Fonda is at his best as the Corporal who takes
over command when the Sergeant (Thomas Mit-
chell) dies. The Sergeant's memory helps Fonda
in making important decisions and in encounters
with the enemy. A man's picture, with a love
story for the ladies told in flashbacks, showing
Fonda reminiscing back to happier romantic days
with Maureen O'Hara.
THE BLACK SWAN — 20th Century-Fox. If
you want sheer escapist film fare, here's your pic-
ture. Raphael Sabatini's swashbuckling yarn of
piratical practices in the Spanish Main make a
riproaring adventure movie with Tyrone Power
in the lusty role of the daredevil captain. Maureen
O'Hara is the gorgeous heroine.
THE POWERS GIRL — United Artists. Ro-
mantic musical glorifying long-stemmed Ameri-
can beauties of the John Powers model agency
featuring Carole Landis, George Murphy, Anne
Shirley, and Dennis Day, also a collection of
Powers pretties. Miss Landis scores as the ambi-
tious model; Day's. melodious voice heard in his
song numbers ; but George Murphy over-acts a3
the photographer. Amusing Alan Mowbray plays
the Powers part.
HIT PARADE OF 1943— Republic. A musical
in which the tuneful songs fit the story. It's about
a dishonest publisher-vocalist who steals a young
girl composer's first song. She goes to work for
him to get information to help expose him, but
hate turns to love. John Carroll, good as the un-
scrupulous gent; Susan Hayward, as the girl, has
her best role to date ; Gail Patrick, good as her
rival. Cheerful and gay.
SILVER SKATES — Monogram. A musical on
ice with entertainment for young and old. The
financial problems of an ice show and the ro-
mances of its members, introducing spectacular
skating sequences and solos by wizards of the
blades: Belita, sensational star; her partner, Eu-
gene Turner, champion figure skater ; Frick and
Frack, riotous comedians ; and a graceful skating
chorus. Kenny Baker, fine as band leader ; Patricia
Morison, good as show's producer and girl Kenny
loves. Good tonic for tired nerves.
I MARRIED A WITCH — Cinema GuUd-U.A.
Triumph for Veronica Lake, this picturization
of Thome Smith's last novel is a rare treat for
those who enjoy film fantasy. Veronica, as a
lovely ghost, returns to haunt the 1942 incarna-
tion of the man (Fredric March), who caused her
to be burned at the stake in 1870. It's all fine,
imaginative fun. See it by all means.
62
s/OUlf
Loretta Young
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Scree nl and
Carole Landis' War Diary
lagged, we were to start again with "Your
Majesty." We were also told that the
custom was not to speak unless we were
spoken to.
Tommy and I had dinner together again.
He came in with Jim and Mack. The^four
of us are going around a lot together.
Tommy again asked me later in the evening
to marry him. Why don't I tell him "Yes?"
My heart wants me to. Why am I waiting?
Guess it's because I still can't believe it's
true.
Sunday, Nov. 22: Kay has gone to the
hospital with a bad case of laryngitis. Mitzi
is hospitalized, too. All the ligaments are
torn in her left side from carrying off
soldiers at the end of lier jitterbug number.
The boys didn't weigh much at first, but
the last one topped the scales at over 200
pounds. And poor Mitzi is only five feet
two. Martha and I are going to take over
the show by ourselves and do as much of
Kay's and Mitzi's work as possible.
Monday, Nov. 23: Left London for an-
other week of camp shows. It's been a
tough day. Martha and I are both tired and
our throats are beginning to be a little sore.
Wonder what Tommy is doing tonight? Is
he up there in the sky? I pray for him con-
stantly. Please God! Guide him and our
boys back safely !
Tuesday, Nov. 24: More shows. Recep-
tion great.
Wednesday, Nov. 25: Four more shows
today. Wrote Tommy again.
Thanksgiving Day: Had dinner with
some men at a camp. They had known we
were coming and had spent hours getting
everything ready. The hall was all deco-
rated and we had chicken, pumpkin pie, and
most of the trimmings. We did another
show. A swell day. Wish Tommy could
have been here too.
Friday, Nov. 27: My throat is like raw
meat. When we got into London, we found
Kay and Mitzi ready to go with us for
the Command Performance. They had in-
sisted on leaving the hospital. I was more
than upset when I discovered that my bag
with all my clothes in it was missing.
Luckily, it was found a half hour before
we had to leave for Windsor. I had to do
four more songs : White Cliffs of Dover,
Tangerine, Over There, and Deep in the
Heart of Texas. I didn't know the lyrics
to any of them and had only a nodding
acquaintance with the music. I got some
sheet music and rehearsed all of ten min-
Continued from page 61
utes with a pianist. When we arrived at
Windsor, we kept peeking through the cur-
tains to see if their Majesties had arrived.
One of the Guards told us that the King
and Queen always arrived promptly. Our
show wasn't to go on until eight so we
relaxed a little — a very little. The Guard
said, "When you hear the orchestra play
God Save The King, you'll know their
Majesties have arrived." Shortly after-
wards, the Queen and their Royal High-
nesses, the Princesses, came in. The King
couldn't come at the last minute because of
business. The show began at once. Kay
was on the stage getting the show on its
way. Mitzi was on next. Mitzi never dressed
until the show was on because her cos-
tume was so skimpy that she would get
cold if she stood around long. We were all
jittery. Suddenly, Mitzi cried out, "My
tights ! I forgot my tights !" She was due
on in a few minutes, and she couldn't pos-
sibly go on without them. It was too much
for her. Still weak, she just sat down and
cried. In a panic, I rushed over to Martha
and got the purple tights she wore for her
numbers; shoved them at Mitzi. Mitzi's
color scheme wasn't so good, what with
the blue dress she was wearing, but it was
the best we could do.
Mitzi got through her act all right. Then
Kay announced me. At that particular
moment, the mike went dead. I had to yell
out my dialogue. It was a long time before
I could get up enough courage to look at
the Queen. When I did, she smiled at me.
That gave me the courage I needed so
badly. The mike was finally fixed in time
for my last two songs.
At the finale of all of our shows, we
sang both the British and American na-
tional anthems. After the show, we were
presented to the Queen and during our con-
versation she said to me, "I'm so ashamed
of myself." "Why, your Majesty?" I
stammered. "Because you knew all of the
words of our national anthem," she said
sweetly, "and I didn't know the words to
yours. But I'm going to learn them tonight."
She is truly a wonderful woman.
Saturday, Nov. 28: Rehearsed all day
for the B.B.C. broadcast we did tonight.
Sunday, Nov. 29: A day off ! Tommy
came to see me. We spent a quiet day,
just talking. Again he asked me to marry
him. The more I see of him the more in
love with him I am. It has been another
unforgettable day. Could Tommy be the
reason I knew I had to come to England?
But I didn't know he was even here.
Mitzi went back to the hospital tonight.
She has pneumonia.
Monday, Nov. 30: Left for Ireland. Mitzi
stayed behind.
Dec. 1: Arrived in Belfast. There was
a message from Tommy. One of the officers
handed it to me. He had called to say he
missed me. I knew by now that I was going
to say, "Yes." I couldn't wait to get back
to let him know my answer, though he must
have guessed it by now. The men at the first
Army post promised us a steak upon our
return at the end of the week of camp
shows. We were all a bit tired of veal and
rabbit — the usual fare in England — so the
promise of steak really made us quite
cheery. A British Colonel, Bill Rollo, said
he would get us each some eggs if possible.
We haven't seen an egg since we left the
U.S.A.
Wednesday, Dec. 2: The country around
the camps here is so beautiful. You have
never seen such wonderful shades of green.
And the Irish colleens — they are lovely. The
boys are very happy. They talked constantly
about Mrs, Roosevelt. They said she was
terrific when she was here. Said they never
saw anyone as tireless or as kind and
gracious as she was. Her trip meant a lot
to them.
Thursday, Dec. 3: It's been raining
steadily. I have never seen so much mud !
But the boys don't seem to mind.
Friday, Dec. 4: Met a flyer today. We
talked for a long time about planes, about
the war, about himself. He was a very in-
teresting chap. Did more shows.
Saturday, Dec. 5: Just heard the flyer I
talked to yesterday spun in. I feel terrible
about it. Why do such fine young men have
to die? Maybe when the answer to that is
found, there will be no more wars.
We got our steak dinner. And we also
got eighteen eggs apiece. What treasures
they are !
Sunday, Dec. 6: Martha, Kay, and I
each boarded a different bomber for
the return trip to England. We harbored
our eggs avidly. I spent all last night
mentally allotting my eggs to the fighting
boys I knew in Engand. The trip back was
thrilling. One sergeant and I pretended
that we were bombing military targets. One
of our "objectives" was a herd of cattle —
so we could go back and collect the steaks.
About ten minutes away from our destina-
tion, we began to smell smoke. We looked
around for the fire and found that one
side of the ship was in flames. The sergeant
got the fire extinguisher and yelled to the
pilot, telling him how bad the blaze was. The
pilot couldn't hear him over the motors, so
I relayed the orders back and forth. For
some strange reason, I wasn't scared. I just
went on relaying orders. I put on my
gloves, thinking I could at least cover my
face if the worst happened. Every available
man was helping with the fire now. Finally,
the sergeant shouted to land, so we had to
break formation. When we managed to land,
the fire was smothered, and we all cleared
out of the plane. The sergeant's hands were
all burned and bleeding. After that ad-
venture, I just had to give some of my
treasured eggs to the men for doing such a
swell job.
Lunched at the field. I met a Lieutenant
Holland. He was feeling rather moody. He
played a recording of the Warsaw Concerto
for me. Tommy had told me how beautiful
it was. It was written by a Polish fl o
had never written any music befor
picted his emotions at seeing Wars; d
64
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and his feelings as he flew over it now on
raids. It was terribly stirring. Lt. Holland
told me he would have leave on New Year's,
so I invited him to join Tommy and me.
Drove back to London. Glad to be back.
Called Tommy at once. He flies a Spitfire,
dear diary, as if you didn't know. The
plane that really saved England during the
Battle of Britain. He asked me if I'd made
up my mind. I didn't hesitate a moment in
saying, "Yes." A wonderful and thrilling
moment. I was so excited and happy that I
almost forgot to give him his surprise —
some of the eggs I had brought back with
me from Ireland. He almost fainted at the
sight of them. We were so busy talking
about our marriage plans that we forgot
about dinner. If you don't eat dinner early
in England, you don't eat — much. The only
food available then — it was about 10 :30 —
were Spam sandwiches. The waiters here
call Spam "American ham."
Monday, Dec. 7: Had had terrible pains
in my stomach all night. Mitzi is still in
the hospital, so I was alone. About eight
this morning, I called the doctor who
promptly ordered me to the hospital. Seems
I have appendicitis. Tommy came up to the
suite and helped to get me off. He was so
worried. Much more so than I. I'm to be
operated on in a week
Tommy called three times today. The
nurses in the hospital wouldn't let me
answer the phone, so they were kept busy
giving me his messages and relaying mine
to him. He also sent two wires.
Tuesday, Dec. 8: Mack and two of his
friends came to see me today. Mack amazes
me. He is the leader of the youngest
squadron in Britain. The men are from 17
to 23 years old. Lt. Johnson and Lt. Kissel-
berth, who came with Mack to see me, are
great chums. Johnson, who is the chief pilot
and is 23, is known as Baby, and Kissel-
berth, who is the bombardier and is 19, is
called Kissy. They are devotion itself, and
so attentive to me. They help to fill in the
time when Tommy can't be with me.
Wednesday, Dec. 9: Tommy sent me
more letters. I've read them over and over.
I've been making plans while in the hospital
for our wedding. He called agaia Some of
the soldier patients in the hospital have been
in to see me. Just heard from a pilot who
is in a hospital. Said that Lt. Holland had
an accident and is in the same hospital. He
won't be able to be with us New Year's.
Something tells me I'll never see him again.
Thursday, Dec. 10: Not even thinking of
the operation. Have almost finished details
for the church wedding. Hope to be married
January 1.
Friday, Dec. 11: More calls, more letters
— all from Tommy.
Saturday, Dec. 12: Tommy came to the
hospital today. He was so worried about
me that he stayed overnight to be near me.
His concern for me is wonderful. Makes me
feel dependent on him, and I love that feel-
ing. I won't be an independent wife.
Sunday, Dec. 13: Tommy's and my an-
niversary. We met a month ago today. We
just sat and talked. But oh! It's a lovely
day.
Thursday, Dec. 17: Couldn't write be-
fore. Am just beginning to feel like living
again. Operation not too bad, though. Saw
Tommy again and he's better than any
doctor. I've asked the doctors to let me
go back to London so I can be nearer to
Tommy.
Friday, Dec. 18: Am used to hearing the
planes go over every morning now. They
wake me up. I think of Tommy up there
too, and I'm scared and yet always full of
hope. He says no Hun can get him. Every
time they return, I send the nurse out to
count . them. My nurse is named Betty
Davies. This day has been like all days.
Writing to Tommy, thinking of Tommy,
waiting to see him, praying for his safety.
Sunday, Dec. 20: Didn't feel like writing
yesterday. Am so excited now as I think I'll
be allowed to go back to London.
Monday, Dec. 21: The doctors have let
me come back to London. They sent me
to the hotel on a stretcher and in an ambu-
lance. It was a long ride, but just being
near Tommy made it all worth while.
Tuesday. Dec. 22: Still resting up. Mack,
Kissy, and Baby were in to see me since
Tommy couldn't get away.
Wednesday, Dec. 23: I managed to give
a party for Tommy and his friends. Mitzi,
Kay, and Martha here too. I just had to
get up, even though I knew I shouldn't
Mack, Kissy, and Baby came too. We had
no gifts. I tried to get Tommy a watch but
it was impossible. I did order some cham-
pagne, though, hoping the boys would like
it and that it would help the Christmas
spirit. They did and it did.
Christmas: Tommy took me to dinner at
Bebe and Ben Lyons' home. They are such
fine people and we had a grand time. Am
still wobbly.
Saturday, Dec. 26: Tommy and I made
final arrangements for the wedding. Still
hoping to be married the first. Rested so
I would be able to do the big show we
are doing at the Palladium tomorrow night.
I have to make that.
Sunday, Dec. 27: My doctor finally let
me sing one number for the Palladium
show. When I got on the stage and had
finished my number, I felt like doing some
of my dialogue. Then I began to sing
another song. In the middle of the song,
I felt as though I was going to faint. My
head began to swim and my knees buckled.
I held on to the mike for dear life. I barely
made the wings. Kay — bless her ! — was
SCREENLAND
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there to catch me. So was Betty Davies.
This is the end of our tour of camps in
England.
Monday, Dec. 28: Back in bed. I overdid
it last night. Tommy and I have had to
postpone our wedding. He wasn't sure of
getting a leave and I expect to go to Africa
any day. Yes, we finally got permission
to go. I want to make the trip, but please —
let me get married first !
Friday, Jan. 1: Tommy and I have been
so busy shopping these last few days I
haven't had time to keep you posted, diary.
I have never been so up in the clouds. We
got our marriage license today. That won-
derful day is drawing closer and closer.
It can't come too soon for me. Tommy is
sweeter than ever — if that's possible.
Saturday, Jan. 2: Tommy and I were
looking for a church today. And we found
just the place. I've just heard that the
girls and I have to leave for Africa at
once. I'm heartbroken. Why didn't we get
married when we had the chance? Why
didn't I accept sooner?
Sunday, Jan. 3: Weather so bad we -
couldn't leave for Africa. If only Tommy
can get time off now! Now I hear we're
to leave any day. Our marriage seems to
be getting farther and farther away.
Monday, Jan. 4: Tommy and I, sensing
that time wasn't on our side, completed
our shopping today. I bought a cake for
the wedding. Couldn't get a bridal couple
for the decoration but did get a toy Spitfire.
Tuesday, Jan. 5: Tommy managed to get
away. We were to be married at two
o'clock. At one, I got word that we were
to leave for Africa within an hour. We
were just about to postpone our marriage
again when at one-thirty, our trip was
again postponed. Fate is with me. So — at
two — so happy I could hardly stand it, I
said, "I do."
Friday, Jan. 8: You'll forgive me for
not writing, but I've been on a glorious
two-day honeymoon. For a while, Tommy
and I were almost able to forget the world
and the war. I hate to have the honey-
moon end — it's been so short — but this time
I have to go to our embarkation point to
leave for Africa. Tommy met me tonight
and we had four hours together. I left
immediately for Africa.
Jan. (?): During our flight we were
fired upon but we were high enough not
to be hurt. When we came to our destina-
tion, we found we couldn't land because
the weather was so bad. Flew to another
port. The weather was worse, so we
started back to our original landing place.
Our gas was getting very low. We were
given our "Mae Wests" and told how to
use them. Fortunately, Lady Luck was with
us and we landed safely.
Jan. (?): Arrived in North Africa. The
field where we landed was bombed the
night before. Our eyes were opened plenty!
Mitzi's face was very swollen. She had an
abscessed tooth. It was terribly painful but
she went right on with the show.
Jan. (?): First night at the camp we
had dinner with the officers. We didn't
hear the sirens at first. Finally, an officer
said, "Want to see the show?" It was an
air raid. And a real one, very exciting
and terrifying. Saw a German plane shot
down. The wail of the sirens was an eerie
accompaniment to the excitment
Jan. (?): Began our shows in Africa.
Were taken to the camps in a transport
with Spitfire fighter escorts.
Jan. (?): Arrived at a camp and was
told that if any raids came, an officer had
been assigned to each of us to take us to
a fox-hole. We had done one show and
were having coffee before doing the next
one. Suddenly, we heard the ack-ack guns
barking. We were practically thrown into a
muddy fox-hole by a sergeant. We always try
to look glamorous as possible for the boys,
SCREENLAND
so I had on my silver fox coat and my
nylons ! That really hurt ! The trench was
very small and there were about fifty
soldiers and the four of us crowded to-
gether. It was so very muddy and cold.
During the hpur and forty minutes we
were there, we sang songs and the fellows
sang with us. Some bombs fell pretty close
to us. After the raid, we did the show.
Jan. (?): En route to another destina-
tion. We encountered some JU 88's but
our Spitfire escorts and the cloud forma-
tions helped us to elude them. How I wish
Tommy were here in one of those Spit-
fires so near to me. And how I miss him !
I have to go back to England before going
home. I have to see him again!
Jan.( ?): Our two weeks in Africa have
come to an end. Kay, Mitzi, and Martha
are going back to the States. I talked
to General Eisenhower — a wonderful man
— and asked him to let me return to Eng-
land to spend two weeks with Tommy.
He asked all about Tommy and about our
marriage. And — bless him — he gave me the
official papers.
Last of January: Returned to England.
Feb. 14: Spent two wonderful weeks with
Tommy which will explain why I haven't
kept up my diary very well. And now I
have to leave for home. I said good-bye
to Tommy tonight. I've been crying for
hours. But I have to get back to play in
"Winter Time" and then in "Four Girls
in a Jeep," the latter based on our experi-
ences. Then, if Tommy can't get away
to come here, I'm going back to him.
On my way home, Tommy is always in
my mind. I've been thinking of a talk he
and I had. I told him about the time I
first knew I had to come to England. He
said, "That's funny, but just at that time,
I arrived in England for duty." Maybe it's
silly to believe it was Fate that took me
to England. Maybe Tommy's being there
had nothing to do with it. But it did seem
as though Fate had a big hand in it all.
Home again. Back to work. Back to
work with my memories of a thrilling
experience — of Kissy, Baby, and our won-
derful, wonderful boys — of Tommy and
wondering what is happening to him up
there — I'm afraid at times but somehow I'm
confident that when this all is over, he
will be here with me just as the boys over
there will be with their loved ones when
that blessed day of peace comes. Pray
God it comes soon !
Betty Grablo, our Cover Girl, photograph-
ed in a Catalina swim suit. "Coney Island"
and "Sweet Rosie O'Grady" are Betty's
next two pictures for 20th Century-Fox.
What it Takes to be
a Pin-Up Girl
Continued from page 21
sometimes in their planes and tanks. A
Pin-Up Girl, for the records, has nothing
to do with legs. Well, not necessarily.
When' I first came to Hollywood with
my mother and father in the summer of
1929 — I was thirteen at the time — I was a
movie-struck fan of the first water. I wore
my hair like Shearer, and I tried to walk
like Garbo. The first place I visited was
the famous forecourt of Grauman's Chinese
Theatre. If someone had told me then that
some day I'd be invited to leave my impres-
sion in the cement there along with the
great of the film capital I would have
thought that someone was definitely crazy.
But a few weeks ago I was given that honor.
While a soldier and a sailor and a marine
held me gingerly in rather an unconven-
tional pose, my legs were dunked in the
cold, sticky cement. I was glad to have
the soldier, sailor and marine with me on
that occasion. Whatever popularity has
been given me the last two years I am
certain I owe to the boys in uniform. I
am indeed very grateful to them.
During the past ten months I have met,
danced with, and talked to, hundreds of
the men in service. Last fall I went on an
extensive camp tour, and I planned to go
out on another one soon after, but the
studio put me in "Coney Island," quickly
followed by "Sweet Rosie O'Grady." I
didn't even have time in between to go
to the dentist. But every day one of the
volunteer organizations in Hollywood brings
dozens of boys on my set, boys who have
just returned from the Solomons, or who
are on their way to the Solomons, and in
between "takes" we talk and get acquainted.
They're a grand bunch of fellows. Also,
several nights a week, after I have finished
work at the studio, I go to the Hollywood
canteen to dance with the boys, serve them
coffee and sandwiches, and sign autographs
for them to send to their mothers and
sweethearts. Though I thoroughly enjoy
dancing with them, it's getting a little hard
on the shoe situation. I'm wearing out shoes
dancing at the canteen faster than I can
buy them — on a rationing card.
Many of the boys I've met have written
me such nice letters when they've returned
to their camps, telling me that I gave a
lift to their morale. This makes me very
happy. But they too have helped my morale,
considerably. I have been very depressed
and lonely the past few weeks, ever since
I broke off with George. You see I'm the
type of girl who likes one guy and sticks
to him. I'm not a career girl. When I
love a man I want to get married and have
children and a home and live like other
people. I would toss aside whatever career
I have in two seconds to marry the right
guy. I was positive that George was the
right man for me and I would have married
him a week after I met him, I loved him
so much. But George couldn't marry me.
After two years of hoping and waiting
there didn't seem to be much point in
postponing a break that was inevitable.
Even though it hurt desperately, I know
I have done the right thing. And when
you have done what you think is right
nothing else really matters, does it? The
"right guy" for me will come along some
day, I suppose, though right now I don't
see how I could love anyone again as
much as I did George. But for the dura-
tion I belong to the Army, Navy, and the
Marines. I am more than pleased to be their
favorite Pin-Up Girl.
The other night at the canteen a bunch
of boys who were cooks on a boat that had
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been under fire in the South Pacific told
me that they had my picture pinned up
over the big soup caldron in the galley.
The other day I received a letter from some
boys in a naval hospital in Southern Cal-
ifornia. They said that they had been quar-
antined with measles for the past two weeks
and that I had just been voted the girl
they would most like to be quarantined
with, and please send a picture.
A young corporal I met at the canteen
one night (he was home on leave after
seeing service in Guadalcanal) told me that
his buddies had nicknamed me Miss
Tokyo — and voted me the girl they most
wanted to spend their leave with in Tokyo.
Sometimes, though, it isn't so gay. Some-
times what they write me, and tell me,
nearly breaks my heart. I think about it in
the night and I cry myself to sleep. There
was the letter I opened one day and a
crumpled, badly torn page from a maga-
zine fell out. It was a picture of me. On
the margin a young pilot had written,
"Dear Betty, I had your picture on the
instrument board of my plane the night we
bombed Berlin. It got shot up a bit. So
did I. Please send me a new picture."
And just last week I received a letter
from a marine now in the hospital in
San Diego. He enclosed a picture of me
which had been folded in four parts — with
a bullet hole through the center. He had
found the picture in his buddy's pocket,
after he had been shot by a Jap sniper
in New Guinea. "I don't want to make you
sad, Miss Grable," he wrote, "but I wanted
you to know what the boys think of you
out- there — and this one boy in particular.
He called you his best girl." I cried for
hours after reading that. As soon as he is
able to leave the hospital I have invited
the marine to visit me in Hollywood. Is
there any wonder that I am proud and
happy to be a Pin-Up Girl.
I have been asked several times lately
what it takes to be a Pin-Up Girl. Just
in case the catty gal I heard whispering
about me in the studio lunch room was
right (I'm not one to take a chance) I
have had a lot of new pictures of myself
taken — and in a bathing suit. A lot of stars
in Hollywood carry on like prima donnas
with indigestion when they are asked to
pose for bathing suit art. They consider
bathing suit art highly undignified. Maybe
it is. But if it's what the soldiers want
it's all right with me. What's wrong with
bathing suits? So they show your legs.
What's wrong with legs? They've been
around for a long time.
Of course I prefer to think that it takes
being a good pal to be a Pin-Up Girl.
That's what I've tried to be to the boys
in the camps and at the canteen. And suc-
ceeded, I think. When the boys want to
dance I dance with everyone of them who
asks me (and in those tag dances a girl
certainly gets around) as long as there is
any music. And Kay Kyser, Harry James,
Tommy Dorsey, and the other lads with
bands in town have things jumping there
every evening. I have noticed that some
of the Hollywood beauties have a way of
coming in occasionally and making a mad
dash for the snack bar — thereby quickly
putting a counter between themselves and
the armed forces. And no amount of per-
suasion will get them out on the dance
floor. "To be mussed by that mob," they
shriek in disgust. That mob, it seems, is
good enough to die for them, but not good
enough to touch them. Fine thing !
Of course a lot of the glamorous stars,
who do their dancing on Saturday nights
at the Mocambo and Ciro's, haven't gotten
around to jiving, and they are afraid of
being made to look silly on the canteen
dance floor. That's ridiculous. After all,
it's all for fun and cheering up the
soldiers, and not for close-ups. I like Mary
Astor's attitude. When an enthusiastic
young jitterbugger dragged her out on the
dance floor, she said, "Soldier, I might as
well tell you now, I don't know a thing
about jitterbugging." "Lady," he said,
Boy, oh, boy, look at us with Betty Grable, these grins above seem to be
saying. Left to right: Pilot Gilbert Smith, Pilot Seymour, Navigator Metzler
and Bombardier Holt, all Second Lieutenants in the U. S. Army Air Corps.
6H
SCREENLAND
"when I get through with •you you'll
know!" All right," said Mary, "I'd like
to know."
Every evening the studios in Hollywood
give away two war bonds to the two boys
holding the lucky numbers. The boys are
given numbers as they enter the canteen,
and at nine o'clock, and again at eleven, one
of the actresses there is asked to spin
the wheel, and then present trie winner
with his bond. The canteen officials sug-
gested that it would be nice if the girls
kissed the boys who win. There were
quite a few complaints about this ; some
girls just don't like kissing strange boys
who come from goodness knows where
(and are going goodness knows where, let
me remind them), but there were no com-
plaints from me. If a kiss cheers up a
soldier these days, and it certainly seems
to, there can't be anything wrong in it.
It was all right to be formal and proper
with men in uniform three years ago.
You had a right then to be insulted if a
lot of soldiers you didn't know from Adam
put their arms around you on a dance
floor. And if they stole an occasional kiss
you had a right to be as mad as a hornet.
But that's quaint and old-world now. If
you want to be a good pal to the boys
in service you have to check your inhibi-
tions for the duration.
Soldiers, I've noticed, always want to
tell me about their homes, mothers, and
girl friends. For the most part they are
lonely and homesick. And_ why shouldn't
they be? They've been taken away from
their homes, their sweethearts, and their
hopes for the future. They can't even make
specific plans until the war is over, and
they know it. But they can remember. . . .
They can hope and dream, even in the
jungle of Guadalcanal, in the desert of
Tunisia. And that is where you girls at
home come in. It is you they are dreaming
of. You're more important to them now
than you were when they could call you
on the phone and ask you for a date. The
memory of you is all they have — except,
of course, discomfort, danger, suffering,
perhaps the possibility of death.
So girls, let me say this to you who
have a soldier sweetheart, or even a soldier
friend. Never neglect him. Never put off
writing to him. Never let him think that
because he is a long way off, and can no
longer take you to the movies and to
dances, that he isn't important to you any
more. Write to him daily, if you can.
Letters from home mean more to soldiers
than all the gold in Fort Knox.
Do you see what "I mean ? Yes, I know,
I've been talking about being a Pin-Up
Girl, and about how grateful I am that
many soldiers and sailors have sort of
picked me out as a typical Pin-Up Girl.
But, of course, the real Pin-Up Girl in any
fighting man's life is not a girl in movies
whom he doesn't even know. She is the
girl he kissed goodbye that last night of
the last leave he had before he sailed
away — to fight. She is the girl who prom-
ised to wait for him no matter where he
went and for how long. She is the girl
he is counting on building a future with
in that dim, distant, but sure day when
peace shall have come back to the world.
Never forget that. . . .
Our men in uniform have a big job
to do. A terrible job. But the girls they
leave behind have a job to do too, and I
hope they never • forget it. A soldier's
sweetheart should never forget what a
responsibility it is, as well as what a
privilege it is, to be a soldier's sweetheart.
"YOU'VE DONE YOUR BIT —
NOW DO YOUR BEST"
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ii
I married for love...^?//^F
HOW A DISTRESSED WIFE OVERCAME
THE "ONE NEGLECT"
THAT SO OFTEN ENDS ROMANCE
I. There never was a happier couple than Van and I — at first. But a strangeness
grew up between us . . . Then bickerings . . . Day after day, I cried my eyes out-
2. One day I came to my senses. I went over
to see our physician — a woman with a heart as
big as all outdoors. She guessed the trouble,
almost before I'd told her anything. " So often,"
she explained softly, "a man can't forgive this
one neglect . . . carelessness of feminine hygiene
(intimate personal cleanliness)."
3. Her recommendation was simple. Lysol dis-
infectant. "It's so gentle," she explained, "it
won't harm sensitive vaginal tissues — just
follow the easy directions. Lysol deodorizes,
and cleanses thoroughly and daintily. It's no
wonder that thousands of women use this fa-
mous germicide for feminine hygiene."
4. 1 did just as she told me — and was delighted
to find Lysol so easy to use, so inexpensive.
Today, Van and I are ideally happy. I'm ever-
lastingly grateful to my doctor.
Check this with your Doctor
Lysol is NON-CAUSTIC— gentle and
efficient in proper dilution. Contains
no free alkali. It is -not carbolic acid.
EFFECTIVE— a powerful germicide, ac-
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ECONOMICAL— small bottle makes al-
most 4 gallons of solution for feminine
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strength indefinitely, no matter how
often it is uncorked.
Copr.. 1943. by Lebu & Fink Products Corp.
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Songbird with Sex Appeal
Continued from page 22
music, she invariably gets side-tracked by
sex. Instead of landing in the "Met" she
lands in the movies. Some people would call
that a lucky break (I would), but Janet,
who cut her teeth on Brahms and Bee-
thoven, is not too sure.
"I was just beginning to be contented
with being a moving picture actress," Janet
told me, /"when I went to the President's
Birthday Ball a few months ago. There was
a shortage of taxis in Washington, and as
the entertainers had to make a number of
appearances that night at the different
hotels, we were bundled together in the
available cabs. I found myself sitting next
to Lawrence Tibbett. Though I had had
a crush on him for years I had never
met him before. He had such t grand sense
of humor and was so much fun. Before that
hectic night was over we had become the
best of friends and I was confiding all my
ambitions in him. When he told me goodbye
after our final appearance that evening he
said, 'Hurry up and get in opera, Miss Janet
Blair, so we can sing together.' I was so
thrilled. Meeting Mr. Tibbett was the high-
light of my trip. And it revived all my sup-
pressed desires to go into opera. I came
back with the determination to study harder
than ever. Wouldn't it be wonderful to sing
in the 'Met' 1"
Janet proceeded to burst into a bit from
"Herodiade." Definitely the Tibbett influ-
ence. Because the last time I had seen her
was in a grocery store and she had bury
into Oh Lovely Night — except she sang it
"Oh can of beans how many points," and
I had heard the clerk whisper to a couple
of respectable and bewildered old ladies,
"She's harmless. Just sings to herself all
the time."
We were in the Columbia Studios gallery
waiting for Milton. Milton is a real canary,
and he was supposed to have his picture
taken with Janet. When he finally put in
his appearance, Janet greeted him with a
few lilting bars from Gounod's "Romeo and
Juliet" waltz. Milton only ruffled his neck
feathers and looked extremely bored. Un-
like Mr. Tibbett, he did not ask her to join
him in a duet.
Janet has been music-minded all her life.
(Her real name is Martha Janet Lafferty.
She took the name Blair when she went
into show business. Blair is the name of the
county Altoona is in.) When she was born,
twenty-two years ago, the church choir in
Altoona was composed almost exclusively
of Laffertys. Her Dad had a swell voice,
and her mother played the church organ
for twenty years. Little Janet took to do-re-
mi like a duck to water. The family was
well pleased. They made plans : when their
little songbird was older she would study
classical music, and some day — perhaps —
she would be a singing teacher.
But when Janet was ten she heard Bing
Crosby sing When the blue of the night.
She thought it was the most beautiful thing
she had ever heard. She became a rabid
Crosby fan and bought or borrowed all his
records. Then she started imitating him; —
boo-boo-boos and all — until her poor family
nearly went crazy. "I think," said Dad,
completely fed up with crooning, "Janet
had better start taking voice lessons right
away."
Janet's music teacher, whom she adored,
and still does, was Miss Martha Roberts,
who lived in Harrisburg, but taught music
in nearby Altoona on certain days of the
week. "Marty Roberts," Janet said seri-
ously, "is a rare person. When you meet
her and go away you feel you've had a
touch of heaven."
When Janet went to New York last win-
ter for the gala premiere of "My Sister
Eileen," in which she played her first big
picture part, she wired Martha Roberts and
Ruth Barnes, her Altoona dancing teacher,
to visit her in New York. And it is still
a toss-up as to who was the most thrilled-
to-tears when they saw Janet's name in
electric light bulbs on the Music Hall mar-
quee— Martha, Ruth, or Janet.
When Janet was seventeen she graduated
from high school, and her family was all
set to send her to the Juilliard School of
Music. They'd heard so much praise of their
daughter's voice that now they had visions
of the Metropolitan Opera. Janet had
visions too. Having discovered that she was
a soprano (during the Crosby period she
had fancied herself a contralto) she lay
awake nights planning her debut before
Manhattan's bejeweled music-lovers in the
long blonde braids of Marguerite. And
then Hal Kemp's band played Altoona.
And sex appeal entered, right on cue.
The summer before, Alex Holden, man-
ager of Kemp's band, and a family friend,
had heard Janet trilling the scales and had
kiddingly said, "Work hard, Janet, and
some day I'll let you sing with the band."
But Janet was busy being Marguerite at
the time and hadn't paid much attention.
However, the next year when the band
came to Altoona to play for a local dance
Janet, right in the midst of a twirl, sud-
denly said, "Excuse me, please," to her
dismayed partner, and went in search of
Holden. "Remember your promise," she
demanded. "I'll ask Hal," quavered Holden,
figuring himself in a tight spot. But Kemp
murmured something about "if she can
sing as good as she looks," and put her on!
Naturally she was a knock-out. It was
Altoona. How could she miss? Altoona is
Janet Blair dances with Charles
Boyer in New York, where both stars
appeared at Red Cross Benefit.
70
SCREENLAND
"You've Done Your Bit —
Now Do. Your Best"
BUY MORE WAR BONDS
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Janet's St. Joe. They love her in Altoona.
Kemp and Holden talked it over later.
They agreed that Janet had a lovely voice,
but it was no good for a band, as she had
been trained for classical music. But — with
that freshness, that personality, and those
gams, every town would be Altoona. A
week later Kemp offered her a contract.
Janet had to make a choice between con-
tinuing her study of serious music and sing-
ing popular songs with a band. She chose
the band. "Don't look now," her brother
Fred said to a catalogue of the Juilliard
School of Music on the living room table,
"but you've just lost your prize pupil."
Janet was with the band eighteen months.
During that time she learned poise, she
learned how to put over a popular song,
and she learned how to make friends with
an audience. She still dreamed about Mar-
guerite and her blonde wig occasionally,
but most of the time she was too tired after
the last show to dream at all. The band
was fulfilling an engagement at the Mark
Hopkins in San Francisco when she learned
that Hal Kemp had been killed in an auto-
mobile accident. It was the first time
tragedy had ever touched her. Fortunately,
her parents were vacationing in Hollywood
at the time, so she joined them, there.
Janet credits her advent in pictures to
Carol Tornroth of the NBC Artists Bureau.
He couldn't reconcile himself to the idea
of so much talent being confined to band
work, so he urged her to take a screen test.
An agent told Janet that Columbia Studios
were badly in need of a singer. They hadn't
had a good one since Grace Moore checked
out. So when Janet took the test she gave
out with her clearest notes, and tossed in
some of her best tonsil work. But when
the test was run off later for the executives
in the studio projection room no one could
listen for looking. "Whew," they said, "with
a chassis like that she should be in pic-
tures."
She signed with Columbia, went to work
with a Hollywood voice teacher, and" waited
impatiently to be asked to sing a few arias
for one of Mr. Harry Cohn's pictures. No
one asked her to sing. But she was kept
plenty busy in the gallery taking leg art,
and bathing suit layouts. She made three
pictures at the studio before anyone knew
she could sing a note.
Janet thinks she got her first break in
pictures because she was in a bathing suit.
Gregory Ratoff, the director who makes
with the Russian accent, was looking for
a girl to play the lead in "Two Yanks in
Trinidad." Someone suggested Janet, and
Ratoff demanded she be brought to him at
once. Janet was in the gallery ; still, in a
bathing suit, taking publicity pictures. She
was told to stop everything and get to
Ratoff's office immediately. She hastily put
a coat over her bathing suit and rushed to
the office. When the director was introduced
to her he promptly demanded, "Take off
your coat. I want to look you over to see
if you are the girl for the part. How can I
tell anything about you when you are
wrapped up from your ears to your ankles ?"
Janet refused to remove her coat, saying,
"I'm either the girl or I'm not, regardless
of the coat."
"Ah ha," shrieked Ratoff, "that's the girl
for me! That's just the fire and punch I'm
looking for. What is your name, little girl?
You're hired."
{Please turn to page 74)
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SCREENLAND
71
BILL LUNDIGAN has enlisted in the
United States Marine Corps and expects
to go in two months. Martha O'Driscoll
says there will be no marriage until after
the war — if at all. Nice gesture on M-G-M's
part to give Bill a bonus as a going-away
present.
IT HAPPENED on the "Saratoga Trunk"
I set. Ingrid Bergman had to smoke a cig-
arette in a scene. She actually had never
tried it before. They had to take time out
while she practised away on her puffing.
As a gag, the following day Gary Cooper
presented Ingrid with an old corn-cob pipe !
Joe Cotten again, this time with Deanna Dur-
bin at Hollywood Victory Committee meeting.
What's this? Rita Hayworth going steady
with Orson Welles? Joseph Cotten, at
right in photo above, accompanies his pal
Welles and the lovely Rita to dinner at the
Brown Derby. And what will Vic Mature say?
WHEN Jack Benny was sent to Arizona
to recover from pneumonia, Mary
Livingstone joined him. Not wanting to
make the trip alone, she asked Ann Sothern
to accompany her. Ann was delighted for
several reasons, one being that boy friend
Bob Sterling was stationed at Thunderbird
Field, just twenty miles away from the
Arizona Biltmore. During the ten days she
was there, Ann got to see Bob twice, just
thirty minutes each time.
UNLESS she changes after the picture
starts rolling, there's a new Pola Negri
on the set of "Hi Diddle Diddle." The old
Pola was so temperamental, you could ac-
tually see the sparks fly. But the war and
suffering she has seen in Europe has left
its mark.
KINDA cute and kinda sad, that's what
Jane Withers' seventeenth birthday was.
She invited all her former leading men —
not one of them over twenty. All of them
who could get there, were in uniform. By
far the handsomest was Yeoman Richard
Clayton. He looked like that young sailor
the Navy uses on its recruiting poster.
WHAT price glory department: Gig
Young, boot-camping in the Coast
Guard at Alameda, California, got his first
leave of absence. So Gig went into Oak-
land and there, on the marquee of the Fox
Theater, for the first time in his life he
saw his name in lights. The picture was
"Air Force." Gig was thrilled and rushed
in to see it. Then he came out and stood in
front of the theater and looked at his name
again. For the next two hours he stood out
in the street, trying to hitch-hike a ride
that would get him back to the base again !
THE entire studio turned out when Bob
1 Hope and Zasu Pitts did a jitterbug
number for "Let's Face It." Zasu, by the
way, had Bob in hysterics, telling about the
different ways her name has been mispro-
nounced The one Bob almost passed out
over was — "Zulu Potts."
MOST stunning air raid warden in Bev-
erly Hills is Verree Teasdale. She's
very conscientious about it, too. Recently
there was an "alert." Another air raid
warden trespassed on Verree's territory.
The scene that followed was much better
than any she's ever played on the screen.
Ginny Simms with "old friend" Private Howard
Greeley at opening of Florentine Gardens.
72
IACK OAKIE lives in a Hollywood
J apartment so he hasn't a yard for a Vic-
tory garden. So what ? So he's planted vege-
tables in dirt-filled boxes on the roof. "It's
up so high the birds can't stand the altitude,"
says Jack. "Now my scarecrow has to find
a new agent!"
ELEANOR POWELL has been spending
L. every week-end at San Diego, in the
hope of getting to see Glenn Ford. In the
short time he has been in the Marine boot
camp, Glenn has proven tremendously pop-
ular with his buddies. Despite the hard
work, Glenn has gained ten pounds and
never looked better in his life.
EVERYONE was feeling sorry for Joan
Leslie because her life seemed to be all
work and no play. Then Joan reached the
ripe old age of 18. So what happened?
Every time a young man tried to make a
date with Joan, she turned him down.
"There's plenty of time to have fun," she
explains. "First I want to be a good ac-
tress."
HAT DANE may not have lived up to
' M-G-M's great expectations, but she cer-
tainly has remained true to the reputation
she built up for herself. Latest episode is
her marriage to that sentimental gentleman
of swing, Tommy Dorsey. Wonder what
Tommy has that made Cedric Gibbons so
easy to forget?
WELL, it finally happened. Humphrey
Bogart got a letter from a WAAC.
She asked him to send her a picture of
himself in a bathing-suit. She said all the
girls were crazy about him and they were
naming him "Pin-Up Boy Number One."
Bogart, with that terrific sense of humor,
is having the picture made. His bathing-
suit will be a gay '90's model.
Unusual group of unusual stars: Jean
Hersholt, Alice Faye, Allyn Joslyn, and
George Brent at Screen Guild program.
DOLORES MORAN, the girl Warners
are giving more publicity space than
good parts, has just been handed a strange
compliment. A soldier writing to her says,
"You are the girl I'd like most to be shot
out of a cannon with." Dolores is trying to
figure out whether she should feel flattered.
EVERY time Paul Henreid gives an in-
terview (which is often) he raves about
Willie May Lee, his cute colored cook.
Well, all the ebony-hued soldiers have
started to write to Willie May, who has
quite a sense of humor about it all. The
boys keep asking her for photographs.
So Willie May asked Paul if he could
arrange for her to have one of those
glamorous sittings like Ann Sheridan has,
at the studio. Paul is arranging it!
11
Two barrels of fun with two bottles
of joy — that's what you see in this
picture! Pepsi-Cola gets a great
big hand from stars
and fans alike — it's
the grand drink
with the swell
taste and five
cents opens a
big, big bottle.
JERRY
COIONNA
Pepsi-Cola Company. Long Island City, New York. Bottled locally by Franchised Bottlers from coast to coast.
SCREENLAND
73
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Songbird with Sex Appeal
Continued from poge 71
And Ratoff was so thoroughly pleased
with his "discovery" that he insisted that
she play the little song writer from Al-
toona, Pa., in a later production of "Some-
thing to Shout About."
In those days Janet was pretty discour-
aged. She kept feeling that she had made
a mistake. "Music is so important to me,"
she told me. "When I am blue, music pulls
me right out of my dumps. When there is
music I forget everything else. I didn't
want to be a leg art cutie. I wanted to be
a singer. I wanted it so bad it hurt."
Well, Janet was just about to call every-
thing off and go back to Altoona and start
from scratch. And then Columbia gave her
one of the best parts of the year — the part
of Eileen in "My Sister Eileen." Eileen was
a sexy little dish who had quite a way with
men, a nice way of course, and although
there wasn't any vocalizing in it, at least
it was a wonderful acting part.
"I was awfully proud of Eileen when I
played it," Janet confessed to me. "But now
I realize how far from perfect I was.
There's plenty of room for improvement
in my acting."
Eileen reconciled Janet to Hollywood.
That is, she was all reconciled until she
met Lawrence Tibbett in Washington at
the President's Birthday Ball. Now she's
wavering again. A lot can be said in favor
of Eileen. But a lot can be said in favor
of Marguerite.
Janet is about the least movie-conscious
actress you are likely to meet in the cinema
capital. She doesn't give a darn for night
clubs. "I had to play too many of them
when I was with the band." In a town
where people get their cars out of the
garage just to cross the street, Janet's "Let's
walk, we've got time, haven't we?" has her
friends shaking with incredulity. Next to
singing she likes walking. She thinks things
out when she is walking. And when she is
walking and thinking she is also invariably
singing. She lives in an apartment house
with quite a large patio which she has to
walk through before she reaches the street.
As she has a habit of walking at night,
when she can't sleep, the neighbors were
often greeted around midnight with snatches
of Strauss. They complained to the man-
ager. At least some of them did. Some of
the others complained too. But a different
kind of a complaint. They said to the man-
ager, "Whatever happened to the little Blair
girl who sang so beautifully? Doesn't she
go for walks any more? Her singing was
quite the nicest thing about this apa&tment
house."
When she first came to Hollywood Janet
shared her small apartment with her sister
Louise, who was a technician in a labora-
tory. But Louise married and moved back
East to be with her Navy husband. So now
Janet shares her apartment with Nuisy, a
cat who likes to sit in the wash basin and
have water drip on her tail. Cats and dogs
are Janet's weakness, and she'd like to
have dozens of dogs, but the apartment
house rules say, "No dogs and no children."
If the manager ever tells her she can't have
a radio, a recording machine, and a piano
she'll move out. She might give up dogs, for
the time being, but she won't give up music.
Half of her salary goes into recordings.
Janet is engaged to Louis Busch, who is
a private in Uncle Sam's Army. At present
he is stationed at Santa Ana, near enough
to come in to see her several times a week,
when he has a few hours' leave. Louis used
to be a pianist and arranger with the Hal
Kemp band, and he fell in love with Janet
that first night she sang with the band in
Altoona. But he had the wisdom to keep
his own counsel while she was in the process
of growing up. They became engaged last
winter, when she was twenty-one. Exactly
an hour before the train left for New York
and the "My Sister Eileen" opening, he
slipped a ring on her finger.
What about marriage ? Janet isn't saying
— yet. Maybe not until the war is over.
Maybe not until she makes up her mind
about the Metropolitan. A safe bet is that
one day she'll sign a contract to sing Mar-
guerite. And the next day she'll marry
Louis. You know how it is with Janet. Her
artistic life always seems to get side-tracked
by (the Hays Office has just returned from
lunch) youknowwhat.
Sisters on the set: Joan Fontaine, in costume for her role in "Jane Eyre,"
has a distinguished visitor in Olivia de Havilland, trim and tailored.
74
SCREENLAND
Kay Kyser's New Girl
Continued from page 25
licity. That is one side of the Kay Kyser-
Georgia Carroll combination. But simul-
taneously come the reports that Kay Kyser
now no longer privately carries the torch
for Ginny Simms ! He never either denied
or confirmed their romance, which kept
Hollywood guessing, predicting, and won-
dering if their love would culminate in
marriage. Ginny, too, was always secretive.
But Ginny and Kay were inseparable all
those years — from the time he discovered
the little piano teacher from Fresno, Cali-
fornia, who came to him applying for a
job as girl-singer with his band. It is to
be remembered that Kay at first rejected
her. But he couldn't forget her sweet
appealing face, her sincere personality. In
six months he sent for her. From then on,
it was always Ginny Simms and Kay Kyser.
A year or more ago, Ginny decided to stay
in Hollywood and make pictures. For pub-
licity, and on advice as to building her own
Hollywood career, Ginny began accepting
other dates. Soon she was being beaued
and rushed by the young men of Holly-
wood. And soon it was noticeable that
Ginny and Kay were no longer a romantic
item. They were not seeing each other.
When they did appear together on benefit
programs, on command performances, they
had little for each other beyond a nod of
recognition.
But now — Georgia Carroll? The first
girl in whom Kay has exhibited a marked
interest. The first girl he has been seen
dating in the many months he has de-
voted strictly to rushing about the country
by train, plane, bus, boat, entertaining at
Army camps. What about Georgia?
"It wouldn't be any hard job to fall in
love with a girl like Georgia," Kay ad-
mitted to me. But his reticence to discuss
romance is just as strong now as it ever
was with Ginny.
"Sure I'm taking Georgia out," he con-
tinued. "But it doesn't have to mean we're
in love. But," he added, "Georgia has
everything to make a fellow fall in love
with her.
"The first thing you notice about Georgia,
that makes her so different from the other
girls you meet, is not her beauty, but her
appealing, modest sincerity, her complete
lack of affectation and phony front, her
overwhelming womanliness. A girl like that
is rare in Hollywood. Hard to find any-
where !
"When I met Georgia two years ago, I
said, 'There's one of the loveliest girls
I've ever seen. She's unassuming. She's
gentle. So womanly.' " Kay may not have
realized how much he sounded like a man
in love — raving over the supreme virtues
of his one-and-only. But he was — just that.
"I had no idea Georgia had a voice —
or could sing at all — that day in the bus
going to Gardner Flying Field. You were
with us, May. You remember I said 'Gosh,
Georgia, I hate to have you come out and
just say hello ! I admit it's a treat for the
boys to see you. But isn't there anything
you can do ?' "
Georgia thought a minute. Then she
said with marked hesitance, "I can carry
a tune. I sing around home for my own
amusement!" She laughed. "But I'd be
scared to death in front of anyone."
Kay coaxed her to sing for him. They
moved into the rear seat of the bus. Georgia
began singing softly to Kay.
At Gardner Field, with Kay encourag-
ing her, promising, "No matter what you
d<-> the band will cover up for you, we
: you down," — Georgia sang Dearly
V J-
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Beloved and Embraceable You. She com-
pletely stole the show. Georgia sang as
though she were singing individually to
each boy. And her words were taken right
to their hearts.
''I kept thinking of Georgia, all the
way back to Hollywood," Kay told me
later. "I'd been looking for just the right
girl for a long time. But when I least
expected her — I found Georgia ! Here's a
girl, young and gloriously beautiful. A
girl whose very appearance on a band-
stand panics the customers. And our cus-
tomers have been hard-training soldiers
for the past two years. What would they
like better than a lovely vision like Georgia
singing to them !"
Our bus from Gardner Field returned
to the N. B. C. lot, late that Sunday night.
Georgia's car was there. Due to gas-ration-
ing and "share-the-ride" plans she offered
to drive me home. Just as we were leaving,
Kay came running over to Georgia's side
of the car.
"I'd like to see you again soon Georgia,"
he said. "Would you like to save next
Friday night for me? That'll be the only
night I'll have in town this week."
"Why, certainly," Georgia consented, the
surprise in her voice registering slightly.
"Why, of course, Mr. Kyser," she amended.
"Please call me Kay," he said.
"All right," Georgia agreed. "But let's
not go anywhere where we have to stay
out late. I'm doing modeling for ads this
week. I have to get lots of sleep," she ex-
plained.
"We'll have dinner at some quiet little
place," Kay suggested.
"That will be nice," Georgia agreed. "I
don't like night clubs."
"Neither do I," Kay said. "I haven't
been inside Ciro's or Mocambo's for a year.
I hardly ever go to night clubs."
"Neither do I," said Georgia. They both
laughed.
"I'll call you, Georgia, as soon as I get
back from San Francisco," Kay said. "Or
maybe I'll call you from there," he added,
looking into Georgia's large blue eyes.
(Eyes that were chosen as the most beau-
tiful in Hollywood for the Composite
American Beauty. "Drink to me only — "
they are publicized in "Du Barry Was A
Lady.")
"Goodness !" I thought right out loud,
as we drove off. "If I'm not mistaken I
think I've just witnessed the beginning of
Hollywood's newest romance." I looked at
Georgia She concentrated on the road — and
seemed a bit confused, a bit embarrassed.
"Mr. Kyser's such a wonderful man," she
said. "I feel very flattered that he should
invite me to dinner."
Georgia and Kay had dinner that first
time at Villa Nova, a quiet little restaurant
on the Sunset Strip, where you eat on red
checkered table cloths with a flickering
candle lighting the table. Soft music strum-
med on a guitar plays from a flower-
bowered patio, and the food is cooked in
rare wines and garnished with amazing
sauces.
"But I've never sung before! I don't
think I could do it," Georgia protested,
when Kay asked her if she'd like to sing
with his band.
"There isn't anything you can't do,
Georgia," Kay told her. "You begin singing.
I'll send you to a good teacher. We'll help
you in every way. You can't miss !"
So Georgia began vocalizing four to five
hours a day. She made records on a record-
ing machine at home. And Kay came oyer
evenings — to note the progress of her voice,
to make suggestions, to correct, to give her
the style, the technique of a radio singer.
They made records and played them back.
Boof Turner, the guitar player-with Kay's
band, worked with Georgia too, perfecting
her technique in the Kay Kyser style. And
finally Georgia was ready for her debut
on the networks. «. * ..
It's always a sure sign that a man's heart
is involved when he tries to improve on
perfection. For Kay says Georgia is perfec-
tion in every way. Still he is changing her.
"Being tall, I rather liked to wear low-
heeled shoes," Georgia told me frankly.
"But that was the first thing Kay made
me discard. 'Wear high heels — give line,
add poise and charm to your 'height,' he
insisted."
BOB PINS
Digging in for Victory! Between scenes of "It's A Great Life," the screen Bumstead fam-
ily heips to keep 'em growing, at the Columbia Pictures' San Fernando Valley ranch.
76
SCREEN LAND
It is well known that Ginny Simms is
one of the most beautifully groomed and
perfectly gowned girls in Hollywood, and
that Kay helped select her clothes. Now
he is doing the same for Georgia. He has
asked her to discard the plain little peasant
frocks she loved. He is building her into
a glamorous star.
"Kay tells me to wear tailored clothes
on occasion, but femininely tailored — with
accessories to make them dainty and more
feminine. He stresses I should wear my
hair loose and soft and full, rather than
up-do coiffures. And the gorgeous evening
gowns he suggests — smart and simple, but
wonderful lines," Georgia said. "It is grand,
knowing that someone believes in you so
much ! I have never had anyone take such
an interest in me. You simply can't let Kay
down."
Georgia is five feet, seven and one half
inches tall. She hails from Dallas, Texas.
She is a natural blonde who modeled clothes
in Dallas and then went to New York,
where she became a top John Powers model.
She was chosen as the most beautiful and
the most photographed girl in the world.
Hollywood sent for her.
"I was selected to play the role of Daisy
Mae in the comic strip movie, but when I
arrived in Hollywood the producer decided
I was a bit lanky for the role," Georgia
said. You can see her utter lack of pre-
tense. Few girls, if they are tall, will refer
to themselves as "lanky." But Georgia was
kept busy posing for magazine covers and
national advertisements. She was signed by
M-G-M and Warners successively, but in
bit parts in dozens of movies she never had
the opportunity to speak a word. For Holly-
wood generally believes that models are
too beautiful to be good actresses.
Perhaps Georgia is one of the few, if not
the only one of the current New York
models to win a chance at a big-name
career in Hollywood. As the protegee of
Kay Kyser, she has that opportunity.
Georgia has always been serious about
her own life. She has seldom been men-
tioned in the gossip columns. Her little
house in Coldwater Canyon — which she has
bought and paid for and which she shares
with her mother — is one of her chief in-
terests.
"A doll's house," says Kay. "Georgia is
very artistic. She has completely designed
the interior and the furnishings. Her own
needlepoint covers the chairs. I declare,"
he added, "Georgia hasn't changed a bit
since she was a baby in appearance ! she
still has her wide-eyed, baby-face."
Kay might have said, as Georgia's mother
did, that when Kay first called, the family
album was brought out. When Kay came
upon the picture of Georgia as a baby on
the bear-skin rug, Georgia actually blushed !
In spite of her wide-eyed Southern
beauty, Georgia is a competent girl. She
has a nice little bank account to show for
years of modeling. In New York one of
the Powers girls told me, "Georgia is very
thrifty. We always grab taxis to go to our
various appointments. But Georgia, making
more money than any of us, usually takes
the subway." At M-G-M Georgia brings
her lunch from home. So do Crawford and
some of the other stars for that matter.
But invariably co-workers on the set per-
suade Georgia to open hers — and Southern
corn muffins and cold chicken are rationed
out, for everyone to nibble. Subsequently
someone's usually taking Georgia to lunch in
the studio commissary.
Kay is one of the few Hollywood bach-
elors who has never capitalized on romance
for publicity. He refuses to do so now.
"It's not fair to the girl," he said. How-
ever, he admitted that Georgia is the only
girl he is dating now.
"Of course I want to be in love and get
Wallflower
(garden variety)
IT WAS your idea . . . turning that
vacant lot into a Victory
Garden. It was you who pledged
the gang to pitch in and
plant ... to grow precious Vittles
for Victory.
And now, come weeding day, here's
you . . . wilting! Shirking your
share while the others slave.
Maybe you were too ambitious
. . . when a girl should take it
a little easy at times like
this. Result: you're on
the sidelines, with a
worm's-eye-view of life. While
your blonde rival nobly carries
on — (just hoping you'll break
your date with Bill for the barn
dance tonight) !
Of course, she'd never tell you bow she keeps so chipper, so confident,
on her "days" ! She'd never let you in on the secret of
relaxing . . . and staying comfortable with Kotex sanitary napkins!
Grow a crop of confidence !
Ask the other girls and they'll tell you that comfort and confidence
and Kotex go together!
You're more comfortable with Kotex because it's made to
stay soft while wearing . . . wonderfully different from pads that only feel
soft at first touch. And none of that
snowball sort of softness that packs hard under pressure.
And with Kotex you're more confident. That special 4-ply safety
center promises poise-insurance! There's no bulging . . . for the flat
pressed ends of Kotex don't show, because they're not stubby.
• Yes, whether you're dressed for gardening or gaiety, your secret's
secure . . . your protection is sure. So why wouldn't more girls choose
Kotex than all other brands put together! And frankly, why don't you?
&ef> rgoiW ,co'
THE TEENS ARE TALKING about the free
booklet "As One Girl To Another" — that
helps you cope with "calendar" problems
. . . puts you on the beam about groom-
ing, activities, social contacts. Get your copy,
quick 1 Mail your name and address on a post
card to P. 0. Box 3434, Dept. S-7, Chicago.
•*T. M. Ree. U. S. Pat. Off.
For Certain Days ... if you suffer from cramps, try KURB tablets, a Kotex
product compounded expressly for relief of periodic discomfort. It merits your
confidence. Take only as directed on the package and see how KURBS can help youl
SCREENLAND
77
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married — maybe soon. Who doesn't?" Kay
said. "I've always had certain dreams and
ideals about the girl I'm going to marry.
I admit that Georgia easily fits that picture.
But there's so much at hand right now.
So much to do until after the war.
"I've been kidded for many years be-
cause my band plays romance, sings ro-
mance, and everyone asks why don't I
find romance? Why am I a bachelor?
"There's one reason, perhaps. I knew the
love and devotion my parents had for each
other. I saw how happy their marriage
was. They were never separated. That's
the way I want it.
"The constant traveling, worry over each
performance, the rehearsals, broadcasts, re-
cordings ; the life I lead, jumping into
buses, trains, constantly touring the coun-
try— is not conducive to a happy family
life. I have always hoped that one day 1
would be able to stay put, have my own
home — and stay there. Not always be on
this continuous merry-go-round. When I
marry I want to be with my wife, always.
Just like my mother and dad.
"But now," Kay said, "I've decided I'll
just meet whatever situation I find. A girl
won't have to give up her career unless
she wants to. But I hope hers and mine
will be together — so we can be together."
As for Georgia, she confided this much,
"Kay is such a wonderful gentleman. We
are both from the South. He's from North
Carolina. I'm from Texas. We have many
interests in common. Many people sqe only
the funny side of Kay Kyser. But he has
his serious side, one that makes me admire
him so much.
"Yes," she admitted, "Kay has all of
the nice qualities a girl could want in a
man."
But I couldn't get Georgia to say more.
It is natural that they are always together.
Kay's band is on the march with a schedule
of Army camps and service centers to en-
tertain. He's just finished his new picture,
"Right About Face," for Metro-Goldwyn-
Mayer.
Kay, who will be thirty-eight in June,
was rejected by the Army for military
service after a physical check-up.
"I'm sorry I didn't make it. As for the
future, I intend to keep doing just what
I have been doing — everything possible to
help the war effort," said Kay.
Since Georgia has been going with Kay
she's become an avid gin-rummy player.
She and Kay spend hours playing, but she
admits that Kay always wins — that is, most
of the time. They have quiet little dinners
with friends, dinner at Georgia's house
where her mother serves Southern food.
And midnight snacks after shows — where
they plan big dreams. Dreams and visions
of Georgia's rise to stardom with Kay.
Lamour Takes The Veil
Continued from page 26
That's where Captain William Ross
Howard III entered. Movie stars are cer-
tainly no great shakes to Captain Howard.
He's known oodles of them. And in a sort
of way he is in the movie family, his first
wife having been Louise Brooks, daughter
of Mrs. Lionel Atwill, who was the first
wife of General Douglas MacArthur. Tak-
ing Dorothy Lamour to the Army base was
just routine to him.
When he met Dottie in the lobby of the
Arrowhead Springs hotel that night he let
out one of those long low whistles by which
the male of the species is wont to denote the
proximity of a desirable female. Except that
he did it silently, Captain Howard is a
gentleman.
Handsome young officers with lots of
gold braid are certainly no treat to Dorothy
— not after all the Army camps she's vis-
ited. But when she got an eyeful of Captain
Howard she did a double-take, and got all
quivery and goose-pimply. "It was nice of
you to drive way up here to get me," she
said sweetly.
"No trouble at all," said the Captain. "I
live here at the hotel. I have a bungalow."
Dorothy, who had all her bags packed
to leave the following day, suddenly de-
cided that she needed another week of sun-
shine, water, and rest. And who could blame
her? The Captain is really something.
Dorothy's attractive mother, Mrs. Castle-
berry, knew that her daughter was in love,
even before Dorothy knew it herself. Dor-
othy moved back to her Coldwater Canyon
house, with her mother and stepfather, in
November. And like everybody else on the
West Coast she was greeted with a servant
problem. So Mrs. Castleberry, who is an
Interesting group at the Brown Derby: Binnie Barnes, Alan Curtis, Nan Wynn fRIta
Hayworth's screen "voice"), and Linda Darnell, recent bride of Sgt. Pev Marley.
73
Screen land
excellent cook — she has that old New
Orleans Creole touch — and Mr. Castle-
berry, who isn't bad himself, assured Dor-
othy they'd do the cooking until they could
find a reliable cook who didn't want to
work in a defense plant. Dorothy came
down to breakfast one morning and found
that her stepfather had prepared her a
neat little repast of oatmeal, hot cakes
dripping with butter and syrup, eggs and
popovers. Dorothy burst into tears. "How
can you do this to me when I'm trying to
reduce?" she screamed. Mrs. Castleberry
came running down the stairs. "What have
you done to my baby to make her cry like
that?" she demanded of her startled hus-
band. Dorothy is a calm soul, not given to
tears and hysterics. When the excitement
had abated, and Dorothy had left for the
studio, Mrs. Castleberry settled down to
think. "That isn't like Dorothy," she said.
"I wonder if she's in love?"
Mrs. Castleberry got the answer to her
question Christmas. "I've invited a few
soldiers," Dorothy informed her casually,
"to spend Christmas with us. One of them
is the Captain Howard I met at Arrow-
head Springs. He's awfully nice."
They exchanged autographed pictures, in
pretty frames, for Christmas presents. Cap-
tain Howard asked Dottie if she would
spend New Year's with him, and they made
a reservation at the Mocambo.
In January the good-looking Captain was
transferred to San Francisco. Where he
promptly took to bed with pneumonia. Dot-
tie spent her week-ends with him at the
hospital in San Francisco, and when he
was resting, she would sing and entertain
the other boys in the hospital, all of them
boys who had been wounded at Pearl Har-
bor. When he recovered from pneumonia,
he was sent back to the Army Base at San
Bernardino. In the meantime his mother
came out from the East, and visited the
Castleberrys. Dottie and her future mother-
in-law got along like a house afire.
After she finished "Riding High," Para-
mount informed Dottie that she could have
several weeks' vacation before starting her
next picture, "Four Angels." Dottie gath-
ered up her best friend, Laura Lamarr,
and returned to the Arrowhead Springs
hotel. She had been there only a week
when at. 1 :30 one morning she received a
long distance call from Ted Whitehead,
saying that Mrs. Whitehead (the former
Kathleen Coglan, who used to work in
Paramount publicity, and one of Dorothy's
best friends) had been rushed to the hos-
pital and was just about to have a baby.
Dorothy dashed in to town to be with her.
The last thing Kathleen remembers be-
fore losing consciousness was Dottie say-
ing, "Your baby interrupted my proposal."
When the baby was born, and her friend
pronounced out of danger, Dorothy drove
like crazy back to Arrowhead Springs, ar-
riving just in time to say, "I accept," be-
fore Howard had to report at camp.
They decided to get married at once. In
California you have to get your license
three days before you marry (California
people being so impetuous) so Dorothy
phoned her mother, and Murphy McHenry
of the Paramount publicity department, to
meet her and Captain Howard at the li-
cense bureau. Dorothy was shaking like
a leaf. When she came to the space marked
"Occupation," she turned to Murphy Mc-
Henry and asked, "What's my occupation?"
Well, when a movie star forgets her occu-
pation, brother, that's love. "You're a movie
actress, Dorothy," said the press agent.
"Remember ?"
Captain William Ross Howard III is
35, tall, brown and handsome. Before the
war he was a Virginia lumberman, and a
former Maryland state legislator. He's as
intelligent as he is handsome. And Dorothy
is a lucky girl.
Cover Girl tells _
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didn't rot $100 dresses. I found it in
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"Here is why. It contains a really
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"It's Safe, too"
"A big advantage of Odorono
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directly after shaving. I like to use it
every morning for 'clothes-insurance'
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times. Try it. You can get it at any
cosmetic counter."
"You will really like to
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white and soft and fluffy.
And there's no waiting to
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SCREENLAND
79
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New screen shocker, "Five Graves to Cairo," shows Eric von Stroheim in
the role of a Nazi officer, and Anne Baxter as his victim. Fictioniza-
tion of this thrillng Paramount picture will appear in an early issue.
When Dorothy signed her name Dorothy
Kaumeyer on the license, there was much
speculation about her real name. Her real
name is Mary Leta Dorothy Lambour. She
was born in New Orleans on December 10,
1914. She married Herbie Kay, whose real
name was Kaumeyer, seven years ago. She
was an elevator girl at Marshall Field's in
Chicago, and Herbie Kay gave her. a
chance to sing on amateur night with his
band which was playing one of the hotels
there. She divorced him about four years
ago. . . -VY '•
Well, Captain Howard, a man who
doesn't care for fuss, suggested that they
elope to Las Vegas and get married quietly.
But Dottie is a very sentimental, romantic
person, and she had set her heart on a
beautiful home wedding, with the wedding
march, flowers, and chaplain. So the week
after they got their license the Captain
got a day's leave, and they were married
at Dorothy's Cold Water Canyon home in
Beverly Hills. There were about twenty-
five people at the wedding. Dorothy's fam-
ily and closest friends, and the Captain's
best friends from the Army Base. There
were no movie stars at the wedding. Laura
Lamarr was Dorothy's maid of honor and
only attendant. Captain Howard's best
man was his brother-in-law, Lieutenant
John C. Bogan, U.S.N. It was a double-
ring ceremony with the bridal couple ex-
changing plain gold bands
Dorothy's wedding dress, designed by
Edith Head, Paramount designer, was of
hyacinth blue crepe with a short skirt.
Tiny flowers of the same material out-
lined the yoke of the blouse. She wore a
pompadour hat, designed by Annabelle,
made entirely of flowers. Blue veiling held
her hair snood fashion, and she carried a
small pompom bouquet of white lilacs,
bovardia, orange blossoms and blue hya-
cinths.
Dorothy had intended wearing a big
picture hat. But she discovered that if
there is one thing her new husband can't
stand it's big picture hats. And she's got
a closet full of them! The wedding cake
was surrounded by gardenias, with two
cupids on top holding gardenias. Captain
Howard loves gardenias. Before she met
him Dottie always wore an orchid in her
hair when she dressed up of an evening.
But when the Captain started sending her
gardenias, Dorothy quickly switched to
gardenias.
A few days before she married, Matty
Malneck, whose orchestra is now appear-
ing at the Biltmore Bowl in Los Angeles,
called Dottie over the phone and asked
her if he could play at her wedding.
Dottie had sung with his orchestra once
before she and sarongs got together.
Dorothy asked Matty to play two selec-
tions : the Lohengrin wedding march, and,
when she cut the eake, Maryland, My
Maryland, in honor of the Captain's home
state.
Following the quiet home wedding, the
couple held a reception in the Officers' Club
at the Beverly Hills hotel. Here Dorothy
greeted about 250 of her friends, including
hairdressers, stand-ins (it was her stand-in,
Erlene Heath, who caught the bride's bou-
quet), friends from publicity, make-up,
wardrobe, property, newspapers, magazines
— and of course, stars, directors, and pro-
ducers. There is no snobbery about Miss
Dorothy. This was probably the most demo-
cratic wedding reception ever held in Holly-
wood.
High-spots of the wedding reception:
Bob Hope broke down and confessed that
it was he who had sent the wire to Captain
Howard which read, "Before you do any-
thing check with me," and signed Herbie
Kay's name to it. Marlene Dietrich looked
the most beautiful and glamorous. Carole
Landis, Joan Blondell and Flight Lieutenant
Storkie Dahl, an authority on Gremlins,
got together for a "Short Snorters" meet-
ing, all of them having flown an ocean. Mr.
Castleberry, Dottie's stepfather, rushed in
to report that the cat had just had kittens
on the front seat of Dorothy's car. "You'll
have as many children as the cat had
kittens," exclaimed Reggie Gardiner, "it's
an old superstition." There were four kit-
tens. Dottie said she didn't mind.
80
SCREENLAND
Right Face For Your Summer
make-up is such an important part of look-
ing your best that it calls for special con-
sideration.
Fashions in faces are going to be pink-
and-whiter this season simply because more
of us are not going to be able to get out
in the sun as much as usual. However,
•working in your Victory garden is such an
excellent opportunity for getting sun-
soaked, that perhaps more of us are going
to be tan than we might at first suppose !
But if you do not intend to tan, be sure to
use a face powder which is on the pink side,
because this color gives your skin radiance
and warmth.
If you go in for dark powder just for fun
or because you like the effect of it on your
skin be sure to use a foundation cream
under it. Otherwise dark powder has a
tendency to streak. We believe that a foun-
dation cream should always be worn no
matter what your make-up, but you can
get along without it under a light powder
better than you can under a dark one.
In order to have the fresh, live look
everybody wants today, choose as your new
lipstick one of those with a faint blue tone.
It is an old idea that the true, clear red
gives the most natural look. You will find
that most of the new lipstick colors this
year are on the soft blue-red cast. However,
should you be one of the girls with red-
brown eyes and hair, play up your coloring
with a tawny lipstick. You will look differ-
ent and original and interesting. Be your-
self!
Suppose you decide at the beginning of
summer that you do not want to tan at all,
Continued from page 55
but instead intend to cultivate a becoming
pallor. Then by all means use a good sun
screen lotion as your powder base. This
will help prevent your skin from darkening.
Also use a lemon cream at night or one of
the good bleach creams.
Remember Madge Evans? She's a stage
star now, appearing in "The Patriots," writ-
ten by her husband, Sgt. Sidney Kingsley,
pictured with her ot the Stork Club.
This is the time of year that girls in-
clined to freckle, begin hunting eagerly for
something to prevent these little brown
dots. We always have wondered why, for
a freckle or two can be very pretty and
most becoming. The truth is that most skins
inclined to freckle will do so no matter how
you coax them. It is possible, however, to
keep them light and help them fade more
quickly by carefully protecting your skin
when it is exposed to the sun and by using
a light bleach at night.
Another annoying personal problem is
the tendency of certain types of skin to peel
after exposure to the sun. Here prevention
is worlds better than cure. If your skin is
the kind which peels easily, use more sun-
burn preventive and apply it more often.
Use it carefully over all exposed parts of
the body. We may not be like the old Indian
who said he was "all face," but much more
of us is going to be exposed to the weather
in the next three months than for the rest
of the year. On your face for regular make-
up use one of the sun screen lotions as your
powder foundation.
And now just a word about sun on your
hair. A little sun is a fine hair tonic, too
much is ruinous. If you bathe in salt water
be sure to rinse your hair in fresh water
afterward, for salt has a harsh effect on
hair. If you spend a good deal of time bare-
headed in the sun spread a fine film .of one
of the liquid or cream brilliantines on the
palms of your hands and smooth them over
your hair. This will act as a protection and
will help prevent your hair becoming dry
and stringy.
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iV.
Why Abbott Quit Pictures for Costello
Continued from page 29
will try to talk to you. The radio heads are
flying out from New York. They can't out-
talk me. Don't let them play on your sympa-
thies."
Lou winked at Bud. He was happy in
the knowledge of his partner's absolute
loyalty to him. "He seemed content." Bud
said.
"We won't let anything lick us, Lou,"
Bud added. "It's been a long time since you
were doing that single in a Chinese res-
taurant and I was producing at Minsky's.
Seven years !"
The nurse entered the room. "Sorry, Mr.
Abbott — but the doctor said you were to
stay only ten minutes. You'll have to go
now !"
"Listen to her trying to chase me out of
here," Bud replied. "A fine how-do-you-do !
Here's Lou sleeping all day and all night,
and you getting rid of his one visitor.
"Say, Lou — did you know that leghorn
you sent over hatched twelve chicks? How
you gonna top that ?
"Now look here, nurse. Lou doesn't want
me to go — and the Doc isn't here to know.
Tell her you don't want me thrown out,
Lou," Bud continued the same old routine
—never for a second letting Lou know how
worried he really was
"Say, you didn't read this, did you, Lou?"
Bud went on, completely disregarding the
harassed young nurse. "It's from a Marine,
by the name of Dick Stebbins, Guadalcanal.
He writes : 'Thought you'd like to know
that for five successive days we ate "Abbott
and Costello" stew on Guadalcanal. During
landing operations a shipment of canned
goods fell into the surf. The labels were
washed off. The mess Sarge couldn't iden-
tify them. For five days he guessed wrong.
They were all corn. So we named our chow
after Hollywood's foremost practitioners of
corn — Abbott and Costello,' "
I stopped by at Lou's house — the "S-C"
ranch in the valley, just two miles from
Bud's — on my way to see the latter. Lou
was not permitted visitors. But attractive
dark-eyed Anne Costello said her husband
was improving. "The doctor has discontin-
ued the sulfa treatments. Which means Lou
is on the road to recovery," she said. "Lou
has a loud-speaker system connected with
his room. He's hearing our conversation
now, as well as everything else that goes
on outside his bedroom door.
"The children, Patricia Anne and Carole
Lou, go in to see him every day. Lou, Jr.,
the baby too, of course. But Bud has been
his real salvation. Not for one second has
Bud let Lou feel that this was the end.
They tell gags. Bud's attitude has made
Lou actually cocky about his soon being
out_ and active again. Every day he keeps
saying, 'I've got to get out of this bed and
get going !' "
There were three days when no one knew
exactly what had stricken Lou. The doc-
tor's diagnosis was rheumatic fever. Con-
sulting doctors finally agreed. In the interim
all those dreadful rumors spread.
"After the doctor had made his exam-
ination," Anne went on, "Lou called me
back into the room. 'Is it really bad, Anne?
Is there anything the doctor told you that
he didn't tell me ?'
"Lou believes in Bud implicitly. When
Bud told him he would walk and be all
right again, that he was going to lay off
and have a vacation right along with him,
Lou knew that meant he'd get well. That
he hadn't been stricken with a permanent
affliction."
Anne had much to do. With two small
children and the baby, she was preparing
dinner for Lou. I continued on to Bud's
ranch, the "Hi-Neighbor."
Bud was out with his chickens. Not only
chickens but pens of rabbits and turkeys.
Betty Abbott was helping him mark the
sitting eggs for the hens so they wouldn't
be gathered by mistake.
The sun was hot. We retired with the
three Abbott dogs, a Great Dane and two
fox terriers, into the playhouse — just off the
swimming-pool. Tourists have mistaken it
for a road" house. Betty laughingly tells of
one couple who drove up, walked in to the
bar and ordered drinks. Bud was so flabber-
gasted he supposed they were friends he'd
met somewhere. He served them. They paid
him and left a quarter tip.
* Large oil paintings of Bud and Lou in
western cowboy attire are on either side
of the mirror behind the bar. One wall
holds a glass case filled with 101 badges :
police, mayor, deputy sheriff, and even fire
department. They were presented on the
bond tour Bud and Lou made last year.
The team played ninety towns and sold
$78,000,000 in War Bonds.
"Lou has a similar collection at his
house," Bud said. "It is always Lou's idea
and a gag between us, to top me. No matter
what I do, he always tops me. It was quite
a race to see who was presented what —
when we reached each town. If I got there
first I would receive the mayor's or sheriff's
badge first. If Lou did, I would end up
as a fireman.
"When I bought my wife a topaz ring
and Lou saw it, he said, 'I'll top that.' He
went out and bought Anne one five times as
big. When I built this rumpus room, Lou
came over and saw it. He built one twice
as big.
"The topper was when we adopted. Bud,
Jr., last August. Lou was an expecting
papa. He was in a dither. He had two girls
Girls! Give a look at Cornel Wilde, Sonja
Henie's latest leading man, in "Winter Time."
82
SCREENLAND
lIkethe
smRS AND STWPES
« novvd&r base
Ho wonder * * to y0ur
ccple-onl « *^re, U holds
skin t0ne s0 much longer and.
make-up on so m s. Th,s
^PS ^ To Jn ond vo- make-
' creo.V.foundo-n naturQl!yasthe
-up go together a
Stars and Str»Pes.
. his admWing eyes
$1
..5pc,25c,l0c
BONDS
and here I had a son. When his came in
November he called me in high glee, to
say, 'I've topped you, Bud! It's Lou, Jr.'
"Now we have the junior team of Abbott
and Costello. My son is just three and one-
half years older than Lou's— the same age
difference exactly as mine and Lou's.
"Lou and I have never had a contract
nor any written papers," Bud went on. "Just
a gentleman's agreement to split fifty-fifty.
"I was producing shows for Minsky in
New York, seven years back. I starred Ann
Corio, Gypsy Rose Lee, many of the big
name queens. Betty, my wife, was the sou-
brette and a big name in burlesque and in
my show. I had the whole family working
forme. My sister Babe Abbott was in the
chorus. My brother Harry was billed 'Silk
Hat Harry.' I wanted a good comedian to
team with me. I met Bud. He was a husky
young athlete. He could stand the gaff. So
we teamed up for a show I called 'The
Bandwagon.'
'There are plenty of actors who could
make the grade out here in pictures — if
they'd just keep on working wherever op-
portunity presented itself, and forget about
the money part of it," he said. Betty Abbott
and Harry, who had joined us, nodded
agreement.
"Lou and I played five and ten dollar
dates for a small time booking agent for
a long time. And that was just six years
ago. I'll always remember Willow Grove,
an amusement park in Pennsylvania. Lou
and I got twenty bucks for five shows that
day. We spent ten paying our train fare
and we took Betty along. She got tired of
watching us. So she went over to the con-
cessions. She came back with eight kewpie
dolls. We had to give our agent his ten
percent, and Betty had spent four dollars
winning dolls. We ate up the other four
at the park — and broke even."
"Yes," laughed Betty. "I remember you
said, 'Betty, you can't eat dolls.' We gave
them away to all of our friends when we
reached home."
"We never turned down a date or a
chance to appear before the public and do
a show," Bud continued. "Lou and I always
had our eyes on Hollywood. We knew if
we kept plugging something would happen.
"Lou was crazy about Charlie Chaplin.
He doesn't come from show people. Mine
were circus people and in show business
from way back. When Lou was twelve he
made his first public appearance in a con-
test doing an imitation of Charlie Chaplin.
He won first prize. That was his start. Lou
used to go to a dime movie and sit all day
watching Chaplin pictures. He still will.
"We were called the 'loco boys' because
we firmly believed that slap-stick comedy
could be rejuvenated. Hollywood had long
pronounced it hopelessly passe years ago.
But people are always hungry for laughs.
"Lou and I began our act. We'd do five
acts a day for ten or twenty dollars. We're
doing the same act now — at better pay!"
Lou and _ Bud — Lou with the guileless
face, Bud with the loaded dice in his pocket
— laughed themselves right out of burlesque
into the "Streets of Paris" show on Broad-
way. At the same time they were on the
Kate Smith broadcast. At midnight they
did a show at the Versailles (night club).
It was then Hollywood sent for them.
Universal and M-G-M were the highest
bidders. The boys chose Universal. No one
expected them to be box office wonder boys.
Their first film, "Buck Privates," was on
the quickie type. But it was a sensation.
They were immediately starred in "In the
Navy," of which Variety reported 27 hold-
overs out of 35 openings ! Universal tore up
their contracts and made out a new one
with a salary increase and percentage on
their pictures.
In Davenport, Iowa, a lady patron seeing
"Buck Privates" was seized with a fit of
laughing. She had to be taken home in a
police ambulance. The next day she re-
turned to finish the picture. The theater
manager reported the incident to Bud and
Lou. They named her their No. 1 Fan and
sent her a compact thus inscribed.
It is not generally known, since neither
Bud nor Lou say much about it, that their
ranches are respective havens for their old
friends of burlesque days. They have ob-
tained picture work for many of their for-
mer buddies. They were especially elated at
having sold M-G-M the idea of signing up
Murray Leonard, a burlesque straight man
in New York, for ten weeks in "Harem
Scarem," the picture that was ready for the
cameras when Lou was stricken.
"Murray'd be getting more money than
he'd ever made in his life," Bud said. "Our
costumes were ready. Shooting was to start
on Monday. But we'll make the picture yet.
"Lou celebrated his 35th birthday the
third week he was in bed," Bud recalled.
" 'Heck of a way to spend your birthday,'
I kidded him. You know Lou and I have
never had a quarrel in our lives. The way
we talk to each other, some folks would
swear we were fighting. Especially when
we get into one of our heated sessions of
gin-rummy. But that's just our way — al-
ways the gag-routine.
" 'C'mon and get up,' I'll say to Lou. 'Hey,
Nurse ! Lou wants to get up.' The nurse
will look alarmed. 'Look, Mr. Abbott, really
—please! Will you be nice and quiet and
get out?' she'll say.
" 'If Lou says I have to go I will,' I'll
tell her. Lou'll grin and say, 'I've nothing
to say about it !'
"But Lou pulls some corkers. Milton
Feld, the executive producer from Uni-
versal, was admitted to see Lou for five
minutes. Lou had just been handed a glass
of grapefruit juice. He took one sip and
sat it down. With a wink Lou said, 'This
is the way we make pictures at M-G-M.'
He was ribbing the rush at Universal.
"Lou likes to go shopping for his wife.
He'll buy her dresses and undies and I give
him a terrific ribbing. He has better taste
than most women in choosing Anne's
clothes, at that.
"But Lou can't cook. So help him, he
can't. I can. That really gets Lou down.
He can't come up for a topper on my spa-
ghetti and meat balls. He's tried. For a
while he tried specializing on liver and
onions. Lou has finally concluded he has
'style' — and I can take the 'chef honors."
In the first three weeks of Lou's illness
he received over 7000 cards and letters from
all parts of the country, wishing him a
speedy recovery.
"Not one of them alike," Lou said. They
varied from printed greeting cards to home-
made ones. One from a school at Decatur,
Illinois, informed, "The entire school is
praying for your recovery, Lou."
So must many of the millions of theater
fans who have set Lou and Bud up as the
comedy kings of motion pictures. You men-
tion that elegant title to Bud and Lou —
and they'll say "of corn ! — don't you mean !"
SCREENLAND
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Jean Arthur As I Know Her
Continued from page 3 I
extent that most people forget she's there
at all. That's because she never tries
to impress anybody. She never puts on a
lot of airs or makes dramatic entrances.
Nothing annoys her more than to see any-
one trying to be the center of attraction.
With all this, however, she is no wall-
flower. Instead, she is a vital personality
and an intelligent one.
Jean doesn't care a hoot about being
glamorous. She wears simple but smart
clothes and she isn't smitten with a yen for
a new hair-do every five minutes as some
of our lovelies are. You could almost say
that Jean doesn't act. or look like a screen
star. In fact, you could say it. She's more
the kind of a person you'd meet next door
in any town.
Despite her dislike of an overdose of
society, she is a very gracious hostess. She
lives quietly in Bel-Air. The guests at
Jean's house are surprised that she and
Frank Ross, her husband, don't go into
long orgies of discussion about pictures.
"After all," some say, "he produces some
of her pictures. They must talk and get
into arguments about work." I asked Jean
one day how she and Frank avoided this
natural impulse to discuss each other's
work. She said, "After six in the evening,
we close shop. And it stays closed until
the next day at the studio."
You've probably heard that one before.
But in this case, there is no press agent
breathing down somebody's neck. It's the
McCoy. She believes he's a good producer.
He thinks she's a good actress. And they
go on from there.
Working with Jean in "A Lady Takes A
Chance," which Frank produced, has been
a real experience for me. This is the first
time I was ever in a comedy. (There are
those who won't agree ! ) If it hadn't been for
Jean, I might not have made it. She is an
amazing person to work with. No matter
how I read my lines, she always suited hers
to match my tempo — which is, at times,
eccentric to say the least. I have never
met any actress who has such perfect tim-
ing. That's probably why her every "take"
is so good and why little things she does
— unconsciously — suggest good business for
a scene.
Jean is a retake artist. She never does
the same scene twice in the same way.
She makes each new shot a refreshing
and better one than the last. To say that
she keeps her cast on the jump is putting
it mildly. William Seiter, our director, was
also impressed with her work, but I didn't
think so at first. Several times after Jean
had done a perfect take, he would make
her shoot it over again. One day I asked
him why he did this. He replied, "Jean
may do something new that will be even
better and I want to see what it will be."
She nearly threw me on the first day,
though. I was a little surprised when I
saw her jumping up and down and yelling
just before we did our first scene. I looked
at her strangely. She smiled and said, "Oh,
I'm just relaxing." Since then, I have found
that this gymnastic exercise is part of Jean
Arthur at work. It's a lot better than
watching some stars come out of their
dressing room, stare blankly about, ap-
proach the camera, and say, "Sh, I'm get-
ting in the mood."
There's probably not a more considerate
actress in Hollywood than Jean Arthur.
Some mistake this for aloofness and re-
serve. I thought so too, at first. After we
had finished our first scene, she walked
to her dressing room and closed the door.
While I was wondering what gave with
her, her maid came to me and said, "Miss
Arthur wants to know if you'd come to her
dressing room." I went in and found Jean
pouting and pacing up and down. When
she saw me, she smiled and said, "I hope
you won't think I'm annoying, but would
you mind telling me what I'm doing wrong
in our scene? It's worrying me terribly."
I told her I thought she was swell — and I
also said I couldn't understand why an
actress of her stature wanted advice from
some actor. You see, I couldn't help com-
paring her to those charming creatures of
the silver sheet who are always telling
someone else how to do a scene but who
refuse to take well-meant advice from any-
one.
Another time, I heard Jean whispering
to a man on the set, "Do you think Duke
would mind coming to my dressing room
to go over a scene with me?" (Duke is a
name I go under most places in town).
I did go over the scene with her and was
glad of the chance. But it all stumped me.
Why did she feel so humble? Why didn't
she come right out and ask me to work
with her? I asked a friend of hers about
this. "Oh, she's afraid of offending you,"
he said. "You see, she doesn't want to in-
terfere."
Jean is also very sensitive of the opinions
of others. During one scene, I noticed her
watching Paul Fix, our dialogue director.
He wasn't reacting much. Afterwards, she
went over to him and asked, "What's the
matter, Paul? Wasn't it good?" He said
it was all right. "Tell me — what is wrong?
I want to know." Finally, he told her what
he thought. She listened to his every word.
Not once did she argue and say he was
wrong — that "she felt it differently." That
tired old line ! When I talked to him later,
he said, "Jean acts like that much of the
time. She wants to get someone else's view-
point. And she has to have reactions to
what she does. Why, she's gotten so low at
times that I've had to go in and give her
a pep talk and tell her how good she is.
As if anyone had to remind her that she
is a good actress. She's the only one who
isn't aware of that. But maybe that's why
she's a real artist. She has genuine hu-
mility."
That seems the secret of Jean Arthur —
she suggests a star complex but she doesn't
have it. She never tries to steal a scene.
She's too honest for that. She won't even
suggest a good piece of business she may
have thought up to the director or to
another star. Instead, she'll discuss it with
someone comparatively unimportant. The
reason? She doesn't think she should in-
terfere.
I think that Jean has an inferiority com-
plex. Why, only she knows. Some have
said it's because she has the idea that she
must work harder because she doesn't be-
lieve she's as attractive as some stars. That
is as hard to catch on to as her complex is,
for she is certainly one of the town's most
attractive personalities. Strangely enough,
especially if she feels this way, she never
worries if her profile isn't hitting the cam-
era correctly or if there's a third of an
inch shadow under her left eye. She just
thinks of her acting.
Jean isn't all serious, although she is
more so now than she was when I first
met her. She does kid around a lot and
she does enjoy a joke. Bill Seiter and a
couple of his henchmen were always going
into patter reminiscent of a minstrel show
before some takes. And no one laughed
harder than Jean. So don't get the idea
that she's a walking mass of weighty
problems and nerves. Far from it !
84
Screen land
Jean has been criticized for closing her
set to visitors. Hollywood has tagged her
for that for some time. Made her out to be
a high-hat. But there's a good reason for
this. While she's working to get a scene
right, she doesn't want an audience around
watching her. Producers don't allow anyone
in a theater until the final dress rehearsal.
And you can imagine a business man toler-
ating a group of people coming into his
office while he's busy, sitting down, and
watching him? When a scene is set, Jean
doesn't mind an audience at all.
Incidentally — and unlike some stars I
know — service men are always welcome
on -her set regardless of how tough a scene
may be. There were as many as forty
service men on our set several days in a
row. Usually, when they were there, Jean
didn't go into her dressing room. She went
over and talked to the boys for a long
time.
There's another story about Jean and
service men that has never been told in
Hollywood. One night when we were in
Palmdale, a small town out of Los Angeles,
on location, Jean was sitting in a little
cafe with her wardrobe girl, Mary Tate.
In walked a couple of Air Corps cadets.
Not being wise to the Arthur legends, they
asked her to dance with them. Jean was
on her feet in a minute. The only music
was a juke box, but she really' gave the
fellow a good time. As the evening prog-
ressed, twenty more cadets came in. Jean
spent all evening dancing with the fellows.
If someone from Hollywood had come in
and seen Jean, the cadets, and the juke
box, he would have gone away shaking his
head and saying, "It's not true. It's a
mirage."
Jean isn't only considerate of the service
men. She is also considerate of her fellow
players. One night, I knew she had to leave
the studio at six at the latest to fulfill an
important engagement. It was about five-^
thirty when we started what should have
been an easy and short scene. One of the
actors, obviously nervous and tired, kept
blowing up in his lines. We went over and
over it — and still he blew. It was six
o'clock and the scene was as bad as ever.
Calmly, Jean suggested that the company
take a rest. Everyone was surprised, for
they thought she'd simply walk off the set.
She went over to her phonograph — which
is always on the set — and played some
records. Then, even though she knew she
would never make her appointment on time,
she asked to do the scene over again. The
actor, relaxed — and grateful — got through
the scene perfectly. And when he was fin-
ished, she went over to him and said,
"Good piece of work."
Jean is gracious to her company in
another way. She usually plays her phono-
graph before 'a scene to get herself in the
mood and also for entertainment. But she
doesn't keep the machine to herself. She
has put on a loud speaker so that the whole
company can enjoy the music. She is always
asking the rest of the cast and the extras
what kind of music they like. Invariably,
she'll turn up the next day with the re-
quested records. If she doesn't happen to
have them, she'll buy them.
Mary Tate, Jean's wardrobe girl, is a
good example of what can happen to a
person when she gets to know Jean Arthur.
Mary used to be Carole Landis' wardrobe
girl. So when she was told she was to
help Jean Arthur, she was thoroughly dis-
gusted. She was sure she would never
get along with Jean — from what she had
heard. Well, the first day, Jean found out
that Mary liked flowers. Ever .since Jean
has brought Mary a bouquet of flowers
daily from her pet flower garden. (Jean
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has since gone in for Victory gardens in
a big way.) Mary Tate is today Arthur's
biggest booster.
Besides gardening, animals are Jean's
next love. She has four dogs at home. Her
chief concern during production on "The
Lady Takes A Chance" was a canary that
was used in the picture. Every morning,
Jean would meet the woman who owned
the canary. The woman came to the studio
on a bus. This worried Jean, so she would
take the bird to her dressing room right
away to be sure that it was all right and
that it had enough water and feed. Its
owner just stood by and watched. When
Eill Seiter wanted to use the canary, he
had to go to Miss Arthur's dressing room
to get it.
I only saw Jean balk once at an animal.
We were going to do a scene in a hay loft
one day. As we were climbing up the
ladder, Jean was met by a black panther
that had escaped from "The Leopard Man"
set next to us and was enjoying a nap.
I have never seen anyone move faster than
Jean did. Panthers are not among her pet
animals.
There isn't much to say about Jean's
likes or dislikes. She's fond of music, gar-
dening, and books especially. Her main
dislike is to be interviewed. She just re-
fuses interviews — but not for the reason
you usually hear. She honestly believes she
has nothing worthwhile to say to a writer
— she is sure she is bad copy. And that is
the one explanation.
There's one other thing I want to get
straightened out about Jean. She is not
unhappy or critical of Hollywood. Neither
is she a screen star who looks toward
Broadway, sighs, and says, "The theater !"
with appropriate emphasis. "Why should I
yearn for the stage?" she asks. "When I
was on Broadway the last time, I was so
scared every night before I went on that
I shook all over. No sir, the stage has its
place and the screen has its place. I know
where I belong."
I don't expect all this to change some
ideas about her in Hollywood. But this is
as I know her. And to me, she's not only
a fine person but she is the easiest person
in Hollywood to work with. With Jean,
you never have to worry. She does all the
work.
Me and Men
Continued from page 37
a chain of gold with a miniature box in
which to keep my vitamins, attached. With
it he sends a card. On the card he writes:
"Love — Devotedly, Jean Pierre." Women,
it is said, should be a little of the maternal
with men. Men, I think, should have a little
of the paternal with women. In young men
like Pierre, it is especially charming. Or
when we are with people he will look at me
and say, 'I am really the luckiest man in the
world, I think she likes me — or maybe she
is only teasing me.' He has that blend of
gaiety with the something — perhaps serious
that is enchanting.
I want a man to be, not violently jealous
of me, but a little jealous. It is not neces-
sary for a woman to be sultry, to have a
man be jealous of her. I am much more
sweet than I am sultry. Most women do
not know this. They think I am exotic.
But it is better business to appear sultry,
so I pretend that I am sultry.
So now, I am speaking about jealousy.
When a man is a little jealous, it always
amuses me for I never bother with anyone
in whom I am not emotionally interested,
and their hearts should tell them this. For
it is the heart which tells us finally, / am
in love! And then all others are shadows
to us.
I have lived in Latin-America, in Europe,
in New York and in Hollywood. Often I
have thought — this is the place where I
shall fall in love. When I have met attrac-
tive and charming men I have asked myself,
"Is HE the one?" But always my heart had
said no.
That is why the 11th day of February
is so important. I was in New York on a
personal appearance trip, and when I awak-
ened that morning I knew that something
important was going to happen to me. I
had a feeling of excitement, of suspense
that was almost unbearable.
Usually it takes me a half hour to dress,
but this day it took me two hours. I could
not decide how to fix my hair, or what dress
to wear, or what hat. It was funny, really,
to be so undecided suddenly, for during the
day there was not a personal appointment.
Everyone I was to see was regarding the
tour and the opening of "Arabian Nights."
And yet I knew that this day something
exciting was to happen.
At "21," we were to meet an interviewer,
and when the luncheon was over there were
other engagements, till late that night. Just
before the interview was over Jean Pierre
came down from the party of which he was
a member, upstairs. He was looking for a
match. There were thousands of matches
in the room upstairs, but he came down
to light his cigarette. We had met casually
in Hollywood, but we had scarcely spoken
a dozen words to each other.
But this time it was different. I knew the
minute I saw his face! I looked into his
eyes and knew immediately. He asked me
where I was stopping and if he might call.
When I returned late in the afternoon he
had called three times. While I was dress-
ing for the evening engagement, he phoned
again and asked if we could dine together,
if later we might not go dancing, and when
the last personal appearance was over we
went out together for the first time.
We danced one dance, just one. The or-
chestra was playing Night and Day, but
that is not our tune. Our tune is All the
Things You Are. Later he said, you must
never dance this number with anyone else,
and since then I have not.
After that one dance that night we talked
until the restaurant closed. He told me that
he knew something different and exciting
would happen when he left the party at
noon looking for a match to light his
cigarette.
When he took me back to my hotel he
asked, "May I call you in the morning?"
and we laughed because it was five o'clock
then, and I said "Yes, I will wait until you
call."
At eleven o'clock a box of red roses came
with his card "Jean Pierre."
At eleven thirty he phoned and asked if
we could lunch together. In the days that
followed we went often to La Vie Parisi-
enne, a charming restaurant where Jean
Pierre knew a waiter who had always
waited on him in his favorite Paris res-
taurant. This waiter always took care of
us when we went there. He wanted us to
have the best food and the best wine He
fluttered over us like a hen. It was so care-
free, and so romantic.
Jean Pierre remembers all the romantic,
little things. We would be apart two hours
86
SCREENLAND
(
and he would send me telegrams, he would
cut my picture out of the paper to show me.
He gives me books of poetry, with lines he
likes underlined. I keep those books on my
bed-table and take one with me if I go
away from home.
Before I fell in love I went out often
with many different men. I do not like to
be alone. I like gaiety. I like to see my
friends often; and meet new people. It is
so stimulating.
One of my best friends is Colin Leitch,
an R. A. F. flyer, half Chilean, half Scotch.
To me he is just like Don Quixote. He is
one of the nicest, kindest persons I have
ever known— and I am sure that one day
he will have the same wonderful experience
of failing in love with the right person.
The Saturday after I returned from New
York - Jean Pierre asked me for lunch at
Romanoffs in Beverly Hills. He said that
we had one very important stop to make
first. "I want you to look at something
here," he told me when we stopped before
a jewelry shop.
He had selected several rings from which
I was to make a choice. All of them were
very handsome, but when I chose a slim
band with a single diamond Jean - Pierre
said, "No! That is not for you. I want you
to have the most beautiful ring in the
world," and he slipped on my finger a heavy
gold band set with a huge emerald and
diamonds. It IS the most beautiful ring I
have ever seen and I have never taken it off.
Now I have a problem, for soon I start
in "Cobra Woman," for Universal, and I
will not be able to wear the ring. It is too
big to tape over so the camera will not see
it. I have not yet decided what to do.
Each day now it seems that I am the
luckiest girl in the world. We are very
much in love, and that is the greatest good
luck that can happen to anyone.
I used. to wonder if it would ever happen
to me again. Every girl wonders what the
man she will fall in love with will be like.
In her imagination he is many different
men, taking on the qualities which most
appeal to her. And each time she meets a
man strange to her she flirts, perhaps, a
little bit; It is natural that it should be so,
for there is something of the coquette in
every woman.
Before I was engaged I was often ac-
cused of being a flirt. But that is not true,
really. I have had many crushes, been en-
thused over and intrigued by many different
men. But I do not fall in love easily. That
is what makes it so wonderful now. To have
it happen so unexpectedly, to have time to
make a few plans.
Jean Pierre is making a new picture, '"A
Thousand Shall .Fall," at Metro, while I am
finishing "Cobra Woman." When he finishes
the film he rejoins the Fighting French
Army. He was, you know, in the French
Army before the fall of France. He" has
won the Croix de Guerre, and I am very
proud that he will go back and fight for his
country.
When he has gone I shall stay in Holly-
wood. It will be good to be busy — to have
work that must be done. The studio has
given me a star dressing room. I shall have
to work very hard, because being in pic-
tures, successfully, is not easy.
It is a hundred times more difficult when
you want success not only for yourself, but
because you want the man you love to know
you are doing the very best to make him
proud of you. Because you want him to
believe in you and know you will be there
waiting when he comes back !
John Sutton's Romantic Technique
Continued from page 43
through your Own intensity of feeling —
the camera goes far below the surface.
"Once I establish the mood of this make-
believe emotion, it is easy to hold it. For
example : there's that charming minx, Betty
Grable, sitting at the next table chatting
with a group of soldiers, but to me she
is Carol, the pert little heroine in 'A Yank
in the R. A. F.,' whom I made love to in
my home in Kent. Were I to go over and
speak to her, she would still be Carol, with
all the qualities I saw in the girl I loved
in that war drama. That's the way it will
be until I play with her again, then she'll
become the new heroine."
Overhearing scraps of our conversation,
Betty slipped away from her soldier boys
and came to our table for a moment. "Sure,
he concentrates !" she teased. "I remember
an idyllic love scene we made in A Yank
in the R. A. F.' while sitting in a pew of
a quaint old church. A little later, they
made a close-up of John, looking at me
with his very soul in his eyes. I was out
of camera range and being full of the
devil, I sat there making faces, expecting
him to burst into laughter. But no ! He
was so completely absorbed in his emotions
that he didn't even see me. Why, I even
began feeling saintly and almost ethereal,
as I watched him. Remember that day?"
Betty asked. Then she was gone.
John laughed. "Do I remember ! She's
dynamite, and our romantic scenes became
a battle of techniques, with her efferves-
cence upsetting my conservative English
love-making. In that picture, you know, I
lost Betty to Tyrone Power. So, when I
heard that Annabella and I were to be
lovers in 'Tonight We Raid Calais,' I
phoned Tyrone, saying, 'Revenge is sweet.
Now, I'll make love to your real-life wife,
how do you like that?' But the pay-off is,
that Annabella and I had no hot love
scenes, just a few beautiful moments that
suggested when the war Nvas over we would
find each other and complete our romance.
But we had more fun during the filming
than any picture I've ever made. We spoke
French all the time, and as I happened to
be familiar with a few choice slang phrases
that Annabella didn't know, I'd pass them
on to Tyrone so he could surprise her dur-
ing dignified moments. We had her so
bewildered that she began to wonder if
she really knew her native tongue."
Recalling that Gene Tierney once told
me she received her first screen kiss from
John in "Hudson's Bay," and that she was
eternally grateful for his sweet considera-
tion that saved her from any embarrass-
ment, I asked, "What about Tierney ?"
"I've played with Gene twice, and check
this up in my favor, I won her both times,"
he replied. "She's a charming girl in any
mood. The first picture was 'Hudson's
Bay' and she was still very young, playing
a conservative English girl. The second
was 'Thunderbirds.' By this time Gene had
grown up, matured, and in the role of a
boisterous American girl, the approach and
emotional response were in a different key
and we both threw ourselves into the action
with more ease."
Laughing must be John Sutton's creed,
for a pervading merriment is his most pro-
nounced characteristic. He's genial, demo-
cratic, and popular, not only with his lead-
ing ladies to whom he spells Romance with
a capital R, but with everyone whom he
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SCREENLAND
87
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meets. His own life has been more exciting
and adventurous than anything he has ever
played on the screen.
Born in Rawalpindi, India, where his
father was an English officer, his first
words were Hindustani for his nurses were
natives, his playmates children of other
officers stationed at Rawalpindi. At five he
was sent to England where he discovered
another language. He was graduated from
Wellington College and Sandhurst, then,
instead of entering military service, he set
out to tour the British Empire. His adven-
tures started in South Africa where he
spent eight months on a treasure hunt in
the veldt, hiding by day from hostile na-
tives, and searching by night for the lost
gold train of Oom Paul Kruger. He found
no gold, so he became a small-scale veldt
rancher. This prospered, but the lure of
the treasure haunted him and he sold his
ranch to outfit another expedition, disap-
pearing into the interior of Africa. Seven
months later he limped into his uncle's
home in Capetown ; his two companions
had died of fever, his equipment was stolen.
His uncle promised him fare to another
uncle in Assam, if he promised not to spend
it on treasure-hunting.
The uncle in Assam was a tea planter
and made John district manager. So, for
a year, he rode elephants around the plan-
tation and diligently covered all duties, but
tiring of the loneliness, he moved on. After
encircling the globe, he finally landed at
San Pedro Harbor, where the California
sunshine appealed to him and he decided
to remain.
"There has been a soft spot in my heart
for Americans," said John, "ever since I
met two charming girls in Paris the sum-
mer I was fifteen They came from New
Orleans, and their graciousness and sweet
voices completely captivated me. So what
more natural than I should fall in love
with an American girl? I did just that.
She was a non- professional from Philadel-
phia, and after a whirlwind courtship of
three weeks, we were married."
It was after this that John broke into the
picture business as technical adviser on
British films, and this led to acting. Bette
Davis glimpsed the talents in this easy-
going, tall Englishman — he's six feet, two
inches, and urged he be given a good part
in "Elizabeth and Essex." A contract with
Universal followed, then came one with
Twentieth Century-Fox, and stardom.
Applying for his American citizenship
brought out some curious details. He first
entered the United States from England;
then in 1933 came via China, to remain.
Three years ago he discovered his visa
had expired and hastened to Canada, only
to find it would be several years before
he could return under an English quota.
Fortunately, he proved he was born in
India, and came in under that country's
unfilled quota. Now that his three years'
legal residence is completed he wants his
American citizenship so he'll be able to
enlist He registered with the British Con-
sulate when war was declared, but was
never called by his mother country.
"And your wife, what does she think
of your screen love affairs?" I asked.
"She takes it calmly," he answered,
laughing. "My first Universal picture was
'Towers of London' in which I made love
to pretty Nan Gray. My wife and I at-
tended the preview and she sat there quiver-
ing, as she watched the sizzling scenes —
they were plenty hot. Finally, she whispered,
'Don't tell me you didn't like that!' I re-
plied, 'Of course, I did,. Every minute of it !'
So that ended that, and she's never bothered
about my movie loves again."
John's prize possession is his beautiful
Harlequin Great Dane, Susie, who is as
big as a pony. But alas, Susie and the
movies don't click. The one time there was
a chance of her becoming a Glamor Queen,
she upset the plans by being too iriendly,
too playful, and in two minutes the set was
bedlam. Director Henry King took one
look at the excitement and said, "Susie
won't do, John. Instead, I think I'll use a
Pekinese !"
Summing up, John said, "It takes time
and living to ripen emotional appreciation.
Many of the screen's finest lovers are no
longer dashing young blades; instead, they
have that rich understanding that is a gift
of years, and of full lives. It takes a lot
of living to know what life is all about.
I believe that more and more it will be
the mature actors who bring charm and
grace to our picture romances. They have
learned to use their emotions as a musician
does his violin, to bring out all these in-
tangible shades of feeling, to be provoca-
tive, and know when to start the flame.
Experience alone can do this.
"Being an actor is always exciting. It
offers the best chance for release from the
humdrum. I still speak Hindustani, and
sometimes I dream of the Oom Paul
Kruger's lost treasure, but I think from
now on, I'll find my adventures via the
movies !"
Fans' Forum
Continued from page 15
In direct antithesis of being unpatriotic,
an overdose of anything lessens effective-
ness. Those of us on the home front are
working under tension and require peaceful
entertainment ; the lift of laughter, films
vividly portraying the American-way-of-
life for which our valiant fight to preserve;
films which shall be the shining symbol to
civilian and service men alike, vested with
the power to leave us refreshed, stimulated,
eager to extend every extra effort required
to assure: THUS BE IT EVER!
MARY E. LAUBER, Philadelphia, Pa.
"China Girl" brought us plenty of enter-
tainment and some remarkable information.
I hope Madame Chiang Kai-shek went to
see this wonderful film, because it has done
much to aid her cause. "China Girl" swept
aside all racial prejudices and presented the
plight of her country in terms that every-
one can understand. But long after the
sentimental angle of the play has been for-
gotten, the terror, pathos, and bravery of
a young Chinese school teacher and her
small pupils will linger in my mind.
I have done so little when I should have
been doing so much to relieve the suffering
of her race. But now my eyes have been
opened by "China Girl" and an American
boy. But only a Gene Tierney and a George
Montgomery could have filled an evening
of romantic entertainment with the grim
underlying tragedy of a nation with its
back to the wall. And these players did it
so convincingly that China's need of help
has suddenly become my duty and respon-
sibility as a means of protecting America.
And it is my hope that we all have the
privilege of enjoying the dramatic skill of
these two stars in many future informa-
tional roles.
B. F. MURRAY, Tacoma, Wash.
88
SCREENLAND
Mary Astor, who likes to have -fresh flowers in every room of her home, grows them and
personally attends to their arrangement. Above, placing a bowl of garden flowers on her
table and, below, in her living room, with a vase of calla lilies from her own garden.
Streamlined Living
Continued from page 13
quets, but if I am busy I do not ask the
maids to do this. Instead of flowers on the
table, I use an arrangement of fruit,
candelabra, or an interesting pottery piece
when I can't give the flowers my personal
attention."
Half of what used to be colorful flower
beds have been transformed into a Victory
Garden, where almost every variety of
vegetable is grown.
"My Victory Garden produces lavishly,
so rationing hasn't made it necessary for
me to give up entertaining," said Mary, as
we admired the even rows of eatables that
make a pattern at one side of the house.
"Some of my good friends live nearby ;
others don't mind doubling up in each
others' cars to drive out this distance — and
so we manage to get together whenever
studio calls or civilian defense work permit.
"I don't serve elaborate dinners now.
Even when I'm having just a few guests
in, I serve buffet fashion as much as pos-
sible. This economizes on my maids' time
and fits into wartime informality."
Here is a sample menu recently served
at Mary's streamlined home :
MENU
Cocktails Hors d'oeuvres
Astor Beans
Asparagus with Hollandaise Sauce
Green Salad Hot Rolls
Fresh Pineapple
Coffee
The hors d'oeuvres consisted of tiny hard
crackers spread with unrationed cream
cheese mixed with chopped chives, pimiento
cheese and sliced stuffed olives, and a plate-
ful of raw carrot sticks, raw cauliflower
flowerets and snips of raw turnip set
around a bowl of Russian dressing.
"Astor Beans" are a favorite among the
meat substitutes Mary has found it wise to
serve. Unless your guests bring meat with
them, or you are fortunate enough to find
good poultry on the market, a main course
must be meatless.
ASTOR BEANS
Soak white navy beans overnight. Next
■ day cook in salted water until soft; then
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SCREENLAND
89
drain. Put several slices of bacon into a
frying pan with an onion cut in small
pieces and saute. Into the bacon, when
crisp, put your beans and keep turning
in pan until they begin to brown. Then
add one small can of tomato paste and
one tablespoon Worcestershire sauce.
Cook this mixture until it thins, then
take a slice of American cheese (the
plain old rat-trap cheese) and cut up in
pieces the size of a small nut, drop in
and stir until the whole mixture is very
hot.
Serve at once.
If you don't wish to serve asparagus,
arrange a platter of garden vegetables in
contrasting colors — beets, summer squash,
green peas and Swiss chard, for example.
The salad Mary served included all her
Victory vegetables — radishes, lettuce, Ro-
maine, endive, parsley, cucumbers, green
peppers and tiny young green peas, raw.
"If butter is not obtainable, I omit hot
rolls. With young children in the house,
I follow the English custom and see that
they are supplied first. Bread sticks or
miniature cucumber rolls are good without
butter. For cucumber rolls, my cook cuts
bread very thin, slices cucumbers in wafers
over the bread and rolls them up. She keeps
these in the refrigerator until served."
Sometimes, instead of fresh pineapple
dessert, Mary serves melon balls, prefer-
ably three kinds — watermelon, honeydew,
and cantaloupe — arranged in cannon-ball
piles with a little grenadine poured over
them.
"A new dessert I tasted while I was
making 'Faculty Row' with Herbert Mar-
shall at M-G-M, is going to be on my next
menu," confided Mary. "My cook will ex-
plain how it's made. The secret of serving
this dessert is to approach your cook suc-
cessfully. If she's sold on it, she won't
object to its complications. I admit it's more
work than scooping out melon balls!"
FRUIT FLUFF
1 package fruit Jello (lime is
excellent)
1 package vanilla pudding
1 lime (grate skin first and set aside)
y2 lemon (grate skin first and set
aside)
2 oranges (grate skin of one and
set aside)
1 small can evaporated milk left in
refrigerator 24 hours
\Vi cups milk
Canned or fresh fruit (fresh peaches
are delicious)
Make vanilla pudding in double boiler,
using only \y2 cups milk. Otherwise
follow directions on package. Set in
cold water to cool, then put in refrig-
erator.
Make Jello with 1 cup hot water, %
cup cold liquid consisting of the juice
of lime, lemon and 1 orange. Add water
if necessary, but it seldom is. Put in
refrigerator and when it is ALMOST
SOLID whip until it is like whipped
cream.
Add vanilla pudding by spoonsful
and whip again.
Whip canned milk stiff as you can,
then add, and rewhip.
Now add grated peel and pieces of
fruit. I used fresh peaches and the
.orange sections cut from inner skin
with a grapefruit knife.
Serve in sherbet glasses, heaped high,
garnished with half orange sections.
Cherry Jello and canned red cherries,
adding sugar, could be used. You cannot
use figs of any kind as they digest the
Jello and it won't set.
Mary thinks it's a good idea, if there are
children in the house, to serve as many
meals as possible outdoors. Children enjoy
picnics and are usually eager to set them
out and clear away, always a welcome
help when one maid is doing the work of
two.
"I've done away with fancy frills in the
bedrooms, too," Mary pointed out. "Here
the windows are again treated to simple
straight drapes and no curtains, the bed-
spreads are tailored, there are no long folds
sweeping the floor, no dressing-table skirts,
no unnecessary pretty-pretties."
Mary's own bedroom, as well as her
upstairs den, is a haven for books; each
has bookshelves reaching to the ceiling.
Books are to her necessities, and she must
have them at hand. She is a writer, too,
but both the kidney-shaped blonde wood
desk in her bedroom and the more official-
looking desk in her den are kept neatly
streamlined.
"The house is still comfortable, but it's
uncluttered," she said. "I keep right at hand
the items that are used often; everything
else is out of sight.
"One advantage of streamlining is that
little children have no knick-knacks to
break, no extra trouble to get into. Even
my perfume collection is put away, except
the bottle in current use. The idea is to
eliminate waste motion for the duration.
"I have no all-white rooms, no delicate
pastels, no bed canopies, no organdie lamp
shades, nothing fragile or useless. I insist
that the house be immaculate and my
scheme makes this possible with a minimum
of effort."
J? A>
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So smile, plain girl, smile. But remem-
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And sparkling teeth depend largely on
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SCREENLAND
3
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Published in
this space
every month
The greatest
star of the
screen !
In the pictures to come from M-G-M,
you will find every type of entertain-
ment conveyed by the word. Patriotic
pictures, exciting adventure narratives,
romantic stories, youthful musicals.
★ ★ ★ ★
The latter category is enriched by the
number of big name bands under ex-
clusive contract to the most important
and progressive studio in motion pic-
tures. Need we mention the name?
In "Cabin in The Sky" you have al-
ready heard and seen "Duke" Ellington
and his Orchestra. In "Presenting Lily
Mars" you have had two bands— Bob
Crosby's and Tommy Dorsey's.
Tommy Dorsey and his Band will also be
featured in the forthcoming "Du Barry
Was a Lady" and in "Girl Crazy."
★ ★ ★ ★
His brother, Jimmy Dorsey, will lead
his melodic cohorts in "I Dood It."
Looks like a Dorsey season.
★ ★ ★
Harry James and Orches-
tra will hold forth in both
"Tale of Two Sisters" and
"Best Foot Forward."
★ ★ ★
Incidentally "Best Foot
Forward" is considered
the honey of honies. It will be beeg.
★ ★ ★ ★
Kay Kyser and Band is
finishing "Right About
Face." Vaughn Monroe —
the handsome diwil — and
his Band are |doing "Meet
The People."
★ ★ ★
We forgot to mention —
and how could we? — that
the Good Neighbor artist,
Xavier Cugat, also does
his stuff for Uncle Samba
in "Tale of Two Sisters."
★ ★ ★
Last but not least come the ladies
headed by a gantleman with a stick to
make them behave. Our cryptic way of
announcing Phil Spitalny and his All-
Girl-Band in "Mr. Co-ed."
★ ★ ★ ★
So you see, whenever you're thinking
of facing the music, go to
an M-G-M picture.
★ ★ ★
And the Maestro of them
all is
Paul Hunter, Publisher
Delight Evans, Editor
HOMER ROCKWELL, Executive Vice President
Elizabeth Wilson,
Western Representative
Marion Martone,
Assistant Editor
iiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiniiiiiiiuiiiii
uiiiiuiiiiiiiiiiiuiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiuiiiiniiiiin
Frank J. Carroll,
Art Director
Jean Duval,
Staff Photographer
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uiiiiiiiiiiiiiiiiiniiiiiiiiiiiiiiiiiiiiiiiiilliiiiliililliiiiiiiiiiillllliiu
Vol. XLVII, No. 4
August, 1943
EVERY STORY A FEATURE
The Editor's Page Delight Evans 19
My Problems As A War Wife. By Gene Tierney 20
5 Year Plan for Fame. Cheryl Walker John Franchey 22
Frank Sinatra Heading for Hollywood (Candid Photos) 24
Man With A Future. John Ridgely Fredda Dudley 28
How Mrs. Bob Hope Is Pitching On the Home Front . . Maude Gerald 30
"Five Graves to Cairo." Complete Fictionization
Elizabeth B. Petersen 32
Does "He" Carry Your Voice In His Heart? Betty Shannon 34
"Under Fire." Marjorie Reynolds Maude Cheatham 38
Gloria Jean's Romantic Crushes May Mann 40
Bergman and "The Bell" Liza 44
FULL COLOR PORTRAITS:
Errol Flynn, star of Warners' "To the Last Man" 23
Jinx Falkenburg, appearing in "Two Senoritas from Chicago,"
Columbia 36
Lynn Bari, 20th Century-Fox star 42
SPECIAL PICTURE PAGES: Mickey Rooney, Judy Garland, James
Cagney, Jimmy and Tommy Dorsey, Eleanor Powell, Red Skelton,
Carmen Miranda, Martha Scott, Dennis O'Keefe, Nelson Eddy, Susanna
Foster, Dorothy McGuire, Roddy McDowall.
DEPARTMENTS:
Hot from Hollywood 6
Streamlined Living. Jane Wyatt Betty Boone 8
Your Guide to Current Films Selected by Delight Evans 12
Fans' Forum 14
Light On Your Feet Josephine Felts 16
Here's Hollywood Weston East 56
Honor Page 59
Guide to Glamor 61
Screen-Town Chatter 72
Natural Color Cover Portrait of GENE TIERNEY, 20th Century-Fox
Paul Hunter, President
Homer Rockwell, Executive Vice President and Advertising Manager
Lee Wagner, Circulation Manager
SCREENLAND. Published monthly by Hunter Publications, Inc., at 205 E. 42nd Street, New York, N. T.
Advertising Offices : 205 E. 42nd St., New York; 410 North Michigan Ave., Chicago; 427 W. 5th St.,
Los Angeles, Calif. Manuscripts and drawings must be accompanied by return postage. They will receive
careful attention but SCREENLAND assumes no responsibility for their safety. Yearly subscriptions $1.50 in
the United States, its dependencies, Cuba and Mexico; $2.00 in Canada; foreign $2.50. Changes of address
must reach us five weeks in advance of the next issue. Be sure to give both the old and new address. Entered
as second class matter. September 23. 1930. at the Post Office. New York. N. Y., under the act of March 3. 1879.
Additional entry at Chicago, Illinois. Copyright 1943 by Hunter Publications, Inc. Printed in the U. S. A.
MEMBER AUDIT BUREAU OF CIRCULATIONS
SCREENLAND
W3F songs, war shortages. Even skirts were
shortened — to the ankle! Shapeless fashions.
High buttoned shoes, spats. First permanent
waves. It was 1918, and army hospitals in
France — short of surgical cotton — welcomed
a new American invention . . . Cellucotton*
Absorbent. Soon nurses began using it for
sanitary pads. Thus started the Kotex idea,
destined to bring new freedom to women.
COUND * MILLION DOLLAR BABY
Empress Eugenie was everywoman's hat.
Transparent mesh made stocking history.
"I'll Tell The World" was current slang.
Challenged by the clinging fashions of 1931,
again Kotex pioneered — perfected flat,
pressed ends. Only Kotex, of all leading
brands of pads, offers this patented feature
— ends that don't show because they're
not stubby ... don't cause telltale outlines.
Three OClock
MtAeHoviim&
MM
Sweet GeorgiaBrowh
mm?*
* Permission Leo
FlappSTS flaunted first champagne- colored
stockings. Everything smart was "the bee's
knees." People mad over radio. Mah Jong.
And women everywhere enthused about the
new discovery in sanitary protection . . .
disposable Kotex* sanitary napkins, truly
hygienic, comfortable. In 1922, millions of
women gladly paid 60 a dozen for this
convenient new product.
"Flaming Youth." w omen plucked eyebrowsj
discarded corsets. "Collegiate" slickers,
knickers (baggy plus-fours for golfers). The
Charleston. Famous "Monkey Trial" in
Tennessee. As the silhouette became slim-
mer in 1925, Kotex laboratories planned
an improved, narrower pad with new rounded
ends replacing the square corners . . .
softened gauze, for greater comfort.
Jitterbug Era. A king and queen ate hot
dogs in America. New York's World's Fair:
parachute drop and Aquacade. The Conga.
Bustles. Wasp waists. "Cigarette silhouette,"
and women in 1939 grateful for the latest
Kotex improvement: a snug, softer, cushioned
pad with a double -duty safety center to
prevent roping and twisting — to increase
protection by hours.
It's a Woman's World today. Women are
working for Victory. Far more active, yet
far more comfortable in this war, for today's
Kotex provides every worthwhile feature.
Choice of more women than all other brands
put together, Kotex is made to stay soft
while wearing. Not that snowball sort of
softness that packs hard under pressure.
And no wrong side to cause accidents!
SCREENLAND
KJ EVER let it be said that George Mont-
I N gomery wastes any time. The day he
was inducted at Ft. McArthur, Joan Leslie
was on location there, taking some scenes
for "This Is The Army." George saw Joan,
talked to her and ended up by asking her
for her phone number — so they could have
a date on his first leave !
TWICE before Bob Sterling suffered at-
tack? of appendicitis. But he wanted to
complete the number of flying hours re-
quired by the United States Army Air
Corps. So one night he was rushed to the
hospital. Ann Sothern tried in vain to be
in Arizona for the operation. But it was
against all regulations of course. She waited
up all night to hear that Bob was out of
danger. When Bob got a sick leave they
were married. She and Bob are very much
in love and so deserving ot their happiness.
FOR years John Wayne and a group of
fellows have been going to the Springs
together, usually just before John starts a
new picture and feels the need of getting
in condition. So suddenly a Hollywood gos-
sip announces (doesn't even say maybe)
that the John Waynes are getting a divorce.
Mrs. Wayne was so upset she called John.
Then John was so upset his vacation was
ruined and he came home. The Waynes are
one of the happiest couples in Hollywood.
They have four children whom John adores.
They have always lived the same sane and
wholesome kind of life. Too bad nice peo-
ple can't be left alone.
THE news that Orson Welles received a
4-F from the induction board probably
won't cause Vic Mature to turn hand-
springs. While Vic is out to sea, Orson
and Rita Hayworth seem to have discovered
a lot in common. Rita says it's nothing
serious. But Orson waits for her at radio
stations, calls for her at the studio and
certainly beams back at her when they dine
out together. Well, as one Hollywood wag
put it, "If Rita and Vic don't get back to-
gether— he still has himself !"
from
HOLLYWOOD
''
John Loder and Hedy Lamarr doln' the dishes at the Hollywood Canteen.
They became Mr. and Mrs. recently. At the Trocadero, left, Edgar Bergen and
Rudy Vallee welcomed Kate Smith to Hollywood, where she appeared in a
scene for "This Is The Army"; and Sonja Henie and hubby Capt. Dan Top-
ping, Jr., entertaining Carole Landis (look under the big hat), at Ciro's.
6
7HsitS££ GOES TO PARAMOUNT SHOWS
Everything's going to be Dixie this sum-
mer. 'Cause "DIXIE" is the most won-
derful musical Paramount has ever
"mused." Bing looks simply super in
Technicolor (his first appearance), Dotty's
divine as a glamour girl of the old South,
and I loved the romantic story of how
that glorious song "Dixie" was born.
Bing sings some of his five solid
song hits into the adorable ear
of Marjorie Reynolds — you
know, the blonde lovely of
"Holiday Inn." It's a three-some romance
— if you know what I mean. I won't tell
you who wins, but gosh what those girls
go through. Tsk-tsk!
And those costumes ! One of Dotty's was
so beautifully billowy, she had to sit on
two chairs in the studio commissary.
on,
*0" /"
Where there's smoke there's Bing
And the fires he starts with his favorite
pipe, and his stunning minstrel shows,
are in most beautiful Technicolor!. ..
It's gay down South in "Dixie."
Things you hear around the Para-
mount Lot... "SO PROUDLY WE
HAIL" is nearly finished and it
looks grand. "FIVE GRAVES TO
CAIRO" and "CHINA" are draw-
ing tremendous crowds all around
the country . . . And I've just dashed
off my acceptance of Paramount's
precious invitation to the World Pre-
miere of "FOR
WHOM THE
BELL TOLLS"!
SCREENL AND
7
UP-TO-DATE
FACTS
no woman
should be denied!
It is appalling that so many women
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date facts about modern feminine
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LIVING
mm
By Betty Boone
TWO months without a maid has
brought out that pioneer spirit in Jane
Wyatt. Other glamor girls may give
up their big houses and move_ into hotels
or apartments, where service is less of a
problem, and someone else can worry about
the garden— but not Jane. She likes to have
plenty of room, lots of flowers, space to
work and play in, and grounds for Victory
gardens.
Young Mrs. Edgar Ward (her off -screen
name) lives in an English house on a shady
street in Hollywood. The lawns in front of
the house are bordered with Jane's straw-
berry plants; her artichoke bushes center
circular flower beds; hard-to-raise camel-
lias fringe the drive. ;
Back of the house is a hardy orchard of
Jane always hated to sew — but these days
she makes her own draperies and enjoys it.
She painted her patio furniture herself (top).
INSIDE THE STARS' HOMES TODAY!
SCREENLAND
Catch the Gleam
in His
WITH COLOR-BRIGHT HAIR
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SONGWRITERS
If you're really interested in songwritini?, you should write for
aur free booklet. It explains our snlr.-ndid service plan which
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helped others. Write today for FREE INSPIRING BOOKLET.
ALLIED MUSIC CO., Dept. 10, 204 E. 4th SL, Cincinnati, Ohio
► Of course you won't want to miss <
; CAGNEY— OUT OF CHARACTER ]
1 An exclusive interview with Jimmy. -
Read it in your September «
SCREENLAND
12
fout, GUIDE
CURRENT FILMS
SELECTED BY
STAGE DOOR CANTEEN — United Artists
A great show ! So big, so spirited, so touching and so
human it emerges as the best entertainment to come
out of Hollywood in this war. Based on the splendid
job being done by the men and women of the American
Theater Wing in welcoming and cheering up our boys
in the service, it's the real thing — a glorified "big
name" variety show with great personalities of stage,
screen, and radio performing against the background
of the first, famed Stage Door Canteen. Highlights :
Lon McAllister's scene with Kit Cornell, Cheryl
Walker's with Katharine Hepburn; love scenes of
Cheryl and Bill Terry, Lon and Marjorie Riordan.
MISSION TO MOSCOW— Warners
Here is one picture you must not miss if you want to
keep up with the movie parade. It is the most discussed
screenplay of recent months, with newspaper criticism
and fan-to-fan argument flowing freely. Whether you
go all-out for the picture or not, you will surely find it
stimulating and never dull. Joseph E. Davies' experi-
ences in Moscow, his meeting with Stalin, his efforts
to make the rest of the world understand the purposes
and politics of the Russians — add up to absorbing en-
tertainment. Walter Huston as Davies, Ann Harding
as Mrs. D., and Oscar Homolka as Litvinov, splendid.
LADY OF BURLESQUE— United Artists
Gypsy Rose Lee's novel, "The G- String Murders,"
becomes a fast-moving screen thriller with some
genuinely amusing moments between killings. Barbara
Stanwyck scores as Dixie Daisy, down-to-earth bur-
lesque actress involved in the murder of two rivals,
and newcomer Michael O'Shea makes the most of his
role of Biff Brannigan, brash comic who helps solve
the murders and finally wins the elusive Dixie. Scenes
back-stage at the "Old Opera House" where most of
the action occurs have plenty of rough and ready at-
mosphere. Barbara's saucy near-strip tease is a classic.
THE MORE THE MERRIER — Columbia
A sparkling, romantic comedy about the housing short-
age in wartime Washington and the hilarious ad-
ventures of a young war worker (Jean Arthur), who
decides to rent part of her apartment. By trickery,
building tycoon Dingle (Charles Coburn) becomes
her tenant, sublets half of his half to an Air Corps
Sergeant (Joel McCrea), and proceeds to play Cupid.
After some screamingly funny incidents, the two are
married and Dingle is happy. Jean, Joel, and Coburn
make the most of every opportunity their roles afford.
It's gay, sophisticated fun. There's not a dull moment.
PRESENTING LILY MARS— M-G-M
Romance and comedy, music and dancing are smoothly
and pleasantly combined in this movie about a stage-
struck girl, Lily, played by Judy Garland, who hounds
a producer (Van Heflin) into giving her a small part
in his show. When the musical's temperamental song-
stress (Marta Eggerth) walks out, Judy gets a chance
at the star part. Although he has switched his affec-
tions from Marta to Judy, Van realizes she is too
inexperienced for the top part and brings back Miss
Eggerth, who drops out of the romantic triangle. Judy
and Van, fine ; Marta lends superb support. Entertaining.
SCREENLAND
i
ASSIGNMENT
BRITTANY — M-G-M
The picture femme fans have been waiting
for because it introduces Pierre Aumont
to American films. They won't be disap-
pointed, since the handsome French star
lives up to expectations in this thrilling spy
story, laid in Occupied France, in the role
of a Free Frenchman who, as a British
agent, assumes identity of another French-
man— a traitor lying wounded in a British
hospital — to locate a Nazi U-boat base so
the Commandos can raid it. He succeeds,
with the help of the man's fiancee and
mother, who sanction the deception, but not
until he is tortured by the Gestapo. Of
course, he falls in love with the girl (Susan
Peters). Exciting; has action, good suspense.
THE OX-BOW INCIDENT — 20th Century-Fox
A grim tale of a tragic incident in the Old
West when three men, suspected of murder-
ing a rancher, are lynched by a blood-
thirsty mob, who take the law in their
own hands. The gruesome deed attended to,
they are met with news that the rancher
is alive, but wounded, and the guilty party
already behind bars. The stark drama,
which happens in Nevada in 1885, shows
frontiersmen as cowardly and cruel, not the
heroes they are usually painted in most
Westerns. Acting is fine throughout, with
Henry Fonda exceptionally good as an on-
looker whose doubts are aroused too late
to avoid the hangings, and Dana Andrews
giving a touching performance as one of
tragic trio. Has tense, suspenseful moments.
REVEILLE WITH BEVERLY — Columbia
Swing fans will go for this one. It's not
much as a story and has little to offer
other than the hot jive so, unless you're a
hep cat, you'd better skip it. It's about a
girl who conducts an early-morning radio
program (especially aimed at some boys
at a certain Army camp) by sounding rev-
eille with phonograph recordings of steam-
ing jive, including: Bob Crosby's Band in
Big Noise from li'innetka; Freddie Slack's
orchestra with Ella Mae Morse swinging
Cow Cow Boogie; Duke Ellington doing
Take the 'A' Train; Count Basie's Band;
AND the new singing sensation, Frank
Sinatra, singing Night and Day! Ann Miller,
as Beverly, makes the most of a poor role.
Quick Trick for Charm—
this half minute with Mum!
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One criticism that has been leveled at the
moving picture industry by certain groups
and individuals is that their chief value
seems to be as an "escape mechanism." Of
course, this is not the whole truth, for
entertainment and education have also been
provided.
Nevertheless, it is no doubt true that a
large number of those who attend do go
to escape the drudgeries and problems of
life. But why should this be thought SO'
terrible ? Do we not read good books for the
same reason? Or go on vacations (B.T.C.
— Before Tire Conservation!) ? Or, for that
matter, even attend church with much the
same idea in mind?
Now, if this "escapist" idea were the only
reason, perhaps it would not be justified in
any field of entertainment or relaxation.
On the other hand, we NEED to escape
the harsh realties of war, privation and dis-
appointment. Churchill has constantly urged
England to play ; Roosevelt has unofficially
approved baseball for the duration. Many
times I've come away from a good movie
feeling relaxed and refreshed, and better
able to tackle my job.
REV. WILLIS J. LOAR, Spokane, Wash.
SECOND PRIZE LETTER
$5.00
I am a movie fan. None more so! Every-
thing about the movies is right, with me !
The whole industry can do no wrong!
They are just like the rest of us. Good and
bad ! The publicity they get is their greatest
enemy ! I am with them hook, line, and
sinker ! From the least of these to the
top-notchers ! But — here are a few friendly
"whys" that bother me :
Why cast a likable personality like Lon
Chaney, Jr., in horror roles; charming,
fascinating George Sanders in villain and
Nazi parts ; Greta Garbo in "Two-Faced
Woman," bringing out all her worst physi-
cal features; Tyrone Power in glamor
roles when he is the home-town type ; slap-
stick parts given to our dramatic stars when
the slapstick artists can do it 100% better?
Why do the best of directors let little
discrepancies creep into the action of an
otherwise perfect picture? Sometimes very
obvious, and at others not so much so, but
enough to break the realism we have built
up on the breathless story. The casual
fights have professional knock-out punches.
The most plausible and funniest fight I have
WANTED: CANDID "CRITICS"!
Become a "movie critic" by writing
your views — praise or criticism — to this
department. It's easy and it's fun ! And
it's a nice way to get a lot of things off
your chest regarding the movies and
screen stars. So get out your writing
paraphernalia and go to it ! Your letter
may be awarded one of the War
Savings Stamps prizes. Screenland
awards monthly prizes of $10.00 for
the best letter published ; $5.00 for the
second best ; and five $1.00 prizes, all
payable in War Savings Stamps. Clos-
ing date is the 25th of the month.
Please address letters to Fans'
Forum, Screenland Magazine, 205
East 42nd St., New York, N. Y.
ever seen on the screen (barring lumber-
jack brawls — I was raised in a logging
town), was the one between Don Ameche
and Van Heflin in "The Feminine Touch."
I all but rolled in the aisle.
And why use superlatives in describing
a picture which make us hurry to see it,
expecting a fine film, and then find it below
ordinary?
JO WENDEL, Albert Lea, Minn.
FIVE PRIZE LETTERS
$1.00 EACH
Being a long way from home and feel-
ing a little blue, I decided to walk two miles
to a movie one night.
As the title "Happy Go Lucky" flashed
on the screen, followed by Betty Hutton's
name as one of its stars, I perked up and
enjoyed nearly two hours of hilarious fun.
I walked two miles to see her show that
night, and I'll gladly walk ten to see her
in her next picture.
Betty Hutton is tops in my books; she
has personality plus ; she has beauty ; she
has talent — in fact, she has everything!
Thanks to Betty, she made me forget for
a while that I was a thousand miles from
home, among strangers,_ and helped me
forget the countless worries a serviceman
has about his home and family.
14
Screenland
I'm sending my hearty thanks to Miss
Hutton and the rest of the cast of "Happy
Go Lucky" for a wonderful evening.
PVT. E. D. OAKLEY, Parris Island, So. Car.
I've just read the letter published in the
Forum in a recent issue of Screenland
in which Ruth Bracker Stone severely
criticized Hedy Lamarr. Boy ! Am I mad !
Referring to her role as Tondcleyo in
"White Cargo," Miss Stone said Hedy is
not a good actress. She also said she saw
the picture with a handsome soldier and
that he remarked that Hedy was making
him nervous. Just the fact that she made
him nervous proves Hedy must be quite a
good actress, or else why did he react the
way he did? Certainly Tondcleyo and her
actions were enough to make anyone nerv-
ous. Maybe the soldier was putting himself
in Longford's place.
Also, Tondeieyo was supposed to be an
enchantingly beautiful creature, so even if
Hedy couldn't act, she was the only one
who fitted perfectly for the role. Who can
deny that Hedy Lamarr is beautiful?
FANI PRESTA, South Bend, Ind.
A couple of weeks ago "Hitler's Chil-
dren" was showing at our theater and our
gang decided to go. None of us expected
to like it, but the picture was great !
Tim Holt and Bonita Granville were
tops, and we would like to see them in
more leading roles. Although the support-
ing cast was made up largely of "un-
knowns," may I say there was not one weak
performance in the lot.
The picture made us realize that our
boys are fighting to keep such "education
for death" from spreading.
On the way home, someone started sing-
ing God Bless America, but "Hitler's
Children" made each and everyone of us
realize that by sparing us from such tryants
as Hitler — God has blessed America !
MRS. J. W. STRICKLAND, Okla. City, Okla.
I first saw "Hello, Frisco, Hello" when
it opened at our neighborhood theater.- I
went mainly because three of my favorite
stars (Alice Faye, John Payne, Jack Oakie)
were leading the bill and because it was a
musical, which, incidentally, is my favorite
type of picture. But when I left the theater,
I had not only added another favorite to
my long list (June Havoc), but I had been
impressed by the magnitude of Miss Faye's
acting and those wonderful old songs. This
picture is not only another "hit" musical
for 20th Century-Fox, but it's a wonderful
shrine for that glowing Barbary Coast era.
I take my hat off to those who produced
and wrote the music and script for this
picture of pictures. We of America will
never have to worry about morale as long
as pictures of this caliber are produced.
BILL WERRETT, Lynwood, Calif.
For years I have been beholding the
Sweet Young Thing gazing horrified and
transfixed at witnessing her sweetheart
taking a shellacking in a movie rough-and-
tumble fight with the villain. So many ar-
ticles are lying about with which she could
conk the foe, but no — she must ever stand
dumb, frightened and helpless.
At long last, in response to my prayers,
there came flickering along "Whistling In
Dixie," starring Red Skelton, with Ann
Rutherford as the outstanding feminine in-
terest. In this photoplay Miss Rutherford
discards movie traditional fear in coming
to her boy friend's defense — and how ITvvice
— three times — she literally swarms all over
Red's adversary, kicking and clawing. And
did the audience register elation !
Let's glimpse more heroines giving screen
bad men a wack on the head. Let's see more
berumpled feminine hair-dos.
HERB ROEMER, Kansas City, Mo.
Betty Hutton in "Lets Face It
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15
Below, Joan Leslie, lovely Warner
dancer in "Thank Your Lucky Stars,"
whirls byl Limbering exercises are
good -for you right to the tips of
your toes, so says Frances Rafferty
(photos bottom of page), playing
in "AsThousands Cheer," for Metro.
ON YOUR
FEET
By Josephine Felts
IF YOU were a dancer like lovely Joan
Leslie, think what care and attention you
would give your feet! They would be one
of the most precious things you owned. But
today no dancer in the world should take
better care of her feet than you take of
yours. You are a worker ! You have vitally
necessary things to do all day long. You
are on your feet a great deal.
Nobody needs to tell you what healthy,
comfortable feet mean in the satisfactory
accomplishment of your job, particularly
now that you are walking so much more
than ever before. We hear a great deal
about absenteeism from work. Don't let
ailing feet put you on any ab-
sentee list! You don't want to
limp ; you don't want to frown;
so here are some helpful tips on
the right kind of care to give
your feet.
One of the pieces of good ad-
vice everyone is likely to give
you, is to bathe tired aching feet
in an Epsom salts bath at night.
This is good as far as it goes,
but there is much more to do
for foot comfort.
Feet need fresh air and exer-
cise, a chance to stretch and we
almost said, a chance to breathe,
yet we confine them in close hot
quarters all day and much of the
night. Let your feet out once in
a while and wriggle your toes in
the sun ! You needn't go to a
beach to do this. Use your back
yard !
Try to go barefoot a little dur-
ing this summer, at least around
your own home. Foot experts
tell us to walk pigeon-toed when
barefoot; and funny as this
sounds, and much as we would
prefer, I suspect, to do so with-
out any audience, it really has a
good reason behind it. Feet grip
the floor more firmly and have
better support, pigeon-toed, than
when we "toe out." You will see
the point if you think of the
natural position of your hands
when you are about to grasp
something heavy. If you are go-
ing to lift a heavy object with
both hands you automatically
turn your hands in, for strength.
Practice walking barefoot pigeon-
toed across the room gripping
(Please turn to page 61)
16
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SCREENLAND
17
ME GP INN®*
It's the naughty Nineties when /
/ ^I^Miecking was "sparking". . . and every drug-
store dandy had petticoat fever! It's the-^r^
lowdown on some high times that began |j
after the ball was over! It's saucy, sur- ns!
prising „ ..swell
Lubitsch fun!
§ GENE T1ERIMEY • DON AMECHE
CHARLES COBURN • MARJORIE MAIN . LAIRD CREGAR
SPRING BYINGTON . ALLYN JOSLYN . EUGENE PALLETTE . SIGNE HASSO
LOUIS CALHERN^HELENE REYNOLDS . AUBREY MATHER • MICHAEL AMES ^
Produced and Directed by Ernst Lubitsch - Screen Play by Samson Raphaelson
Based upon the Play "Birthday" by Lazlo Bus-Fekete
18
SCKEENLAND
AN OPEN LETTER TO MIKE O'SHEA
DEAR O'Shea:
You don't look like a carbon copy to me. So
what's this they're calling you: "another Jimmy Cag-
ney" or "the young Spencer Tracy"? Since seeing you
as Biff Brannigan in "Lady of Burlesque" — putty nose,
baggy pants, and all — I'd say you were the "original
Mike O'Shea," and very welcome, too. Sure and
there may be certain resemblances to actual charac-
ters— you're just as pugnacious as Cagney, and you
show signs of some of Tracy's moody intensity, and
you're as solid and substantial an actor as Pat O'Brien.
You should be; you've played everything from bur-
lesque to Maxwell Anderson; and Broadway audiences
were applauding you in "The Eve of St. Mark"
when Hunt Stromberg, one of Hollywood's better
producers, picked you out of the cast for pictures.
There's no part you can't play because you've played
'em all in private life: errand boy and clerk, brick-
layer and soda jerker, window-dresser and bell-hop.
And played them . all with charm and humor. The
role of new screen find is just another in your long
list. Coming back East on personal appearances for
"Lady of Burlesque" you made a bee-line for a cer-
tain swank Park Avenue hotel. The obsequious man-
ager hovered around. "Is everything perfectly satis-
factory, Mr. O'Shea?" he purred. "No, I like the
room I had when I stayed here before," you told him.
"But of course, Mr. O'Shea, we'll move you — tell us
which room it was." "Afraid not," you said. "That
was 20 years ago, and I was a bell-hop." The hotel
man is still gasping. You, I'm sure, are still grinning.
What's all this about
Mike O'Shea being
"another Jimmy
Cagney or Spencer
Tracy"? From his
pe rf o r m a n c e in
"Lady of Burlesque '
with Barbara Stan-
wyck he seems to
shape up as a high-
ly original character.
MY
PROBLEMS
as a
WAR
WIFE
By
As told to
Elizabeth Wilson
ONE evening recently at a small din-
ner party I got caught in an ar-
gument that almost turned into a
battle royal. I still think I was right. My
girl friend, Cobina Wright, Jr., having
saved up her meat coupons, had invited
a few friends in for dinner. I took along
my butter and coffee rations, so my con-
science wouldn't hurt me. It was a very
small dinner party, and as usual in war-
time Hollywood, the women out-numbered
the men five to one. As a matter of fact
our only male was a decided 4-F. Quite
decided.
Across the table from me sat Mrs. X.
Mrs. X is one of our better known Holly-
wood wives and she always has strong
opinions about everything. So perhaps it
wasn't surprising that over the lamb roast
(of which she took two slices, incidentally !)
she announced with emphatic finality, that
she thought it simply outrageous the way
wives were following husbands to camp.
20
EDITOR'S NOTE:
In this exclusive story Gene Tierney
expresses her feeling with unusual frank-
ness. There is no doubt thai many wires
feel as she does — that being with their
men just a little longer is of para-
mount importance; nevertheless, in pre-
senting her story we urge that other
war wives consider, before deciding to
follow their husbands, how much their
presence will add to community prob-
lems in camp areas, how great a finan-
cial sacrifice the move means, and how
good sports they are under trying cir-
cumstances. D. E.
"Camp hangers-on!" she
ejaculated. "The Government
shouldn't allow it !"
Well, it just so happens that
I was planning to leave for Junc-
tion City, Kansas, as soon as
"Heaven Can Wait" was finished.
My husband, Private Oleg Cas-
sini, is stationed at Fort Riley
nearby. And I intended staying
with him until the studio ordered
me back for retakes — or until
Uncle Sam ordered OH off to
one of our farflung battlefronts.
Arid it wouldn't be my first
visit to Junction City either. I
had spent six weeks or more
there last winter. Oli had told
me that my visit meant every-
thing in the world to him, and
that he was counting the days
until I could be with him again.
"You see before you an habitual
camp follower," I said to Mrs. X
with what I hoped would pass
for a pleasant laugh. "As soon as
the studio gives me permission to
leave I (Please turn to page 50)
Private Oleg Cassini greets his wife on on*
»f her visits to Kansas, right. Photos at top
contrast home life of the Cassinis before he
enlisted and a typical wartime evening, Gene
knitting with her younger sister and Ofi's po-
lice dog for company. Latest Tierney picture,
"Heaven Can Wait," for 20th Century-Fox.
By
John Franchey
FROM Pasadena to Hollywood
is a mere matter of fifteen
miles, but it took Cheryl
Walker, star of "Stage Door
Canteen," five long years to ne-
gotiate the distance.
And what, pray, do you think
la belle Cheryl was doing all
these five years ? Hawking Fuller
brushes, maybe ? Toiling as a car-
hop, perhaps? Or jerking sodas?
Definitely not. Miss Walker,
whose heart-shaped face you will
see for the first time in '"Stage
Door Canteen," was working in
pictures — hundreds of them.
Are you baffled? Bewildered?
Good. But don't go away. Stay
and hear the details. They sound
like a scenario for a movie Greg-
ory La Cava may get around to
directing one of these days.
Pasadena, of course, is where
she was born (movie name and
all) and Pasadena is where she
grew up, not exactly in the lap
of luxury but not exactly under-
nourished or under-privileged,
either, Walker pere being the
manager of the local Pierce Ar-
row agency. And Pasadena is
where the acting bug bit her so
that by the time she hit Pasadena
High she was putty in the hands
of that deity of the drama known
as Thespis.
It would be a pleasure to be
able to tell you that as a member
of the Pasadena High Masquers,
or what- {Please turn to page 74)
Below, the nice new team of Walker and
Terry, young leads in Sol Lesser's great
production, "Stage Door Canteen."
Now that she is Eileen in "Stage Door
Canteen" Cheryl Walker can look back at
those five hard, long years and rejoice that
she had courage to stick to the struggle
22
HEADING FOR HOLLYWOOD
"The kids are wonderful!" says Prank Sinatra, and signs autographs tire-
lessly. The slim, blue-eyed, 5 ft. lO^-lnch-iaW singer is sincerely grateful
to the fans, from 6 to 60, who have made him famous. His own favorite
song is Night and Day, which won him his start with a Major Bowes unit.
Sinatra made his debut as the male vocalist
with Tommy Dorsey's band in "Las Vegas
Nights," and the recent "Reveille with
Beverly" featured him in one number; but
it will remain for R-K-O producer Tim Whelan,
shown with Frank above and at right, to
guide him into real movie prominence.
Sinatra's secret is his boyish sincerity, which disarms all critics. Complete-
ly devoid of pose, he's an earnest young fellow of 26 who frankly enjoys
his sudden sensational success but is in no danger of getting a swelled head.
He's worked too hard for that. Above, getting some Hollywood tips from
Cheryl Walker during rehearsals for CBS Stage Door Canteen broadcast.
Below, candid closeup of a group of defense workers from an Elizabeth, N. J.,
plant, at Frank Daly's Terrace Room in Newark, listening to their idol.
MAN with
As the coura-
geous Quincan-
non, pilot of the
Flying Fortress
"Mary Ann" in
Warners' epic,
"Air Force," John
Ridgely finally
found the rolethat
won him recog-
nition, after play-
ing small parts
in about 25 films.
First home pictures of John Ridgely — and of John, Jr., who is
shy above, but gives out with a grin, right. When a friend sent
the Ridgelys a smoked ham, Jr. patted it and crooned,
"Da-da." These days, to call a man a ham is probably the
best compliment you can pay him, was John's reaction
28
By Fredda Dudley
ONE night recently John Ridgely took his wife to
see "Air Force," the Warner Brothers picture in
which he scores as Quincannon, hero pilot of the
Flying Fortress "Mary Ann."
Afterward, John groaned over the scene in which the
dog — forbidden by regulations to be a passenger — put in
an appearance in the pilot's compartment. "If I could do
that over now, I'd do it a lot differently," Mr. Ridgely
said. "It seems to me that the timing is bad and that I
should have given it a little warmer interpretation ; there
should have been more of a grin back of my dialogue."
This post-mortem speech probably explains why, after
Sl/2 years of experience on the Warner lot, playing mis-
cellaneous characters without much footage, John finally
got the break that will doubtless make him a star. He has
the artistic sensitivity (but smile when you say that to
him) that marks the true craftsman.
One of the scenes he liked in "Air Force" was that
between John Garfield and himself in which their rela-
tionship was clarified. Howard Hawks, in directing any
scene, first discusses the business and dialogue with his
players. He tells what salient fact is to be established
by the scene and the cast perfects the treatment. Hawks,
himself, suggested the line, spoken by Garfield, "You
threw me up for grabs."
Garfield asked, "What does it mean ?"
"I don't know," admitted Hawks. "I heard Bill Well-
man use it at one time and it stuck in my memory. It
sounds exactly like what a flier would say."
Garfield repeated the phrase over several times until
he was certain he could toss it off like any bit of oc-
cupational slang.
"It sounded swell when Garfield said it during the
take," John told his wife, "and it sounds just right in
the finished picture." He is quietly crazy about Hawks
and is praying for repeated roles in Hawks pictures.
As a matter of fact, Ridgely told his director, "I'm
afraid to work for any other man."
Hawks laughed, patting John's shoulder. "From now
on you have nothing to worry about," he said: "Just
PAST: SVz years of hard
plugging in small parts.
PRESENT: a hit in "Air
Force." FUTURE: stardom
within reach for Ridgely
play your parts straight— just play a
natural, easy John Ridgely and you'll
be set."
The natural John Ridgely has a
history worth recording. He was born
John Huntington Rea. son of John
Ridgely Rea, in Chicago. He attended
grammar school in Hinsdale, Illinois,
and swank Military Academy in
Boonville, Missouri. Finishing two
years of junior college work at
Kemper, John came west to Stanford
and majored in journalism for one
busy year.
At the end of that year he had
played so much golf with a certain
professor that he was in danger of
dwindling his way out of "The Farm"
because of a below-sea-level average.
He knew he could remain scholasti-
cally solvent if he snagged an A in
any one subject. In the course given
by his golf partner prof, John was
maintaining a B-plus average, so he
made a deal: if he beat the prof on
one particular afternoon, the prof was
to up the grade to an A, thereby
resuscitating John's college career.
John had consistently swamped the
prof all season, so he felt he had made
a satisfactory bargain— even with
odds. Whether the prof would have
kept his part of the arrangement or
not never had to be tested, because
the prize match was too much for
John's nerves. His hands shook, his
throat {Please turn to page 62 )
Being a solid citizen, John wants his wife
to share his new fame. And so we show
you, below, charming Mrs. Ridgely in the
very first picture of her taken for publicity.
LINDA DARNELL, IN "THE
GIRLS HE LEFT BEHIND," A
MTH CENTURY-FOX PICTURE
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is Pitching on the Home Fronl
By Maude Gerald
DROPPING in on friends recently, pretty Dolores Hope carried
a smiling picture of husband Bob, gaily explaining that he was
so busy these days, she was afraid she might forget what he
looked like.
It was a cute "line," but there was a lot of truth back of it. Bob's
enthusiastic response in helping keep up the morale of the armed
forces, along with his weekly radio broadcast, and making pictures,
takes up most of his daily twenty-four hours. Naturally, the lives
of this devoted couple have been upset, just as the lives of thousands
of other young people have been upset. But Dolores isn't sitting
down and moaning. She's stepped into service, too. So, one morning
I drove over to the beautiful home the Hopes built several years
ago at Toluca Lake, just over the hills from Hollywood, to hear
her side of it.
It happened to be an important day in the household, for three-
and-a-half-year-old Linda, and Tony, two-and-a-half, were getting
ready to make their educational debut at a nearby Nursery School.
It was an exciting scene. Linda's blonde curls were dancing like
mad, while Tony's equally yellow hair was carefully plastered flat,
and both were done up in new blue coveralls. After depositing the
two whirlwinds at the school, a few blocks distant, we returned to
the cool living room for our talk.
"Yes, our world has changed," began Mrs. Hope. "In the rush of
today I guess we don't take time out to realize how these changes
have crept up on us. We both feel a deep obligation and are happy
to be doing our bit in this emergency. (Please turn to page 64)
Goodbye again for Bob and Dolores Hope, as Bob takes off
again on another Army camp tour. Below, when first married,
B.C. (before children) Dolores appeared in his vaudeville act.
F
we
C
AT FIRST John Bramble was sure the deserted vil-
A-\ lage with the small dingy hotel flying the Union
/ \ Jack and showing the effects of a recent bombing
was a mirage, but still there was that wild surge of hope
as he staggered toward it. After last night nothing in the
world seemed real. It was almost as if he had imagined
it all, the battle, the runaway tank, the four men in it
who had been his friends.
The sun had seemed to scorch his very brain thaf
morning when he had tried to climb down from the
turret, realizing something was wrong with the tank
dragging itself over the African sands like an animal
hurt and groggy from shock. But he couldn't move, he
could only stare down at Abbott slumped in that gro-
tesque way over the wheel, his foot still pressing on
the gas pedal. He had managed to shout wildly to the
others and only then when he looked at each one in
turn did the horrible truth strike him. They were dead,
those others. All of them ! Dead ! In the whole world
only he seemed alive. A half sob broke from his lips as
he looked over the desert where there was no other mov-
ing thing, where there was that silence now, that stillness
so much more awful than the din of the battle had been.
He lost consciousness then as the tank careened drunkenly
against a dune, the impact flinging him down on the
sand.
He woke feeling as if his whole body were on fire. He
had no feeling of time or distance as he went stumbling
over the sand. He felt as if he had not breathed until he
saw that flag, his own, hanging limply in the still air in
the distance.
Bramble swayed as he went in the hotel door. He
touched the stone as he passed. It was real. So was the
shabby lobby, the tilted shutters at the window, the
clumsy revolving fan hanging from the ceiling. But the
sentry to whom he gave the password as he went by
was only an imaginary figure conjured from his despera-
tion. So was the Colonel whom he saluted as he stood
there swaying.
Strange that he saw those phantoms and not the reality
of Farid, the swarthy, middle-aged Egyptian owner of
the hotel, staring at him from the shadows.
"Corporal John Bramble reporting, sir." He stood at
attention before an empty chair. "Royal Tank Regiment,
stationed at Tobruk. You've been in Tobruk, sir. Hottest
blister on hell's heel! We (Please turn to page 66)
Thrilling story of one Corporal's courage,
and one girl's sacrifice, triumphing over
the cold-blooded intrigue of a ruthless
enemy. From new film with Franchot Tone,
Anne Baxter, and Erich von Stroheim
The Nazis employed all their strat-
egy, but a French girl, and a reck-
less Englishman, proved more than
a match for them. Here are high-
lights in stirring scenes from new
and exciting Paramount picture.
DOES
CARRY YOUR
By Betty Shannon
I HAD tea the other afternoon with a highly attractive,
provocative young flyer not so long out of Princeton,
who bombed my ears for two hours straight — 120
minutes, no less, by the clock — with the most extravagant
and ecstatic propaganda I have ever heard in my life!
And what was this so sun-tanned, wind-hardened
knight of the air raving about the last few hours before
returning to his base after a short fiesta in Manhattan?
"Oh gosh, tbat voice," he partly crooned, partly mooned
into my sympathetic hearing equipment. "There's not
another voice in the world like Olivia de Havilland's. It's
gorgeous. It's perfect. It's so sweet it makes you ache!
Of course she's beautiful to look at, too. Such eyes — holy
smoke ! But it's her voice you can't forget — or, at least,
I can't. It just lingers on and on — like — like," he blushed
to the roots of the hair but doggedly persisted, " — like
perfume in sound. It melted me down the first time I
ever heard it, and still does. I fell in love with Olivia de
Havilland because of her voice — but that isn't strange.
"I've heard dozens of fellows at school and at the field
say that a gorgeous voice can always be counted on to
knock 'em socko. The sound of a. new girl's tones and
overtones introduces her far more thoroughly to the stag
line than a dozen receiving (Please turn to page 78 )
VOICE IN HIS HEART?
If you want to win "him
cultivate your sound ap-
peal and make with the
alluring voice like a
movie star's! Listen to
the advice of noted
teacher Crystal Waters,
in this exclusive story,
and get a fresh slant
on wartime romance
Miss Crystal Waters, above,
believes that never in the
world's history have there
been such gorgeous voices as
there are today in the enter-
tainment field, especially the
movies. Olivia de Havilland,
top, has one of the best.
etty Dolores
>ran, Warner star-
featured in "Old
rquaintance," illus-
ites the exercises
rommended for im-
>ving sound appeal
Clue to specially
posed pictures on op-
posite page may be
found on page 79. Try
these exercises for
fun and you will find
they really work!
Marjorie Rey-
nolds smiles at
Capt. Gehres
and Lieut. Ralph
Hume of the
Navy. Capt.
Gehres had just
presented her
with Pacific De-
fense ribbon,
with a star for
service under fire.
Center below,
Marjorie auto-
graphs the cast
of Pvt. Stanley
Mowotarski, con-
valescing from a
broken leg in an
Army hospital,
while PFC Paul
Rice, Pvt. Owen
Cordrey and Pvt.
Gordon L Olson
look on. Bottom
of page, the star
chats with Aleu-
tian mothers and
their children.
By Maude Cheatham
MEET a real live heroine, Marjorie Reynolds!
This pretty blonde "Cinderella Girl" who scored
i brilliantly in "Holiday Inn" as the singing, danc-
ing "romance" for Bing Crosby and Fired Astaire, has
proven a courageous trouper in her country's service. As
the climax of awards, Marjorie was presented with the
coveted special service ribbon, with a star, which is given
to those who have been under fire !
Marjorie's story carries a thrill with every word. She's
just returned from a seven weeks' tour of Army camps in
Alaska and far down into the Aleutian Islands. Many
film players have journeyed to far-away lands to entertain
the soldiers but they always went in groups. Marjorie
went alone, which in itself spells high courage.
"Like everyone in Hollywood," began Marjorie, still
excited with her experiences, "I was anxious to do some-
thing worthwhile in the war effort. So, when the Victory
Committee asked me to make a tour of Army camps, after
I'd finished 'Dixie' with Bing Crosby, I decided to go
where entertainment was vitally needed. Alaska, so far
from civilization, seemed just the spot. It was the tough-
est trip possible, but not once did I regret my choice.
I'll" admit there were times when everything seemed fan-
tastic, as if I were in another world, and my heart would
tighten up a bit. But the response and appreciation I re-
ceived everywhere more than compensated for the hard-
ships, and I wouldn't have missed it for worlds.
"Adventure started at once," she went on. "I left San
Francisco via Pan American Airway and discovered I
was the only girl aboard, my companions being eight
Navy officers. They quickly adopted me, made me
Stewardess, nicknamed me Sally, and kept me jumping.
'Sally,' they'd call out, 'how about making us a cup of
coffee?' It was all so informal and friendly. Oddly enough,
during the seven weeks I ran into each of these officers
at one place or another.
"We flew to Prince George where we remained over-
night, leaving for White Horse the next morning, and
immediately ran into bad weather. For a time we flew at
18,000 feet and had to use oxygen for an hour and a half.
At White Horse we waited twelve hours to repair a
motor, then on to Fairbanks, {Continued on page 76)
Photo by Ray Jones,
Universal Studio.
GLORIA JEAN is no longer a child star ! She's not
only seventeen — but Alan Curtis squeezed- her so
__tight in a love scene for "For All We Know,"
that he broke her rib !
" "Now it's all taped up," she told me. "For the time
being I can't dance or swim. Which is comforting to
Jimmy, anyway," she added.
"Jimmy? Oh — !" Gloria Jean hesitated. Then, "He's
the boy I am really serious about. He's older, you know.
You may be surprised, but Jimmy's 23. But then Father
is seven years older than Mother. And I think they are
very-much-in-love parents."
"Are you in love, Gloria Jean ?" I asked.
"I think so. This is the very first time I've ever thought
so," she replied honestly. "Mother says seventeen can't
be sure it's love. Sometimes being seventeen seems so
old. And then again I don't feel old at all.
"It used to kill me — well, practically — to keep my age
back for so long. I'm so glad to say, 'Oh yes ! I'm seven-
Just seventeen, Gloria
Jean is sure she's in
love, and she reveals
her romantic dreams
teen. I was seventeen way back in April,' " Gloria Jean
giggled.
"With the boys on your trail," I added. "Jimmy espe-
cially ?"
Gloria Jean admitted it with a smile. She was curled
up comfortably on the other end of the big divan in the
Schoonover living room.
"I thought Donald O'Connor was your big moment,"
I offered.
"Not any more," she shook her head. "I thought he
was. But it was just a crush. He was my first date — and
we worked together and everything. Donald gave me
a lovely compact and a large bottle of Tigress perfume
for my birthday party. He's still sort of attentive,"
Gloria Jean confided.
She has always given me her confidence "on the level."
Since that very first day of "The Underpup" with
Mother Schoonover so worried because she had to bring
her entire little family to the {Continued on page 80)
By
May Mann
With Donald O'Connor in "Mr. Big,"
Gloria Jean again plays a jitterbug.
But in "For All We Know," she has
her first grown-up love scenes with
Alan Curtis. Scene below is one in
which Curtis, as called for in the
film's script, grabbed her so forcibly
he broke one of Gloria Jean's ribs!
James Cagney, star, and
brother William, producer,
present their first picture on
their own, "Johnny Come
Lately," a story of American
life in 1906. Grace George, 40
years a Broadway star, makes
her film debut with Jimmy
CAGNEY
^3 n cl
OMPANY
^AND
"THE BELL"
By Liza
IT IS a pleasure to meet Ingrid Bergman be-
cause she is a completely happy person. "As
happy," she adds, "as one can be in wartime."
She likes studios and studio people. She doesn't
think they are trying to make her look ridiculous.
She doesn't think that producers are a lot of
squirrel-brains who are trying to ruin her career.
When she was playing the "other girl" in "Dr.
Jekyll and Mr. Hyde" several years ago. she said,
"In Hollywood it's like being in a cage. They
thrust the parts through the bars, and you take
what they give you." But she meant no harm.
She has been very please'd with every part that
has been thrust through the bars. She's especially
pleased with the part of Maria, the refugee girl
in Ernest Hemingway's "For Whom The Bell
Tolls." She wanted that part so badly she cried.
So did a dozen or more other actresses in Holly-
wood. It was the acting plum of the season.
"When Ingrid first came to the cinema capital
to star in David O. Selznick's "Intermezzo," she
wasn't at all happy. She kept worrying about her
baby and her husband she had left behind in
Sweden. She doesn't have to worry about them
now because they are here with her. Little Pia
lives with her in Hollywood, and Dr. Peter Lind-
strom is taking a post graduate course at a nearby
University. Dr. Lindstrom is the tall, handsome
Gary Cooper type. He can understand Ingrid
being so engrossed in her profession because he
is just as deeply engrossed in his. Like most
doctors he is modest and shy, and shuns the
glare of publicity as if it were a scourge.
Ingrid is often asked how she happened to
name her little daughter Pia. "When she was
born," she says, "we wanted a name for her
that would combine both our names, Peter and
Ingrid. Pai didn't sound exactly right. But after
playing around with it a bit we arrived at Pia,
and we were very pleased with ourselves. I had
never heard of that name before. But when I
was on location with 'For Whom The Bell Tolls'
I read a book in which the heroine's name was
Pia. So I wrote my husband that we weren't so
clever and original after all."
Little Pia is now four years old. She speaks
English fluently with an American accent, and
takes great pleasure in correcting her mother's
pronunciation of certain words. The greatest
joy in her life is to call her mother at the studio
and chat sociably over the telephone. "She seems
to be under the impression," says Ingrid with
one of her refreshing laughs, "that Edison in-
vented it just for her." Little Pia's favorite
playmate is Gary Cooper's little girl, Maria.
The day I met Jngrid on the set she was playing
Clio Dulsine. the dark-haired tempestuous Creole 'beauty,
in the picturization of Edna Ferber's '-Saratoga Trunk."
She looked beautiful indeed in her 187; petticoats,
flounces, laces, ruffles and bustles. Her inch and a half
Maria haircut, which she wore all through the "Bell."
is growing nicely, but it will be a long time before she
can make with the pompadour and flowing tresses. So.
for New Orleans Clio she has to wear a brunetre wig,
and darken her eyebrows — the first time she has ever
done that in Hollywood. Ingrid being a stickler for
naturalness and honesty both on the screen and off.
Ingrid was watery around the eyes when 1 met her.
and I thought, ah. another flu victim. But it seems that
for one of the scenes Clio, woman of the world, had to
smoke a cigarette. And Ingrid. who neither smokes nor
drinks (a fact which once caused a Hollywood hosteis
to say of her, "She is without a doubt the most irritaringly
normal person I've ever met") had proceeded to swallow
the smoke, and had gone into a violent coughing jag.
Gary Cooper, flashy in the pink vest and mauve trousers
of Clint Maroon, had had to pommel her on the bark
and then take her aside and teach her the subtleties of
cigarette smoking.
Although she is horribly shy and sensitive — when she
"blows a line" she blushes and buries her face in her
hands — Ingrid gets on beautifully w-ith the people who
work with her. Sort of a mutual admiration society. When
the girl at Warners who had designed her elaborate
costumes for "Saratoga Trunk" had a birthday recently,
Ingrid sent her a huge box of roses with a card in it
which read, "Happy New Year." The girl thought that
perhaps her idol had been vague and busy and made a
mistake. But Ingrid explained to her that in Sweden a
birthday is the beginning of a new year for the person.
The first of January- is every- ( Please turn to Page 82 )
Most talked about girl
in Hollywood today is
Ingrid Bergman, Gary
Cooper's co-star in
Hemingway's "For
Whom The Bell Tolls."
Meet her here, as warm
and earthy as the Maria
role she plays in the film
Paramount' s biggest production, "For
Whom The Bell Tolls," boasts the
great team of Bergman and Cooper,
as Maria and Robert Jordan. At right,
rehearsing for the famous scene from
the book. Other closeups are informals
of Miss Bergman and Gary Cooper.
Yes, those Dorsey
boys ore doln1 all
right! Jimmy is f ea-
tured with Red
Skelton and Elea-
nor Powell in "I
Dood It," while
Tommy contrib-
utes to the enter-
tainment of "Du
Barry Was A Lady"
and "Girl Crazy,"
all M-G-M films
47
Transformation
of MARTHA SCOTT
Once demure and dove-
like, today's Martha Scott
is a streamlined siren in
the romantic new movie,
"Hi Diddle Diddle"
Dennis O'Keefe plays opposite Miss Scott
in tender love scenes in Andrew Stone's
United Artists film, "Hi Diddle Diddle."
50
mNEW
Nelson
iddy
lack wig and mous-
lie make a new char-
»r of a familiar fig-
Eddy has Susanna
at leading lady
U's 1943 version of
he melodrama, origi-
nally mad* nineteen
irs ago with Lon
ney in starring role.
first time in
lis career, the
lofed singer
irns brunette
his role in
Universale all-
Technicolor
remake of
"Phantom of
the Opera"
Roddy McDowall and "Las-
sie" make a great team
in "Lassie Comes Home"
m
"Louie" it Hollywood's newest Cinderella! Pur-
chased at a puppy for $10, Lassie was trained for
three yeart and then given title role in M-G-M's
screen version of Eric Knight's famous novel. Co-
star Roddy took Lassie on tour of M-G-M Studio,
where she met Mickey Rooney, below, pretty starlet
Dorothy Morris, left center, and William Powell.
niERRE AUMONT and Maria Montez have definitely postponed
> their marriage until after the war. In the meantime, before he
leaves for overseas duty, Pierre has been crowding in a lot of
future memories. Believe it or not, he even took Maria down to
hear Aimee Semple McPherson's Four Square Gospel.
WAN JOHNSON is out of the hospital. Thanks to Dr. William
* E. Branch, one of Hollywood's finest, Van is going to be okay.
But it will take many months before his head scars have faded
and his hair has grown out again. So serious were his wounds
in the automobile crash, it was necessary to take tissue from Van's
shoulder and graft it on to his head. Throughout the horrifying
ordeal, Van never once whimpered or complained. Thus, he helped
save his own life.
GINGER ROGERS' domestic dream will soon be a thing of
the past. On week-ends and days off. Ginger has been living
in a tiny place in La Jolla, where hubby Jack Briggs has been
stationed. Ginger, who has a hill-top mansion in Beverly Hills, has
gotten a big kick out of keeping house in two rooms. But now
it look's like Jack is going to be transferred — probably too far
for Ginger to keep these romantic trysts. Even a famous movie
star can't have everything.
JIMMY CAGNEY has had a change of heart. For the last few
J years Jimmy . has given few magazine interviews. He claims
all has been said, anything additional would only be repetitious.
So all requests were politely refused. But now Jimmy is in busi-
ness for himself. On his first independently produced production,
Jimmy is talking to everyone. So you'll soon be reading about
your favorite again.
VERY quietly Jack Carson has been playing camp shows for
many months. Invariably, he" says, the soldiers always ask
about Betty Grable, Lana Turner, and Ann Sheridan. They give
out with those low whistles and beg Jack to get them cheesecake
art on the gals. But when they speak about Olivia de Havilland,
the hoys get positively lyrical. "Olivia," says Jack, "is actually
the girl that every soldier dreams of marrying." Nice going,
Livvie !
I IONEL BARRYMORE'S 65th birthday and 50th anniversary
<— in the acting profession was an occasion for real celebration.
His friends surprised him with a two-cake party. When it came
time to open Wis many packages, the grand old actor shook each
one carefully to see if it "gurgled." Instead of 65 and 50 candles
by actual count, the cakes featured the numerals 65 on one cake and
50 on the other, all lit up. Lionel blew them out in one fell swoop.
WHEN Joan Bennett's house was gutted by fire recently, you
can imagine how Bing Crosby felt. (To say nothing of Joan.)
Bing suffered a similar experience recently and had just moved a
few houses down the street in Joan's neighborhood. While most
of her things were insured, Joan, who had collected hundreds of
pairs of shoes in her career as an actress, won't be able to replace
a single one. That's really tough luck.
JULIE BISHOP was even more amused than was Ann Sheridan,
when they tried to link her name romantically with Errol
Flytin's. "I've known Errol a long time," says Julie. "I've been
out with him several times for dinner. The thought of a serious
romance is just too silly." Ann Sheridan said practically the same
thing. Why, Errol, maybe you need a new line !
IF THERE is anything shaky about the marital status of Laraine
' Day and Ray Hendricks, her behavior certainly belies it. Re-
cently Ray phoned her on the set to say he had leave and was
heading for Hollywood. Laraine burst into tears — not because he
wa-> coining but because she had given her solemn promise to
make a Victory Bond tour. This hardly sounds like that rumored
rift, now does it?
56
TO EAVESDROP on the conversation between his studio and
Sydney Greenstreet, you'd think they were lining him up to do
a Gypsy Rose Lee. "Take it off," says Sydney. "Put it on,"
answer the boys in the front office. What they're referring to is
poundage, not wearing apparel. Sydney feels better when he weighs
less. His bosses like him better as the fabulous fat man. If ration-
ing keeps on, no one will have to worry!
Jomes Cagney, president of the Screen Actors' Guild, watches Lionet
Borrymore blow out the candles at a two-cake party, celebrating
Barrymore's 65th birthday and 50th anniversary in the acting pro-
fession, after a broadcast of his program, "Mayor of the Town."
HERE'S
Katharine Hepburn, in
one of her rare public
appearances, with
Spencer Tracy at
Screen Guild radio
program of "Woman
of the Year." Susan
Peters and Richard
Quins, above, are
film latest love-birds.
The 're engaged. Mar-
guerite Chapman and
Bill Lundigan are the
romancers at right.
You can see from pho-
tos at bottom of page
that George Raft
hasn't let his romantic
bust-up with Betty
Grabte make a hermit
out of him. He's shown
at Mocambo with
model Joan Thomson,
left, and whispering
sweet words to Virginia
Maples — (on different
nights, of course).
Gossip by Weston East
Candids by Jean Duval
CONNY TUFTS, the new Paramount rave, should put Paulette
*J Goddard on his personal payroll. Paulette is so enthused over
his possibilities, she's knocking herself out to help put him over.
Sonny's married so it ain't nothin' personal.
y^CsVi&Z'™ c'£z °.
HOLLYWOOD is asking — "What has happened to Ida Lupino?"
She's gained a little becoming weight. She's happier than she's
ever been. Her new red hair really is a startling improvement.
Ida's planning to play charming romantic heroines, rather than
neurotics, on the screen. Don't believe those tumors that all is
not well with Ida and her hubby, Capt. Louis Hayward. They're
still love-birds.
BEFORE reporting for overseas duty, Uncle Sam allowed Eddie
Albert to return for a few days in Hollywood. Eddie managed
to squeeze in several dates with Margo and Anne Shirley, both
of whom he admires tremendously. "When I come back I'm going
to marry and settle down in Hollywood," says Eddie. "But first
we've got to finish this thing, and this time forever. The sooner
we get it over with the better." Wonder which gal will answer
to the name of Mrs. Albert?
DON'T take that reported romance between Judy Garland and
Chuck Walters too seriously. Chuck started out in New York
as a chorus boy. He became a featured dancer and has now
graduated to dancing instructor at M-G-M. His has been a varied
and interesting life. So has Judy's for that matter. Wonder why
someone doesn't combine the two and make a screenplay out of it?
58
ACCORDING to reports, his London buddies have gone mad
> over Clark Gable. The former film star has been promoted to
Captain. On his last visit to Hollywood, when Clark entered the
studio lunch room, everyone stood up and gave him a hand. How
nice for Hollywood that he's affecting the Britishers the same way.
ULCERS Department : First Alice Faye announced she was
quitting films. Home, baby, and being close to husband Phil
Harris were more important, said Alice. Besides, she was tired
of playing in musicals. Then came Gene Tierney's news. She was
going to have a baby. So she wouldn't return to the studio until
late November. She wanted to remain near Oleg Cassini, who is
attending O.C.S. in Kansas. Now all the front-office boys have
to do is line up two stars to fill the roles originally intended for
Alice and Gene. How about Lynn Bari, boys?
Screeoland Honor Page
"Stage Door Canteen" is a great
and unique show! It has everything:
glamor, gaiety, youth, music, romance
— with world-famous stars performing
for the benefit of our boys in uniform
59
My Problems as a War Wife
Continued from page 21
expect to follow my husband to camp In
these uncertain times a wife wants to be
with her husband as long as she possibly
can."
That brought on an avalanche. Among
other things, she said, "I wouldn't think
of joining my husband. I don't think it's
the patriotic thing to do. When a man
enters the service his mind should be
cleared of every thought but one — winning
the war. If his wife follows him, she de-
tours his devotion from his duty to his
country to himself. For there always are
problems connected with housing her, en-
tertaining her, keeping her contented in
difficult circumstances.
"A soldier's entire mind should be on the
job before him. He cannot possibly concen-
trate on his job if his wife is tagging along
after him. Her presence is certain to worry
him. He will worry because he can't spend
more time with her. He will worry because
she has to sit alone all day in a strange
town with nothing to do but twiddle her
thumbs. He will worry because he thinks
she is sacrificing her comfort for him.
"The wife should stay at home where
she belongs and help with the war effort in
the best way she can. And plan for the
future — when the war is won and her hus-
band comes home."
Well, I must admit that Mrs. X had some
convincing arguments. Undoubtedly she did
have reason on her side. For crowding
around war camps has made life for sol-
diers' wives difficult if not impossible. But,
like most young American wives, I am far
more concerned with heart. When it comes
to a toss-up of heart and reason, with me,
heart invariably wins.
It is easy to sit comfortably at home and
say that a wife should remain in her own
living room and plan for the future when
the war is won and her husband comes
home. But just suppose the future doesn't
materialize? And for thousands of Ameri-
can wives, unfortunately, it won't. Suppose
your husband doesn't come back? What
have you then but a few memories and a
big heartache? You will always blame
yourself for not making the effort to be
with him during those precious months
before he went overseas.
Mrs. X also said that a soldier worries
when his wife is living near his camp. Well,
they also worry when she isn't around.
When I visited Oli at camp last winter
I talked to hundreds of boys there, and
they were all much more worried about
what was happening at home, than by what
was ahead of them. When there was no
letter from home in the day's mail they
would fret and worry and imagine all kinds
of dreadful things : she was sick, she had
been in an accident, she didn't love him
any more. Those boys were worried.
But when a soldier's wife is with him,
when she is living near enough for him
to see her every morning and every night,
when he knows that she is well and happy
and in love with him, then he can concen-
trate entirely on his work. His mind is
clear for the important jobs. He doesn't
have to depend on those letters that are
so often delayed or lost, or not written at
all. He has his wife with him. He can
hear her say, every night, the words he
longs to hear, "I love you." That's what
he needs to spur him on to victory.
When I visited Oli at Fort Riley last
winter we had to sleep in an old barrack
that had been hastily improvised into small
bedrooms, with thin partitions between.
This was before we were able to find an
apartment in town. I remember we were
wakened one night by a soldier down the
hall who had put in a long distance call
to his wife. "Honey," we heard him say,
"I won't get that leave. I won't get to see
you at all. I'm shoving off tomorrow. I
love you, honey."
I guess I'm an awful sentimentalist but
the way he said, "I love you, honey," simply
broke my heart in two. All the loneliness
in the world was in those four words. It
would have been so much better, I thought,
if only his wife had come to him months
ago when he was sent to the camp for
training. I felt then that individually I had
done the right thing in leaving my com-
fortable home in Hollywood, and living in
a cold dreary barrack with Oli.
And there was another evening, after we
were able to rent a small apartment in
town, when I cooked up a tasty Irish stew
and had Oli bring some of the boys in
from camp for a home-cooked dinner.
When he was leaving that night a young,
bashful private whispered to me, "You
couldn't have chosen a better night to in-
vite me to dinner, Mrs. Cassini. I'm leaving
tomorrow for overseas duty. You remind
me a lot of my wife. She's at home, back in
Wyoming. I sure wish I could have seen
her before I left."
I cried, and he brushed aside a tear or
two himself, and I kissed ■ him goodbye.
His wife should have been there to do
that.
Of course some war wives who follow
their husbands to camp do turn out to be
awful pains in the necks. I met quite a few
of them in Junction City, and I'm sure
Mrs. X could have had a wonderful time
gloating, "I told you so." They certainly
were no help to their husbands' morale.
There was the case of Mrs. B, a pretty,
fragile little woman who had been the belle
of a small town in the Middle West. You
could easily tell that she had been petted
and spoiled to a fare-you-well. She was
married to one of the boys who helped Oli
play nursemaid to the horses at Fort Riley.
She must have read in some of the maga-
zines that Army life was just one great
big round of parties. Her chief ambition
seemed to be to have a whole flock of men
and their wives in for cocktails, start the
radio going with a hot band, and dance
and play poker until daybreak. We never
stayed on for those parties, the few times
we attended them, because Oli had to get
up at five o'clock every morning, and be-
lieve me, when you have to get up at that
hour you aren't particularly interested in
dancing all night. Of course Mrs. B could
sleep the next day until late in the after-
noon, but her husband had to be up at
five, same as Oli. No wonder he became
irritable and nervous from lack of sleep.
It was certainly a good thing for him when
Mrs. B suddenly decided that Army life
wasn't as glamorous as she had believed,
and returned to her home town.
War wives must realize before they join
their husbands that Army life is pretty
grim at best. It might sound awfully gay
in stories, and look colorful in pictures, but
it really isn't. If it's a good time you're
after, stay home.
And if you're a softie you'd better stay
home too. There are more inconveniences
than you ever knew existed. In the first
place, don't visualize a sweet little home
with a picket fence and a maid in uniform
to serve dinner. In towns that are near
Army camps it is almost, impossible to rent
a house for love or money. And maids and
cooks are practically as obsolete as the
bustle. I'm certainly not wealthy, but at
the same time I'm not exactly poor, but
before Oli and I could rent a small apart-
ment, I had to live in a boarding house,
barracks, an auto court, and a rooms-for-
rent. I completely forgot what privacy was.
The auto court was terrible. It was in-
fested with rats and cockroaches. When 1
moved out I opened my luggage and found
a couple of rodent stowaways, it was that
bad. Now of course if you're going to say
to your poor husband, "It's so damp here,
I have a cold all the time," if you're going
to gripe about inconveniences, and believe
me, you'll find plenty of them to gripe
about, you'll be doing your husband a big
favor if you stay home.
And there was the case of Mrs. H. Mrs.
H had an apartment near mine, and we
used to chat at the grocery store. Back
home in Tennessee she knew what her
husband was doing every minute of the
day. She knew that at five-thirty promptly
he would close his desk at the office, and
at five minutes to six he would hang his
hat in the hall closet. At six-thirty he
would be ready to sit down to dinner.
But at camp she never knew where he was,
or what he was doing, and it nearly drove
her crazy. She was an excellent cook, but
the kind who had to have everything just
so. Now poor Private H had to drive
a lot of gold braid around, and he never
knew what time he could get home to
dinner. Sometimes it wasn't until ten at
night. Then he'd have to hear her whining,
"The roast was perfect at six-thirty, but
it's all cooked to pieces now. Everything's
cold and ruined. And I worked so hard
all day trying to prepare you a gocd dinner.
If you'd just tell your Colonel your dinner
was waiting for you I'm sure he'd under-
stand."
Yeah, in a pig's eye he'd understand!
War wives must remember that their hus-
bands haven't got nice office jobs now.
They can't go home on the stroke of five.
They'll go home when their superior officers
tell them to, and not a minute before.
Winning the war is much more important
than an overdone roast.
Of course I don't mean to sound pompous
and arbitrary in these opinions of mine.
After all, they are just that — just the opin-
ions of one war wife who is meeting this
emergency the best way she knows how.
In reality, this problem, "to be or not to be"
with your soldier-husband is one for every
couple to solve, individually.
No two problems are exactly alike, and
no two couples are confronted with exact
sets of circumstances. Living conditions
near some Army camps are so crowded
and impossible that to follow your husband
there would be foolish, if not ridiculous.
If there are children, too, I should think
it would be better for a wife to keep them
at home, and in a public school nearby,
rather than rush them about the country.
But again, I don't know. Common sense
should decide everything. I only know that
it has meant a great deal to me to have
had those extra weeks with Oli. I know
that they have brought us closer together
than ever. And that, in that dreary day
when I shall be able to follow him no
farther, we shall cherish their memory.
And speaking of problems, soon I will
have a definite and happy one to consider.
Oli and I have always wanted a baby and
now that our wish is going to come true,
we couldn't be happier. I have noticed
among my friends that the most contented
ones are those who have children. My best
friend, Cobina Wright, Jr., is also expecting
a baby in October and it would be nice if
they both arrived on the same day.
I'm not afraid or worried to have a baby
because it's wartime, and I'll have some-
thing real tangible to remember Oli by.
I'll stay with my husband as long as he is
in this country and as long as it is safe for
me, but I hope to return to Hollywood and
home for the Big Event.
60
GUIDE TO GLAMOR
Summer days are still happy days if you have the
right beauty accessories to make the most of them
Light On Your Feet
Continued from page 16
the floor with your toes. It may look funny
but it is both strengthening and relaxing.
' Simple foot exercises are excellent. To
strengthen that long, longitudinal arch, the
simple practice of rising on your toes, or
walking tiptoe, is helpful. If, however, you
have trouble with your metatarsal arches,
(those which run across your feet instead
of lengthwise) avoid this tiptoe exercise.
To strengthen metatarsal arches try this :
stand on the telephone book, your toes
hanging over the edge. Curl the toes down
under as far as you can; relax and curl
them down again. This helps push the
metatarsal up where it belongs. Curling
your toes over the fold of a bath towel is
also good, especially if you try to pick up
the towel with your toes. Now extend your
leg and bend the foot toward the body.
Hold it a minute, relax, then do it again.
Remember that toes ought to be almost
as flexible as fingers and with proper use
and exercise can be limbered up consider-
ably. Shoes that pinch toes into a small
space where they cannot move as we walk,
are very bad for our feet and even if they
are not actually painful while we wear
them, can do permanent harm. This is why
the limbering up exercise is a good thing.
Simple foot massage too is a relief. While
you are bathing your feet it is a good
habit to massage them with a thick soapy
lather. Grasp each foot with both hands and
move the fingers up from the toes to ankles.
Work in well between the toes. Then when
the feet are limbered, clean and rinsed, in-
stead of drying them with a towel, massage
them dry with both hands, again drawing
your fingers from toes to ankles. This
feels simply wonderful and is good for you.
Be sure that the stockings you wear are
long enough to allow plenty of toe room.
A tight binding stocking can do as much
harm as badly fitting shoes. Remember in
buying hose that during the hot weather
when your feet perspire freely, some fabrics
tighten up on your feet. Should you find
that this is happening slip off your shoes
and pull out foot of stocking to give toes
more room. Buy a larger size next time.
Naturally you will want to put on fresh
stockings each morning. Stockings are a
great protection to feet, absorbing perspira-
tion. They protect shoes too, for the same
reason. But if, this summer, you intend to
use cosmetic stockings, plan to give your
feet even greater care than usual. Always
shake a good foot powder or talcum in
your shoes before slipping in your feet.
Dust the feet all over with powder espe-
cially between the toes. It is wise to use
the powder frequently too during the day.
At night, into that Epsom salts foot bath,
for rest and refreshment ! For special spots
that are sensitive, or where your shoes rub,
investigate those fine little foot pads which
give marvelous protection to feet and shoes.
Between visits to your chiropodist, and
by the way, if you have any kind of diffi-
culty with your feet, you should see him
regularly, as you have a dentist look over
your teeth . . . but between these visits,
instead of cutting callouses and corns, gen-
tly file them with a good emery board. Here
again little foot pads may be most helpful.
In giving yourself a pedicure work as
carefully and gently as if you were groom-
ing your hands. Cut the toe nail straight
across, however, allowing the nail to be
just long enough to afford the toe some
protection. Push back the cuticle with a
towel, never cut it ! As to whether you
paint your toenails with polish or not, let
your conscience be your guide.
Yardley suggests a convenient Suntan Oil
to lure that lovely sun-tone, tinted skin.
YOU are, I hope, taking good advice seri-
ously and planning to get your suntan
painlessly this year. Yardley has provided
something to help you do this, in as neat a
trick package as may well be imagined. It
is called Suntan Oil and comes in the fa-
miliar round Yardley bottle with the bee
embossed stopper. Around it is a raffia
thong which you can hang from your belt
or your finger to keep it conveniently near
for frequent application. It encourages a
fine tan, but if you use it according to direc-
tions will help prevent painful burning.
The package itself is so attractive that it
adds a smart note to any outdoor ensemble.
NOW and then a fine patriotic gesture
turns out to be a blessing at the same
time. Lentheric's Creme Bouquet is such
a blessing. For it is made without alcohol,
thus saving a necessary commodity for war
use, yet it has several distinct advantages.
Now comes a new Cream Bouquet in "Tweed,"
famous Lentheric fragrance for daytime.
It softens and smooths the skin while it
adds fragrance and freshness to it. Creme
Bouquet comes in Tweed, Confetti, Miracle,
A Bientot, Shanghai.
WARM weather here and ahead!
Wouldn't it be nice if you could pro-
vide yourself with an April Shower to cool
and comfort you at a moment's notice, no
matter how muggy the day ! Matter of fact
you can, a fragrant one to boot — out of a
nice package of Cheramy ; April Showers.
It smells so sweet and makes your skin
feel all smooth and slippery instead of hot
and sticky. It makes a fragrant ending to
your bath or shower, is wonderful to use
frequently during the day. If you are lucky
enough to do some swimming this summer
carry April Showers in your bathing bag
to use before you slip back into your girdle.
It makes the girdle really "slip" on instead
of fighting with you in a tug of war !
The light, right shade of nail polish is the final touch to good grooming
for daytime hands. Dr. Ellis' Heather is the attractive light shade used.
SCREENLAND
61
Man with a Future
Continued from page 29
burned, his breath came in fierce, hot gulns.
He clivoted and sand-trapped his way right
out of collegiate circles.
One career closed, Mr. Ridgely quickly
turned to another : insurance. His company
supplied him with a list of likely prospects.
John, chin outthrust in the accepted bronze
statue manner, drove around to locate ad-
dresses and case the joints. Sometimes he
decided there was no use trying — from the
sheer appearance of the residence ; at
other times he left his car reluctantly,
strolled in front of the house, walked
around the block, and finally summoned
enough sales manner to ring the bell.
One morning, around ten, he buzzed a
doctor to the door. The medical man con-
fided that he had just returned after a
wicked night fighting death and disease;
he was bending an elbow in an effort to
get relaxed enough to catch a few hours
of desperately needed sleep. He admitted
an aversion to being without company at
such a time, so John entered the living
room and sat opposite while the doctor
talked and talked and talked. "A capsule
medical education," John summed it up
afterward.
After several hours, the exhausted doctor
dozed off and John, equally worn out,
returned to his office and rendered a re-
port. The exasperated office manager ob-
served bitterly that an insurance salesman
who couldn't sell insurance under those
circumstances had fallen to a previously
uncharted low.
But worse was yet in store for the man
to whom high pressure was a commodity
belonging entirely to steam engines. He
called upon a woman one morning to ex-
plain that her automobile insurance was
about to expire — so he would be glad to
remedy that situation.
"I'll make a bargain with you," she an-
nounced to a tender-hearted and defenseless
guy. "I'll leave the baby with you while
I attend to several errands down town.
When I get back, I'll renew the policy. I
promise that I won't be away much over
an hour."
She was away six hours. Meanwhile the
baby had developed a disposition like that
of a scalded cobra. The baby's grandmother
telephoned ; although John patiently took
her message, grandmother knew that a
strange man was prompting her grand-
son's screaming, so called the police. The
baby's father also telephoned and, upon
hearing a strange baritone voice echoing
through his house, hit upon certain con-
clusions.
An irate grandmother, a police prowl
car, a red-eyed father, and the Little
Woman all reached the house at the same
interesting moment. Mr. Ridgely, oddly
enough, didn't stay to renew that insurance
policy.
To be concise, he made only one deal
in a year's sales experience : that was a
three-year fire policy to his aunt, carrying
a total premium of $7.83. Only one good
thing came out of premium prospecting —
he collected a notebook full of anecdotes,
some of which he has turned into humor-
ous fiction and gay essays. He has never
tried to sell any of them; he was just
satisfying some inner urge.
It struck him quite forcibly one day that
he might become an actor ; it was an im-
aginative occupation, not likely to be ruined
by a devotion to golf, or inhibited by a
certain diffidence of manner. He enrolled
at Pasadena Community Playhouse where
he met, among others, Victor Jory.
For six years John did anything and
everything around the Playhouse ; he
painted scenery and built sets ; he ran the
gamut from dialect parts to haunted grand-
fathers. He learned the actor's trade.
Irving Kumin, Warners' assistant casting
director and unofficial talent scout, spotted
him in one of the Pasadena plays and gave
John a small part in Mervyn LeRoy's pic-
ture, "They Won't Forget." It was well
named; also performing her first role in
motion pictures was an actress of whom
you may have since heard — name of Lana
Turner.
This picture didn't weave laurel wreaths
for anyone; it was just good practice. One
night, when John was driving from Holly-
wood to his home in Pasadena, he was
breezing along a deserted, moonlit highway
at a forthright forty-five. At the crest
of a hill, he made a sharp right hand turn
and plunged into one of the unaccountable
ground fogs that sometimes settle extem-
poraneously into a California valley, ob-
scuring it like a giant delivery of newly
ginned cotton.
John missed the turn, was luckily tossed
through the top of his car on the first
somersault, and sat up dazedly to watch
his nearly new automobile complete 18
full loops into the ravine. Thereafter, he
couldn't get a wrecking company to make
an attempt to extricate the car ; the city
salvage crew finally fished it out and Mr.
Ridgely derived fifty bucks for the sale of
same.
Victor Jory, noting a certain dejection
in John's attitude, gave him a job as
stand-in. Which gives our history of Mr.
Ridgely a pretty filip because — to the best
of this reporter's knowledge — he is the
only stand-in for a male star who has
eventually snagged stardom for himself.
So many persons really believe that the
way to get a picture break is to be seen
around the sets as a stand-in, that John's
experience should be stressed as an unique
happenstance.
His next screen break occurred by reason
of his punctuality. Warners were casting
a picture titled "Submarine D-l" and asked
for some Playhouse personalities to be sup-
plied. Arbitrarily they decided that the first
three men to report would be given the
officer roles — complete with the close-ups
which are stepping stones to contracts.
John arrived No. 2 on the list, and became
a three-striper on the spot. And, when
the film was in the cans, John was given
a seven-year contract. Two years later this
was extended another seven years, and just
before he went into "Air Force" Warners
again tore up the old ticket and gave John
another seven-year deal.
Of course you're thinking, "If he was
always so good, why did it take Sy2 years
for him to get a part like that of the
pilot in 'Air Force' ?"
This is a question that John doesn't mind
answering. "I was learning the business
inside out. I was building character, scope
of understanding, and technique. A long
apprenticeship never hurt anyone who wants
to stay in this business on a permanent
basis."
He worked in 125 pictures before he ar-
rived in "Air Force." One of these was
"Dangerously They Live" which starred
John Garfield and Nancy Coleman. In the
credits which are run off just before the
screening begins, John Ridgely's name was
billed in bold letters. A number of his
friends, upon seeing it murmured among
themselves, "With such large billing, it's
plain that John has finally been given his
big break."
The picture opened on a shot showing
a sinister-looking Joe putting the finger
on Nancy as she emerged from a building.
He flipped away a cigarette in as deft a
bit of spine-chilling plot action as had been
photographed in some time. The camera
turned to follow Nancy into the sedan,
leaving John on the corner. And that,
so help us, was the last seen of the prom-
inently billed Mr. Ridgely!
Then there was the career instance when
John and Susan Peters tested for one of
Warners' super-dupers. The test went off
very well ; each felt that they had clicked
in the parts. The director was ecstatic (an
occupational disorder). A report filtered
through the mists of studio management
that "they" liked the test. "They" were
thrilled over the prospect of the job John
and Susan could do. No one in Hollywood
knows exactly who "they" are ; it's like what
causes earthquakes — everyone has a theory
on the subject, but no one ever does any-
thing about it.
John confidentially told a few of his
friends that he had been tipped off that the
cushy part was his ; Susan did the same. One
morning John reported for a minor job
of work in a short subject and noticed a
call sheet posted for the picture in which
he expected to be cast. A pair of players
had been borrowed from another studio to
enact those plum leading parts. Remember
how it felt the first time you fell down
a flight of stairs? Remember what hap-
pened when you got hit in the head by
a baseball? Confer with John — he'll be
able to tell you whether the stars had five
points or six.
While he was working by day in mis-
cellaneous Warner jobs, by night John was
returning to the Playhouse to savor what
was cooking. He was standing in the foyer
one night, after having seen the first act
of one of the more esoteric plays which
Pasadena sometimes essays, when he heard
a charming but decisive feminine voice
observe, "This is the worst play I have
ever_ seen. Someone must have been out
of his mind."
John swung around and grinned. "I just
want to say that I agree with you 100%,"
he said. Such a strong fellow-feeling led to
more conversation. John outlined the play
scheduled for the following week and slyly
mentioned the night on which he planned
to see it. Sure enough, when he strolled
around the foyer on that evening, whom
should he see — ? It's fate, matey.
In a few months they were married and
Mrs. Ridgely, who will argue at the drop
of a film-cutter's scissors that John is the
best actor on earth, was urging him to
become a desk-thumper to demand better
parts. John only grinned. He is six feet
two inches of tousel-headed, easy-going,
grey-eyed typical American. He moves
slowly, as if totally uninterested in setting
the world on fire. Flick an eyelash, and
wherever did all that smoke come from?
John Ridgely Rea, currently aged 2
years, arrived while his father was working
in "Navy Blues." His every development
has been marked by some picture in which
John, Sr., has been working. Currently,
John suspects that his son has the soul
of a critic. A friend sent the Ridgelys a
smoked ham from the east. The baby
leaning out of his mother's, arms to pat
this beautiful item, crooned happily, "Da-
da, Da-da."
To call a man a ham, considering the
present ration point value, is probably the
highest compliment that can be paid him.
The second highest would be for YOU
to write reams of -letters to Warner
Brothers, begging for the brilliant actor
who created the unforgettable Quincannon
in "Air Force" to be given a succession
of fine parts.
He can handle 'em.
^2
9 out of 10 Screen Stars use it— //-/eaises sg/>? SWEET?
SCREENLAND
63
How Mrs. Bob Hope is Pitching
on the Home Front
Continued from page 31
Bob's talents seem to particularly fit into
entertaining the soldiers ; he's doing a
grand job and getting a terrific bang out of
it. I've never known anyone who enjoys his
work, every phase of it, as he does. Maybe
that's the reason he stands up under all
these added demands. He's in fine condi-
tion for he takes excellent care of himself,
smokes and drinks very little, watches his
diet, and requires little sleep. He actually
gained weight during his Alaskan trip.
"Usually I go with Bob when he puts
on his programs at the camps, and it is
always an inspiring experience. Performing
before an enthusiastic audience of twenty or
thirty thousand men is heart -warming, and
very thrilling. Now that he's making a
picture, 'Let's Face It,' he visits only nearby
camps and sometimes we have an evening
at home, which is a novelty for us. Soon
he'll be leaving for another long camp tour
which may take him overseas.
"I couldn't let this exciting world fly
by without doing my share and I'm busy,
too. I am head of the Southern California
A.W.V.S., and Chairman of the Agricul-
ture Department. You have no idea how
many angles this involves. We spend days
and nights rounding up workers, both men
and women — thousands and thousands of
them, to harvest the fruit and vegetable
crops. Also, the vast vineyards. We have to
work fast, you know, and it is a tremen-
dous task. But we are so elated over our
success that we forget to be tired. There
are also a hundred and one other demands
on us. Swinging a great nation into prep-
aration for an all-out war calls on every-
one to do his share. This war work is
creating a new understanding among peo-
ple of every strata. Barriers, such as
wealth, prestige, position, all fall into a
heap when working shoulder to shoulder
to keep the world free and safe. Personally,
I get "a terrific satisfaction out of this ac-
tivity."
I watched Dolores as she talked. She'-s
vibrant, so alive, and her big expressive
eyes were shining with enthusiasm. She
and Bob make an ideal couple. They've been
married ten years. Never having gone in
for marital vacations, the longest separa-
tions they have ever had were the seven
weeks Bob was with the Victory Caravan,
and the four weeks during his Alaskan
trip. He wires and writes every day when
away from home. We looked over the
mountain of clever cards he sent from
Alaska, addressed in turn to Dolores,
Linda and Tony. All carried a comedy quip
and were signed "Gypsy Hope."
"Our romance?" Dolores laughed, "It
was almost love at first sight, and very
romantic. I was singing in a New York
night club, the Vogue, and one evening
George Murphy brought Bob in and intro-
duced him, saying he wanted him to hear
my songs. Later, we all went over to the
Haw-Haw Club. I hadn't caught his name
and wasn't the least interested, but when
George left us for a minute, just to make
conversation I asked him if he wanted to
dance. 'No,' he said. 'I don't like to dance!'
And that was all right with me, too.
"Just then, George came back and we
stepped out on the floor. We had danced
around the room but once when Bob cut
in, saying 'I've changed my mind.' I was so
astonished that for the first time I took a
good look at him. I saw a very young, and
at the moment, a very serious fellow, but
then and there — / kneiu I liked him! He's
a marvelous dancer and the next minute we
were floating through rosy clouds. Later,
at the table, I happened to say that my
birthday was on May 27th, and Bob grin-
ningly added that his was May 29th. My
heart stopped ! I had been reading up on
astrology and it seemed to me that the
one positive rule was that no one born
under the Gemini sign should marry an-
other Gemini.
"When I went home that night I told
mother that I had met my future husband.
Being accustomed to my crazy outbursts,
she casually asked who he was. I told her
I didn't know; probably he was a chorus
boy with some small show. This was the
night of December 21st. The Wednesday
after Christmas, I attended the matinee
performance of 'Roberta,' which was the
talk of the season. Imagine my complete,
my utter amazement when I discovered
that my chorus boy was Bob Hope, star of
'Roberta!' A friend took me backstage to
see Bob, and he asked for a date the next
evening. I saw him every night until I left
for Florida on January 14th, where I was
to sing at the Embassy Club. Bob phoned
regularly, and one night he asked me to
marry him. I hurried back to New York,
arriving on February 14th, and on Feb-
ruary 19th, 1933, we were married. We've
had ten wonderful years," she added.
"Bob was born in London," she went
on, "so, just before the war, we decided
to visit England, a sort of. second honey-
moon trip. We had a gorgeous four weeks,
saw the house in which he was born, went
to two shows every night, prowled through
antique shops, and did all the touristy
things. If you wonder where Bob gets his
comedy talent you should see his grand-
father, who is ninety-nine — he tops Bob at
every turn. He's a real wonder. They had
a gathering of the family clan and the old
man was master of ceremonies and he was
a riot !
"We returned on the Queen Mary's last
trip and it was exciting for we had black-
outs and submarine scares every night."
It was following his New York stage
and radio successes that Paramount brought
Cute Jeanne CraJn takes no chances with ol"
Sol as she prepares to enjoy her sun siesta.
Bob to Hollywood for "The Big Broadcast
of 1938." Now, he's making his eighteenth
film. His rise on both radio and screen is
one of the most spectacular in Hollywood
annals.
When he first arrived, Bob wasn't sure
he wanted to live so far from Broadway,
and for several years the Hopes leased a
house on a two-months' basis. But sudden-
ly, he found he wanted to take root, wanted
to make this his permanent home. So, up
went this lovely English farmhouse. The
domestic problem has hit Dolores. At the
moment, she has a good nurse for the chil-
dren, a woman to come in once a week for
general cleaning, and does the remainder of
the work herself. The two and a half acres
of lawns and gardens are Bob's territory.
"Bob has a wonderful disposition and is
always happy," says Mrs. Hope. He puts
unbounded enthusiasm into all that he
does and gets every ounce of fun out of
even the most trivial incidents. I'm sure
the reason he can accomplish so much is
because he has a remarkable concentration.
If he is reading, working over his radio
or film script, or even just listening to the
radio, he becomes completely absorbed and
the house could tumble down without his
knowing it.
_ "He adores the children and it is a con-
tinual joy to him that both Linda and Tony-
have a keen sense of humor. Tony prom-
ises to be a broad comedian for he loves
to dress up in funny clothes and hats, and
strike eccentric poses. Linda's comedy is
more subtle. She's dainty and graceful."
A pause, then she went on. "It is the
woman who makes the marriage, and like
any career, one must work at it. Successful
marriages just don't happen, they're the
result of much thought and consideration.
It is a mistake to let life together become
a habit, a mere routine, when a little gaiety,
a few happy surprises can change the
tempo. Usually, the adjustments are for
the wife to make and it is wise to sense
her husband's moods, then tune in on them.
"Yesterday, Bob came home walking on
air and I thought — Hurrah! we've won
the war ! Then out came the big news that
he'd made 74 at golf, beating even Bing
Crosby, which was a major triumph. Bob
and I share all our interests, we like the
same things, the same people, we work and
play the same way, and I'm sure this cre-
ates a strong bond. He's never obvious yet
he seeks my advice and approval, and we
talk over things that concern either of us.
"We're not especially keen on parties, and
seldom go dancing. You recall," she added,
"he gave me warning when he refused that
first dance. His idea of a pleasant evening
is a quiet dinner here at home, then go to a
show. He is a rabid film fan and likes all
pictures — good, bad and indifferent. After
the last show, we get a big dish of ice
cream, then come home where he works
on his radio script until midnight. Or later.
He hates to go to bed early."
"What about jealousy?" I asked. "All
these beautiful movie girls?"
Dolores laughed. "It has its moments,"
she admitted. "But not too many, nor too
serious. Bob hasn't been classed as a Great
Lover, and he doesn't always win the girl,
so there aren't too many love scenes.
Mostly, his sweethearts have been good
friends of mine, like Madeleine Carroll
and Dorothy Lamour. If I had a real oc-
casion, I presume I'd run true to feminine
type and do some ranting. But so far, I
haven't had to develop a jealous technique.
"Marriage can become complicated.
Nothing is stationary, least of all emotions.
But when a couple has built up understand-
ing and companionship, along with their
love, they find little difficulty in bridging
the various evolutions. That is the real test
that tells if marriage is the right kind!"
64
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65
"Five Craves to Cairo
Continued from page 32
joined operations last night at Bir
Hacheim. Looked like a frolic, sir. We
thought we had those German tanks on
the run. Then their formation split wide
open and there were the 88's. Right against
our belly, sir. Very clever, this blasted
Herr Rommel. Thirty shells a minute."
A door opened but he didn't hear it. A
girl stood there, her slender body bracing
itself to support the heavy laundry basket
she harried. But he did not see her.
"Yes, sir, we pulled out fine," he went
on. "Ever see a five-passenger hearse, sir,
doing the Lambeth walk with the exhaust
hit and going 'pssssssttttt' ? Is there trans-
portation back to Tobruk?"
"Listen, you !" Farid interrupted. "The
British aren't here any more. They left.
There's no more Tobruk. Bardia has fallen.
Try to listen, please. The British have
evacuated. This is Sidi Barrani, sir."
"Five little Britishers driving in the
sun." Bramble's short laugh came without
mirth. "Out hunting Jerries and then there
was one. One. That's bloody close to zero."
Suddenly Bramble's blurred eyes began
to focus again. He stared at the girl. "Hello,
Miss !" He managed to smile. "Women at
Staff Headquarters now?"
It was when he tried to bow to her that
he fell, flat on the floor. Farid bent over
him while the girl looked on impassively,
her eyes showing no emotion at all. Then
suddenly from the distance came the sound
of motorcycles and Farid stared through
the doorway appalled as the vanguard of
the German Army rolled into the village.
"Our new guests," the girl said calmly,
and still there was no emotion in her eyes
as she looked down on Farid frenziedly
trying to shake Bramble back to conscious-
ness. Then as Farid seized him by the arm-
pit and began dragging him toward the desk
in front of the bead curtain separating the
lobby from the dining room, she spoke
again. "I wouldn't do that."
"Where else can I put him?" Farid de-
manded.
"Right in the middle of the floor," she
said disdainfully.
"But they'll see him and shoot him."
Farid quickly pushed Bramble out of sight
and stood up panting.
"Now they'll shoot you, too," she said.
Farid looked at her stupefied but it was
too late to reconsider. A German lieutenant
was coming through the doorway.
The lieutenant, his name was Schwegler,
pulled a notebook from his pocket. It was
the Egyptian's first lesson in German thor-
oughness.
"Your name is Farid," he told the aston-
ished hotel owner. "You are Egyptian. You
have a native cook by the name of Terek.
There's a chambermaid by the name of
Marie Jacquelin. French citizen, born in
Marseilles."
"Informed of everything," Farid said.
"But we call her Mouche."
The clipped comment came : "We like to
know where the light switch is before we
enter a dark room. There is a waiter here.
Alsatian, by name of Paul Davos."
"He was killed." Farid didn't notice that
momentary glint of exasperation in the
other's eyes. "In the bombing when your
planes came over last night."
Suddenly he tensed as he heard a move-
ment coming from the direction of the desk.
"Mr. Lieutenant, you wouldn't want to
see the rooms?" he asked desperately.
"Full of bedbugs, I suppose." The officer
shrugged his disdain. "How many rooms?"
"Sixteen, only we lost four in the bomb-
bardment. And two bathrooms. One works."
"The rooms immediately adjacent to the
good bathroom will be occupied by the
German High Command." Schwegler mo-
tioned the other to lead the way upstairs.
"The one with the bathroom that doesn't
work goes to the Italian General."
"Yes, sir." Farid tried not to look toward
the desk as he started up the stairs. "Come
on, Mouche."
The girl didn't look then either. But as
they reached the place where a clear view
of the desk could be had neither could re-
sist that downward glance. They barely
managed to stifle their gasps. The place-
behind the desk was empty and as they
stared there was an almost imperceptible
rippling of the heavy bead curtain before
it hung lifeless again. The Englishman
had regained consciousness, had managed
to crawl under the curtain into the de-
serted dining room.
"Oh, by the way," the lieutenant turned
and for the first time there was something
almost like a smile on his lips as he looked
at Mouche, "before I make final arrange-
ments about the quarters upstairs, which is
your room ?"
"Way down the hall," she saicE "Next to
the one you assigned to the Italian Gen-
eral."
"Well, if that worries you — " His glance
took in every curve of- her slender body.
"I'm not afraid of generals." Mouche
shrugged. "It's lieutenants I'm afraid of."
Her smile took some of the sting from
her words as she walked over to Farid.
"Thanks be to Allah !" he whispered as
the officer walked from the bedroom into
the one good bathroom. "Of all the mira-
cles, that was the most miraculous miracle,
an unconscious man spirited away through
a bead curtain."
"He's gone," she said under her breath.
"That's all. He was never here. We had
nothing to do with him. If any questions
are asked — " She stopped suddenly as a
sharp volley of shots echoed from the
courtyard outside. "That's even better,"
she said coldly. "There will be no ques-
tions asked."
"Poor fellow!" Farid shook his head.
"Such a nice fellow. But maybe it's for
the best all around."
After that it was like coming face to
face with a ghost, seeing the Englishman
standing there in the servant's room as they
came into it later. Bramble had exchanged
his uniform for the baggy black trousers
and white shirt which he had found in the
wardrobe.
"How did you get here?" Farid gasped.
CAST
"FIVE GRAVES TO CAIRO"
(A Paramount Production)
Based on a play by Lajos Biro.
Screen play by Charles Brackett and
Billy Wilder. Directed by Billy Wil-
der.
Bramble Franchot Tone
Farid Akim Tamiroff
Field Marshal Erzmn Rommel
Erich von Stroheim
Genl. Sebastiano . . Fortunio Bonanova
Mouche Anne Baxter
Lieutenant Schrvegler .Peter Van Eyck
Major Lamprecht Fred Nurney
Colonel Fitshume Miles Mander
Captain St. Bride Ian Keith
"Window," Bramble said. "Only how did
I get to this hotel ?"
"You had a sunstroke." Farid still looked
shaken. "I put you behind the desk. That's
all I know except they shot you."
"They shot an Italian soldier," Bramble
said. "For stealing drinking water. Whose
are these ?" He held up a pair of shoes, one
normal, the other a misshapen shoe made to
fit a club foot.
"They belonged to our waiter," Farid
said, "Paul Davos, who was killed when
Room Fourteen was blown into the cellar."
"Good," Bramble smiled. "He was never
killed, understand?"
"You cannot stay here!" Farid's voice
rose desperately as Bramble began putting
on the shoes. "They'll be all over the
hotel. Get out, quick!"
"Listen, man," Bramble protested. "It's
only until the British come back."
The girl looked at him then, her smile
mocking. "Until who comes back?" she
asked disdainfully. "The British? Since
when do the British come back?"
30U..d0n t like us'" Bramble said slowly.
« a j-l , She almost sPat the word out
And if he doesn't tell the Germans, I will
I had two brothers in the French Army
At Dunkirk when the British decided to
evacuate their troops what did thev do
with the French? They left them on the
beaches, to die or be captured "
"Who did you get that from?" he asked
evenly. Laval ?" Then as she swung around
to the door, her hand on , the knob, his
voice rose. "Just five seconds before you
call in the Germans. Five seconds, that's
all.
"What do you want to tell me about?"
she jeered. "Blood, sweat and tears?"
Pencil," Bramble said. Then as Farid
gaye him his, he took a leaf from the cal-
endar on the table and began writing some-
thing on it "This is my wife's address in
London. He looked up apprehensively as
the servant's bell began buzzing and
Mouche s hand tightened on the door-knob
but he kept on scribbling the message!
1 hen desperately, his voice hurrying against
time, he went on, "Mail this to her when
you can. And," he tore off his identifica-
tion tag as the buzzer sounded again, "put
this inside. This is for my older boy. I
wish I had something for the youneer
one."
There were those quick footsteps outside
then, that insolent voice raised in anger de-
manding service. The girl still stood 'mo-
tionless beside the door.
"N'ow that we've disposed of the tears,"
Bramble said quietly, "any time, Made-
moiselle."
"What is this?" Schwegler's voice
roared outside. "Active resistance?" He
blinked as he flung the door open and
stared at Bramble. "Who is he?"
There was that long moment that
seemed never to end. Then at last the girl
spoke. "He's our waiter. Paul Davos, an
Alsatian."
She had come through for him. She was
even flinging him a hint as to the nation-
ality he must assume. His eyes thanked her
silently. For that long moment she looked
at him, then quickly turned away.
"I thought you were killed," Schwegler
said.
"Only buried alive, sir," Bramble an-
swered. "When I came to it seemed the
whole hotel was on top of me. It took me
eight hours to dig myself out. You see,
it's not very easy for me."
He took a few limping steps to prove
his point and the lieutenant glancing at the
misshapen boot consulted his notebook
again.
"So you're Paul Davos," he said. "Come
with me." Then as they started down the
stairs he smiled. "You know, I would
66
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almost believe you were a real waiter."
"I am a waiter," Bramble tried to con-
ceal his apprehension.
"A rather special kind of waiter." The
German nodded approvingly. "You play
your part well."
The Germans had been thorough. A tele-
graphic apparatus was already set up in
the dining room and an officer was stand-
ing beside it dictating a message to the
operator. Bramble caught his breath
sharply. He was looking at Rommel.
"My Feuhrer !" The Field Marshal's
voice swooped toward each period like a
Stuka bomber. "I have today crossed the
Egyptian border. I am now marching to-
ward Alexandria and Cairo. Nothing can
save the British Eighth Army from a
colossal catastrophe."
As he swung around on his heel Schweg-
ler gave him the notebook and they held
a whispered conference. Rommel looked
from the book to Bramble.
"Why in the name of the devil didn't
we get proper information about the British
withdrawal?" he thundered. "I read here
that you are a competent man. Is that
competent ?"
Schwegler saved Bramble the necessity
of replying.
"With the Field Marshal's permission,
sir," he said. "He's been buried under the
debris in the cellar since last night. He
could not very well use the laundry com-
munications. You will find he has a good
record as advance man. They used him in
Danzig, in Rotterdam, and in Athens."
The Field Marshal nodded as he went
to the sideboard and poured himself a
glass of cognac. When he offered one to
Bramble, the Englishman knew he had
come through another danger zone safely.
"You will continue here, posing as a waiter,
until we can get you through to Cairo."
"Yes, Your Excellency." Bramble bowed.
Rommel gave him a long look.
"How do you find the British Intelli-
gence Service?"
"Not very intelligent," Bramble smiled.
"Not an inkling about Professor Cron-
staetter? The five graves?"
"Not an inkling," Bramble said.
The name, the curious reference to the
five graves, Schwegler's former allusion to
the laundry communications raced tanta-
lizingly through his brain for the rest of
the evening. There wasn't a chance to speak
to Farid until late that night when Bramble
went to the servant's room and found the
Egyptian waiting for him.
"What's all this about a Professor Cron-
staetter?" Bramble asked.
"Professor Cronstaetter ? I know that
name." Farid frowned as he tried to re-
member. "Or do I? Maybe not?"
"What did Davos have to do with the
laundry?" Bramble went on.
Neither of them knew Mouche had come
into the room until she spoke. "I do the
laundry," she said antagonistically.
"All alone?" Bramble asked.
"Sometimes he helped me put it out to
dry." Her eyes were still hostile.
"Flat on the sand maybe?" Bramble
couldn't hold back his excitement. "Bed
sheets, towels, napkins spread out nicely
for the Messerschmitts ! It's my guess,
Mademoiselle, that you've been washing
some sort of alphabet. A bedsheet could be
a dash and a napkin a dot. Then again a
sheet could mean ten thousand men, and a
towel petrol tanks coming through."
"I didn't realize then but now it seems
perfectly simple," the girl said coldly. "The
Germans were smart again."
"Mouche, please!" Farid interrupted.
SCREENLAND
"Why fight? He won't be here long. He
is going away. Aren't you?"
"Na, I'm not," Bramble said shortly.
"I heard it with my own ears " Farid
protested. "From the kitchen. They're
sending you to Cairo. You'll be safe."
"Sure !" Bramble grinned. "I limp into
British Headquarters with this club foot
of mine. 'And where have you been, Cor-
poral Bramble?' 'Oh, no place much. Just
spent a day or two with Rommel.' 'Rom-
mel? You were under the same roof with
Rommel and you didn't leave him with a
hole in his head and his head in a puddle
of blood?' "
"You're talking like a fool!" the girl
blazed.
Bramble slipped his hand into his pocket.
It was still there all right, the Italian
General's revolver which he had taken
when he brought towels to his room. The
feel of it gave him courage.
"Corporal John J. Bramble !" He grinned.
"Formerly with Selfridge's Department
Store, third floor, umbrellas, walking sticks,
seat canes for the Derby. Out of a hundred
and twenty thousand men in the Army of
the Nile, that it should be this J. J. Bram-
ble, always rather afraid of his floor man-
ager! Yes, it is foolish."
The indicator buzzed twice, Mouche's
signal. All of them ignored it.
"But I am scared !" Farid implored.
"What do vou think / am?" Bramble de-
manded. "It's just that I have happened to
draw the black ball, blast it."
"We haven't drawn it, Farid and I," the
girl said quietly.
"No, we haven't." Farid seized on this
new approach. "And we saved your life,
didn't we, Mouche?"
"I heard a wife crying," she said starkly.
"And some little boys, and some words
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came out of my mouth," she then added.
"Thank you very much," Bramble said.
"You won't be involved. In the morning he
will ring for breakfast. It will all happen
very fast. Just as he drops his second lump
of sugar in his coffee."
"So that's all you want!" she blazed.
"Just because it's good for England ! Well,
you're not going to do it, it doesn't fit in
with my plans. Why do you think I stayed
on in this filthy place? Because I was
waiting for them. I want to do business
with them."
She raised her head defiantly and went to
the corner walled off from the rest of the
room by a crude wood partition and a
curtain serving as a doorway. For the first
time Bramble understood the attempt at
privacy for this one bed of the five in the
room. That closed-in alcove was Mouche's
bedroom.
The whole indicator began buzzing and
all the rings were for Mouche. Farid ges-
tured eloquently as he left the room.
"You will be pleased to hear that I never
snore," Bramble said in a conversational
tone. Then as the indicator buzzed again,
"Farid won't do, obviously. One and three
znd six have rung again. I understand
Rommel keeps his African Corps in hot-
liouses before he sends them out in the
desert. Must have been quite some time
since they've heard a woman's voice."
She didn't answer and he went on. "I've
been here eighteen months myself. That's
a lot of clays but a lot more nights. You
try to sandbag your mind and yet you keep
coming back to the seam of that girl's
stocking not centered quite properly. Her
name was Vivian. I met her the day before
the troopship left. It was raining, and her
cheek felt like the outside of a champagne
bucket." Suddenly he remembered some-
thing. "Oh, Mademoiselle." He sounded
Beautiful Grace Horton
contrite. "I lied to you. I had to say some-
thing quick and effective to soften your
heart. I haven't any children. Haven't any
wife. Never been married. Forgive me?"
Still there was no answer. Then as the
buzzer rang he grinned as he looked at the
indicator. "How about the Italian General?
Or the Major with the monocle? Who are
you waiting for, Mademoiselle?"
"Number Five," she said tersely.
"The Field Marshal himself." He
chuckled. "Sorry, but I take Number Five."
But when he woke in the morning the
revolver was gone from beneath his pillow,
and when he dressed hurriedly and walked
down the hall he saw Mouche in the
Field Marshal's bedroom serving coffee.
Bramble heard only a murmur of voices
as he passed, not enough to make out their
conversation. He couldn't hear that the girl
was pleading for the return of her one
living brother who was a prisoner in
Germany.
"He's lost one arm, Your Excellency."
She was close to tears. "He can't even
work for you. He's useless. Maybe I'm not.
If there's any way that I can."
The Field Marshal's harsh laugh inter-
rupted her.
"This is a familiar scene, though usually
it is not the brother for whose life the
heroine pleads. It is the lover. The time
is midnight. Place, the tent of the conquer-
ing general. The lady blushingly makes her
proposal. The general gallantly grants her
wish. Later the lady very stupidly takes
poison. In an operetta the two even go so
far as to sing a duet. There will be no duet
in my army. You are to keep out of this
room from now on!"
The last sentence came in a shout and
Bramble heard it. He had barely time to
make his way back into the servants' room.
As he closed the door he heard something
drop from the ledge under the transom on
the top of it. He opened the door and tak-
ing the napkin from his arm dropped it
on the revolver lying there. Then he smiled
grimly as he replaced it in his pocket.
He had just time to duck into the room
again when he heard voices, the girl's and
Schwegler's. She wasn't being cold and
disdainful now but warm and alluring. He
flushed as they came within sight as he
saw the small oval of her face turned up
to the German, her eyes smiling, her mouth
inviting. Having failed to lure the fox of
the desert she was going after lesser prey,
he thought grimly as he passed them. He
was surprised that it could hurt so much.
Only then did he realize how important
she had become to him.
There was no time to think of that now.
The revolver was in his pocket, the Field
Marshal's door was still open and he was
alone. He had just made that quick step
toward the door when Farid came panting
up the steps, beckoning to him.
"Go back!" he whispered warningly.
"There are British prisoners in the lobby.
They used to be stationed here. Colonel
Fitzhume lived in the hotel. He knew
Davos. Quick, go back!"
"I'll keep to the kitchen," Bramble
promised.
He was hurriedly crossing the lobby
guarded by the German sentries when the
German Major Von Buelow called his name
from the dining room and he had to stop.
"Davos!" He heard the British Colonel
repeat the name, saw him leave the two
other prisoners and advance to meet him.
"It seems I neglected to tip you when I
left, so — •" Suddenly he stopped, his eyes
puzzled as he really saw him, and Bramble
desperately broke into the silence.
"It's quite all right, Colonel Fitzhume."
He met the other's eyes straight on. "May
I say it's a pleasure to see you back, sir?"
There was that pregnant pause broken
by the German inviting the prisoners to
have a drink. It would all have been very
cordial, except for the sentries outside.
"I will announce your arrival to the
Field Marshal," the Major said. "If you
will excuse me."
"If you will excuse its." One prisoner
smiled. "We forgot our visiting cards."
As Bramble brought the tray over to the
Colonel, he managed to show him his
identification disc, cupped in his hand.
"Intelligence?" The Colonel gave him a
penetrating glance.
"Royal tanks," Bramble whispered. "Just
ambled in on this, so to speak. Davos is
dead. He was a German agent. I have a
gun. I also have a plan. I'm just waiting
to get Rommel alone."
"None of that!" the other said sharply.
"Dead Field Marshals tell no secrets.
You're in their confidence. You've got free-
dom of movement. There's a bigger job."
He stopped as they heard Von Buelow's
steps outside. Again Bramble became the
obsequious waiter. It was a new phase of
war to him seeing the Germans together
with their distinguished prisoners, every-
thing so cordial on the surface, so tense
underneath. There was to be a special
lunch that noon and Mouche was to help
him in the pantry. It was the first chance
he had to talk to her.
"I'm disappointed in you, Mouche." He
tried to keep his hurt out of his voice.
"Having set out for the Field Marshal, I
didn't expect to see you settle for a lieu-
tenant. Well, now that you're down to a
lieutenant, how about a corporal? Let me
remind you this club foot of mine is only
camouflage."
There was no answer, and he laughed.
"Maybe if you could see me in my black
bowler. I bought one two weeks before the
war, a singularly imprudent investment. Or
68
maybe if you imagined I was a German — "
He broke off abruptly. "No I'd rather you
didn't imagine I was a German."
"Eight coffees." Mouche indicated the
tray.
"Very obviously I'm in the wrong army,"
Bramble said.
"You are !" Her voice was defiant.
"If you think you'll carve yourself some
kind of niche with these Germans," he
went on, "let me point out that we too
wanted to do business with them. We
threw our arms around them, kissed them,
went on a honeymoon with them. In Munich
it was. That's a very agreeable mouth
you're casting before these swine."
She didn't answer and he picked up the
tray and went into the dining room.
Rommel was being very expansive over
coffee and cigars and cognac.
"I've heard," Colonel Fitzhume said,
"you entertain captured British officers by
giving them lessons in strategy."
"Better a lesson too late than none at
all," Rommel said. "But the subject being
vast and the time brief why don't you ask
me what puzzles you most? Suppose I give
you twenty questions ?"
He had the bland look of a cat playing
with mice, three helpless mice, as he teased
them by showing the means by which the
British Eighth Army had been driven into
Egypt. Only, Bramble realized, in this case
the mice were being smart. They were
getting information from the cat, informa-
tion Bramble could use.
It was all a matter of his strategy. Rom-
mel was very proud of that. Pretending
to retreat he had led the British Army
on until its supply line stretched like a
rubber band. That's when he hit with every-
thing he had, snapping that weakened line
in two.
"But Field Marshal?" Fitzhume used
one of the last precious questions. "Now
that you've thrust forward over five hun-
dred miles aren't your supply lines getting
a bit taut? And yet you expect to take
Cairo. The R.A.F. will bomb your commu-
nications to ribbons."
"They will." Rommel smiled grimly.
"But I won't need these lines. You see,
gentlemen, it is not the supplies which reach
us. It is we that reach the supplies. In 1937
we dug supplies into the sands of Egypt,
a number of depots under your very noses.
Gas, water, ammunition, spare parts for our
tanks waiting for us."
"Where?" Fitzhume asked. And Rommel
gave a short laugh.
"I gave you twenty questions, gentlemen,"
he said. "That is question twenty one. Now
I believe the car is ready to take you to
your new quarters. Goodbye gentlemen."
Farid was downcast as he helped clear
the dining room afterward. "Nazis on the
Nile !" he smiled. "Would it ever occur to an
Egyptian to grab for the Rhine?" He pulled
open the silver drawer and for a moment
stood looking down into it. "That name !"
he said. "Lining the drawer-. Right under
the knives ! You ask me about it and I
don't know. For years I've been looking
at it every time I put the forks away.
Professor Cronstaetter."
With a leap Bramble was beside him,
tearing the faded newspaper out from under
the forks. It was an account of the great
German Archeologist Professor Cronstaet-
ter's expedition to dig for pre-dynastic
tombs along the Mediterranean. The date
on the paper was 1937, the preparations
year. Among the group of scientists photo-
graphed with him was the unmistakable
figure of Rommel.
"What a convenient way to send a mili-
tary mission with full permission to dig,
dig, dig !" Bramble cried. "Only they didn't
dig anything out. They dug everything in.
But we don't know where. There still is
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SCREENLAND
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SCREENLAND
Don't forger.' On Safe August 7 ltd
question twenty-one." He stopped suddenly
as Schwegler came into the room. The
Field Marshal was asking for Davos.
They passed Mouche on the way upstairs
and Schwegler greeted her ingratiatingly.
Then as they went on he lowered his voice
as he spoke to Bramble.
"I'd prefer that you didn't mention to
the Field Marshal that you saw me with
her this morning. He doesn't like his offi-
cers to get involved with civilians. Particu-
larly women. She wants me to do some-
thing about her brother who is in a prison
camp in Germany!"
Bramble could hardly hold back his ela-
tion as he went in to Rommel's room. The
Field Marshal was still in high good humor.
He was almost rubbing his hands as he
looked down on the map of Egypt spread
out on his table.
"I have just been informed my advance
columns reached Y this afternoon. I wish
I could have told it to those Britishers at
luncheon. Their digestion would have com-
pletely stopped."
Bramble took a long chance. "For a
moment I was really afraid that Your
Excellency might put all the cards on the
table. Tell them about your, or should I
say Professor Cronstaetter's five graves."
"My tongue did itch," Rommel laughed.
"Such blind ignorance is tantalizing. I
might just as well have shown them my
map with the location of the graves. They
have such complicated minds. They expect
invisible ink. Too simple for them, this."
He turned to Bramble who was staring
down at the map feverishly trying to make
sense of it. "Davos, you're leaving for Cairo
this evening. You will be taken by motor-
cycle to El Daba. From there a guide will
get you through the British lines. You will
keep your eyes open and you can expect
me Sunday afternoon. We won't have any
difficulty with P or T, I'm sure."
Y ! P ! T ! If only he could find the solu-
tion. Bramble was lying on his bed, star-
ing at the ceiling trying to figure it out,
when Mouche came into the_ servants'
quarters early that evening. He jumped up
as she came in and taking her hand held
it to his lips.
"If there were a local florist," he said,
"I should offer you an armful of white
lilacs with my humblest apologies. I had
a rather nasty idea about you, Mouche.
Lieutenant Schwegler cleared it up." He
looked at her as she self-consciously pulled
her hand away and going over to her bed
pulled a box out from underneath it and
opening it took out a dress, a filmy white
ruffled dress.
"Dressing for dinner ?" he asked.
"For after dinner," she said. "In Cairo
I wore it Sundays. There was a parasol that
went with the dress. I couldn't afford it.
The handle was real ivory." Her voice was
wistful. It made Bramble wish she could
have had that parasol. Then suddenly he
wasn't thinking of that or of her. He was
staring at the box, with the store's name
and address on it, at the word Egypt.
"Egypt, of course!" he cried.
"E-G-Y-P-T. The five graves. All over
the map. The letters. That's the depots.
I've got to see that map again, to go back
to his room."
"No, please !" Her voice came in quick
agony. "Don't ! You have had such luck.
You're safe. Don't risk your neck."
His breath quickened. "Thank you,
Mouche." He went over to her. "Before,
you thought it was the neck of a married
man. You heard a wife crying and two little
boys. This time you know it's just my
neck. Where's that mouth of yours?"
He held her then, his arms tightening
around her, his lips finding her mouth.
First there was that slight pressure of
her lips. Then she pushed him away.
"I'm sorry." His voice was bitter. "I
forgot. Wrong army."
It was while the officers were at dinner
he got that chance to run up to Rommel's
room. The map was still on the table, the
word Egypt sprawled across it and in
each letter was a small geometric figure,
ostensibly ornamental but undoubtedly in-
dicating the location of the supply depots.
He hurried to the bed and ripped off a
piece of the mosquito netting covering it,
then placing it over the map he began
tracing the points in the letters. He was
almost finished when the ear-splitting sound
of the air-raid siren sounded. He had fin-
ished the tracing, put the netting in his
pocket when he heard Schwegler's voice.
"What are you doing here ?" he demanded
harshly. "Didn't you hear the alarm?
Everybody is ordered in the cellar."
"Yes." Bramble rolled up the map. "I
thought the map should not be left."
Schwegler grunted and held out his
hand for it and Bramble limped beside him
down into the cellar as the firft bomb
rocked the house. They were making their
way around the pile of debris from the
last raid, Schwegler's flashlight guiding
them, when Bramble drew his breath
sharply. The explosion had- dislodged some
rubble and there under it a dead man's
foot was showing, a misshapen club foot.
Bramble felt the lieutenant's hand grab his
shoulder.
"You're sure you're not dead, Davos?"
the German demanded gruffly.
Another explosion rocked the cellar and
Bramble tore himself loose from the other's
grasp. Fighting his way through the dust
and falling plaster he made his way first
up the kitchen stairs, the German following,
his gun drawn, then through the blacked-
out lobby to the floor above.
Bramble had just time to leap to a
window sill as the German approached
him. Then, as he was passing, Bramble
jumped, flinging the other to the floor be-
neath him. There was a shot, muffled by
the siren giving the all-clear
Bramble had almost dragged the lieu-
tenant's body to the servants' room when
Farid came panting up the stairs. After
that first horrified glance he helped drag
the body into Mouche's alcove. There was
only time for a whispered consultation be-
fore the girl came in and Farid gave her
one agonized look and left.
"Not in there," Bramble said shortly as
she walked toward the alcove, but in spite
of the warning she drew the curtain.
Bramble put his hand over her mouth to
stop her scream.
"I had to do it!" he said tensely. "Farid
has full instructions. The body will be
found outside tomorrow. There will be my
waiter's jacket and shirt with blood on it
to prove my guilt. I need six hours to get
past the German lines."
She managed to fling his hand away from
her mouth. "Why?" she asked.
"Because a piece of mosquito netting
with some pencil marks on it has to get
through to British Headquarters," he said
grimly. "That clear?"
"Perfectly." She looked as if she hated
him. "You have killed two people. Him,
and my brother. His only chance to get
out alive. Schwegler showed me a telegram
saying it had been arranged already. And
now you ask us to cover for you so you
can get away. Like Dunkirk again?"
"What about Dunkirk?" he said. "Yes,
some were left behind. French and Polish
and British. They had to be if the rest were
to carry on. It's not one brother that
matters. It's all the millions of brothers."
"Go on and talk!" Her eyes blazed. "You
talk such big words. But I am small. You
have a million brothers, and I have one.
(Please turn to page 74)
70
SCREENLAND
In ten more minutes
what will you be doing?
IN ten more minutes they'll be in action—
American fighters risking life and limb to
conquer one more bridgehead on the road to
freedom.
And in ten more minutes— what will you be
doing to help win this war?
Because it's up to you as much as it's up to
them. Unless you— and all the rest of us at home
—are devoting every spare minute of our time
to fighting this war as civilians, their chances
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Next time you read of an American raid on
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planes and ships and men— ask yourself:
"What more can I do today for freedom?
What more can I do tomorrow that will save
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Write to this magazine for a free booklet, "You
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EVERY CIVILIAN A FIGHTER
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SCRE ENL AND
71
1
All Candid Photos by Jean Duval
SCREEN -TOWN CHATTER
Sgt. Pev Marley and bride Linda Darnell
at their wedding reception. Four Mocambo
merrymakers, top right: Bill Lundigan, Eva
Gabor, Alan Curtis, Sgt. Alex D'Arcy. Photo
below them: Lucille Ball kisses hubby Desi
Arnaz (he was leaving for the Army), while
Frank Morgan smiles his approval. All-girl
party above: Deanna Durbin, Bonita Gran-
villt, Joan Leslie, Marjorie Reynolds, Dinah
Shore. Above right, Ginny Simms and steady
beau Paul Bruckman, aviation executive.
ATTENTION, you Jane Wyman fans!
' ' Here's a chance for you to help your
favorite actress. Janie wants to play Helen
Morgan. Warner Bros, has a story called
"Melancholy Baby," based on the life of
the beloved songstress. Janie can sing like
Helen. She once worked with her. It's just
the part Janie has long been waiting for.
If you think she can do it, write in to Mr.
Jack Warner at his Burbank studio and
tell him so. It may do the trick.
THERE'S a new club being formed in
■ Hollywood. It's called the "Booties for
Babies." The wives of Bill Holden (Brenda
Marshall), George Murphy, John Garfield,
Robert Young and Richard Carlson are all
expecting the stork within a few months'
time of each other. So they get together
once a week and work on tiny garments.
It's not a first experience for any of them.
Yet the gals are just as delighted as any
last year's bride.
72
HEDY LAMARR and M-G-M are coo-
ing like turtle-doves. Hedy got her
raise and a bonus AND the promise of
better pictures. She's also getting a new
French Provincial dressing room. It's all
being done in greens and reds by Helen
Conway, the decorator who did such a won-
derful job with Hedy's house. Hedy is
happy in her private life, too. She became
Mrs. John Loder on May 27th, at a cere-
mony in the Beverly Hills home of Mrs.
Lily Veidt, Conrad Veidt's widow. This is
Hedy's third marriage and John's second.
OUT M-G-M way they are making a
picture called "Cry Havoc." It's all
about a group of nurses and features a one
hundred percent female cast. Margaret Sul-
lavan, who returns to the screen in this
one, refers to the set as "Girlstown."
"Rubinoff" (Basil) Rathbone, George Burns,
Gracie Allen and Judy Garland make up
foursome of entertainers at the Hollywood
Canteen. Randy Scott, seldom seen without
a pretty "date," pictured with Pat Stillman.
KIANCY COLEMAN and Cesar Romero
• N met when they locked bumpers in the
very center of Sunset Boulevard. Of course
they recognized each other and knew they
had mutual friends. So they retired to a
nearby soda fountain, while a mechanic re-
paired the damage. Now they're dating.
THE new baby at Roy Rogers' home on
the range has been christened Linda Lou.
Proud papa calls her "little buckarina" and
loves rounding up diapers" and nursing
bottles. That's quite a change from cattle
rustlers and mavericks !
WHEN Bill Lundigan goes into Uncle
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memories to take along with him. Bill has
been alternating dates with Marguerite
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like Martha is head girl in killer-diller
Lundigan's life !
NOW don't leave off the one and a half
ounces, when you tell everyone about
our son," were practically Rosalind Rus-
sell's first words to her husband. Captain
Fred Brisson flew to Hollywood from New
Mexico, when the stork delivered the eight
pound, one and a half ounce bundle to his
famous wife. Mother and son are doing
well. In fact, too well. Roz is so popular
with nurses and internes, her room looked
like a reception center. The doctor finally
had to put a "No Visitors" sign on the door !
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74
Five Craves to Cairo"
Continued from page 70
And I want him to live even if it costs a
piece of mosquito netting."
He ran after her as she dashed into the
hall. They had been too tense to notice
the commotion. Soldiers were searching
every room. Farid was standing on the top
landing looking down at Mouche running
down the stairs, then stopping suddenly as
Rommel gestured to her imperiously.
"They are looking for Schwegler," Farid
whispered as Bramble limped past.
Bramble looked down at Rommel im-
patiently pacing up and down, his eyes nar-
rowing as they rested on .the frantic girl.
"So you approached a certain lieutenant
about your brother, did you?" he shouted.
"I have just found out that he showed you
some telegrams supposedly coming from
Berlin. They were never received. He
tricked you. They were forgeries."
He stopped as a soldier came dashing
down the stairs, his mouth tightening as he
listened to the man's frantic words.
"So you killed him !" Rommel turned to
the girl again. "Self-defense, of course.
Improper advances. Outraged virtue."
As Bramble waited tensely a German
Corporal touched him on the arm and told
him his motorcycle was waiting. Tensely
he limped down the stairs, his eyes on the
silent girl.
"Speak up !" Rommel shouted. "Why did
you do it?"
Suddenly he struck her across the mouth
and she flung her head up defiantly.
"Because I thought I could make a bar-
gain with him. Because he lied to me.
Because he was dirt — one of you!"
The gloved hand went out again. It was
more than Bramble could stand. Forgetting
everything he advanced toward Rommel.
"If I may be permitted, Your Excel-
lency," he began. But the girl's wild laugh
interrupted him.
"Oh, your spy wants to speak!" She spat
out the words as she turned viciously to
Bramble. "I will say what there is to say.
I know you've worked for them all these
years. Get out of here, Davos ! Get out !"
She was reminding him of that piece of
mosquito netting, telling him she under-
stood at last, that she understood about
Dunkirk too and that it wasn't the individ-
ual who must be considered but the good
of the whole world. She had to stare at
him as if she hated him, now when she
loved him most. And there was nothing he
could do but go out with the corporal and
sit there in the side car as the motorcycle
sped away. The wind blew dust into his eyes
and he felt the tears smarting his eyelids.
History was in the making that day of
the disastrous summer of 1942. Bramble,
the unimportant clerk from a London store,
was having a hand in the making of it.
For it was after he reached headquarters,
after the supply depots were discovered
and destroyed, that a new victorious British
Eighth Army attacked and won back the
ground it had lost.
There was a second lieutenant's bar on
Bramble's shoulder that day the British
tanks rolled back into Sidi Barrani. And
in his hand was the parasol, the dainty
white parasol with the ruffles on it that
Mouche had wanted so much. He had
bought it for her in the shop in Cairo.
Hoping desperately against hope he called
her name as he went into the hotel. But it
was Farid who answered.
"They beat her and beat her," the Egyp-
tian said dully. "She didn't feel it. I could
see in her eyes that she was listening to
your motorcycle going away. She wasn't
afraid after that. In the morning they led
her out. One bullet would have been
enough."
"What did I expect?" Bramble forced
the words through a hard sob in his throat.
"It's just that you keep feeding your brain
on foolish thoughts. Where is she?"
"Out there." Farid gestured toward the
crosses in the small cemetery out on the
sands. "I put her with the other soldiers."
Bramble knelt beside the grave.
"Hello, Mouche," he said softly. "Per-
haps I should bend so you can hear me
better. I brought you that parasol." His
smile twisted as he opened it and stuck it
in the sand at the head of the grave. It
seemed as much in keeping as the helmets
over the other crosses. "Don't worry,
Mouche. We are after them now. When you
feel the sands shake, that's us, our tanks
and our guns and our lorries, thousands
and thousands of them, British and French
and American. We are after them now,
coming from all sides. We are going to
shoot Coventry back at them, and Rotter-
dam and Warsaw. We are going to pound
and pound until the whole earth shakes like
a great bell, until it rings with a new song,
a better song, pray God."
His smile came then. Tears weren't for
the brave, for Mouche. And as he left he
didn't even turn back to see the small
parasol fluttering there. It would still be
there when he came back. Somehow he
knew that. It would stand staunch through
the battles and after that through Victory.
After Bizerte was taken, after Tunis, after
all of Africa was free, it would be there
until he returned.
5 Year Plan for Fame
Continued from page 22
ever they called themselves, she was a
curbstone Cornell (Katharine), appeared
in a dozen plays, and was so harassed
by would-be discoverers that her mother
had the telephone disconnected in order
that her offspring might do her geometry
home work without interruption. Alas ! The
truth of the matter is that our Cheryl got
practically nowhere with high school drama.
The way things were at Pasadena High a
girl had to be well up in her studies before
being eligible for dramatics. Cheryl wasn't.
She enrolled at Pasadena Junior College
with bright hopes. She did a play or two
(one of them with a sensitive lad by the
name of William Beedle) and was picking
SCREENLAND
up momentum when Destiny, unannounced,
tapped her on the shoulder via a nomina-
tion as Queen of the Tournament of Roses.
It was quite an honor, this business of
being picked Queen of the Tournament of
Roses. And a lot of fun, too. The Queen
got to ride in a float, dressed in white or-
gandy and flanked by ladies-in-waiting
(who probably wished she were dead and
one of them up there in her place) at the
head of the most important annual parade
of the country. Naturally, a hundred pho-
tographers exploded flash bulbs commemo-
rating the event on film and every paper
in Southern California carried pictures on
page one the morning after.
Our heroine, shorn of her glad rags, was
seated on the floor busily pasting mementos
of the occasion in her scrap-book when the
telephone rang. Someone from the talent
department of Paramount was on the wire.
It seems that he had just run across her
picture in the paper and had almost
swooned.
"Really now!" our Cheryl said, trying to
sound unimpressed.
The Paramountie was nonplussed — but
not for long. "Have you thought of pictures
as a possible career ?" he wanted to know.
"Not strenuously," Miss Walker replied.
"If you haven't anything better to do
tomorrow, why don't you drop around by
the studio and let us have a look at you?"
the talent man suggested.
"It so happens that I'm going to be in
Hollywood on business in the morning,"
said our heroine.
She was bound for Hollywood by bus
the next morning, her heart pounding in
her ears and browsing through the morn-
ing paper, when she chanced upon an in-
teresting little paragraph, to the effect that
Paramount Pictures had just put under
contract one Cheryl Walker, late Queen of
the Tournament of Roses. Her heart did a
rhumba.
Arrived at Paramount, she had herself
announced to the talent department, but no
one rushed out to greet her. She waited an
hour before the receptionist said: "You
may go in now, Miss Walker."
The representative of the talent depart-
ment sized her up like a Kentucky Colonel
sizes up a new foal and mumbled something
that sounded like Chinese for "Not bad."
"Acting experience?" (Talent represen-
tatives behave as if words cost a dollar
apiece.")
"Virtually none."
The talent man muttered something that
sounded like Chinese for "Good God! I'll
kill those jerks over in the publicity depart-
ment !" He frowned, looked her in the eye.
"How about a three-month contract at
$50 a week?"
Cheryl gulped. "I think that would be
positively sensational," she finally said.
Not until a week had passed did she
learn the bitter truth : she had been signed
because the publicity department had made
a premature announcement to that effect,
an announcement which had, more or less,
tied the hands of the talent department.
A fortnight of waiting for a call from the
casting office and she read the handwriting
on the wall : the studio had no intention of
using her.
Any other girl in the world but Cheryl
Walker would have been overwhelmed by
the situation of being an employee without
employment. Cheryl thought the thing over
and elected to slug it out. To start with,
she sought out Oliver Hinsdell, then in
charge of the studio's dramatic school, and
had a heart-to-heart talk. He was impressed
enough to make a notation on her card, as
follows : "Good dramatic material," and to
offer her whatever coaching she felt she
needed.
Next, she began a systematic campaign
to make friends with everyone in the studio,
department by department, before her three
months expired. She introduced herself to
directors and asked to be remembered in
case they ever wanted stand-ins, Wellman,
Lei sen, and the rest. She cultivated the
studio writers, Preston Sturges, Talbot
Jennings, Billy Wilder — just in case. She
made herself known to the sound special-
effects men, the sound men, the montage
men. She even looked up the men in charge
of making trailers. With one and all she left
her telephone number and the message :
"Very available."
At the end of three months her name was
dropped from the contract list, but not from
the studio payroll. As a matter of fact it
appeared on the payroll for five years,
thanks to her missionary work on the lot
which started paying dividends the minute
her contract expired in the form of assign-
ments from every department on the lot
The log of Cheryl Walker's five-year
trick at Paramount as general utility girl at
a salary averaging $125 a month reads like
a press agent's fantasy. She acted as stand-
in for everybody from Susan Hayward to
Betty Hutton. She was stunt-girl for
Veronica Lake in "Sullivan's Travels" and
took an awful beating, if you recall the
picture and remember how Little Miss One-
Eye was (apparently) mauled all the way
through the picture. She was Paulette God-
dard's legs in "Forest Rangers," in that
log-rolling scene where, just for a second,
you get a glimpse of a pair of gorgeous
gams treading a log to beat the band.
For the sound-effects department she was
the echo of Dorothy Lamour's legs in
"Aloma" and the rest of the enchanted-isle
pictures where you see Dottie strolling
through groves, crushing semi-tropical foli-
age under her dainty feet, eight to the bar.
For the special-effects department she
was Claudette Colbert's double for those
scenes in "No Time For Love" when
Claudette is knocked off a cliff in her
dreams. The special-effects boys actually
used a forty-foot cliff, with a net strung up
beyond the camera range. Over the cliff
she would go, hit the net, bounce up, be
lifted to terra firma, rub her bruised limbs,
and hear the melancholy words : "Once
more, please." It was gruelling but welcome
work. It paid her $25 a day.
She was such a joy to work with that
even the advertising department threw work
her way, despite the fact that at least
twenty cuties, all of them stock girls and
drawing down regular salaries, were avail-
able for the mere asking.
You are not to get the impression, gentle
reader, that Cheryl Walker frittered away
these five years, knocking down her pid-
dling $125 a month and waiting for "the
break." Actually, she had a very definite
plan. True, it didn't exactly work like a
charm. But that was no fault of hers.
She could have earned twice her salary
— three times, perhaps — by making her tal-
ents as general-utility girl available to the
rest of the studios, except that by so doing
she would have been defeating her plan.
Her plan was to keep harassing the studios
until one of them gave her a screen test
which, in the event she was not signed, she
could later exhibit to interested producers
at other studios. Since studios are not too
keen about recruiting picture material from
general-utility girls, she led a double life,
working three or four days a week for
Paramount and devoting the rest of the
week, very futilely, to getting her career
started.
At the end of five furious years, she was
yet to be tested, yet to appear (visibly) in
a film. In a way, it was like being a zombie.
She had gone through a half dozen big
agents, all of whom had promised much
and delivered nothing, when she decided
to cast her lot with a small agent, a former
casting director for Metro-Goldwyn-Mayer
by the name of Paul Wilkins. The new
agent made no rash promises. He told her
that he thought she had wonderful possi-
bilities, that he could promise her nothing
— nothing except that he would do his
damndest for her.
The very next day he called her up and
told her the news. Sol Lesser, about to go
into production with "Stage Door Canteen,"
was looking for an unknown.
"That's me," she said jubilantly.
He arranged for her to meet Lesser's
lieutenants the very next morning. They
looked her over and told her they'd let
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her know She left the office feeling strangely
disconsolate. She had heard the same thing
a hundred times before and had shrugged,
but somehow. . . .
Two weeks later she received a telephone
call from Mr. Lesser's office. Would Miss
Walker report to the studio in exactly one
hour for a test? Miss Walker reported in
far less time than that. She was given a
honey of a test and the usual : "We'll let
you know." This time she walked out of
the office trilling a few bars from Caro
Nome. Even if she didn't get the part," she
had achieved what she had been trying to
achieve for five years : she had -been tested.
Now all Mr. Wilkins had to do — once
he'd gotten a nibble from an interested
producer— was to call up Sol Lesser, bor-
row the test, run it off, and bowl the
skeptical producer off his feet.
She was out on location, doing a little
general utility work for her pal, Preston
Sturges, in connection with "Miracle of
Morgan's Creek," when the great man,
himself, sashayed over.
"You're wanted on the telephone, kid,"
Sturges said. "Only make it fast, will you?
We can't tie up the phone, partial as I am
to young love."
There was no amorous bucko on the
telephone. It was Sol Lesser — in person.
"Can you get to my studio by 11 :30?" Mr.
Lesser asked her. "It's important."
She chased all over creation trying to
locate an automobile she could borrow for
the thirty-mile trek to Hollywood. There
was none to be had. Preston Sturges found
her in tears, gallantly came to her rescue.
By pulling wires, he scared up a truck and
driver. In ten minutes Cheryl was on her
way to Hollywood.
Why linger over the next episode? Les-
ser shot one critical glance at her and said :
"Hello, Eileen." Eileen was the name of
the heroine of the piece. Our Cheryl was in.
The inventor of the Walker Five Year
Plan for Fame (Patented) is a golden-
blonde whose face bears a striking resem-
blance to that of Martha Scott (whom she
admires) with a note of wistfulness that
even a smile sometimes fails to shake off.
Her voice is throaty, vibrant, and appealing.
Her manner is casual, temperament even,
disposition warm, and personality pleas-
antly extrovert. She comes five-feet-five,
115 pounds, blue-eyed, and minus all airs.
Appreciative of, but not taken in by, the
tumult that has greeted her success, she is
still the same Cheryl Walker who hounded
Fame and Fortune so futilely for five
years. A big name, she sticks to the same
friends (none of whom are actors), sticks
to the same agent, sticks to the same for-
mula for spending an evening,. to wit: play-
ing poker and quaffing a bit of beer, listen-
ing to the latest jazz recordings (she is one
of the few Hollywood personalities who
doesn't claim to be mad about Bach,
Brahms, and Beethoven), or just talking
far into the night.
No mean athlete, she is a crack swimmer,
high-diver, and horsewoman. She is cur-
rently taking up golf. She has a flare for
flowered hats, the color black, and tailored
dresses. She wishes she could live in slacks.
She saves her money, partly out of habit
and partly out of her down-to-earth philos-
ophy that one picture doesn't make a star.
She is married, and has been for two
years, to Dr. Jay Combe, who is now a
junior lieutenant in the Navy. They met on
a blind date. She knew when she took one
look at him that he was the right man.
Just like Lesser took one look and knew
she was Eileen of "Stage Door Canteen."
"Under Fire"
Continued from page 38
where it was 30 below. I stayed at B.O.Q.,
(the Bachelor Officer Quarters.) During
my entire trip I was strictly an Army girl,,
not a civilian, and always lived at the
camps.
"From there I flew to Anchorage and
remained a week, giving four shows a day.
Here I met Captain Robert E. Peck, of the
Army, who was to be my special escort
at all times. These primitive lands aren't
easy for a girl alone. I visited camps where
no woman had been for more than two
years, and was on islands where but one
woman had ever been.
"Captain Peck proved a charming com-
panion and we quickly found many mutual
friends. He had lived in Hollywood, been
with NBC, and his wife was formerly
Edgar Bergen's secretary. He has a beau-
tiful voice, too, which added greatly to our
shows.
"Paramount studio had arranged for the
showing of 'Holiday Inn' two weeks before
my arrival at most of the camps, so the
boys knew me when I landed. Also, I car-
ried a print of 'Star Spangled Rhythm' with
me, so the motion picture angle was beau-
tifully covered. And I had a record of
'White Christmas' which we played over
and over whenever we found a phonograph.
The boys are starved for entertainment,
they have so little. Once in a while a picture,
comes through from some studio and how
they eat it up! Newspapers seldom reach
them — I didn't see one for four weeks.
There are few radios and because of
weather conditions, these bring in only
Tokio and Russian programs.
"The shows are staged in the mess hall
and it is amazing what the soldiers do with
so little — I tell you they are geniuses!
They made the back-drops out of nothing.
The screen was of sheets, if they had sheets.
If not, they used canvas, and sometimes
just smooth boards.
"There's so much talent at every camp,
and usually one or two boys who have been
with big-name bands. I'd gather up the
boys who could do something, find out what
the audience liked best, write my script,
rehearse a few times and away we'd go on
a two or three hour show. And they were
good shows, too. It was all great fun, and
very exciting."
Marjorie's remarkable memory helped
her over many a bump. All she has to do
is to "photograph" a song, or a dance rou-
tine, on her mind and it is there for keeps,
ready to come forth at call. Jokes and gags
were always popular, and of course her
songs made a hit. But she insists the boys
want to laugh and no matter how old *or
corny the jokes are, they bring screams of
delight.
From Anchorage, Marjorie and Captain
Peck flew to Kodiak Island on a cargo ship,
remained a week and did four shows a day.
Left Kodiak on a PBY for the six and a
half hour flight down to Umnak, near the
far end of the Aleutians.
"This was a beautiful trip," said Mar-
jorie. "The weather was clear and sparkling,
the rugged islands below us formed a daz-
zling panorama of gorgeous colors, mostly
a deep blue, lighted up by many volcanoes.
One can easily believe this is 1,000,000 B.C.
At first, we were in the 'blister' of the ship
where vision is perfect. Half an hour be-
76
SCREENL AND
fore we arrived at Umnak, they took us to
the compartment, which is more sheltered.
Then suddenly the turret was opened and
they started firing. This lasted five full
minutes, but it seemed five hours to me.
No one would tell me why all this firing
and I never did find out. But they told me
that getting closer to the front anything
might happen.
"We stayed at Umnak for two weeks,
doing the daily four shows — interesting to
know that you're half way to Tokio in
Umnak. Most of the posts are located where
no one ever lived before and you can't
imagine how primitive all living conditions
are. From there we went by PBY plane to
Dutch Harbor, where we did shows with
100 percent coverage. Once, I had luncheon
aboard a naval ship and was privileged to
pilot the Captain's boat out to the ship,
which was a thrill.
"From Dutch Harbor we flew to another
base, a most isolated spot, in a JRF, quite
a luxurious amphibian plane. Here we gave
as many shows as possible and met up with
dehydrated foods. These were powdered
milk, powdered eggs, Viennese sausages,
and so on. All in all, this formed my menu
for four weeks. I lost ten pounds for while
dehydrated foods are well balanced and
wholesome, one must become accustomed
to them.
"There's no liquor at any of these points
and the fellows would gladly pay $100 a
quart for Bourbon, or a quart of milk.
Money has little value because there is
nothing to buy, except Victory Bonds, and
they are all buying plenty of them. I auto-
graphed dozens of $100 bills. Monotony pre-
vails but I never saw such a universal
sense of humor. Whether this was natural,
or whether, pressed by necessity, it was
cultivated, I don't know. But everyone had
it and I guess that's what keeps them going.
"The problem of transportation is the
villain in this drama. It is so difficult for
ships and planes to get through that the
cargo is cut to the minimum, and not a
single non-essential is permitted. Even
packages from home have been barred,
which is sad for the boys. The morale is
better at the forts nearest the front because
there is more activity. Those inland are
just waiting — waiting.Their slogan is 'Home
by July 4th,' and on July 4th, they change
it to 'Home by Christmas !'
"Flying back to Anchorage we ran into
terrific weather and watched the ice quickly
form on all metal parts. I had on ski pants,
a flying suit, and my parka. The Captain
had given me the parka when we first
started out and it is a heavy leather coat
with sheeps' wool lining. Navy officers wear
them in all cold lands.
"At Anchorage I had laundry done and
clothes cleaned for the first time in five
weeks. I always wore simple formals with
long skirts for the shows, and at all times
I tried to emphasize the softly feminine by
keeping my hair in curl, and watching my
make-up.
"Here's a laugh. Before starting 'Holi-
day Inn' the studio made me bleach my
brown hair to golden, and now they want
me to keep it that way. Of course, it didn't
hold up all these weeks and one morning
at four o'clock, before starting out on one
of our trips, the Captain was helping me
touch it up. He proved adept and anyway,
between us we did a good job.
"Flying from Anchorage to Cordova over
rough glacier country, we ran into difficul-
ties with dense fog sweeping all around us.
Often, trying to get under it we were but
fifteen feet above the ocean. We circled
Cordova for forty-five minutes before land-
ing, with the pilot 'sweating' it out. Finally,
he said, 'Let's take a chance — on that
snow!' We settled down on it carefully
and it happened to be all right. With so
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many storms, heavy fogs, no radio beams —
too much electricity for them, and no
weather stations, flying becomes a gamble.
"At Cordova I had the thrilling experi-
ence of walking right up to the mouth of
a glacier. Few have this privilege because
they usually come up in the ocean. I was
lucky to see an inland glacier, to have good
weather, and a plane to take me out. It's a
magnificent sight and you feel you're in a
different world. Miles and miles of blue ice,
broken by crevasses, and all surrounded by
the blue, blue sky. And nothing else in
sight !"
From Cordova, Marjorie went to Yaka-
tuk, then on to Juneau, where she welcomed
civilization again, with plumbing, electricity,
and other comforts. Along with her shows,
she was entertained by the Governor of
Alaska, and his wife. All in all, she was
entertained by many high-ranking Army
and Navy officers.
"While I worked hard to give the sol-
diers the full quota of entertainment, and
spent hours on our programs, I had a lot
of fun, too. The boys all want to talk and
laugh and sing and dance. We raced around
the forts in Jeeps and saw many sights. We
followed the tracks of timber wolves and
other wild animals. And I saw weather,
which means I saw it in its super-fury. I
also saw the Northern Lights, fascinating
rock formations, and ice towers and spirals.
And I mastered the technique of a sleeping
bag."
Marjorie's biggest thrill, of course, was
receiving the special service ribbon with its
precious star, but she doesn't tell where or
when she was under fire and that remains
a military secret. The presentation was
made by Captain Gehres of the Navy, at a
dinner with many Navy officers as guests,
and she proudly wears this insignia at all
times.
From Juneau, she went to Seattle by the
Pan American Airway, and after flying
more than 7000 miles over Alaska in all
kinds of weather, came the anticlimax:
she had to take a slow train from Seattle
to San Francisco. Here she boarded a plane,
but ironically, she was set down at nearby
Newhall because of bad weather and
brought into Los Angeles on the radio beam.
There's a very human undercurrent to
all this story. When Marjorie received her
orders to go on this trip to Alaska, her
young husband, Lieutenant Jack Reynolds
of the Signal Corps, was home on a brief
furlough, and she was faced with a difficult
decision. Talking it all over, they both felt
they were Uncle Sam's soldiers, and could
see but one thing to do : follow the orders.
So, I think this definitely places Marjorie
Reynolds in the heroine class.
Does uHe" Carry Your Voice In His Heart?
Continued from page 34
lines made up of friends of her mother.
A voice has a way of going from heart to
heart, as it were, without the slightest
effort on the part of the speaker. Or it
can have just the other effect. Nothing
leaves a fellow so cold as a maiden with
a mouse's squeak, unless it is one that calls
for the protection of earmuffs.
"It seems a pity that so many otherwise
glorious girls have such miserable voices,"
he complained, "and most men are worse,
except that they can be heard farther be-
cause their voices are louder. The marvel-
ous thing about Olivia de Havilland's voice
is — that while it is rich and tender and
feminine, it also can show by its ringing
vigor that she is heroic and thrilling."
I thought he was off again, but he sud-
denly ended, "She's all woman ! I love her !"
He picked up the check — and that was that.
I might have been bored by such an
unending paean to any other but Miss
de Havilland's voice, because it stands
terribly high with me too ! Being a woman,
I might even have dived into a spin of my
own in praise of the caressing dynamite
contained in Charles Boyer's wooing voice
— the greatest flutterer of feminine hearts
among the masculine movie stars that I
know anything about. But instead I hung
breathless upon every word my escort ut-
tered, because he was saying things I very
much wanted to hear. They exactly backed
up statements I had heard made many
times by the noted New York singer and
voice teacher, Miss Crystal Waters (it's
her own name!) — who probably knows as
much about the heart havoc played by
voices, whether yours, or Olivia de Havil-
land's or the soda fountain boy's who's
gone to war, as any one on earth.
The study of voices-in-action has been
Miss Waters' life work, and she has used
the motion picture theater as a sort of
laboratory of vocal expression ever since
the movies found their voice, sending her
pupils there regularly to analyze the speech
of the stars. And aside from all the high-
lights and traditions that teaching has given
her about the voice — Miss Waters, as a
very young singer, headed a concert unit
which sang for American doughboys in the
entertainment huts up back of the trenches
in World War I. She listened to the con-
fidences of whole battalions of homesick
soldiers between concerts — which gave her,
she says, the most profound insight into
the effect voices have upon others.
"The sound of our voices has an unbe-
lievably deciding effect on our success or
failure in life, including our romances. It
is one of the strongest attractions between
the sexes," this tall, charming musician
has told me frequently
"The voice is really a Pied Piper," Miss
Waters elucidates. "Perhaps you have never
thought that not only what you say — but
even more the way you say it may bring
tumbling after it such marvelous things as
a thrilling job, adoration, riches, or it may
do just the opposite.
"For the sound of our voices, more than
any other feature we possess, reveals our
inner life and emotions. It is a barometer
registering for others our background, na-
tionality, education, refinement, sincerity,
temperament, disposition. A rich, vibrant
voice is of special interest to a lightning
detector in the opposite sex, whose busi-
ness it is to report the slightest tremor of
interest from the heart angle — and works
automatically.
"Animals and birds — as well as human
beings — feel the appeal of sound in the
opposite sex. As I said before, humans are
especially susceptible to richness and vi-
brancy of tone, which indicate warmth of
disposition. These appealing qualities are
found particularly in the lower tones.
"These are the sounds uttered so sooth-
ingly by Charles Boyer, and which the
ladies are wild about. They are elemental,
and need no reasoning to be understood.
"Mr. Boyer's voice with its basic tones
in the primitive sounds of nature has a
universal appeal," Miss Waters admits.
"The allure of Dorothy Lamour's glam-
orous South Sea wail results from the same
'body' action as does Mr. Boyer's, added
to his relaxed throat. Most movie lovers use
the lower tones of their voices because they
have more enriching overtones."
78
SCREENLAND
Mr. Boyer has, so Miss Waters brings
to one's attention, another "nature-sound"
in his voice, which further places him as
a "great lover" of the screen — the "hum." ;
"Have you noticed the 'hum' — something
like the humming of bees or the singing
of the sea in Charles Boyer's voice?" she
asks. "This vibration burnishes the voice
with a sheen which strikes a glow in others'
hearts. This same quality is found in the
unique voice of Jean Arthur, whose upper
register, furthermore, has a delightful lilt.
"Try 'humming' yourself," Miss Waters
advises, "it is one of the easiest voice-
improvers to practice. Just hum while
you're taking a bath, reading the paper,
or" walking to work. See if this doesn't put
a 'hum' into your romances!"
Much of the smoothness and pleasantness
we like so much in the voices of the stars,
Miss Waters attributes to the use of an
open, relaxed throat, which leaves the
voice free from constriction and tenseness.
Those magnanimous, sympathetic tones in
the voice of Olivia de Havilland have no
faint sound of tightness in them. The in-
timacy of Mr. Boyer's best wooing voice
also has no "walls."
"But me," you yourself who are reading
this article may now be saying, "I wouldn't
mind having my voice bring all sorts of
wonderful things after it by its sound. I
would just as soon it would be the right
kind of a Pied Piper. I could use a swell
job and a lot of riches. And I wouldn't
mind having a new beau — or at least I
don't want some other girl to go off with
Charlie or John or Stan just because she's
got something in her voice I haven't got."
Or — if you're a young man, you may be
saying you'd just as soon have that voice
do a little fancy "humming," in the direc-
tion of a nice girl.
Crystal Waters is hopelessly optimistic
about voices. She has seen so many poor
little weedy, scrawny peeps grow into beau-
tiful commanding voices dripping glamor,
with the right kind of attention, that I
thought I would go over to her studio and
have a little talk about you. She's the kind
of a voice-and-movie fan who simply loves
to get into a discussion of her favorite sub-
jects.
Miss Waters gave me the following ad-
vice— applicable to girls or men :
"First of all," she says, "place your inter-
est in making it a beautiful voice for its own
sake, then the nice things will follow.
"Then, have every confidence that your
voice can be improved. The old idea was
that the human voice was like the leopard's
spots, fixed for life. People only trained a
so-called 'good' voice in those unimagina-
tive days. Today they take hold of a dull,
feeble or harsh voice to make it 'good.'
"Next, you've got to get acquainted
with your voice. You do not hear it the
way it sounds to the outside world. Remem-
ber that it is necessary for you to hear it
correctly to improve it.
"This is what you can do. Take a large
piece of cardboard and hold it a few inches
in front of your mouth and to one side.
This will send the vibrations of your voice
directly back into your ear. To aid in
directing the vibrations, cup your free hand
behind an ear. Then try your voice out.
(See photo No. 1, page 34.)
"For ravishing visual beauty of mouth
and lips in action, watch Paulette God-
dard and Vivien Leigh, both of whom are
graced with small, even teeth and tones
as clear and free from huskiness as a bell.
They have much the same charm of speech.
They form their words in the front of
their pretty mouths, where they should be
formed, and with precision. Also notice
their fine posture, heads high, backs flat-
tened, chests up — which has much to do
with the clearness of sound.
"Notice the singing sweetness of Deanna
Durbin's soprano ; the brittle staccato of
amusing and smart Rosalind Russell's
repartee ; the round, open tones that give
such disarming naturalness to Greer Gar-
son's and Teresa Wright's dialogue.
"In fact," Miss Waters continued, "you
will find that practically all of the newer
stars have open, round throats and natural
sounding voices, which go perfectly with
the modern roles most of them are cast
in. They open their mouths wide, to let
their voices out. They have humor and
flexibility in their word formation, of
tongue and lips.
"Timing is another point worth noticing.
Remember, words have to have time to sink
in. (A speaker also has to have time to
drink in a breath.) Pause and give your
listeners a chance to think over what you
are saying, at the end of every phrase.
"Ronald Colman will give you excellent
examples of timing in any of his roles. So
will Bette Davis — -who will also give you
the most scintillating pictures of word
values to be found anywhere on the screen.
Miss Davis fractures her voice into dozens
of different fascinating colors and sounds
upon the words of her dialogue. Each word
she shapes and utters with precious care,
as if it were a jewel — and hangs it, I might
add, on a relaxed, open voice of pure gold,
so perfect that not even the venom of a
vixenish part can spoil it.
"Proper pausing gives the impression, too,
of great poise. So if you'll just remember
to pause at the end of phrases, or at the
end of a thought, you may find yourself
getting a reputation for assurance.
"Another thing that may entertain you
will be to watch the deceptive smiles of
many stars — you may catch them smiling
more with their eyes than their lips, so
as not to interfere with their words.
"Having visited the cinema as frequently
as possible and also having been busy 'get-
ting acquainted' with your voice — it is now
time to have someone help you choose the
tones (preferably lower ones, but with skill-
ful use any interesting tones may suffice)
around which to build your voice. This
you cannot do for yourself alone. If a
teacher is beyond your efforts your mother
or a friend can sit with you and help you
settle this momentous question.
"Then begin doing the following exer-
cises regularly, always remembering to
stand in perfect posture — chest up, back
flattened, head directly over the source of
sound. Here they are :
a. Yawn the most terrific yawns you can
think of for five minutes when you first
get out of bed, and again before you go
to bed. As you yawn, slowly roll your head
around, over the right shoulder, back over
the left shoulder and forward. This
stretches open the throat and relaxes it.
(See photo No. 2, page 34.)
b. Swing your jaw back and forth 50
times so that you can open your mouth
wide and let your voice out. (See page 35.)
c. Flip the tip of your tongue from a
spot right back of the upper teeth to a
spot right back of the lower teeth and
back 50 times, to make it agile.
d. Inhale by lifting the ribs, especially
the lowest one, and expanding the muscle
at the waist line. Exhale by maintaining
l'fted ribs and pulling in at the waist line.
(See photo No. 3, page 34.)
Increase breath capacity by lifting arms
over head to inhale deeply (see photo No.
4) ; then drop forward from hips like a rag
doll to exhale (photo No. 5). Inhale quickly
and silently, exhale vigorously 20 times.
e. Hold your finger before your mouth
and warm it with your breath. (See photo
No. 6.) Repeat 20 times. Utilize this breath
action for voice.
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Brenda-Will
You Step Out
WithMeTonight?
I know I've been an awful grouch not taking
you any place lately. But after standing all day at
my new job, my feet darn near killed me with cal-
louses and burning. Now I've reformed — or rather
my feet have — thanks to the Ice-Mint you advised.
Never tried anything that seemed to draw the
pain and fire right out so fast — and the way it
helps soften callouses is nobody's business! Been
able to get some extra overtime money — so what
do you say, let's go dancing tonight. You can step
on my Ice-Mint feet all you want.
f. Alternately grunt — then hum — 50 times
whenever you think of it.
g. To loosen jaw, tongue and throat
muscles, place elbows on table and chew
downwards 20 times. Repeat three times
a day.
h. At least once a week, but every day
if possible, take half an hour to read
aloud. Make your voice express your feel-
ing, moods. Experiment by using the full-
throated, vibrant voices and diversified
endings to words of screen and radio stars."
"But I'm not an actress," your subver-
sive elements may be whispering into your
ear, now that it looks as if having a beau-
tiful voice may require a little effort. "My
voice gets by. Besides, I think it would be
silly for any one in my circumstances to
put on airs."
To this kind of argument Miss Waters
replies, "Well, you need a good voice even
to sell pies these days. On the other hand,
we have just had the most glorious example
to what heights of nobility and charm the
human voice can rise irt the speeches of
Mme. Chiang Kai-shek before the Ameri-
can Congress. In her clear, cultured voice,
vibrant with courage, she was enabled to
endear herself and her land to the hearts
of this country as few women have ever
done before. President Roosevelt and Win-
ston Churchill have voices which have been
so thoroughly acclaimed that I do not need
to more than mention them. All three are
excellent movie subjects, also.
"Yes, it is more than possible that when
Charles or John or Stan did not come to
say goodbye to you that they went, away
with another girl's voice in their hearts.
Perhaps you were simply aching to let
him know that you cared — but you were
afraid. Speak up from now on. Get ac-
quainted with your voice, and see how
much you will be able to contribute to
the happiness of the world, which needs
every lift it can get these days !
"One thing I learned from the boys I
sang for in the entertainment huts back
of the trenches in World War I," Miss
Waters said, "was that we have no right
to be careless in what we say to others of
in the way that we say it.
"Many of them had had lightning ro-
mances, over-night marriages with girls
they hardly knew — just as we are having
them in World War II — in which the girl
or the boy who could speak up and make
themselves heard had the advantage. But
whether they had known their sweethearts
little or long, the voices stayed with them
often when they could not recall the faces.
" 'Boy, can I remember every sweet little
thing my girl said,' they would tell me.
'Sometimes it seems just as if her voice
haunts me. It echoes in my ears sometimes,
honest, when I'm trying to get a wink of
sleep, and helps me forget how Jerry is
speaking. The soft way your girl — it may
be your mother — said she loves you, and
you're tops, and she knows you'll come
out all right — is food to a soldier.' "
Miss Waters sent me home with the
following ringing in my ears. "If anybody
says to you that a voice doesn't make any
difference with our romances, I say, 'Tell
it to the Marines.' "
Gloria Jean's Romantic Crushes
Continued from page 41
studio when she brought Gloria Jean. She
couldn't afford a maid. And the family was
making some real sacrifices to enable Gloria
Jean to have her "try" in the movies.
"Sabu gave me a real cut-glass dresser
set," Gloria Jean continued. "Bobby
Scheerer brought a Victory gold pin with
tiny emeralds.
. "But Jimmy," she went on, "well, I
guess most kids my age get interested in
older men. It's his nice manners. His atti-
tude toward me. There was a scene in
'For All We Know,' the Charles Boyer
picture. I reached down into the water and
clasped a hand that I thought was Alan
Curtis'. And there was this handsome fel-
low— Jimmy. He held on to my hand as
he got up from the water. I was so sur-
prised. I think it was love at first sight !"
Two years ago Gloria Jean had been just
a little girl from Scranton, Pa., with bobby
socks and flat-heeled shoes. Now, Gloria
Jean is a young woman. A girl with enticing
blue eyes and the cutest figure in this town.
Her hair is red-gold. Her lashes are nat-
urally long and black. Her skin is pink
and cream. She has the tiniest waist.
"Jimmy is very tall, five-feet-seven or
more," Gloria Jean continued. "He rode
in rodeos in North Dakota. He's a 'double'
in the movies. I love his eyes — hazel, they
are. He is so sincere and real and fine.
"The day after we first met, Jimmy called
me. And the next day, and the next. He
comes to the studio on a street car. So
without a car I could understand why he
didn't try to dash right up to see me. Our
house is on top of a hill and far away
from the street car line."
Gloria Jean's tone became more serious.
"The third day someone came running on
the set and said, 'I think your Jimmy has
been killed in a serious accident on the
"Texas" picture !'
"My heart jumped. He was supposed to
call me that very night. Right then and
there I knew how I felt about Jimmy. I
began praying inside that there was some
mistake. True, we hadn't had dates— yet.
We'd only just met. But in all of my life
I'd never been so scared. I knew it was
love." Gloria Jean stopped for breath.
"I ran to the telephone. 'Yes, there had
been a very serious accident with casual-
ties. One boy killed. Two seriously injured.
Jimmy? Why, he had both his legs broken!'
"I called the hospital. I was put through
to talk to him. Just me and his mother.
Finally he was taken home. I don't drive,"
Gloria Jean said with regret, "so I finally
had to coax Daddy to take me over to see
him. Mother sent a chocolate cake. We had
a nice visit. But it was very short. I couldn't
keep Daddy waiting too long.
"But we haven't despaired," Gloria Jean
brightened. "True love never runs smoothly.
Jimmy's still laid up and now I'm all taped
up with my rib. We get lots of comfort
talking on the telephone and making plans.
"I think a girl can tell in her heart how
she feels," Gloria Jean said seriously. "I
never felt this way exactly about Donald
O'Connor. He's a very nice boy too. He
used to say to me, 'Gloria Jean, if you'll
wait seven years for me we'll get married!'
Then he'd keep making it less years. Finally
he got it down to when I was eighteen and
he would be nineteen. "I told Donald 'yes'
each time. But it was only in fun."
Donald was the first boy Gloria Jean
steady-dated. She still has the gold bracelet
he gave her for Christmas. But Gloria Jean,
just recently, had to tell Donald that now
there's a new boy in her heart. Jimmy !
"It used to be," Gloria Jean said, "before
I could announce I was sixteen even, the
boys would always say, 'I wish you were
a couple of years older — and I'd ask you
80
SCREENLAND
for a date !' Instead they'd always ask my
older sister Sally.
"Sally always gets the boys," Gloria Jean
said. "They think I'm just a baby."
"Never mind, Gloria Jean," I comforted.
"It won't be long before you'll be old
enough to have boys admire you. Remem-
ber you're a movie star. You're a very
pretty girl. Wait and see what happens
when you get to be 16 or 17."
"If I tell you a secret, will you promise
never to tell ?" she had asked suddenly. "I'm
really fourteen not thirteen. I'm supposed
to be younger in pictures. I have to wear
little-girl dresses and flat heels," she sighed.
"One day I was celebrating my birthday.
Mother and Father said they had a real
big surprise for me. That I was actually
two years older than I really was known
to be. I had never known my real age until
then. Overnight I was sixteen !
"The studio had a role for me of an
eleven-year-old child." Gloria Jean was ex-
uberant in the telling. "Ray Jones called
me in for publicity pictures. 'Gloria Jean,'
he said, 'are you sure you're not older than
fourteen?' I told him the dilemma I was
in. He said, 'We'll fix that for you. Go
home and get a bathing suit. I'll make some
pictures of you.'
"I dashed home and borrowed Sally's
best-looking bathing suit. You should have
seen those pictures ! Then and there the
studio announced my real age. Life became
wonderful overnight
"As for Sally — she's mooning all over
the place for Fred. Sally's had more boy
friends than any girl I know. She's dread-
fully popular. Then she met Fred. She
really went out of this world. Sally's the
cashier of Grauman's Chinese Theatre.
Fred managed the Pantages up the Boule-
vard. They were going to be married New
Year's. But he was sent to Texas for Of-
ficer Candidate School. Now he's settled
for a while. I guess they'll be married soon
now." Gloria was starry-eyed, revelling in
sister Sally's plans. "I'm too young for
marriage," she said. "Until now I've kept
getting crushes. Some seemed serious at the
time. But I've always felt that one day I
would meet the right boy. I haven't worried
— because I knew he'd come along. Jimmy
has. Of course his having two broken legs
at the very time of our meeting, and being
laid up, and neither of us with cars, and
gas rationing, has been a terrible problem
for us. But I'm sure now, that he's the one.
"Before Jimmy, there was one other boy
who sort of fascinated me on the lot. Tur-
han Bey. He's twenty or more. I think the
reason I like older men is because they're
quieter and not so noisy as the jitterbug
crowd. They are more gallant and thought-
ful. They have nicer manners.
"I got the make-up man to introduce us
in the commissary. I made it look like we
were just passing Turhan's table. It was
all quite impromptu. He asked to call. " 'I'd
love to have you come over and visit me
on the set this afternoon,' I replied.
"But the most dreadful thing happened.
I was never so mortified. Turhan came to
my set and asked for me. And what do
you think they said to him? 'Why, Gloria
Jean is in school. Her teacher doesn't per-
mit visitors when she's doing her lessons.'
"I almost died. Imagine my embarrass-
ment. He hed thought me a young lady —
and they had to go and tell him that I'm in
school with my teacher.
"The next day I saw Turhan in the com-
missary. I said, 'Why didn't you come over
on the set? I waited tea for you.' He said,
'I tried. But they said you were in school
studying your lessons. We'll make another
date when you finish your education !
"I said, 'I'm seventeen. So that won't be
very long!'
"You can see what a handicap I am
under. Besides I'm so short, five-feet-two.
"However," Gloria Jean smiled trium-
phantly, " 'For All We Know' proves I'm
no child. Everyone will know I'm grown-
up then. I play a nineteen-year-old girl.
Charles Boyer, the producer, tested 60 girls
for the role of the blind girl in this se-
quence. When my name was suggested,
everyone said, 'But Gloria Jean's such a
child!' I made the test and was chosen.
I couldn't believe it. In the picture Alan
Curtis shoots my father so he can steal me
— to make love to me. We have a terrifi-
cally dramatic scene where I am fighting
his kisses. That's when my rib was broken."
"I can get all of Sally's leftover boy
friends," Gloria Jean smiled. "I can sound
like Sally on the telephone. They'll call,
'Hello, Sally, how are you?' I let them
rave on for a half hour before I let them
know that Sally isn't at home.
"Suddenly being one year younger than
Sally, instead of three, brought Sally and
me closer. She had so much advice to give
me on handling boy friends.
"We've always been so confidential, I
feel I can tell you anything," Gloria Jean
said to me. "Well, almost anything."
"You can," I confirmed. "Because I
never told — when you told me you were 14
instead of 13 !"
Gloria Jean reached over and squeezed
my hand gratefully. "Now I'll admit to you
that I've had several crushes on older
men," she said. "I had a terrible crush on
Charles Boyer when I was 14. When we
finished the picture, he presented me with
a lovely bracelet. Mr. Duvivier gave me a
bottle of Chantilly perfume.
"I dreamed about Alan Curtis one night,"
she went on. "I know he is 31, but he looks
so young. I try to be very grown-up when
we are together. After all, we've made love
scenes. But he still treats me as a little kid."
Mrs. Schoonover, coming in just in time
to hear her famous daughter's last remark,
said, "Gloria Jean, did you tell May about
the sailor-boy in Boston?"
"Oh yes," Gloria Jean remembered.
"Mother and I went to Boston for a pre-
miere. The hotel switchboard operator said
there was a sailor who'd been waiting in
the lobby to see me. He had just arrived in
Boston harbor from forty miles out at sea
— in a submarine. He had bet twenty fel-
lows a dollar each he'd get to see Gloria
Jean. I gave him an initialed handkerchief
and an autographed picture. He said he'd
put it up in his sub."
"Since I've grown up my fan mail has
doubled," Gloria Jean said, going over to
the phonograph. "And please don't think
I'm boasting, but I am pleased."
Mr. Schoonover had an interesting story
to relate. The studio reported a forlorn
youth of 19, who hung around the front
gate. "I want to see Gloria Jean," he per-
sisted. He was unshaven and hungry and
his clothes were ragged. He had hitch-
hiked from Ohio, just to see Gloria Jean.
Mrs. Schoonover met him. She gave him
money for food. She told him to be at the
gate at six P. M. when Gloria Jean would
stop as they drove out. "Would you like
my picture?" Gloria Jean asked him. "Oh
no," he replied. "I have hundreds of you
already." He pulled out a dozen or more
with faded clippings of Gloria Jean, from
inside his shirt.
"When I first met Jimmy," Gloria Jean
said, in after-thought, "he seemed im-
pressed with me too. He was just on the
verge of asking for a date, when a girl
came up and almost ruined everything.
She said, 'Gloria Jean, your teacher is look-
ing for you everywhere.' Jimmy ignored her.
He turned to me with such understanding.
"It may be old-fashioned," she concluded,
"but a boy I am serious about will have
to pass Mother's approval. A girl can't risk
her heart. I'm just waiting to see what
Mother thinks of Jimmy !"
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"YOU DIDN'T KNOW
MY ADDRESS..."
Don't miss this poignant confes-
sion of a famous movie actress
whose husband is in service. Share
with her the emotions of every
American girl who has a husband,
or a fiance, in the armed forces.
You will wonder, when you read
her story in Screenland, why she
should bare her heart. Why? Be-
cause she wants all other women
to understand that a Hollywood
glamor pet, and the girl next
door reporting for war-work, are
sisters under the skin. Her name?
SEE THE GREAT SEPTEMBER
Screenland
On safe at your favorite news-
stand for only 15 cents
Screenland
81
Bergman and "The Bell
Continued from page 45
body's New Year. But your birthday is your
own individual private new year.
Several of the executives at the studio
complained bitterly about casting Miss
Bergman, who sort of radiates sincerity
and wholesomeness, as the bewitching Clio
■ — a gal who had a lot in common with
Scarlett O'Hara. But Sam Wood, who had
directed her in the "Bell," was determined
to have her. "They seemed to believe that
I could play Swedish nurse maids only,"
said Ingrid. "Mr. Wood reminded them that
several years ago I was in 'Dr. Jekyll and
Mr. Hyde.' There were bits in that picture
in which I definitely did not look or act
like a nurse. Mr. Wood showed the scenes
to the people who were doubtful. And I
got the job. I am glad. I like to work."
Maria was something else again. Ever
since she has been in America friends have
told Ingrid that before she can become a
great actress with a lot of emotional depth
and understanding she must have a kick
in the teeth. "Things have been' too easy
for you, Ingrid," they've told her. "You
must have a big disappointment. It must
break your heart. You must suffer, suffer,
suffer." Ingrid was fully convinced that
she must have a disappointment. And for
a long time it looked very much as if
Maria would provide her with same.
"I wanted to play Maria more than any
part in the world," she said with a sigh.
"I read Mr. Hemingway's book when it
■was first published. It was quite a struggle,
too, as my English was very labored and
I had to keep looking up words in the
dictionary. I loved Maria from the first
moment. When I read that Paramount had
bought the screen rights and would make
it into a picture starring Gary Cooper, I
uttered up a little prayer that they would
want me to play Maria.
"In March, 1941, I had gone with my
husband to June Lake in the High Sierras,
for a skiing vacation, when I received a
message that Ernest Hemingway was in
San Francisco, en route to China, and
-wished to see me to discuss Maria. I left
at once from Reno for San Francisco. Mrs.
Hemingway met me there and introduced
me to her famous husband. I looked like
the dickens. My nose was peeling and I
■was badly burned by the snow and wind.
He stared at me at first as if frightened
that he had made the wrong choice. Then
he smiled and said, T guess I didn't need
to be worried.' We discussed Maria all
afternoon. He showed me exactly how my
hair should be cut for the part. And in
my copy of the novel he wrote, 'For
Ingrid Bergman, who is the Maria of this
story.' "
And for months and months that was
as close as Ingrid Bergman got to Maria.
She suffered, all right.
Paramount realized that the part of
Maria would bring terrific success to any
actress who played it. The part was a
natural. Why give the plum of the year
to some other studio's player? That would
te silly. David O. Selznick had signed
Vivien Leigh, almost an unknown, for
lit le more than peanuts when he gave
her the role of Scarlett O'Hara in "Gone
With the Wind." And look at the money
he had cleaned up on her! Paramount
started testing "unknowns" for Maria. Then
later when they had decided that the part
called for a "name" player they handed it
to Zorina, who was on the studio's con-
tract list, and due for a build-up. Zorina,
tops in her profession as a glamorous bal-
82
let dancer, just wasn't the warm, earth-
born Maria. She had spent most of her
life on her toes or on stilted high heels.
On the other hand, as Sam Wood, Gary
Cooper, and the fans pointed out, Ingrid
Bergman was perfect for the part. Because
of her height — she is five feet seven and a
half inches and very sensitive about it,
though she shouldn't be — she always wears
low-heeled slippers, and scrambling around
steep rocks in rope sandals certainly was
not difficult for her. Both girls have sex
appeal. But Ingrid's was the type that
took to pants and a shirt — Maria's one
outfit.
_ After a few days on the strenuous loca-
tion in the High Sierras (which look
as grim and forbidding as Spain's Sierra
de Guadarrama) Zorina was called back
to the studio. The picture was one-third
finished, and still there wasn't a Maria.
Paramount hastily called Mr. Selznick, and
Mr. Selznick called his star who, at the
moment, was in the gallery at Warner
Brothers taking "romantic" art with Hum-
phrey Bogart to publicize "Casablanca."
They will tell you at Warners that you
can easily tell which pictures were taken
before, and which after, Ingrid received
the phone message saying, "You are
Maria." Mr. Bogart cannot take any credit
for that ecstatic, so-in-love look on his co-
star's face.
"So Maria wasn't to be the big disap-
pointment of my life after all," said Ingrid
with a laugh. "I guess I still have it coming
to me."
On Ingrid Bergman Maria's haircut looks
good. Maria, as you recall, had her hair
shaved off three months before she met Rob-
ert Jordan (Gary Cooper). As Hemingway
describes it, "Her hair was the golden brown
of a grain field that has been burned dark in
the sun, but it was cut short all over her
head so that it was but little longer than
the fur of a beaver pelt." Not many women
can get away with that.
It appeared recently in a magazine that
Ingrid wore a wig during the "Bell." That
she refused to cut her hair off. That is
not true. Wally Westmore, head of make-
up at Paramount, cut her hair one and a
half inches, and the studio wrote a clause
in her contract which said, "keep her hair
cut within an inch and a half of her scalp
for a period of six months."
Ingrid was born in Stockholm, Sweden,
the daughter of a fairly well-to-do photog-
rapher. (You can send her "Happy New
Year" greetings on August 9th.) Her
mother died when she was two years old.
She was brought up by her father and an
aunt, whom she adored. She remembers
that when she was a little girl her father
went away on a long trip and sent her
postcards with pretty pictures on them.
"They were pictures of orange groves and
palm trees in a mysterious place called Cal-
ifornia," said Maria with a twinkle in her
eye. "I looked it up in my geography book.
Years later I looked it up on a train
schedule."
When she was twelve her father and
aunt died, within a few months of each
other, and Ingrid was heart-broken. She
went to live with an uncle and his five
children. Her uncle was kind to her, but
he just couldn't imagine any nice girl in
her right mind wanting to be an actress —
and that's what Ingrid, at the age of
fifteen, had decided to be. (Later, this
same uncle who had fought the stage so
bitterly became her most enthusiastic fan.)
A play she had written, and directed, and
appeared in, while she was at the Lyceum
for Flickor, Stockholm's noted school for
girls, brought her to the attention of the
Director of the Royal Dramatic Theater
School. She enrolled in the dramatic classes
and surprised her teachers by working
harder than they had ever seen any young
girl work before. Ingrid hasn't a lazy
bone in her body. Never did have. Today
she is the despair of her agents. Hardly
is one film finished before she calls them
and says, "What's my next picture ? I want
to work right away." And this in a town
where the glamorous ones are always whin-
ing, "I'm worked to death. I'm so tired.
I must have a vacation."
"I spent all my allowance going to
matinees in Stockholm," said Ingrid. "When
I left the theater after the last act curtain
I could recite every line of dialogue. I had
a terrific memory in those days. I couldn't
do it now."
It was while she was going to the
dramatic school that she met a young med-
ical student named Peter Lindstrom. It was
not love at first sight. Several years later
she married him in a little white country
church. She wore a veil. Everything was
very Swedish and very proper.
While she was at the dramatic school
a talent scout for Svensk Filmindustri
selected her for a small part in "Munk-
brogreven." During the next few years
she appeared in eleven Swedish motion pic-
tures.
Her first contact with Hollywood was
several years ago when she attended a
dinner party in Stockholm and found Bob
Taylor on one side of her, and Robert
Ritchie on the other. Bob was in Europe
at the time working in "A Yank at Ox-
ford" at the British studios. Agent Ritchie
suggested she come to Hollywood. Ingrid
said no, thanks.
The producer David Selznick went to
see a Swedish movie called "Intermezzo."
"You'll want to buy it because of a song in
it," he was informed. After running the pic-
ture, Selznick said, "I like the story. I'll
buy the picture and remake it. And that
girl in it is great. I'll buy her, too."
He cabled her an offer, -which she re-
fused. So then he sent Katherine Brown,
his story editor, to Stockholm with very
simple and terse instructions. They were,
"Get Bergman." She did. With the proviso
that if Ingrid did not like Hollywood she
could return to Sweden after making one
picture.
In Hollywood Ingrid lives very simply.
Whether she is working, or isn't working,
you have to call her before nine-thirty to
find her at home. She confesses that she
likes to eat, and spends much time browsing
around the Farmers Market. The American
dish she has gone overboard about is corn
on cob. She simply can't get enough of
it. She likes to shop for Pia, but can't
bear to shop for herself. She admires women
like Claudette Colbert and Irene Dunne
who wear clothes beautifully, and she always
plans to get herself a lot of striking clothes.
But she never does. She just can't face fit-
tings !
She is the most un-actressy of all Holly-
wood actresses. One of the studio police-
men has a pet story he enjoys telling on
her. Seems that he found her one morn-
ing with her bumpers hooked into those
of another car which had been carelessly
parked in the driveway. She was heaving
and tugging with all her might, and before
he could reach her she had the cars un-
tangled. "Strangest thing I ever saw," he
says with a chuckle. "First movie star I
ever knew that didn't mind getting her
hands dirty. And she didn't cuss out the
other fellow for leaving his car parked
right in her way. Never saw anything like
it before!"
PRINTED IN THE U.S.A. BY THE CUNEO PRESS. INC.
moments like this,
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id the country he is fighting so
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d in his dreams.
Mile he' s away, he wants those
■es he adores to be bright and
liling. When he comes back to
'U, your eyes can be just as
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NORTHAM WARREN, NEW YORK
Paul Hunter, Publisher
Delight Evans, Editor
HOMER ROCKWELL, Executive Vice President
Elizabeth Wilson,
Western Representative
Frank J. Carrol^
Art Director
Marion Martone, ^&Em&&^'S§&Btk Anthony Ferrara,
Assistant Editor Ass't. Art Director
September, 1943 * Vol. XLVII, No. 5
EVERY STORY A FEATURE
The Editor's Page Delight Evans 19
"This Is The Army" Elizabeth Wilson 20
Mature Men Better Lovers? Hollywood's Answer
Maude Cheatham 22
Candid Closeup of Bing Crosby S. R. Mook 28
"Ex's" Can Be Friends. Red Skelton John R. Franchey 30
Cagney— Out of Character Peter Kent 34
"You Didn't Know My Address." Jeanette MacDonald
Gladys Hall 36
"The Song of Bernadette." Complete Fictionization
Elizabeth B. Petersen 41
Roddy McDowall's American Diary As told to Jack Holland 44
FULL COLOR PORTRAITS:
Private George Montgomery, U. S. Army Air Forces, whose final
film for the duration is 20th Century-Fox's "Bombers Moon". . 25
Ann Sothern, now appearing in Metro's "Swing Shift Maisie" and
soon to be seen in "Cry Havoc" 32
Ann Sheridan, whose current film is "Thank Your Lucky Stars" and
who will next appear in "Shine On Harvest Moon," for Warners 40
SPECIAL PICTURE PAGES: Nan Wynn, Merle Oberon, Brian Aherne,
Carl Esmond, Dale Evans, Charles Boyer, Ella Raines, Jim Brown, Pau-
lette Goddard, Claudette Colbert, Veronica Lake, Sonny Tufts, George
Reeves, George Sanders, Marguerite Chapman, Deanna Durbin,
Joseph Cotten, Sonja Henie, Cesar Romero, Cornel Wilde, Mary Astor.
DEPARTMENTS:
Your Guide to Current Films Selected by Delight Evans 6
Guide to Glamor 8
Fans' Forum 10
Streamlined Living. Ida Lupino Betty Boone 12
A Smile Wins Josephine Felts 16
Honor Page. Donald O'Connor 46
Here's Hollywood. .(Candid Photos by Jean Duval). .Weston East 56
Our Cover Portrait of Miss Carole Landis as a farm worker is
in tribute to all Women War Workers — those patriotic American
women who are serving their country not only in the U. S. Crop
Corps and Women's Land Army, but in other necessary civilian jobs.
Paul Hunter, President
Homer Rockwell, Executive Vice President and Advertising Manager
Lee Wagner, Circulation Manager
8CREENLAND. Published monthly by Hunter Publications, Inc., at 205 E. 42nd Street. New York. N. T.
Advertising Offices: 205 E. 42nd St., New York; 410 North Michigan Ave.. Chicago; 427 W. 5th St.,
Los Angeles, Calif. Manuscripts and drawings must /be accompanied by return postage. They will receive
careful attention but SCREEXLAND assumes no responsibility for their safety. Yearly subscriptions $2.00 in
the United States, its dependencies, Cuba and Mesiifo; $2.50 in Canada; foreign S3. 00. Changes of address
must reach us five weeks in advance of the next issuei Be sure to give both the old and new address. Entered
as second class matter, September 23, 1030. at the Posi Office, New York, N. Y., under the act of March 3, 1879.
Additional entry at Chicago, Illinois. Copyright 1943 by Hunter Publications. Inc. Printed in the U. S. A.
MEMBER AUDIT BUREAU OF CIRCULATIONS
Scree n l and
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Published In
this space
every month
The greatest
star of the
screen !
There have been lots of good screen
musicals but none with quite the qual-
ity of "Best Foot Forward." It's a mon-
key gland picture. It makes you young.
* * * ★
To the great broadway hit, M-G-M has
added a certain Latakia.
★ ★ ★ ★
BFF is a masterful achievement. It has
pep, zip and all the three-letter words.
★ ★ ★ ★
Harry James and his
music makers alone are
worth the price of admis-
sion.
Lucille Ball, a red-
headed steam roller,
plays the star who
crashes the school
prom and sets the campus on its ear.
★ ★ ★ *
William Gaxton does on the screen
what he has been doing as a star of
stage shows for years.
★ ★ * *
VirginiaWeidler who occupies a drawing
room in our leonine heart keeps moving
onward and upward, carrying on where
she left off in "Philadelphia Story" and
"The Youngest Profession" plus music.
★ ★ ★ ★
There's a thing called Nancy Walker
we've fallen in love with. She came from
the stage cast with Tommy Dix.
★ ★ ★ ★
Both kids are something to write home
about. Anybody's home at all.
★ ★ ★ ★
Bows for June Allyson, Kenny Bowers,
Gloria DeHaven, jack Jordan.
★ * ★ *
Cheers for the direction of Eddie
Buzzell — at least three of them.
★ ★ ★ *
Irving Brecher and Freddie Finklehoffe,
screen playwrights, cooked up a delight-
ful dish from John Cecil Holm's stage
ingredients.
★ ★ ★ *
And Hugh Martin and Ralph Blane are
a song team that light up the horizon.
★ ★ ★ ★
You'll like"You're Lucky," "Alive And Kicking,"
"Buckle Doion Winsocki," "The Three B's,"
"Wish I May,'' "I Know You By Heart,"
"Three Men On A Dale," "What Do You Think
I Am," and "Everyiime."
★ * ★ *
Technicolor.
★ ★ ★ ★
Put your best foot forward by making
a date to see this gay movie.
/&^ss\ * * ★ *
If you're old, it
makes you young.
If you're young it
makes you a baby.
★ ★ ★ ★
We're teething.
1j/ot*b GUIDE
CURRENT FILMS
SELECTED BY
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THE CONSTANT NYMPH— Warners
This new film version of Margaret Kennedy's popular
romantic novel sensitively records the story of a young
girl's love for a musician — an older man, who re-
garding her as a child, fails to realize her true feelings
for him until it is too late. The tangled love story
opens in a Swiss chalet and continues in London
where it. reaches its tragic climax. Charles Boyer and
Joan Fontaine are at their best as Lewis Dodd, the
musician, and Tessa, the girl. Alexis Smith, Brenda
Marshall, Jean Muir, Peter Lorre, Charles Coburn and
Dame May Whitty head the capable supporting cast.
Don't miss this well acted, beautifully directed picture.
BATAAN — M-G-M
Stirring war drama, dedicated to the heroes of Bataan,
tells the story of a patrol of 13 oddly assorted Amer-
icans who fought against great odds to slow up the
Japs until, one by one, they were wiped out. Robert
Taylor gets away from his pretty boy roles and is
fine as the tough sergeant who takes over when the
Captain (Lee Bowman) is killed. Newcomer Robert
Walker stands out as the young sailor who joins
the patrol. George Murphy, Thomas Mitchell, Lloyd
Nolan, all good. It's a great film. A grim tale with no
love story, but it will appeal to young and old.
THUMBS UP— Republic
This musical revolves around an American girl
(Brenda Joyce), a singer in a London night club,
who takes a job in a plane plant for selfish reasons.
Brenda aspires to be a stage star and hopes she'll be
"discovered" by a producer who is combing defense
plants for talent. An accident, her love for an RAF
official (Richard Fraser), cold shoulders from co-
workers, make her realize that loyalty and duty toward
the war effort are. bigger than personal gains. Songs
by Brenda, Elsa Lanchester's comedy, Fraser's good
performance help put over the unconvincing story.
MR. BIG — Universal
Jive-minded rug-cutting kids will get a lot of fun
out of Dqnald O'Connor's song-dance-comedy routines.
Don, who has a sparkling, infectious personality, is
given every opportunity in this and the boy proves
he has everything it takes to put over a lively show.
With Gloria Jean's singing and Peggy Ryan as his
partner in those jitterbug calisthenics which pass for
dancing, the trio overcome the handicap of a poor
story about some dramatic students who rebel at
putting on a classic and cook up a swing show. If
you're not hep to the jive stuff, this may bore you.
ACTION IN THE NORTH ATLANTIC— Warners
A thriller if there ever was one! If you like action
you'll get plenty of it in this exciting film which
pays tribute to the Merchant Marine service and Navy
gun crews — those heroic men who risk their lives
to deliver war supplies to our foreign bases and allies
in far-off corners of the globe. The story is about
the adventures of a ship forced to break away from
a convoy and shows its exciting encounters with a
trailing submarine. Raymond Massey, as the skipper,
Humphrey Bogart, as first mate, give fine perform-
ances. Julie Bishop, Alan Hale lend capable support.
6
3 GREENLAND
GOCS TO PARAMOUNT SHOWS
WHEE-E-E-E! here they come! I've just
seen these 3 adorable girls in an advance
screening of "So Proudly We Hail," and I
think if s fhe greatest "woman's picture" ever! It's the first
dramatic love story of OUR WOMEN AT WAR . . . makes
you feel like joining the Waves, Waacs, Red Cross — anything
to help destroy the enemy — Quick!
It's all about a bunch of
lovely girls who are right in
the thrilling thick of things
at the front, and believe me
you've never seen SUCH
EXCITEMENT as these
girls get into — fighting
through rough 'n tough se-
quences black and blue.
Seeing 3 STARS as famous as Claudette Colbert, Paulette
Goddard and Veronica Lake in 3 great romances in one picture
certainly puts a lot of ideas
in your head . . . (Stop fight-
ing, boys — you can have the
three of them — that is, for
your walls!)
They have to snatch love on
the run and there are parts
and partings that will just
about break your heart . . .
so don't forget to bring your
hankies, especially when
Paulette — Boo Hoo! gulp.
That's what I call a
TERRIFIC RO-
MANCE! I mean be-
tween Claudette and
George Reeves. She
borrows a skirt from
"Ma" McGregor to get
married in— thought
dungarees might be
confusing. And they
spend their wedding
night in a fox-hole, of
all things!
And Paulette — if you
don't mind — goes around wearing a black sheer nightgown as
an evening dress — to keep
up her Morale she says. And
watch for that scene where
she and Veronica have
A REAL FIGHT - WoW!
THE LAKE IS WONDERFUL I
— specially when she screams —
"Sure I'm a nurse — an angel of mercy. But 1 want to kill . . .
Yes, KILL! every blood-stained Jap 1 can lay my hands on!"'
Now take a good look at this,
girls . . . It's Sonny Tufts, Para-
mount's NEW STAR on the
male list ... A big, tall, good-
natured guy, handsome and
blond, with a very interesting
chest expansion and line.
Take the part where Sonny tells Paulette "If you don't wait
for me I'll break your neck!" Mmmmm, HE'S WONDER-
FUL ! . . . And in another scene Georgie Reeves has to be
bathed by Paulette. Says George — "No female is going to
bathe Me!" But Claudette teaches him different!
Director Mark Sandrich has
put in loads of wonderful
touches like the bit where one
of the girls receives a package
from home— a big picture hat.
Not what the well-dressed
warrior will wear at the bat-
tlefront! . . . But this picture
is so full of interesting and
exciting things I can't begin
to tell them all. Just SEE IT!
COLBERT • GODDARD • LAKE
"SO PKO0D& W£M/£
MARK SANDRICH
with George Reeves • Barbara Britton • Walter Abel
And Introducing Sonny Tufts
PRODUCTION
DIRECTED BY MARK SANDRICH • Written by Allan Se©« • A PARAMOUNT PICTURE
SCREENLAND
7
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Take your pick of ways to correct and
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Dr. Scholl contributes a gran-
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of your favorite nail preparations ! We
wonder how Revlon always manages to
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Here's their luscious crop of nail goods
packed like the choicest vegetables. The
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ANOTHER word for Victory gardeners !
y Let me remind you of that fine hard
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of improved dispositions.
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made a great discovery. Drene's new soap-
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you use of this precious liquid is one table-
spoon to a little less than a quarter of a
glass of wateri (If hair is very oily or very
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You rub and rinse, rub and rinse through
two sudsings. Another surprise is yours
when you find the well-rubbed hair is
practically tangle-free !
TAYTON'S Techna-Tint Cake Make-Up
' comes straight from Hollywood. Its round
blue box contains a real find. If you don't
like the color of your fading tan just hide
it under a stay-on coat of Techna-Tint.
Rub a moist dab of cotton over the cake
and apply a thin film of make-up to face
and neck. Before it dries, blend smoothly
with the finger-tips. You'll be amazed at
the flattering new beauty that is added to
your complexion — and not a blemish shows.
Special shampoo, which condi-
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From Hollywood, comes "Techna-
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3
SCREENLAND
A GREAT BOOK ;
A GREAT PLAY;
A GREAT, GREAT
PICTURE THAT
YOU SIMPLY
HAVE TO SEE!
HI
So**/
eve*
RRETSDA MARSHALL
Kotng'
//
<3
5»o* yooV he seem9 Jhvino^eRU^ Tti& & THE ARMY
(witk cob'? f/n? ^ TeckalaoforJ „jfc^ / ;^ , ^ ^
SCREENLAND
9
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Fans1 Forum
FIRST PRIZE LETTER
$10.00
I, too, have my favorite actors and ac-
tresses, but today my rave is not for them.
Instead it is for the musical short subjects
that feature the "name" bands of the day.
Recently I have seen several of these and
as an "overseas" man I thoroughly enjoy
them and know my friends do also from the
applause that starts the moment the name
of the band flashes on the screen. There are
many of us who are on distant shores and
we lack the entertainment facilities that we
had when we were training in the States,
and now must rely upon radio and screen.
We have very good radio programs pre-
pared by the Special Service Department
in the States and sent to our headquarters
in the form of transcriptions for rebroad-
cast, but we not only like to hear our favor-
ite bands, we like to see them as well. And
next to seeing them in person, which is im-
possible, movies are the next best thing.
When we are able to see and hear them
through the medium of motion pictures it
tends, momentarily, to take us back to that
last dance and "the girl who is waiting."
PFC. JERRY HARNS, c/o Postmaster, N. Y. C.
SECOND PRIZE LETTER
$5.00
I am a regular reader of Screenland
and every movie magazine out. What burns
me is getting these magazines and seeing
the covers repeatedly featuring Veronica
Lake and her peek-a-boo bang or new
hairdo, and announcing stories about Lana
Turner and her marriage troubles. What
do we care about Lana's marriage troubles
and Veronica's hairdo? Why don't you have
pictures of real stars, real actors and ac-
tresses who don't have to do or create
talk just to get their pictures on magazine
covers. Why don't you have more pictures
of lovely Olivia de Havilland, Nancy Cole-
man and Bette Davis? These are three ac-
tresses who can really act and worthy of
such publicity! Olivia de Havilland has
more glamor in her eyes than Lana Turner
and Veronica Lake combined. Why not
give us pictures we all long to see?
LARRY LUDWIG, Franklin, Minn.
FIVE PRIZE LETTERS
$1.00 Each
I am writing this letter to let the fans of
the following young ladies know what
lovely and sincere people they are. I had
COMPLAINTS OR COMPLIMENTS
Why suffer in silence when you can
tell it to Screenland? Write a letter
about your impressions , of the movies
and stars. It makes no difference
whether you are in the mood for
complaints or compliments. Your letter
may win one of the monthly prizes of
$10.00; $5.00; and five prizes of $1.00
each, payable in War Savings Stamps..
Closing date, 25th of month.
Please address letters to Fans'
Forum, Screenland, 205 East 42nd
St., New York, N. Y.
the extreme pleasure of meeting Betty
Grable, taking pictures with her and danc-
ing with her. I also had the privilege of
speaking to' her away from the crowds
and in my estimation she is about as won-
derful a person as it is possible to meet.
I can write a lot about her, but I have a
few others I would like to congratulate —
Lana Turner, Anne Shirley, Anne Gwynne,
Julie Bishop, Joyce Reynolds, Eleanor
Parker and many others.
I met all these stars in the short space
of seven days and they are the finest bunch
of people I have ever known. They gave me
the most enjoyable days of my life.
Among the male stars, I met Paul Hen-
reid, Robert Young, Allan Jones, Bob
Hope, Gene Lockhart, Jackie Cooper. I
can assure all their fans that to meet them
is to know and like them.
PVT. SAM POMERANTZ, Clovis, N. M.
Recently some one wanted to know what
I saw in Frank Sinatra. Perhaps many
people are asking the same question. Well,
here's my answer.
He may not be a glamor boy but he has
charm (and I do mean charm). He may
not top Bing Crosby nozv, but he will in a
year (or even sooner). He's what every-
body calls "solid."
ANASTASIA LUTZ, Baltimore, Md.
I have heard many things about my
favorite star. Many say he is "sort of
homely" ; others say he is darling ; to me
he is the swellest guy in Hollywood. This
tall blond from Newport, R. I., has won
{Please turn to page 15)
10
Screenland
Strangest
Story fcver \ i
No story so touching!
No love so tender!
No life so dangerous!
No woman so desirable!
^iCARL ESMOND • ISOBEL ELSO*
Screen Play by Lewis Meltzer and Melvin Levy • Story by Elliott Arnold
Directed by DOROTHY ARZNER • Produced by HARRY JOE BROWN • A COLUMBIA PICTURE
SCREENLAND
11
BIG PICTURE
JOE E. BROWN,
famed comedian, sayss
"I've been watching West-
erns for twenty years —
and Roy Rogers is the
greatest cowboy star I've
ever seen!"
AND HE'S THE CHOICE
OF ALL AMERICA, TOO
You'll know why when you see
Roy's latest and greatest action-
and-music hit!
rov ROGERS
Irigoer
.5? THE SONS OE
PWHEERS
BUY WAR BONDS AND STAMPS
It's a
REPUBLIC PICTURE
LIVING
;:;:::;:;:;:;:o:o:;:;:o:;:;:o:;:;:;:;:;:;>:;:;;x .
II MSfDE : 111
THE STARS' HOMES
TODAY!
■Hi fill
By Be
Brilliant Lupino
is not only a fine
actress but a scin-
tillating hostess.
Read how she and
her mother plan
parties in these
wartime days.
WHAT do you do when the urge
seizes you to have a party and your
ration book has practically no points
left? That situation confronted Ida Lupino
last week. There she was, with an unex-
pected day off — not called by the studio, no
interviews to give, no fittings, nothing but
a lovely long stretch of hours ahead. "I had
to have a party !" she explained.
Connie Lupino, her mother, said mildly :
"How nice ! Did you know we've used up
our points for the week?"
It developed that they had two red ration
points among the three of them — Mrs.
Lupino, Ida, and Ida's secretary, Leslie.
Enough for a quarter of a pound of butter.
Like every other woman in the U. S., Ida
ponders over ration points, evolving the
most tempting food combinations pos-
sible. She stars in Warners' "Devotion."
"Oh well," said Ida, blithely, "scratch
around, darling. We probably have some
sort of food on hand." She made out her
guest list and began calling people up.
"There will be ten of us," she announced
at length.
Her mother counted the eggs again.
There were exactly eighteen. That wouldn't
be enough for scrambled eggs for ten.
"We'll borrow some," decreed Ida, and the
Lupinos darted about among their neigh-
bors on the high hill, acquiring two here,
three there, to be repaid when the "egg
man" arrived at the end of the week.
A survey of the ice-box disclosed six
small sausages. There were two cans of
lima beans and plenty of greens for salad.
Leslie went for the butter.
Now that Ida's maid has a job in a war
plant and the "boys" — who used to do the
work at the Brentwood house are in the
Army, the three women divide household
duties, helped out by part-time domestics
who handle the heavy labor of cleaning and
washing. Ida's mother is cook.
"I never learned how to cook," she con-
fessed, "and a cook-book defeats me. When
I read a recipe I get so befuddled I can't
12
SCREENLAND
Is your heart set on
some particular Him?
Then hang onto your
charm — always!
So many popular girls
have this
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SCREENLAND
13
ALAN LADD speaking:
Co-Starring in "CHINA," a Paramount picture.
"Hollywood
is right
about
grooming-
"A man can
and should
keep teeth
immaculate.
"I happen
to find
it easier
with Calox."
Guaranteed by 'A
k Good Housekeeping i
A dentist's dentifrice—
Calox was created by a dentist for persons who
want utmost brilliance consistent with utmost
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]m Scrupulous cleansing. Your teeth have a
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2. Unexcelled efficiency— even for teeth that
stain easily. And Calox is a miracle of
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3. Especially lustrous polishing.
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imagine how. to go about following it. I have
to cook by instinct. When I scramble eggs,
I use milk rather than cream, because I
think cream and butter makes them too
rich. You should have seen me scrambling
eggs in three frying pans that night ! When
I stirred one, another would begin to burn,
and when I went after it, the third would
start shrieking for attention. It was like a
merry-go-round, me dashing from one pan
to the other."
"Talk about foaves and fishes," contributed
Ida, "Mother divided the sausages into bits
so that something appeared on each plate."
There were baked potatoes, the skins well
scrubbed, then heavily greased before bak-
ing. "I served them with salt," related
Connie. "Two points worth of butter simply
can't be stretched."
"She said," recalled her daughter, with
one of her gay little grins, " 'You're not
.going to be able to get butter under ra-
tioning, so you may as well get used to
eating your potato without it.' "
"They ate every scrap of potato, skin and
all," said Connie.
The lima beans were heated, with season-
ing, as a hot vegetable. I/sttuce, cucumber,
onions, tomatoes, radishes and romaine
were combined into an immense green salad.
Connie concocted one of her "instinctive"
dressings made of half wine, half vinegar,
a dash of pepper, salt, sugar and honey,
beaten up with a "bit" of Lea and Perrins
sauce. She doesn't know how much of any-
thing, she just throws it in and tastes as
she goes.
"There were olives and nuts and pepper-
mints on the pantry shelves, so we set
them out in pretty dishes." said Ida. "The
table was simply laden When we sat down.
We'd run out of coffee, so we served tea —
hot tea, iced tea, tea with lemon, tea with
milk, tea with cream, oceans of tea. Every-
body loved it !"
As for dessert, guests were divided be-
tween delight and mystification at the pretty
and oh, so delicious dish. Ida didn't know
what it was and Connie wouldn't tell. But
she'll tell Screenland.
"I wandered around, gathering up all the
odds and ends and quarters of cake and
cookies in the house. There was some
chocolate cake, some cocoanut cake, a piece
of sponge cake, a few slices of angel cake,
some cookies — I believe they were raisin
biscuits, toll-house and nut cookies. When I
had them all together, they made a fairly
good-sized dish. I cut them into smaller
pieces, poured milk over them and while
they soaked, I whipped up a Royal vanilla
pudding, making it quite thin, and poured
it over the entire dish. When it was cool, I
set it in the ice-box, and served it cold.
No one could imagine what I'd got in it !"
Announcing Winners of
Virginia Weidler Prize Contest
First Miss Lois Dunihoo,
Prize 825 Scott Street,
Winner Covington, Kentucky.
Second Miss Joyce Cargill,
Prize 52 Oakland Avenue,
Winner Manchester, New Hampshire.
Third Miss Joyce Wallis,
Prize 270 Sexton Street,
Winner Struthers, Ohio.
Fourth Pfc. Norman A. Richardson,
Prize Armed Forces Induction Station,
Winner Camp Croft, South Carolina.
Fifth Mr. Fred Reese Wagner, Jr.,
Prize 225 Hawthorne Avenue,
Winner Haddonfield, New Jersey.
Sixth Mr. Harold Damro,
Prize 1^17-A East Pryor Avenue,
Winner Milwaukee, Wisconsin.
14
Screenland
Fans' Forum
Continued from page 10
my heart. If you can't guess his name by
now I'll tell you more about him.
He's the guy who played Mike in "The
War Against Mrs. Hadley," Dr. Adams in
"Dr. Gillespie's New Assistant," Marcus
Macauley in "The Human Comedy," and
his next picture, when he is fully recovered
from- his auto crash, will be "A Guy
Named Joe." Now do you know? Van
Johnson, of course !
One reason why I like this blond is be-
cause he is a regular fellow. When I first
saw him I liked him but it wasn't until
I say him in the. role of Mike in "The War
Against Mrs. Hadley" that I found out
who he was, so I wrote to him and he sent
me the grandest picture I ever saw. I can
never thank him enough for it.
MARY ANN SHARPE, Mt. Vernon, N. Y.
I have just returned from seeing "When
Johnny Comes Marching Home." Gloria
Jean had one of the leading parts. I must
say that I am very disappointed in her
studio. Why? Because they have never
given her a chance to become a star. Why
haven't they given her that chance?
In Gloria Jean they not only have an-
other Deanna Durbin but a very beauti-
ful young lady who would go a long way
if given half a chance. She hasn't had
a real break since "The Under Pup," in
which she stole the hearts of American
audiences.
There is another thing that makes me
mad at her studio — her makeup. They have
plucked here eyebrows and put so much
makeup on her that it hides her natural
beauty. They are making her grow up,
which is swell, but she can grow up and
•be glamorous with very little makeup and
her natural eyebrows. The heavy makeup
and thin eyebrows make her look cheap.
She is a good actress, as was proven in
"The Under Pup,", and I believe she is
even prettier than Deanna.
MONITA PATTERSON, Toledo, Ohio.
Pin a blue ribbon on Alice Faye for her
sparkling all-out effort in "Hello, Frisco,
Hello." With a voice like a charming sym-
phony, she sent ripples of happiness through-
out the audience, skyrocketing morale' to
an irresistible standard. When she sang
"You'll Never Know," hearty satisfaction
was passed around in generous slices. This
soldier enjoyed Alice's performance to the
hilt; it had beauty, romance and spirit
rolled into one enthusiastic treat.
Producers, here is an emergency assign-
ment— put another scintillating musical
(with Alice) on the assembly line!
CORP. ALBERT B. MANSKI,
Camp Robinson, Ark.
Irresistible answers the call to color with Yankee
Red ... a bewitching, vibrant accent to Khaki or any
costume for wear on the home front. WHIP-TEXT
through a secret process, Irresistible Lipsticks are
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10* AT ALL 5 AND 10* STORES
A
TO STAY ON LONGER... S-M-O-O-T-H-E-R !
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IRRESISTIBLE PERFUME
assures glamour
SCREENLAND
15
["""ACE the world this fall and winter
I with a smile. And I mean a big, broad
T~beautiful one! It's part of our war job
to greet our work and play with a smile.
How attractive — and how cheering — your
smile is depends so much on you. Taking
for granted that most of us have beauti-
ful dispositions (or are trying our best to
cultivate them), it's about time to concen-
trate on "keeping those corners up" prettily.
Beautiful
teeth accent
the radiant
smile of Ingrid
Bergman, ap-
pearing in
"For Whom
the Bell Tolls"
There are several factors that contribute to
a lovely smile. First, of course, is the spon-
taneous spirit behind it. Then comes the
mobility and shape of our lips ; and last,
but far from least, is the gleam of the
teeth we're bound to show so frequently.
Doesn't Ingrid Bergman's smile radiate
the happy wholesome spirit behind it? We
think it shows the honest amusement she
finds in so many simple things. She's just
as intelligent as she is beautiful, so she's
well aware that a gay and humorous ap-
proach lessens her own problems and those
of her many friends. Her lovely teeth and
fresh clean look reflect her radiant health.
It's part of every actress' career to learn
to smile. There have been a few who wept
magnificently but who never won their pub-
lic's heart because their smiles just didn't
ring true. Frequently, improved ease in
using lips and increased teeth beauty have
saved a career just in the nick of time.
Every screen lady must learn to talk,
and to talk well. She can't have the sloppy
kind of speech that isn't intriguing and
that can't be easily understood. As she
works for clearness and beauty in her
speech, she's often unconsciously easing
all tension from her facial expressions.
Talk to yourself in a mirror and you'll
see just what we mean. If you mumble
behind closed teeth, or if you mutter
through half-opened stationary lips, you'll
soon discover how dull and unanimated you
can look- Pretty soon you'll take on a
rigid mouth that just won't "break into"
a smile. One girl we know experimented
with just the word B-E-T-T-E-R. She had
{Please txwn to page 6y)
16
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Whether you're wearing a uniform or not —
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SCREENL AND
17
HAPPY
9s
rA^e/ Wilde
Wofch for
fhe*e ofher
big ones from
18
2q
>Pomero y leo Robin ond Nocio Herb Brown ho0
' Mwico/ Sequences Supervised by
The Biggesf
figure in
CENTURY- FOX enfertainmenM
"HEAVEN CAN WAIT" * "SONG OF BERNADETTE" * "JANE EYRE"
SCREENLAND
AN OPEN LETTER TO
JOAN BLONDELL
J~JEAR Joan:
Please forgive me for not writing
sooner! I've been owing you this letter for
months and I am heartily ashamed of my-
self for putting it off so long. Not only
ashamed of me, but of all of us movie maga-
zine people for our
lack of appreciation of
Blondell,one of the best
troupers of them all.
We've told our read-
ers all about Bob
Hope, Carole Landis,
Jeanette MacDonald,
Betty Grable, about
the magnificent job
they've been doing
cheering up the boys. But — because you've
been so casual about it all — we have ne-
glected to point out that you have prob-
ably spent more solid time than any other
trouper entertaining the soldiers. Nine
months away from Hollywood, during
which you did your famous strip-tease num-
ber for millions of Uncle Sam's fighting men,
at Army, Navy, Marine centers from coast
to coast, as well as in Newfoundland. (It's
cold up there in some of those camps you
visited but you certainly warmed up your
audiences. But for the benefit of those who
may not have heard all about your strip-
tease— no soldier's mother or girl friend
need worry about that. It's just a cute num-
ber in which you take off nothing but a pair
of fur-cuffed gloves and a bolero jacket.
It's your charm, your forthright friendli-
ness, your sense of humor that made 'em
love you.)
And now you're back in Hollywood with
your first really good part in a long time,
in "Cry Havoc." And Hollywood had better
be good to you in the future, too, with
plenty more good parts — or several hun-
dred thousand soldiers will want to know
the reason why.
Irving Berlin's great American
show becomes a mighty movie
told to Elizabeth Wilson
MM
7///S
20
Sgt. Joe Louis, left, prepares for a drill session before the cameras.
Above, "Ladies of the Chorus" number. Right above, three of the
actor principals: Alan Hale, George Tobias and George Murphy.
AM Private John Doe.
Sometime during the Fall of 1941 and the Winter of
1942. I was inducted into the United States Army.
Along with hundreds of other men, I was processed at
various reception centers throughout the country. I was
given an Army serial number, tetanus and typhoid shots,
and a smallpox vaccination. I was pushed, pulled,
begged, ordered and cajoled through the various Army
requirements, and I was sworn into the Army as a
full-fledged buck private.
I was sent to Camp Upton, Long Island. Fort Dix.
\"ew Jersey, Jefferson Barracks, Missouri, Fort P>ragg,
Xortb Carolina, Camp Devens, Massachusetts, Miami
Beach, Florida, Fort Monmouth, New Jersey, and any
other Army cantonment you can name.
I was drilled, ordered, lectured to, instructed, put on
K.I', details, put on guard duty, fed, drilled, and awak-
THE ARMY
ened by bugles. I went through basic training in the in-
fantry, the artillery, the Air Force, the cavalry, the en-
gineers, the medical corps, and the quartermaster corps.
I was promoted to a pfc, a corporal, a sergeant, and perhaps
even a master sergeant.
Because I could sing, or dance, or read funny lines, or
be a master of ceremonies. I took part in camp shows and
vaudeville. Perhaps I did these things in civilian life, but
I learned other things in the Army that had nothing to do
with theatricals. I took pride in my ability to do both,
however.
In the Spring of 1942. Irving Berlin was asked by the
War Department to produce a successor to his famous
soldier show, "Yip Yip Yaphank," and he journeyed to
Camp Upton, Long Island, to produce and write it.
Through regular military channels he set about casting his
new show with soldier talent, and (Please turn to page 62 )
"If an actor can make love like Charles
Boyer, he doesn't need to talk. It helps, but
it isn't necessary!" says director Eddie
Goulding. At right, Boyer in a scene with
Barbara Stanwyck from "For All We Know."
22
ARE love scenes dangerous? Do these ecstatic moments in screen dramas hold
AA hidden perils for the actor?
/ \ Many Hollywood men will admit there's always the danger of over-playing
these scenes, while striving to interpret the emotional warmth and spontaneity of
romantic passion. One false tone, one false movement, and the illusion is shattered.
Which spells havoc to the actor.
Love scenes are usually tlie crux of the drama and in the darkened theater many
lonely persons, hungry for romance, live vicariously the thrills of a great love they
have been denied. It is up to the actor to make these real and satisfying.
Too often, young players are self-conscious. They make the mistake of believing
that intensity is the chief quality, and have yet to learn that acting is the art of
simulating the passions, not living them. Helen Hayes once told me she thought
drama school should pay more attention to the romantic phases of acting. Young
students, thrust into love scenes wholly unprepared, become bewildered by the un-
By
Maude
Cheatham
"I'm the guy who hates dames!" says Bogart. "As
■far as I'm concerned, love stuff is just part of my
business. I'm glad when these scenes are fin-
ished." Yet Humphrey's love scenes with Ingrid
Bergman in "Casablanca" are still discussed.
"At heart, men are sentimentalists," admits Pau
Henreid, whose lighting of two cigarettes in
"Now, Voyager," with Bette Davis, sets a new
high in movie romance. "Love scenes are diffi-
cult," he says, "because they are so significant."
tsual demands and sadly flounder. So, forever after, they are afraid of such scenes.
The most appealing lovers on the screen are the seasoned players, so I asked
Basil Rathbone, as a post-graduate of this school, just why the mature actor is
the better Romeo.
"One of the three enigmas of human existence," Basil promptly replied, "is love.
The other two are birth and death, and these have never been explained. You can't
teach a man to love. It comes through much living, many personal experiences —
contact with the emotional flame, its wild elation,' and its
hurt. Then, it requires a sound technique for an actor to
FOR FURTHER PROOF
TURN PAGE
Spencer Tracy is rep-
resentative of the ex-
perienced actor whose
love scenes carry con-
viction. At right, with
Irene Dunne in new
M-G-M film. "A Guy
Named Joe." Above,
Joseph Cotten's first
real love scenes for
the screen are with co-
star Deanna Durbin
in "Hers To Hold."
Are the most
romantic men
in the movies
the seasoned
actors? See
Hollywood's
slant on a
very provoc-
ative subject
24
project these emotions into a realism that will carry con-
viction to an audience. These preparations take time, much
time. This, I presume, is the reason the seasoned player,
rather than the callow youth, is counted the better lover.
"Take Spencer Tracy, Clark Gable, Charles Boyer —
they can express every feeling with delicacy, intensity, yet
with utmost economy of demonstration. As men. they
have lived their emotions ; as actors, they have developed
a technique which gives them the freedom of the entire
scale of romantic reactions. No inexperienced player
could possibly compete with them.
"A lover," Basil went on, (Please turn to page 60 )
ALL THIS,
And a Voice Too!
loot ./"J?* "•«»
fhe Pert a- j No"- Now
Her S"?^ P.c.
OWn' In which l °n W
b# for L oth°rLvo,c°
m 5»«ion.*
Fred's a 'Flying Tiger' on leave
from the front — and on the
loose for laughs and love!
Joan's a lovely . . . something
to behold, with wings on her
feet and her heart!
^ ... DHDEDT RCKirUI CV ^^^WWWW^
R K O
RADIO
ROBERT BENCHLEY
ROBERT RYAN • ELIZABETH PATTERSON • MARJORIE GATESON
FREDDIE SLACK and his ORCHESTRA
Produced by DAVID HEMPSTEAD • Directed by E. H. GRIFFITH • Original Screen Play by
Frank Fenton and Lynn Root " Lyrics by Johnny Mercer • Music by Harold Arlen
Singable,
Dance-able hits!
'My Shining Hour'
'I've Got A Lot In
Common With You'
'One For My Baby'
27
An interview with Bing Crosby is harder to get than a pair of nylons!
But we got it for you! Best story ever written about the beloved troubadour
y;
r*OU wouldn't kid a pal, would you?" Bing grinned
when I asked for die story of his private life.
"What do you mean, 'kid a pal'?" I countered.
'Why, you already know more about my private life
than the law allows," he maintained. "My private life is
just like the private life of any other middle-class Amer-
ican family."
"Middle-class !" I ejaculated. "Cripes ! If you're middle-
class most of the rest of us must travel sub-steerage."
Bob Hope used to tell a joke on Bing. At least, Bob
told it for a joke but there was more truth than humor
in it. He would begin :
"The king was in the counting house,
Counting out his money "
then he would interrupt himself with, "No, that's the
wrong story. Bing was sitting on his lawn counting out
his money when a gust of wind came along, blew it all
over Toluca Lake and Zanuck, who happened to be
passing, saw it and immediately decided to make 'How
Green Was My Valley.' "
"I don't think dollars have anything to do with aristoc-
racy and middle-classism," Bing laughed when I had told
him the story. "My idea has always been that an aristo-
crat is someone who is to the manor born and anyone else,
no matter how well educated or wealthy, is middle-class.
America is a democracy and with a few exceptions, care-
fully listed in The Blue Book, there aren't any real aris-
tocrats here. Nearly everyone is middle-class. Neither
Dixie's (his wife's) ancestors (Please turn to page 66 )
Bing clowns, croons,
strums a banjo, has
grand time generally in
"Dixie," romantic cos-
tume musical movie
which you will be see-
ing on the screen soon.
SEVERAL months have passed since "Mummy" and "Junior" Skel-
ton went ahead and "dood it" (courtesy of an understanding
judge), but if you think that the parties of the first and second
part are letting a mere divorce terminate a twelve-year-association
studded with happy memories and, in the process, wreck Skelton. Inc.,
a $200,000-per-annum enterprise built up by both parties, you are not
hitting on all eight. As a matter of fact, the incredible and separated
Skeltons are currently behaving in a fashion calculated to shed honor
on Hollywood (where, according to legend, Love gets an awful kicking
around) and praise on themselves. They are proving that ex's can be
friends — good friends — as you are about to discover for yourself.
To be sure, when the news first hit the late editions, practically all
of Hollywood did gratis double-takes all over the place. Stunned
citizens of the movie colony shook their heads. There must have been
a horrible mistake. Either that, or the Skeltons had gone suddenly loco.
Why, Red and Edna had started together, come up together, and hit the
top together, hadn't they? The thing just didn't add up.
Maybe it didn't add up, but it had happened, all right. The morning
Yes, "ex's" can still be friends, as Edna and Red Skelton
are proving. Still friends in spite of Red's beard for
"Whistling in Brooklyn"; flattery of friends and fans.
papers confirmed it. The Skeltons had quit "Redna Rancho," the
ittractively goofy West Los Angeles Manor where they had installed
themselves shortly after Red's tumultous arrival in Hollywood. Edna
/as living at the Beverly Wilshire Hotel. Red was hatching it in a
rented house out Brentwood way.
It was only natural that their friends should have felt concern over
the situation. Had the two gone off mad ? Had "Junior" lost for keeps
the good offices of the second-hest "Mummy" he ever knew, a "Mummy"
»'ho had gotten him out of a jillion jams, helped solve his problems, and
Hilled him, countless times, out of the depths of doubt and gloom into
mich great comedians have a habit of sinking, especially on the way
ip? And had Edna withdrawn from the firm of Skelton, Inc., for the
success of which she had been so largely responsible (as Red has cheer-
fully admitted to every last interviewer), acting as business manager,
investment counselor, gag writer and a host of other things?
The questions were all answered in good time.
Hollywood was still recovering from the shock when a local columnist
ran an item to the effect that the Skeltons (Please turn to page 78 )
First, exclusive story of the Skeltons' "friendly break-up" will
give you some idea of Red's character and sense of humor.
He's a riot in "Du Barry Was A Lady," with Lucille Ball.
By
John R. Franchey
The Red Skeltons
may have parted,
but you could
hardly tell from
looking at them!
31
BEAUTY and the
i a courageous girl
ho pays a high
ice for her dev-
ice of Gestapo
utality, Merle
beron has her best
le in a long time,
arl Esmond is seen
her Nazi oppres-
r, right, while
heme plays her
scuer, below, in
jlumbia'i new film.
Merle Oberon stars in latest drama depicting Nazi tyranny,
First Comes Courage," with Brian Aherne and Carl Esmond 33
"Actc
IERBERT HOOVER remarked recently,
the only people in the country who are giving
|_|
I away absolutely free the only tiling they have to
sell: themselves.''
When you stop to analyze it it is true. The defense
plants are working night and day on the war effort —
hut they are heing paid handsomely for doing so. All
their product is sold to the government. Actors work
every possible moment when they , are not in front of the
camera, on the war effort— and they receive not a penny
for their work.
Take James Cagney, for instance. He has always given
freely of himself at the slightest opportunity. He has long
been known as the softest touch in Hollywood. When it
comes to lending a fellow actor — or anyone else for that
matter — a helping hand, there is no one in Hollywood
quicker to hold out that hand. He's always been like that.
His entire family has always shared in
his good fortune.
As a kid, he worked as a bundle-
wrapper by day in a department store,
rushed home for a bite of dinner and
then worked in an uptown restaurant
Until midnight as a bus boy. The entire
salaries he received from both of these
jobs went toward helping put his two
brothers, Harry and Edward, through medical school.
"It must have been pretty tough," I said when 1 heard
about it, '*to work like that and watch someone else reap
the benefits, even though they were your brothers."
"'ft wasn't tough at all," he answered shortly. "In our
family it's always been all for one and one for all. When
they finished college and got themselves established I
could have had anything they had if I'd needed it."
On the other hand, Jimmy goes just so far in his
efforts to help and then it is up to a person to help him-
self— be he relative, friend, or stranger.
Many's the argument we've had on the subject of his
sister Jeanne. It is my fixed belief Jeanne would be one
of the best actresses in the business if she were ever
given a break and I urged Jim time and again to use his
influence to get her that break.
"No!" he exclaimed. "She works because she wants
to and because she loves this business. All right, if she's
going to be an actress let her make her own way, the
same as everyone else has to. She'll be a better actress
X-ray of Jimmy
the Great — tie
man, not the actor
for knowing the heartache that comes with going into
producers' and agents' offices day after day and hearing
them say 'Nothing doing today.' For months now she
has been in New York trying to find a part in a play and
she is learning that being an actress is something more
than stepping in front of a camera or the footlights and
reciting lines.
"She's been in countless camp shows and on the radio
a number of times and she's good, too. What's more, she
improves with every appearance. Give her a few years in
the theater and she'll even be as good as you think she is !
"If I got her a good part now she might make a hit
in it and she'd be riding the crest. She might even strike
it lucky and make another hit in her second part. But no
one's luck holds forever and sooner or later she'd be up
against some poor parts and she wouldn't know what to
do with them. There is no one who sinks into oblivion
faster than a one or two part actor.
When Jeanne clicks she'll click knowing
she's fought her own way up and that
she is equipped to hold her position.
"One of the things I'm proudest of
about her is that she feels the same way
about it. Sometime ago she thought she
had landed a good part. Rehearsals
started but after a few days the producer
came to her and told her they couldn't go on unless they
got some more money and did she think her brother
would be interested in taking some stock in the play.
Jeanne told him 'no' without even asking me. In fact,
she still has never said anything to me about it. I learned
of the incident from my mother who asked her how the
play was coming."
Jimmy has always shied away from publicity pertaining
to his personal activities. "Johnny Come Lately" is his
first picture in over a year. Yet, during that interim, he
has put in the busiest year of his life. There is no way
of knowing how many radio appearances he has made
free for various war organizations or, if he has been paid,
donated the money to some war relief fund. His personal
appearances at camps have been almost as numerous yet
one hears little of them.
When someone suggested the actors who have donated
their time and talent be given medals as soldiers in grease-
paint, Jimmy's answer was typical: "We want no badges
of honor for our lapels. We want no credit for our ac-
■
OUT OF CHARACTER!
Exclusive candid photos of Cagney across
top of pages: from left to right, Jim with
his producer-brother Bill and director How-
ard; welcoming Mr. and Mrs. Thomas
Sullivan and daughter Genevieve, parents
and sister of the five Sullivan boys who
lost their lives in a Pacific battle. (Mrs.
Sullivan revealed that Cagney is her choice
to play her oldest son in the picture about
the brothers); two new views of Jim at home.
tivities. It, after it's all over, we can
know we had some small part in win-
ning the war, that knowledge will be
reward enough. It will bring with it
a satisfaction that is deep and ever-
lasting."
President of the Screen Actors'
Guild, Chairman of the Actors' Di-
vision of the Hollywood Victory
Committee, Chairman of the Red
Cross Drive, his home life these days
is practically non-existent. I don't be-
lieve he spends one evening a week
at home. Yet (Please turn to page 68 )
Cagney the trouper of "Johnny
Come Lately," his new film, built up
Grace George's part over his own.
Wife of Copt. Gene Raymond of the Army Air Forces
when he is home on leave, Jeanet+e keeps busy while
he's away making her operatic debut in "Romeo and
Juliet." At left, with her conductor, Pelletier, and her
Romeo, Armand Tokatyan, at Canadian premiere. At
right, in Juliet costume designed by Adrian. Below,
"Met" star Lauritz Melchior expresses interest in the
song Capt. Raymond wrote and dedicated to his wife.
DIDN'T
KNOW
MY
ADDRESS
It doesn't matter whether
you're a famous movie and
opera star, or the woman
next door— you're sis-
ters under the skin in
wartime if your man is
in the service, as this
poignant story proves
By Gladys Hall
(We were having after-dinner coffee, Jeanette, Captain
Gene Raymond and I, in the panelled library of the New
York apartment Jeanette was renting from Mrs. Edgar
Selwyn while she coached for her debut in opera. On
bookshelves and tables were silver-framed pictures of Mrs.
Selwyn's Hollywood friends; our friends, too — Clark
Gable, Nelson Eddy, Jimmy Stewart, Bob Taylor, Bob
Montgomery, others. Familiar faces, all of them, giving
us a sense of being in -Hollywood again , in the days when
Jeanette and Gene zvere at home in Bel-Air, Gene 'work-
ing at RKO, Jeanette and Nelson co-starring in one pic-
ture after another at M-G-M, Clark, Jimmy and the two
Bobs on the M-G-M lot, too. A pattern of days and ways
that had seemed destined, we said, to go on indefinitely.
And now here was Jeanette, no longer with M-G-M, no
longer co-starring with Nelson but, instead, 3000 miles
from home, preparing for a new career. And here was
Gene, Captain Gene Raymond of the Army Air Forces,
back from ten months overseas with the Bomber Com-
mand and saying, "Hollywood seems very far away and
long ago, and almost unreal. Why, there are people in
pictures now I never heard of." And tragedy, and tear,
have so changed Gable's life that nothing of what it was,
remains. And Jimmy, the two Bobs and their comrades
among the stars, now comrades in arms, where arc they.*)
E
'VERYTHIXG is diffei ■ent." Jeanette was saying,
speaking for the three of us. "nothing is as it was.
Nothing at all.'* And then, her words addressed to
the three of us, but her eyes on Gene (blond and sleek and
handsome in uniform) so that somehow, though without
any sense of being excluded. I had the feeling that they
were talking alone, were reliving this past two rears of
change and strangeness ; trying, perhaps, to understand it
a little better. Jeanette said :
"I had my hunch long before Pearl Harbor, Gene, did
you know? You had been to visit your brother at Fort
Ord. remember ? You came home full of war talk. Quite
suddenly, we stopped talking pictures, yours or mine. Quite
suddenly, the things that had been so important to both
of us were not so important any more. You didn't. I
noticed, have time for writing songs. We didn't plav and
sing together as we had used to do. I had the feeling,
then, that you were beginning to be alienated from our
world,
"But do you know what really prepared me for what
was to come ? It was when I asked you what vou wanted
for Christmas and you said, at first, as a man always says,
'I don't know, there's nothing I need' and then, when I
pressed the point you said 'Give me an identification tag.'
Sort of a horrifying present. I thought. I thought, too.
'This is his way of warning me.' So — I gave vou an iden-
tification tag. As you know, I had a jeweller remove the
stones from my engagement ring and from the dinner ring
you had given me and used the platinum for the disc. I
thought. 'Now he will always have something of us with
him.' (Gene held up his wrist and the disc glittered in the
lamplight.) Jeanette laughed, not too gaily. •'Small com-
fort," she said, "but it is amazing what big comforts small
ones can be, these days . . .
"And then, do you recall. I was going to give some con-
certs for the A.W.V.S. and you went to Washington to
attend the President's Ball. When you came back all your
talk was of how best to get more flying hours than' you
had had. I didn't know, of course, that while you were in
Washington you had spent most of your time inquiring
as to what branch of sendee ( Please turn to page 70 )
A day with Dale. Up early
and anxious to get to the stu-
dio for her first screen role
This youngster, native of the Lone
Star State like Ann Sheridan, start-
ed out after schooldays as a sten-
ographer. But her boss heard her
singing while she worked, and at
his suggestion she applied for an
audition at a Dallas radio station
and won a spot on a show. After
four years in radio she became
the songstress on Edgar Bergens'
radio program. Then — Hollywood.
Cj o Id
e n
Charlie McCarthy's "radio
sweetheart" is in movies now
Another Texas beauty crashes Hollywood!
Franz Werfel's book
comes to the screen
with all its tender
beauty intact. Exclu-
sive fictionization of
the new photoplay
starring Jennifer Jones
Fictionized by
Elizabeth
B. Petersen
on
of
ern
LONG years afterwards there would be that long procession in
Rome to do her honor, with cardinals coming from the four
corners of the earth to pay homage to this new saint. The bells
of three hundred churches would ring the ending of the solemn ceremony
of canonization and silver trumpets would peal the triumphant climax of
the song of Bernadette. that song which began so faintly in Lourdes more
than seventy-five years before.
There was nothing to set Bernadette Soubirous apart from her school-
mates that raw winter morning, unless it was her poverty. In all of
Lourdes no family was more desolate than the one fathered by Francois
Soubirous, once a self-respecting miller, now under the compulsion of
adversity relegated to do odd Jobs about the town and living in the house
Jennifer Jones makes her movie debut In the great role of
Bernadette, the peasant girl destined for glory. She ap-
pears in scene above with Ann Revere, playing her mother.
The book by From Werfel has been reverently
translated into cinema terms. It will be one of
the most discussed motion pictures of all time.
that had once been a prison. Cold and damp, it had
been judged not good enough for thieves and mur-
derers, but for Francois and his family it would have
to do.
She could scarcely be called beautiful, Bernadette,
unless it was for her eyes so wide and thoughtful,
full of the dreams that sprang instinctively from her
gentle heart. They had that dreamy wandering look
now as Sister Vauzous questioned the class from the
catechism. There were so many things Bernadette
didn't know, so many things she was afraid she
would never know. It seemed so useless to pay atten-
tion when she always forgot so soon anyway.
"What is the Holy Trinity?'' Sister Vauzous
turned to Bernadette. And as the girl stared at her
in that calm, almost apathetic way her voice sharp-
ened. "Didn't you hear me?" she asked.
"Yes, I did, Sister," the girl said quietly. "But I
know nothing about it."
"You puzzle me, my child." The nun tried her
best to subdue her annoyance, but it was difficult
dealing with this girl. "Are you pert, indifferent, or
only stupid?"
"I'm stupid. Sister." The simple statement could
almost pass for mockery. "I have a poor head for
study."
Charles Biclrford, in scene above with Jennifer
Jones, plays an important role in this moving
screen story. Cast and credits given on page 73.
"You are also pert," Sister Vauzous said crisply.
"You're a grown girl, Bernadette, the oldest in the
class. Ignorance of the Holy Trinity is inexcusable.
Go to the foot of the class." Then as she saw the
other Soubirous girl raise her hand timidly her mouth
tightened. "What is it, Marie?" she asked.
Marie was the younger of the two sisters but she
seemed the older one.
"Bernadette was sick the day we learned about the
Holy Trinity." She sounded like a mother pleading
for her child. "She misses school a lot because of her
asthma. She can't breathe. She — "
Marie stopped, overcome with confusion as the
Dean of Lourdes came into the classroom. He was a
giant of a man, Marie Dominique Peyramale, and a
man of great wisdom. He was kindly, too, and warm
and understanding. But because of his great height
and the awe surrounding his exalted position the
townspeople were a bit frightened of him.
"Good morning, Sister Marie Therese," he
boomed in that deep voice of his. "Good morning,
children. I was passing by so I thought I would drop
in and find out how many are preparing for First
Communion."
"Six, Your Reverence. We were just having a re-
view of our catechism." (Please turn to page 72)
&U0
UTAH
(Editor's Note: Recently, Roddy McDowall re-
turned from a personal appearance tour during
which he talked before large audiences at schools,
banquets, civic affairs. He visited 18 cities, made
speeches for the Red Cross, for recruiting
W A ACS and WAVES, and appeared at crip-
pled children's hospitals. Not the least of his
accomplishments was his personal selling of over
$11,000,000 in War Bonds. This is his oivn diary
of his tour written especially for Screenland. )
Saturday, March 20: I'm looking for-
ward to this trip across the country in
connection with "My Friend Flicka."
Mummy and I went to the station in a
studio car. My sister, Virginia, followed
us with her Marine, Gordon Maynard.
Vee sure thinks he's the last word. On the
way, we picked up Mrs. Nelson, my~
teacher. I still have to study every day,
trip or no trip. But I don't mind. Said
good-bye to Vee and we left on the train
for Dallas, Texas. I went into the dining
room right away. I was sure hungry!
Went to bed early.
Sunday, March 21: Stopped off at
Tucson to look around. I bought some
post-cards. I'm going to buy these cards in
each city I visit so I'll know something
about America when I'm through. We are
on the last car and it's a 19 car train. At
As told to
Jock
Holland
8 :40 tonight we got off at El Paso. Texas,
where our car number 64 was to be trans-
ferred. Mummy sent some telegrams and
I bought some more cards. Sent one to
Vee. We thought we had plenty of time,
since the train was supposed to be in the
station for half an hour. About twenty
minutes later, we walked out on the sta-
tion platform and asked the station master
when car 64 would be leaving. He pointed
to a car on a train that had just left and
said, "That's car 64 — the last one."
Mummy almost blew up. She said, "It
can't be. That's impossible." The man
then told her that he worked for the rail-
road and should know. Mummy still in-
sisted it was. a mistake. Poor Mummy.
She was so tired and nervous. We argued
for a little and then a Mr. Harris drove
us 15 miles- to (Please turn to page so)
Roddy discov-
ers America!
An account of
his unique tour
in the British
boy star's own
words
Screeolaod Honor Page
Don't call him "the new Mickey Rooney"!
Donald O'Connor rates applause in his own
right as the exuberant young star of "Mr. Big"
\
Donald is no over-night
sensation. The closeup
above shows him at the
age of ten when he ap-
peared in "Tom Saw-
yer, Detective." He'll
be eighteen soon. Be-
low, with Gloria Jean
in Universale "Mr. Big,"
his first starring pic-
ture. Don's "solid" and
a steamin' demon, but
though he sure is hep to
this jive stuff, he's not
just a jitterbug; he is
a smooth, versatile per-
former with a sly, re-
freshing sense of humor.
Of course the young-
er fans cheer the
O'Connor gymnastics
with hep-cat Peggy
Ryan, at right. He
represents the gay,
carefree American
youth as yet un-
touched by wartime
demands. But like his
young fellow-Ameri-
cans he carries con-
viction that when call-
ed upon, these lads
will come through.
Charles Boyer and pro-
ducer-director Howard
Hawkes have formed a
million dollar corpora-
tion with 20-year-old
Ella Raines as their sole
asset. A recent gradu-
ate of the University of
Washington, Ella was
chosen to co-star with
Randolph Scott in "Cor-
vette K 225," U's naval
warfare epic officially
sanctioned by the Cana-
dian Government. Also
appearing in the new
film is James Brown,
who made his first
hit in "Air Force."
TWO WHO ARE
NEW
New girl in movie town is Ella Raines, who makes screen
debut in "Corvette K 225." Universalis saga of the Royal
Canadian Navy. Good-looking new juvenile is Jim Brown
47
*+
48
dD JPIBCDUKDIKr
Paulet+e gets her face dirty, Claudette gets all mussed up,
Veronica puts her famous tresses on top of her head as the
three girls star in the powerful drama of heroic Army nurses.
With PauleHe in scene at top center is newcomer Sonny
Tufts, seen again with Claudette and George Reeves, playing
soldiers in the film. Veronica, at right, does a bit of clown-
ing with the manual of arms between scenes. Veronica's
outfit, however, is the McCoy, because the Bataan nurses
wore faded and patched coveralls like these in action.
Doubtless due to
soothing influ-
ence of pretty
Miss Chapman,
George discovers
acting can be
fun, and even un-
bends to the .ex-
tent of posing for
"gag" pictures —
see above, and
at right. The'dis-
tinguished gen-
tleman with
George at lower
right is his 74-
year-old dad,
who makes his
screen debut
.playing real-life
role of his own
son's father in
Columbia's film.
George
Enjoys
His Work
The moody Mr. Sanders
relaxes for new role in
"Appointment In Berlin,"
with Marguerite Chap-
man as good influence
The smartest women in the film
colony always went to Irene for
their suits. Then M-G-M signed
the noted designer to create
clothes for their productions
exclusively, and Mary Astor is
just one of the many lucky stars
to profit thereby. At right, new
wool suit in cocoa brown com-
bined with beige. Gold chains
looped from buttons give mili-
tary touch to vest front of
semi-fitted jacket. Beret and
bag are of the suit materials.
Another Irene suit is the classic
double-breasted model worn
by Miss Astor at top left. Of
blended checks in beige and
brown, it has a spray of golden
wheat worn through a slash in
the breast pocket. The dress
worn by the star at top right
is plum crepe with loops of
matching satin used for the
wide neckline bow and apron
effect. The straight skirt is slit
from below apron to hemline
to reveal a satin underskirt.
Designs
Gracious-
Lady
Fashions
Hollywood's famous Irene has
created these exclusive costumes
for Mary Astor to wear in
M-G-M's "Young Ideas"— clothes
of grace and dignity which em-
phasize fact that film fashions
have, at long last, come of age
Photos by Clarence S. Bull, M-G-M
Mary Astor, who is featured
with Herbert Marshall and
Susan Peters in M-G-M's new
picture about the private lives
of college professors and their
wives and families, is well suited
with the classic tailleur of grey
flannel striped in lighter shade,
as shown above. Top left, Irene
has designed a smart hostess
pajama suit of black wool
crepe with sleeveless tunic and
white crepe blouse in the Rus-
sian manner for Miss Astor' s
role in new film, "Young Ideas."
No longer does Hollywood's
fashion standard rise or fall by
its glittering glamor clothes.
Today an astute designer such
as Irene keeps in mind the ma-
tore woman and her clothes
problem, as well as the deb
and sub-deb departments, and
the result is a well-balanced
fashion program which includes
such dignified and charming
costumes as these. Left, host-
ess gown of beige silk jersey
with cuffs of sable-dyed marten.
55
No better denial of a rift in Fontaine-Aherne family could be entered than
photo at left above, with Joan using Brian's back for a desk to make script
changes at Screen Guild broadcast. Center, the ever-lovin' Don Ameches.
Right above, Basil Rathbone and Reggie Gardiner try to talk Olivia de Havil-
land ond June Lang out of a snack at the Hollywood Canteen, but it won't
work. All food and fun is strictly for the service men; all work for the stars.
HERE'S
HOLLYWOOD
Gossip by Weston East
Candids by Jean Duval
56
THIS proves the far-reaching effects of
malicious gossip. Up until the time a com-
mentator announced that the John Waynes
were divorcing, there wasn't one chance in
a million that it would happen. Everyone in
Hollywood seemed to know a different
"inside" story. The pressure eventually- hit
the Wayne household. Suddenly, so much
importance was given to things that even-
tually would have smoothed themselves out
that the inevitable happened. Close friends
feel this is only a trial separation. The
Waynes are family people and love their
home and children too much to act hastily.
WHEN Ann Sothern married Bob Ster-
ling she didn't have to change a single
monogram. Following an emergency appen-
dectomy Bob was given a three weeks' sick
leave. Ann was working in "Cry Havoc,"
so it wasn't much of a honeymoon. But
those two are radiantly happy. The girls
on the set gave Ann a ration shower. She
got butter, coffee, sugar. Bob gave his bride
a three-band ring. The two outside ones
are gold, the center one of diamonds. Be-
lieve it or not, they've already selected the
first two names for the future generation
of Sterlings !
Cary Grant, "Mr. Lucky," presents with a
big grin just a few of the batch of records
he gave to soldiers after a broadcast.
CURRENT rumors : that Ida Lupino is
divorcing Louis Hayward : that Ida and
Louis are expecting a baby; that Ida is re-
tiring from the screen and becoming a war
nurse; that Ida is adopting twins. The an-
swer to them all, to quote Ida, is "Nertz."
HAUL HENREID in his newest role of
• "father" is really a sight to behold. The
newly adopted daughter has been christened
Monica Henreid. Paul carries a money clip
that opens up and discloses two pictures of
the baby. Yes, he'll be glad to show it to
you — even if you don't ask him!
1
JOEL McCREA doesn't need a personal
press agent as long as Gary Cooper is
around. Now you know Gary isn't exactly
the "buddy" type who goes around back-
slapping and carrying on long-winded con-
versations. But practically to everyone who
will listen, Gary says, "Have you seen Joel
in 'The More The Merrier?' He's wonder-
ful in it. It's a great picture."
BILL LUNDIGAN became a leatherneck
on his birthday. A nice present from
M-G-M was the renewal of his contract.
He goes back to work the day it's all over.
THE Walter Langs' farewell party for
Cesar Romero was really a send-off. In-
stead of hiring an orchestra, the Langs
hired their instruments. Then the hams
went to work. Ann Sothern played the
piano, Jack Benny the violin, Fred MacMur-
ray at the saxophone, Andy Devine at the
cello and Annabella played the traps — darn
good she was, too. A sign over the doOr of
the living room read as follows: "If this
party bores you, why don't you step inside
and write a letter to Captain Gable, Private
Payne, Lieut. Power and Private Sterling."
Just wait until the boys get those letters !
Above: Bruce Cabot of Uncle Sam's Army
Air Forces, Ann Sheridan, and Mickey Rooney
make up threesome at Mocambo. No romance
for Bruce and Ann, just good friends, while
Mickey is said to be still carrying the torch
for Ava. Top of page: whoever said Gary
Cooper was just a strong, silent man? When
Gary does get off a nifty it's a good one, as
Mary Livingstone Benny's smile will testify.
Center, looks like real love with lovely Lynn
Bari and test pilot Sid Luft. Top right, here's
the lucky gal who is Mrs. James Craig, with
hubby at Mocambo. Jim isn't so unlucky, either.
57
THE arrival of the stork at the home of
' Teresa Wright is no longer a possibility.
The little star has been very ill almost from
the time she expected the baby. Naturally,
she is grieved and shocked at the turn in
events. She needs a long rest before she
will be well enough to make pictures again.
In the meantime she has the heartfelt good
wishes of her many fans and Hollywood
friends.
HAD Conrad Veidt lived, he would have
been John Loder's best man. As it was,
John and his Hedy were married in the
home of Lily Veidt, Conrad's widow. Wise,
sophisticated, humorous is John Loder. He
knows Hedy is much more important as far
as careers are concerned. Every morning
when he isn't working, John drives Hedy
to her studio. They go right through the
gate without a hitch. John deposits Hedy at
her dressing room and drives out again.
Then he is always stopped and questioned.
After several mornings of telling them his
name was Loder, John's humor got the best
of him. The next day he drove right through
with Hedy, two minutes later on his way
out was stopped and asked his name. "My
name is Lamarr," he said drily. "Mr. Hedy
Lamarr." "Oh, I'm so sorry, Mr. Lamarr,"
said the gateman. "Please excuse me for
stopping you !"
THE Westmores are at it again. All with-
in two weeks' time, Perc took on wife
number four. She's Margaret Donovan, for-
mer assistant to Perc and Bette Davis'
close friend. Rosemary Lane gave Buddy
Westmore the gate, decided she still loved
him and now they're trying it again. Well,
at least there's never a dull moment in the
house of Westmore !
WHO says glamor girls can't be friends ?
Evidently Katharine Hepburn and
Garbo are enjoying those tennis games they
play together. They play often. Too bad a
few more of our cinema sisters can't forget
to be rivals. Surprising, isn't it — how much
so many have and what little fun they get
out of it.
pY THE time this reaches print, Richard
D Carlson will be in the Navy. Being a
family man, it wasn't compulsory for him
to go at this time. But he wanted to do his
duty and felt that he could. M-G-M asked
if there was anything they could do for him
before he left. "Yes, there is," Richard an-
swered. "I never did get to see Garbo in
'Camille.' Could you run it for me?" They
could and did.
GEORGE SANDERS does a pretty good
job of insulting the ladies. But you
never could get Brenda Marshall to admit
it. The first day she worked with him, after
a scene George threw up his hands and
shouted, "At last an actress!" When he
learned Brenda was expecting Bill Holden's
baby, George couldn't have been more so-
licitous. He raised cain when they allowed
Brenda to drive up to location. Once there
he insisted they get her a couch to rest on
between scenes. We always suspected he
was an ol' softy underneath it all.
RKO is paying a pretty penny for Olivia
de Havilland's services in "Government
Girl." All of which makes this story more
amusing. They wouldn't .allow Olivia to
park her car on the lot. When she
took it across the street to the studio park-
ing places, they wouldn't let her on because
an okay hadn't come through. So Olivia
drove next door and parked on the Para-
mount lot where she is known !
AFTER ten years of married life, the
' Charles Boyers are expecting the stork.
Weston East found the famous Frenchman
lunching alone on the patio of The Players.
He sat in the very center. Every feminine
eye in the place was glued on him. Charles
ate on, completely oblivious to it all. When
we congratulated him, with that twinkle in
his eye he said, "Don't you think it's about
time?"
TOO bad some of those who handle Ingrid
Bergman are giving her the red carpet
treatment. The star herself is simple, sin-
cere and completely without artifice. She
doesn!t ask for it, so why^make her unap-
proachable? Amusing why she couldn't
work one day in "Saratoga Trunk." A cold
affected her vocal chords in such a man-
ner that her Swedish accent came back!
On Cleo, the French girl she was portray-
ing, it wasn't so becoming!
WALTER LANG, top director at 20th,
has real cause to be proucL Mr. Mayer
sent for Walter's "Coney Island." -Accord-
ing to our informant, it was
run for M-G-M producers
as a perfect example to
follow when making mu-
sicals. After this one Betty
Grable should be the hot-
test thing in opera lengths.
The very day they finished
shooting, Betty was on the
train heading for New
York and Harry James.
Below: Candid camera cross-section
of Hollywood in action, with Penny
Sipgleton leading the parade, below,
with husband Major Robert Sparks,
after a recent broadcast of the pro-
gram for service men, "Mail Call."
Then the devoted Bob Youngs out for
a festive evening, at opening of come-
dian Joe Lewis at Ciro's night club.
There's Al Jolson, who is about to star
in his own autobiography for Colum-
bia Pictures, with one of the "Cover
Girls." Lower left, Groucho Marx
registering bliss as Fay McKenzie and
Carole Landis shower him with kisses.
Barbara Hodges
BARBARA'S RING — is a beau-
tiful clear solitaire, with two
small diamonds set in platinum
on either side.
A WAR-TRAINED map reader and en-
gineering "draftsman," charming
blonde Barbara Hodges is working — not
just waiting — for the return of her avi-
ator fiance.
You'd never guess Barbara spends
hours at a drafting board daily — her
clear, blonde skin looks so fresh and
sweet, so beautifully cared for. "Pond's
Cold Cream is what makes my complex-
ion happy," she says. "It does such nice
clean, soft things for my face after a
hard day's work — I just adore it!"
This is Barbara's soft-smooth skin care:
SHE SMOOTHS on cool, fragrant Pond's
Cold Cream and pats its lovely softening
moistness all over her face and throat with
brisk little pats, to soften and release dirt
and make-up. Then tissues off well.
SHE"RINSES" with more Pond's Cold Cream
— swirling her cream-coated fingertips
around in little" spiral whirls. This second
' creaming is to make her skin extra specially
clean and soft. Then, she tissues off again.
PRETTY GUIDE to two French sailors from the
French-American Club. " C 'est magnifique'''' the boys
exclaim gazing up at the Rockefeller Center build-
ings in New York. And — "Elle est charmante'''' they
chorus about Barbara's typical American loveliness.
BARBARA'S SPARKLING FACE has that truly "engaged-sweet" look! "It ought
to have," she laughed. "I give it the grandest beauty care I know — with Pond's."
She's Lovely! She uses Pond's!
COPY HER DAILY BEAUTY RULE . . .
Start giving your face Pond's soft-
smooth complexion care — every morn-
ing, every night, for daytime clean-
ups, too ! You'll love the fresher color
it brings up in your cheeks — thesofter-
to-touch feel it gives to your skin.
Yes — if's no accident lovely engaged
girls like Barbara Hodges . . . and soci-
ety's most noted beauties like Mrs.
William Rhinelander Stewart and
Britain's Lady Kinross prefer Pond's
to any other creams. Buy a lovely big
jar of Pond's Cold Cream now.
* Jo<day— Tnany ?n#re women, Mfe (2bnd% <i/ia?t a>zy ct/ier/ace cream at at?y jbrice
SCREENLAND
59
Mature Men Better Lovers?
Continued from page 24
"Doni you know
the calendar's
bluffing P"
SMILE, young lady. . for crying won't help
when menstrual pain comes just in time
to upset plans or interfere with pleasure.
Yes, smile and take heart. Most of the
time, the calendar is bluffing. Much of
your pain may be needless. The headache
and blues unnecessary. How unnecessary
you can prove by trying Midol !
Unless you have some organic disorder
calling for special care, Midol should give
you quick, effective relief, for it acts in
three ways to save you functional pain
and discomfort. An exclusive ingredient
speedily eases the typical spasmodic pain.
Another ingredient soothes menstrual
headache. And a third lifts your blues —
gives faster, more thorough comfort.
There are no opiates in Midol, so try it
confidently. Ask for Midol now at your
nearest drugstore and be ready, another
month, to keep going in comfort!
MIDOL
Suffering
"should know how to approach his sweet-
heart, how to take her in his arms, how to
kiss her. Also, he should understand the
rhythm and tempo of movement. So, an
actor must acquaint himself with these pic-
torial values before attempting to make love
before an audience. Many a scene has
evoked laughter because the hero grabbed
the girl ungracefully, crushed her shoulders
in an awkward caress, and by delaying the
kiss beyond anticipation. Or by rushing it.
There's no manual on acting, one must learn
by acting, and this is a life-time job. I
marvel at our young players. They get so
little chance for real acting, a few hours
at most, during a picture. Yet because of
a feel for drama, and a determination, they
often come through with splendid perfor-
mances.
"We have so much talent in Hollywood,
and someday the studios will develop it by
presenting their own stage plays. This
means weeks of rehearsing and hard work
in gaining perfection, but the results will be
glorious, and the screen will gain immeas-
urably— especially in smoother technique in
romantic scenes."
Humphrey Bogart's "love affair" with
Ingrid Bergman in "Casablanca" has raised
the gangster into the romantic realm, but
Bogey side-steps all such honors.
"Love scenes!" exploded Humphrey, but
with a grin. "You're talking to the wrong
person. I hate 'em ! Always have. Remem-
ber me? I'm the guy who hates dames! As
far as I'm concerned, this love stuff is just
part of this business. I'm glad when they're
finished. I try to play them the way the
character I am portraying would play them.
That's highly important. The director es-
tablishes this. Do I get into a 'mood' before-
hand? Are you kiddin'? How could I with
from fifty to a hundred people standing
around the set watching me !
"An actor interprets love scenes accord-
ing to directions, just the same as any
other scene the script calls for ; and of
course, like everything you do, the more
experience you have the better you will do
it. But I say, when it comes to playing love
scenes, you're talking to the wrong fellow.
I don't live 'em, I just work at 'em. In the
movies, I mean !"
The fascinating Paul Henreid, whose love
scenes are famous for sincerity and charm
— even to lighting the two cigarettes as a
symbol of romance, as viewed in "Now,
Voyager," with Bette Davis, has become
filmland's idol. He gaily brushes this aside,
reminding us that as an actor it is his
business to portray the emotions of the
heart.
"Usually," explained Paul, "one becomes
an actor because he has a surplus of pent-up
emotions struggling for expression. But it
takes years of experience for him to learn
what the art of acting means. Taking over
a different personality, probing this man's
inner thoughts, even for a brief fling in a
drama, requires a very deep understanding.
"Love is the most precious thing in life,
it is the inspiration that makes living the
glorious adventure it is. And it is as im-
portant to men as to women. That is why
our dramas, our love scenes should be given
a strong vitality, so they may appeal to the
masculine as well as to the feminine au-
dience. At heart, men are sentimentalists.
Here in America, where love is placed on
a high standard, and where romance and
marriage are synonymous, this is particu-
larly true.
"Admitting that love is the same the
world over, we recognize that environment
influences its expression. An actor must
study reactions, and he must have a sure
technique if he is to catch and relay the
subtle shadings of a man's love life. There's
a chemistry of human emotions that can do
fantastic things, and every role presents
new problems.
"Romantic scenes are difficult," added
Paul, "only because they are so significant.
They must be honest and convincing. Oddly
enough, a man's true character, his personal
ideals, are revealed in his reactions to love."
With an amused smile, Otto Kruger said,
"I'll admit that love scenes are a bit em-
barrassing— even to experienced players.
Especially on the screen, because we fre-
quently meet our heroine for the first time
as the love scene is starting. In real life
the vital spark may flash instantaneously,
but the actor is merely simulating emotions,
and the imagination must be set in motion
before they can be proj ected with realism.
"I'd say that in picture-making the di-
rector and technicians do the love scenes
for you. The pictorial quality is so impor-
tant that lights and camera angles draw first
consideration. It is disconcerting in the
middle of a kiss to have the director sing
out, 'Turn your head to the right, the lights
are hitting your nose.' Or 'Hi, there, lift
your chin ! Looks as if it's cut in two.'
These faults being remedied, we begin all
over again. This may go on for a dozen
rehearsals until the scene is wholly me-
chanical, and you've lost what emotion you
started out with.
"Guess I'm old-fashioned in my thoughts
about love scenes — to me they should be
worshipful, gentle. Too, I like the accom-
paniment of music and moonlight. But this
requires old-fashioned drama and today we
have few of them. In this jitterbug era,
the younger element in the audience is im-
patient for the grab and take of the climax,
so a different technique is required.
"Of course," grinned Otto, "love scenes
are thrilling — don't let anyone tell you
they're not! Could a man be an eloquent
lover if he is too casual ? Actors become
experts at simulating synthetic emotions.
However, to the sensitive person there may
come the spell of real passion that is set
into motion through the repeated emotional
provocation. For a fleeting interval, the
spark may strike real fire. But alas, it dies
down the minute the scene ends, for it has
no foundation.
"Young cinema lovers might easily be
over-influenced by all these romantic qual-
ities, and if they are, they ruin their scenes.
This is why the seasoned actor can portray
love and its romantic accompaniments with
more conviction than youth, whose feelings
are whipping him in all directions.
"Of course," he added, "I always fall in
iove with my leading lady — for the dura-
tion! Oh yes, I confessed this failing to
my wife when I married her but it didn't
seem to alarm her. Now, after some years,
she still refuses to be alarmed. A bit dis-
appointing, isn't it?"
Charles Boyer, with his mysterious per-
sonality, his smoldering eyes and caress-
ing voice, is the personification of Romance,
and his love scenes have thrilled feminine
hearts of all ages. Yet he's a non-touch lover,
with few demonstrations and fewer kisses.
He projects an emotional warmth that is
revealed gradually — step by step, and thus
gains terrific power.
Edmund Goulding, the director, once
said, "A kiss has no accent. When an
actor can make love like Charles Boyer,
Functional Menstrual
MENSTRUAL HEADACHE
DEPRESSION
TYPICAL SPASMODIC PAIN
60
S GREENLAND
Do your best • • . and
THESE are simple obligations,
to our country, to our men at
the front, and to ourselves.
No matter what your job or your
share in the war effort, give it all
you've got ... do your best all of
the time.
That means keeping strong, keep-
ing healthy. This job's going to take
every bit of stamina we can muster.
And health is your greatest asset.
But as you work, don't forget to
play. Play is the great equalizer.
Make it part of your life. Step forth.
Go places. Meet people. Cultivate
old friends and make new ones —
lots of them. And try to be at your
best in appearance and personality.
Don't let down. Keep cheerful.
Keep going. Put your best foot
forward. That's the way the boys at
the front would like it.
i i i
As a safe, efficient household anti-
septic for use in a thousand little
emergencies, Listerine Antiseptic
has stood pre-eminent for more
than half a century. In the later
years it has established a truly im-
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he doesn't need to talk. It helps — but it
isn't necessary !"
Charles believes the mature man, say
around forty, has a deeper comprehension
of love and its significance, than at any
other period. He has learned through living,
the real depth of this emotion — its joys,
its sacrifices, even its bitter sting. So, as
an actor, he has the ability of spanning
time, making romance glow with a radiant
warmth that is more satisfying than the
explosive tactics of youth, with its un-
bridled intensity. Every experience is en-
riching. Without emotions life could never
form its glorious pattern.
"The reason I do not like visitors on
the set - when I'm making a love scene,"
Boyer explained, "is because through con-
centration I actually feel I am the person
I am playing. I do not want to have this
emotional thread broken, to be brought
back to my own identity. Love is the all-
important thing in real life, also in the
world of art. This is what I try to bring
into my acting."
"I'm not the Romeo type," chuckled
blond Joseph Cotten, who is youngish in
years, but experienced in acting. "While I
played romantic roles on the stage as part
of my many chores, my cinema love has
been cramped into mere suggestions, never
hotly portrayed. In fact, I'm having my
first real film love scenes in 'Hers to Hold'
with Deanna Durbin. To add a punch to
this dramatic event, our initial scene was
an amorous episode, very fervent, and —
with kisses ! We had just met. The humor
hit us and thus broke the ice, if there was
any.
"To create a romantic scene, to give it
the burning quality that causes it to linger
in the memory of the audience, the actor
must be familiar with the entire emotional
scale, for this is the instrument on which
he plays his drama.
"All this isn't casually plucked from the
air. It comes through developing the im-
agination to a high degree — by acting, and
then more acting. Naturally, one thus tech-
nically equipped has the advantage. When
an inexperienced player makes a success
it should be hailed as an achievement. Or
perhaps, a beautiful mistake !
"The camera creates a peculiar intimacy
between actor and audience, and the close-
up exaggerates each detail. Not only must
one act and speak like a lover, but he must
think and look ardent, too.
"Someone once said that acting was 90%
thinking, 10% feeling. An actor must never
let his real emotions become confused with
the synthetic. I'm not in sympathy with that
vague school which insists the player must
actually live his role. Nonsense! Acting is
simulating emotions. You don't have to go
out and kill a man to portray a murderer.
Perhaps everyone is a potential killer, and
if the right series of circumstances caught
him, some of our best saints would draw
a gun. My role of Uncle Charlie in 'Shadow
of a Doubt, had a good excuse — he had
been hit on the head !
"I recall my first love scene. It was on
the stage, and during rehearsals the director
would say, 'When you speak this line, kiss
her.' Or 'Here you put your arm around
her and gaze into her eyes.' But we never
did all this, and when the final dress re-
hearsal came, the girl and I were embar-
rassed and didn't know what to do. One
should always go through every bit of
business in rehearsals, so as to become fa-
miliar with every point.
"Sure, love scenes are exciting," Joe
added. "But so are all scenes — to the actor.
All he wants is to get the chance to act,
and act, and ACT !"
Wallace Beery boasts of many love
scenes during his thirty years before the
cameras. "Of course," admics Wally, "I
have my own technique. Guess I started
developing it in my very first picture. I
yearned to be the handsome hero, but I
wasn't, and being young and awfully green
about romance, I was scared stiff. My
emotions jittered all around the place. I
grabbed the girl, gave her a bear hug and
a smack that took her breath away. I was
so astonished with the thrill of my success
that I've gone on treatin' them rough. You
know, the kind that's 'terrific' with in-
tensity.
"Yes, young players have a tough time
mastering the art of love scenes before the
cameras. I've watched dozens of them and
they never succeed until they learn to leash
their emotions. In the meantime, we older
experts take all the glory, and all the bows.
"I've heard that women like the primitive,
the masterful lover. Well, that's me!"
This Is The Army
Continued from page 21
ii
began to look for singers, dancers, actors
and comedians who were in the Army. That
is how I came to be a member of "This Is
the Army," a show that was to be pro-
duced for Army Emergency Relief.
I rehearsed songs and dances and sketches
under the direction of a drill sergeant who
had formerly been a Broadway director.
I learned lyrics to new Berlin tunes, such
as / Left My Heart At the Stage Door
Canteen, This Is The Army, Mr. Jones, I'm
Getting Tired So I Can Sleep, and American
Eagles, along with many others that were
destined to be on the Hit Parade for
months.
I lived in tents and barracks at Camp
Upton until it was time to bring the show
to New York. I opened, on the night of
July 4th, 1942, and "This Is The Army"
was a smash hit. Originally the show was
intended to run only four weeks, but public
demand for seats was so tremendous that
the Army decided to continue the run
another month. When that month was over,
another month was scheduled. The public
could not get enough of "This Is The Army."
After three months' run in New York,
the Army heeded the pleas of theater-goers
all over the country and sent "This Is The
Army" on tour. The show opened in Wash-
ington in September, and in the second
week of its run, a command performance
was given for President Roosevelt. The
Commander-in-Chief liked the show, and
invited me and the 349 others in the cast to
midnight supper at the White House the fol-
lowing Friday night. There I met President
and Mrs. Roosevelt, Mr. and Mrs. Harry
Hopkins, and Robert E. Sherwood. I had
dinner at the White House, and had a chat
with Mrs. Roosevelt, who told me how much
she liked the show.
While on tour I did all the regular mili-
tary jobs that belong to a soldier. Four
times a week I drilled with the rest of the
company, for three hour periods, on the
nearest open field. I ran the company or-
ganization that the Army requires from a
Provisional Task Force of 350 men, and
backstage, I took orders from two stage
managers who were sergeants. Out front,
the orchestra was conducted by a master
62
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sergeant, and the dances were directed by
another master sergeant.
Following the Washington run, I played
engagements in Baltimore, Philadelphia,
Pittsburgh, Boston, Cleveland, Cincinnati,
St. Louis, Detroit, Chicago, Los Angeles,
and San Francisco. The proceeds of this
tour, plus the gross from the New York
run, added to the sum of $250,000 paid by
Warner Brothers Pictures for the film
rights to "This Is The Army," made a
grand total of over $2,000,000 which the
show raised for Army Emergency Relief.
I made an album of records, and it also
contributed royalties to the Fund, as well
as the royalties from the smash song hits
which Mr. Berlin contributed to Army
Emergency Relief.
In February, 1943, I arrived at Bur bank,
California, to make the picture version of
"This Is the Army." With the band playing
This Is The Army, Mr. Jones, I marched
into the studio, flags flying, rifle on my
shoulder, and in full military dress.
During the time I worked at the studio,
I made my headquarters at Camp T.I.T.A.,
a special military encampment a mile away
from the Warner studio. There had been
built a drill field, tents were" set up, and an
obstacle course and bayonet dummy course
were also built. While I worked at the
studio, I observed regular military discipline
and duties. I arose at 6, dressed, had break-
fast, came over the pass from Hollywood
to Burbank, and was at the Camp for 8:15
reveille. From there the top sergeant as-
signed me to the sound stage where I was
to work that particular day. I lived in an
apartment or a small hotel room some-
where in Hollywood, sharing it with other
members of the unit in order to make my
$2.88 go further.
At the end of the day I stood retreat at
5 :30, and then I was on my own — unless
I had guard duty to perform that night.
Guard duty was a fourteen-hour trick, two
hours on and two hours off. Camp T.I.T.A.
was military property and had to be guarded.
I am the only actor who ever worked
in a Hollywood picture that got $50 a
month for the job. I worked on sound stages
next to ones where such stars as Gary
Cooper, Ingrid Bergman, Bette Davis, or
Errol Flynn were working, and when I ate
my lunch at the studio commissary, I rubbed
elbows with all the Hollywood great. But I
was still a soldier, and I still saluted every
officer in sight, buttoned up all my buttons,
and stood at attention when an officer en-
tered the sound stage. I worked for Mike
Curtiz, one of the top directors in Holly-
wood, who was in charge of making a
motion picture out of Mr. Berlin's stage
show hit, but I took orders from the ser-
geant who was in charge of staging the
dances, and the lieutenant from my com-
pany who acted as assistant director to Mr.
Curtiz. I entered a new world — a world of
arc lights, Technicolor cameras, of endless
rehearsals in order to secure one. good
"take," of long hard work and little relaxa-
tion except at night, when I was too tired
to do much except go dancing a little at the
Hollywood Canteen. Did I say dancing? I
sat on the sidelines. I'd had enough dancing.
A motion picture, unlike a stage revue,
has to have a story. Therefore there are
two distinct troupes working before the
camera in "This Is The Army." One troupe
consists of George Murphy, Joan Leslie,
Ronnie Reagan, Dolores Costello, Una Mer-
kel and Charles Butterworth — they are
carrying the "book" portion. The other
troupe consists of myself and 349 other
soldiers. We sing and dance and do our
specialties for the camera just as we did
for audiences from New York to Frisco.
Joan Leslie looked forward to being in
"This Is The Army." The first day she
walked on the set she smiled pleasantly at
all the boys, but not a single boy spoke to
her. Joan tbought the boys were just shy.
But when day after day went by and they
didn't warm up she went to Lieutenant
Ronald Reagan and asked him if she had
done something wrong. Why did the boys
all avoid her? Why were they so stand-
offish? Lt. Reagan explained that it was a
military order— the boys were on the set
to work, and not to mingle with civilians.
One night at the Hollywood Canteen Joan
met some of the boys and danced and
chatted with them for several hours. They
were so friendly, and complimentary, that
now she felt things would be different on
the set. But the next day on the set they
looked right through her again.
Irving Berlin has been singing, Oh, How
I Hate to Get Up in the Morning for
twenty-five years. He claims he wrote the
song because he actually does hate getting
up in the morning. He only took one
civilian privilege during the entire tour of
m This Is The Army." He refused to get up
in the morning. He always appeared for
work at noon. His services were entirely
donated. When he faced the camera to sing
Oh, How I Hate to Get Up in the Morning,
he forgot the words.
Mr. Berlin's favorite story about him-
self actually happened on this "This Is The
Army" set. They were playing the recording
of the sound track of Berlin singing 'Oh
etc' when a prop man turned to Lt Reagan
who was listening and said, "If the guy
who wrote that song ever heard the way
it's being sung he'd turn over in his grave.-'
While "This Is The Army" was in pro-
duction Warners were making other pic-
tures using all ranks of Army officers
played by extras. When they passed each
other on the way to the commissary the
real soldiers would salute the phony Cap-
tains and Majors. Of course the extras
didn't salute back. Finally, to avoid any
further confusion, the studio issued an order
that in the future all "Warner Brothers
officers" had to wear white arm bands when
going to lunch. The white arm bands were
lettered "Warner Brothers."
Ronald Reagan, who is a Lieutenant in
the real Army, plays a Corporal in "This
Is The Army." In the scenes the boys didn't
have to salute him. When they passed him
on the lot they were supposed to salute
him. They were constantly upset trying to
figure out when to do it, when not to do it.
Well, I worked for three months mak-
ing a motion picture out of "This Is The
Army," all the proceeds of which will go
to Army Emergency Relief. It is estimated
that the net AER will get from the picture
will come to more than five million dollars.
I'm happy that I have been able to do my
part to raise money for this worthy cause.
I'm also happy that I've been given a chance
by the Army to do the things I knew how to
do best. If the Army thought that I would
be better as a soldier-actor than I would
be manning a machine gun somewhere in
North Africa — then that's the Army's de-
cision. But now that the picture's finished,
I'm hoping to get into a little more active
job in the Army. Toward the end of our
stay at Warner Brothers studio we spent
a whole day out at the Warner ranch, with
loaded rifles, on a battlefield set I charged
through the smoke and flames, across a
field mined with dynamite charges that
were skilfully set off by the technicians.
I like to think that that was a dress re-
hearsal for things to come.
For after all, I'm a soldier in the United
States Army. And now that the job of
"This Is The Army" is finished, I'd like to
do a little fighting. Raising money for
AER is a worthy job, but there's more
serious work to be done. Soon!
64
SCREENLAND
by CONSTANCE LUFT HUHN
Head of the House of Tangee
A recent portrait of
Constance tuft Huhn
by Maria de Kammerer
For the first time in history woman-power is a factor
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SCREENLAND
65
Candid Closeup of Bing Crosby
Continued from page 29
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66
nor mine came over on the Mayflower and,
until the moon changed and I got lucky
and hit the jackpot we neither of us had a
nickel that didn't have to do double duty.
"Even now we don't have dinner served
in courses, we don't 'dress' for dinner, we
don't serve tea in the afternoon, we haven't
a butler to bless ourselves with, we don't
have breakfast in bed, Dixie hasn't a per-
sonal maid and if a valet ever showed his
nose around our joint I'd think Dixie was
playing a joke on me and she would prob-
ably call in a psychiatrist to see if it was
safe for me to be at large. We don't do
any of the things that people who're born
in manors do. So you see, we're hopelessly
middle-class."
I mulled this over. "But still," I argued
stubbornly, "when a guy's house burns
down and a few days later he turns around
and buys a $300,000 estate—"
"In the first place," Bing maintained,
"I've been trying to explain to you that
business success ha? nothing to do with
aristocracy. If I were a jillionaire I would
still be middle-class. In the second place,
you've been around Hollywood long enough
to know that if a star coughs the studio pub-
licity department gives out he's threatened
with pneumonia and if he spends a buck
they immediately tack on a,couple of ciphers
and, presto ! it's a century note."
"O.K., Babbit," I laughed, "you win.
Now, what's your home life like? What do
you do evenings ?"
"What do we do when you come out?"
he retorted.
"Swill a few drinks, listen to records,
reminisce about the good old days, etc.
But I'm talking about when stars and big
shots come visiting."
"Stars and big shots don't come to visit
us," he snapped. "At least, when they come
inside our home they cease being stars and
big shots as far as we're concerned. The
only people who come inside our home are
friends, and friends are friends regardless
of their business status. Incidentally," he
continued, "I don't like that expression of
yours, 'swill a few drinks.' Some of our
friends," he looked at me pointedly, "occa-
sionally do a little 'swilling' but most of
them just toy with a glass. We play gin
rummy or backgammon or just talk. Dur-
ing the week, even when I'm not working,
we seldom have company and when we do
I skip the drinks. It's only on week-ends
we ever go out or have any excitement.
"Since the war started it's seldom we
go out even then. I wanted to> enlist, as
I've told you before, but Washington asked
me not to. I'm now connected with the
Office of War Information and work for
them, touring the Army camps, playing
golf benefits for the Army and Navy Relief
and making transcriptions of programs to
be sent to the troops overseas. When I'm
not making a picture I usually spend three
or four nights a week at that. Take out
another night for my studio broadcast and
that leaves me one or two nights a week
for myself. As you know, I've always been
a guy who likes his slumber and I'm glad
to hit the 'Beauty Rest' by 9 :00."
Bing wasn't spoofing. I remember a night
about ten or eleven years ago when he and
Dixie had just returned to Hollywood from
New York after his initial success in radio.
A bunch of their old friends had dropped
in. We were "toying with our glasses," re-
calling— even then — the good old days, and,
we all thought, having ourselves one heck
of a time. About 9 :30 Bing suddenly rose
and smiled in his most charming manner.
"Goodnight, group," he said benevolently.
SCREENLAND
"Make yourselves at home." And that was
the last we saw of Bing that night. Rude?
Not at all. He was merely being himself.
When Bing avers his private life is no
different than any other American family's
he is not exaggerating. The only difference
is that, because he is famous, everything
he or Dixie do or say is rushed into print
and the columnists are the more avid for
news of them because they go out so rarely
and because comparatively few people are
invited into their home.
If I know and understand Bing- pretty
well, he knows and understands the work-
ing processes of my mind equally well for,
looking at me, he suddenly chuckled.
"You're going to ask me about those baby
and divorce rumors that are constantly
cropping up," he surmised. "Well, the
baby rumors are as much of a surprise to
Dixie and me as they are to anyone else.
The answer to that is the same as the
one I'll give you for the divorce rumors.
"I've stressed the fact that the only
people who come to our house are close
friends. Dixie is about as forthright and
outspoken as a person can be. If we're in
the midst of a tiff when guests arrive —
and what married couple doesn't have
them? — instead of putting up a solid front
before outsiders, she carefully explains
what the beef is about so they can referee
and won't feel we're having secrets in
front of them — and then we take up where
we left off when the guests arrived. It
possibly isn't the most polite thing in . the
world but that's the way we are and there
isn't much either of us can do about it
Which proves again, we're middle-class be-
cause your true aristocrat would never
dream of exposing his private life to the
scrutiny of an outsider.
"If we were Mr. and Mrs. Jones our
friends would go home, hash it over and,
in the morning, the wife would phone Mrs.
Brown and Mrs. Greene and tell them
all about it and that would be the end of
it. Because, through fortuitous circum-
stances, I happen to be in the public eye,
it isn't the end of it as far as we're con-
cerned. Columnists get hold of it and call
us for details. By that time it's all over
and we tell them it was nothing. They
won't believe us and periodically write, 'It
is rumored the Bing Crosbys are on the
verge of a divorce.' If nothing comes of
it, as invariably happens, no harm is done
(as far as they are concerned) and they
have filled a couple of lines in their column.
If we ever should separate (and after ten
years or more of married life I can tell
you we never will) they can always say,
'As exclusively reported in this column
three years ago, the Bing Crosbys are
separating.' You see how it goes."
When Bing says he and Dixie are the way
they are and there is nothing they can do
about it, he is making an understatement.
Two more honest, straightforward people
I have never known, but there is some
curious quirk in them that makes them
seem to take a perverse delight in showing
strangers their worst sides. A sort of self-
flagellation, I suppose you would call it.
Dixie has a great talent as an actress, a
swell singing voice, a terrific sense of
humor and would have been one of our
big stars if she hadn't married and re-
tired. But even when she was on the way
up she was always burdened with an over-
whelming inferiority complex. As Bing has
become more and more famous her com-
plex, instead of curling up and dying, has
become more pronounced. No amount of
argument can convince her people like her
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for herself. She is sure, in her own mind,
she is tolerated simply because she is Mrs.
Bing Crosby. So, she says to herself, "The
deuce with everybody," and tries to con-
vince them she is as disagreeable a person
as one can be. As loyal a friend herself
as anyone could be, her friends understand
her vagaries and pay no attention to thetn.
Bing, while utterly devoid of an in-
feriority complex, simply won't exert him-
self for anyone unless he knows and likes
them very well. Recently he was voted the
most uncooperative male star in Holly-
wood by the Women's Press Club. He isn't.
He is simply himself.
Years ago, when he was making his first
picture, he and Dixie and I went to a pre-
view one night. A magazine photographer
spied them and immediately wanted a pic-
ture of them. "Sorry, pal," said Bing
amiably but firmly, "we're not on parade
tonight. We're out for a quiet evening and
not dressed to have pictures made."
I have always admired Bing for that. At
least, he was keeping faith with his fans —
if he had any at the time. But the pho-
tographer still insists Bing is a heel.
There was another time when he had
got a couple of hit pictures under his belt
and was as firmly established in films as
he was on the radio. He and Twere having
lunch together. He was already refusing
to give interviews and I was arguing hotly
that he was hurting himself.
"I'll tell you, Dick," he replied earnestly,
"when someone I know well, like you,
wants an interview it's O.K. I enjoy it. Or
even if someone I don't know at all wants
to see me and has something definite to talk
about— something I can talk about — I still
enjoy it. But most of them write to an
editor and say, 'How about a Bing Crosby
story?' The editor may write back, 'I'd
like one.' The writer comes to see me,
takes up a couple of hours or so rambling
around in hopes a story will come out of
the interview. Most of the time they want
to tell you about themselves and when
they've spent the afternoon with ycu they
go home without a story because they've
done all the talking. Then they want to
come back for another session. If they do
have something definite to talk about it is
usually something very personal that I
don't want to discuss.
"If / didn't happen to be hot they
wouldn't be interested in me. They aren't
hot so why should I have to listen to them
talking about themselves? It's strictly a
business proposition with both of us. They
want to sell a story and I need the publicity.
All right, they should get their story as
soon as possible and let it end there.
"If I called up any writer I know and
said, 'What's all this about you and your
husband having a gas-house brawl in the
Cirambo last night?' they would swear it
didn't happen. So what right have they to
pry into my private life?"
Bing to this day is as cooperative with
his friends as his time will permit. That
first summer he was out here for pictures
I did a story on him. The editor (of this
magazine, by the way) wanted a picture
of the two of us together and was holding
up the story until one came through. I
was hard up and needed the money for the
story, I told Bing about it. "I'll meet you
at the studio at 9 :00 in the morning," he
answered. At 9 :00 sharp he was at the
studio, dolled up as though he were going
to a swank afternoon reception. Actually as
soon as the picture was made he was off
to play golf, and all the time he had spent
dressing, making up and coming to the
studio was simply a favor he did for me.
Writers will tell you that was eleven or
twelve years ago and he wouldn't do it
now. They're right. He wouldn't. But the
only reason he wouldn't is because he
hasn't the time now he had then.
A few months ago an editor sent me an
assignment for a cover-line story on a
famous star. The star wanted the story
and promised to give it to me. When the
time came I was put off with one flimsy
excuse after another. It afterwards de-
veloped he was about to get married and
wanted to wait until after the ceremony for
his story. Magazine deadlines wait for
neither time nor marriages. As the zero
hour approached when I was supposed to
have a cover-feature in New York and I
hadn't got my story, I called Bing. "I'm in
a spot," I told him and related my woes.
"You'll save my skin by coming across."
"Well," he hesitated, "this is the first day
off I've had in months and I was just
leaving for the golf club but if you'll rush
out and think you can get a story in an
hour, come ahead."
He gave me a story that eclipsed any-
thing the other star might have told me.
When I hear people say success has
turned Bing's head — when I hear them call
him uncooperative, I come pretty close to
seeing red. A more down-to-earth fellow
than Bing you couldn't find and, if he is
uncooperative, it isn't for any of the rea-
sons ascribed.
I think a line of Shakespeare's from
"Hamlet" must have stuck somewhere in
Bing's memory : "The friends thou hast —
and their adoption tried — grapple them to
thy soul with hooks of steel, but do not
dull thy palm with entertainment of each
new-hatched, unfledged comrade."
To the people he has known and liked,
he's — well, he'll always be — just Bing.
SCREENLAND
67
Cagney — Out of Character
Continued from page 35
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SHORT, but not for LONG. If the
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BOB PINS
68
neither he nor his wife has ever been heard
to utter a complaint and there are few
actors whose homes mean as much to them.
The Cagneys remind me more of the
couple in the "Thin Man" than any two
people I know. I have seen Jim come into
the living room, make her a bow and gravely
offer her his arm. As Billie takes it, the
pair of them will, with equal gravity and
without a word, swing into a waltz or a
soft shoe dance. The dance finished they
will march solemnly in to dinner or out
the door to wherever they happen to be
going. They are one of the few movie couples
whom no divorce rumor has ever touched.
"When we were first married," Billie told
me once, "it wasn't always possible for us
to get jobs in the same company. I'd be out
with one vaudeville act, Jim with another.
Often we were separated for weeks at a
time. I made up my mind then if I was
going to worry myself over whether he
might be falling in love with someone else
I'd spend the rest of my life being miser-
able. In the majority of cases, when you
trust a person if that person has any charac-
ter at all you have nothing to worry about."
They are also one of the few Hollywood
couples I know who have never lost their
realization of the value of a dollar. Most
Holly woodites who have hit the jackpot
think that golden stream is going to flow
forever. I heard people who were literally
starving a few years ago say, "Look at this !
Wasn't it a bargain? Only $500."
"Whenever I'm tempted to do something
extravagant," Jim said, "I think back to
those days when I was giving dancing les-
sons for a buck a throw and wondering
what I could do to get more pupils. When
Warners gave me my first picture job at
$500 a week with a five week guarantee, I
thought, 'We can live a year on this money.'
When they gave me my second part, with
the same guarantee, I thought, 'Here's
another year's living in the bag.' Even after
they gave me a year's contract we lived in
a $60 a month apartment."
For my dough Cagney is the best actor
in Hollywood — with no exceptions. He has
been among the first ten at the box office,
except for a couple of years, ever since he
came into pictures. Yet offhand I know of
no other star who has survived the succes-
sion of bad pictures Jimmy had during the
early stages of his career.
He is one of the deftest farceurs the
screen has known, yet he can turn around
and play the heaviest dramatic part with
equal conviction. A certain inherent stac-
cato manner of speaking naturally marks
all his performances but each characteriza-
tion is as different from its predecessors as
though another actor was playing it.
There are a few that get Jimmy's goat.
The first, currently, is to have someone
refer to "Johnny Come Lately" as "Jimmy
Cagney's first independent production."
"I'm not the producer," he insists. "My
brother Bill is the producer. Bill has spent
ten or twelve years out here as my manager
and also learning film production. I'm an
actor and I'll tell you frankly I have no
interest in producing a picture. In the sec-
ond place, if I zvere a producer I couldn't
be president of the Screen Actors Guild."
Another thing that gets his dander up
is to have someone make some insane re-
mark about the easy money actors make.
Recently he did a fight scene for this
picture. He had been training for six weeks
from early morning until late at night for
that scene. When Jimmy came out of the
ring, on a sizzling day, dripping with sweat,
a friend who had watched the scene being
SCREENLAND
shot asked, "Is that all there is to it?
Holy smoke! I'd sure like to get paid your
dough for something like that !"
In another picture he had to taxi a plane
in, jump out of it, pick up a bag and run
out of the scene. The landing field was
made of tarmac — a soft, spongy substance
that made each step an effort. About thirty
takes were shot before the scene was in the
bag, with Jimmy landing on his back as
often as he lit on his feet. At the end of
the day when the twenty-year-old cadets
who were working with him were com-
pletely exhausted, an onlooker came up to
Jim and said, "Is there any work to acting
or is it all play?"
Murder was almost committed.
Few stars give their supporting players
the opportunity Jim does. When I heard
that Grace George, one of the finest actresses
the country has known, was making her
cinematic debut in "Johnny Come Lately"
I asked Jim in amazement how they had
ever persuaded her to make a picture as I
had often heard her say she never would.
"She read the script and liked it," he
said. "She should — she has the best part
in the picture."
"Well, how in the name of Grable, did
you pick a script in which someone else
has a better part?"
"Look," he explained patiently, "Bill and
I are interested in making good pictures—
not in showing the public that I'm the only
one in the cast who does any acting."
From all the foregoing you may gather
the idea that Cagney, for all his cocksure-
ness on the screen, is a rather self-effacing
chap in private life. He is. But he is also
something more than that. He is a gentle-
man and it is one of the many reasons his
friends swear by him.
Myrna Loy may return to films soon in another
"Thin Man" story. At present Myrna is active
in the interests of Greek War Relief, particu-
larly on behalf of "Atlas of World War II,"
which is sold for the benefit of Greek Relief.
Want to share with Miss Loy the fascination
of this Atlas for only $1.00? Send name and
address to Greek War Relief, New York City,
and you will receive this volume of dramati-
cally captioned war maps. The postman will
collect One Dollar plus postage, and if you
don't like it your money will be refunded.
A Smile Wins
Continued from page 16
pronounced it bedcfer. When she watched
herself say that and compared her mouth
to when she said the world clearly, she
soon discovered that be^er gave her the
best expression !
Now that so many of our actresses are
proving themselves in a variety of roles,
they don't paint on one mouth that speaks
always the language of one type of girl.
Naturalness is the order of the day. Just
take a look at Dolores Moran, Mary Astor,
or Joan Leslie's natural lip-lines. Off the
screen they all use their most becoming
shades of lipstick — unless an unusual or try-
ing color costume calls for a hint of artful-
ness to bring out the color of which the
costume shade may rob them. They all put
on their lipstick carefully, and usually so
that it will last through the day. And their
smiles show that they've had a thought to
gaiety when they applied the rouge. First,
outline your lips while they are set in a
serious expression. Fill in the lip surface
that shows now. Then, smile your broadest
smile, and you'll see_ that there are spots
that still need covering. This makes you
realize the necessity of carrying color
further inside the mouth and of pressing
lips together so that upper and lower
applications blend evenly.
American girls really do owe a lot to
Hollywood for the example of sparkling
brilliant teeth. A smile before the camera
would reveal any slight dental defect, so
stars' teeth simply must be perfect. The first
prescription for this perfection is — as in all
other forms of grooming ! — cleanliness. And
fortunately for all of us cleaning is made
easy by the excellent modern dentifrices.
In these busy days when dental "beauty
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when so many dentists are serving the
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will help you keep your teeth almost as
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Many people prefer pastes to powders.
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small quantity of the paste into your gums
each time you clean your teeth. This little
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You Didn't Know My Address
Continued from page 37
you could get into. You wanted the Air
Force. The Lieutenant Colonel had recom-
mended you. But you didn't tell me then
that you were in. You camouflaged the
truth for me as long as you could.
"Then we went down to Indio, remember,
and you couldn't get the kind of a ship you
wanted. But while we were there, planning
where to go next, you got the wire, relayed
from Los Angeles, ordering you to report
to Boiling Field. You had to tell me then."
"You were pretty game about it," Gene
said, smiling, "You looked at the wire and
said, I remember, 'So that's it ! Well, that's
what happens when you leave your husband
alone — he comes back in the Army !' "
"No girl need go to dramatic school to
learn to be an actress," said Jeanette, "if
she has been a service man's wife. We
learn to laugh when we want to cry ; wise-
crack when our blood is turning to ice;
keep quiet when we long to break into a
screaming tirade.
"You went to Phoenix — and I went with
you. I took my accompanist with me and
worked on repertoire during the day while
you were flying. I didn't go near the field,
I hated the sound of those Flying Wacos
(strange, how frightened I have always
been of flying) — but I'd meet you in town
and we'd have dinner together every night.
"Then we went home. So then you re-
ported to Boiling Field. Then to Roanoke.
I went into my picture, 'Cairo,' and you
went to Harrisburg for a course.
"Then you came home again. And soon
after, your orders came. My first reaction
was (I may as well admit it now) 'You
can't DO this to me !' I had days of violent
indigestion, and something that felt like
heart murmurs. Heart murmurs, by the
way, is as good a description of any I
know of the way all women feel when the
orders come. We had five days.
"Remember that afternoon at the air-
port ? The plane began to tune up. You kissed
me goodbye. I said, 'I'll go through with
you.' 'Better not, dear,' you said. 'Wartime
regulations, you know. Stricter than before.'
'Nonsense,' I said 'I'm sure they'll let me
through.' 'Please,' you insisted, 'you'll em-
barrass the man at the gate.' The man at
the gate wasn't embarrassed but, even then,
you didn't savvy. Not until I had got on the
plane, sat down and took off my hat did
you realize I was going along. It was a
delayed take on your part, Gene, but when
it caught up with you, I — I like to remem-
ber the way you looked.
"We had two or three days in Washing-
ton, then on to New York. It became,
then, a matter of just moments ; waiting,
each moment, for your orders to take off.
That waiting, Gene!"
"I know, dear."
"I wonder whether you do! I wonder
whether any man does. But women know.
"Then — the night you were to take off.
Remember that?"
"Perfectly," Gene said, "every minute of
it. We had dinner at the Waldorf. We or-
dered a terrific dinner. Neither of us
touched it. Then to the Plaza where we
danced vigorously until 10 :30. I was to
leave for the airport at eleven. At the last
moment, the flight was cancelled. You said,
I remember, 'What an anti-climax! They'd
never write a scene like this into a script!'
The next day, you saw me off."
Jeanette said, "Yes. Yes, I did. Other
women were there, too, other wives. As we
left the airport, one of them said, 'I feel
as if I were up there, too, in the air; not
on earth at all.' That's how it feels, Gene.
'Then I went back to California; went
home. I got there just in time for my
birthday — and our anniversary. It wasn't
a good time to be alone. Morale, I realized
then, is almost as important for service
wives as for service men. Not to be alone,
I thought, is the way to maintain morale.
So the Halfords, our friends who had been
evacuated from Honolulu, came to stay
with me. Three children — it was nice to
have them there, laughing, making a lot
of ^noise, filling that awfully empty house.
"I started making plans to keep busy.
I had left M-G-M right after I finished
'Cairo,' as you know. Although I'd been
working on a picture-to-picture basis for
quite a while and although I had wanted
to leave, had not been satisfied with my
last pictures, had been wanting choice of
stories, M-G-M had been my home lot for
many years and not to be there any more
was part of the strangeness. The hardest
thing is to turn down scripts. I feel, and I
still feel that it is better for me not to
make a picture at all than to make in-
creasingly mediocre ones — but Time is
going, I find myself thinking, each time I
reject a script, two months, three, four.
"So, after a couple of weeks back on
the Coast, I made a tour of the Army
camps. That was in July.
"In September, I made my concert tour
for the benefit of the Army Emergency
Relief Fund.
"I was at home for the Christmas holi-
days and again our friends, the Halfords,
came to stay with me. Which made Christ-
mas the way it should be, kids in the house.
"The day after Christmas the servants
up and left — you didn't know that, did you ?
— and that left us running the house. We
had a most awfully domestic time of it.
Vacuuming like mad, running the washing
machine and the mangle, making beds,
getting meals, washing dishes, gardening.
Then the Halfords left, and I was alone.
Curious feeling to be alone, for the first
time, ever.
"I kept busy in the house. I planned a
Victory garden. Most of our flowers are
vegetables now, Gene. I tended the bees
and got stung for my care and pains. The
sting became infected and I had to go into
the hospital for a few days. I cabled you,
remember, not to worry if you read in the
papers that I was hospitalized because it
was nothing serious but merely the result
of a pet bee's peeve. And you cabled back,"
Jeanette laughed over at Gene, " 'Dearest
Petunia: Didn't I ever tell you about the
flowers and the bees ?' "
"I remember," Gene grinned, "very well,
indeed. For my orderly took the message
to send for me and presently he returned,
saluted and said, 'Beg pardon, Captain,
but the Censor wants you to explain this
message.'
"But," Jeanette went on, "even with
household chores, vegetables and bees, there
were empty hours. Things that had once
taken time, seemed important, had lost their
savour. Clothes. Shopping. Social doings.
"I wrote you twice a week, Gene, some-
times oftener, and still do. Chatty letters.
All the choicest tidbits from the Hollywood
grapevine. I tried to make you feel that
you were not too far away — for in most
of your letters to me you made no mention
of Hollywood, nor asked any questions. It
— it rather frightened me. I felt, often, that
you had gone so very far away from our
world you might never want to come back."
"No," Gene said, "no, that isn't so. When
this is over, there is nothing I'd rather
70
SCREENLAND
come back to than the acting profession.
I am one of those who think it matters.
I am glad that my contract with RKO
still stands, even though it contains that
qualifying little war-time clause, 'If ready,
willing and able.' Meaning that, when I
come back, if I am 'ready, willing and able'
— that little word 'able' is the joker — the
contract will be resumed. But in the mean-
time with a mission to do, you can't get
as interested in Lana Turner's marriage or
Betty's Grable's new romance as you once
were — which doesn't mean," Gene added
quickly, "that I want you to stop writing
me all the items. For letters make all the
difference between a good day and a bad
day over there. Your first concern is, of
course, your job. So far as your personal
life is concerned, mail is all of it. Offer a
fellow a meal or a letter and he'll take a
letter every time. Once, when there was a
delay of six weeks in getting mail through
to us, the morale was lower than I had
ever seen it."
"Letters are just about our personal
lives, too," Jeanette said, and added, "and
most of the mail from overseas is so un-
satisfactory. You don't tell me anything!
You can't tell me anything, I know. Not
anything I really want to know : where you
are (you can never tell me that), just what
you are doing, whether you are warm, fed,
comfortable, safe. Especially, safe. And all
of the cables headed 'Sans Origine.'
"Those two words, 'Sans Origine,' say
it all, Gene. They express the real strange-
ness of it for husbands and wives — to live
like strangers, not knowing where, unable
to share experiences; unable, really, to share
thoughts. Why, the nicest thing that hap-
pened to me in New York was seeing you
here. But— incredible, isn't it? — L didn't
know I would see you here, had no idea
and, when you arrived, you didn't know my
address!"
Gene laughed. "I didn't even know where
you were," he said. "I got leave suddenly
and unexpectedly," he explained to me, "and
Jeanette's letters telling me she was coming
to New York to coach for her Canadian
debut in 'Romeo and Juliet' must have ar-
rived after I had left — over there. I had
to call her mother on the coast. She told
me where to find her. I covered that four
blocks in nothing flat!"
"Well," Jeanette rose from the wide
couch where she had been snuggled, feet
drawn up under her, all the while they were
talking, and walked, a vivid figure in her
Kelly-green hostess gown and tawny hair
piled high, to where Gene was sitting.
Standing there, her hand on his shoulder,
she said, "I guess this brings us up to
date. After my tour in Canada, I go back
to the Coast. If I should be given a script
I like, I may make a picture. I rather hope
so. In the Fall, if I have been received well
in opera and if the 'Met' is open, I may
sing there. And I hope," she added, speak-
ing to us both, "that I haven't sounded
morbid or depressed. It hasn't been a sad
year, really, it's been a thoughtful one. And
I find that, actually, I am happy. Because,
I think, I am a naturally happy person.
Also because I've been fairly busy, feel that
I have accomplished something. And happy,
most of all, for what I have had in the
past."
She stood there for a moment, her fingers
touching the bars on Gene's shoulders, as
Gene spoke.
"I miss my home just as much as any
man in the service does." he said thought-
fully, "and naturally, being away from you
for a year, more than a year, can't make
me terribly happy. And no one really loves
the work of war. But I am happier doing
what I am than I would be doing anything
else. Besides, I am not sure that 'happiness'
is any longer the important factor."
*Youd think there was
a Love Shortage !"
I. Look at him, will you? That's my husband, Pete, but you wouldn't know it.
He. just sits there night after night — ignoring me. I'm so mad I could chew nails!
2. "I'm glad/ I don't have to stand Pete's in-
difference tonight!" I say to Doris, as we go
on plane-spotter duty. She's all sympathy
— and soon I've told her the whole story. "But
Joan, darling," she says, "it might be your
fault! There's one neglect most husbands can't
forgive — carelessness about feminine hygiene."
3. Well, that takes me down a notch or two —
but I listen. "Why don't you do as so many
modern wives do?" says Doris. "Simply use
Lysol. My doctor recommends Lysol solution
for feminine hygiene — it cleanses thoroughly
and deodorizes — doesn'tharm sensitive vaginal
tissues. Follow the easy directions — that's all."
4. Yes, ma'am, she was right! I've used Lysol
disinfectant ever since — it's easy to use and
inexpensive, as well. AND ... I can't com-
plain about any love shortage now!
Check this
with your Doctor
Lysol is Non-caustic —
gentle and efficient in
proper dilution. Con-
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matter (such as mucus, serum, etc.).
Spreading — Lysol solutions spread and
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crevices. Economical — small bottle makes
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hygiene. Cleanly odor — disappears after
use. Lasting — Lysol keeps full strength,
no matter how often it is uncorked.
Copr.. 1943. by Lehn & Fink Products Corp,
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SCREENLAND
71
BONITA GRANVILLE,
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The Song of Bernadette
Continued from page 43
"To learn the catechism requires great
diligence," Peyramale nodded approvingly.
"I think such diligence should be rewarded.
I have here some holy cards. Would you
like one?"
The children reached for the small cards
eagerly. Bernadette was the last to get one
and her breathing came in the rapid way
it always did when she was excited as she
stared down on the scene of the Nativity
pictured on it. But even as she looked at it
Sister Vauzous reached over and took the
card away.
"I'm sorry, Your Reverence," she said,
"but this girl is not deserving. It would
be unfair to the others. They have studied
their catechism. She has not."
She had wanted that picture so much,
it was all Bernadette could do to hold back
her tears. There was so little of beauty in
her life and it would have meant so much
to keep that picture with its lovely colors
for her own. And even though Jeanne
Abadie, one of her schoolmates, walked
home with her and Marie afterwards,
Bernadette couldn't talk, thinking of it.
The smell of onion soup clung to the
stone-walled room as they came in, and she
could see by her mother's flushed harassed
face that it was one of the bad days when
there would be nothing else to eat.
"There's no wood," Louise Soubirous
said flatly, shivering a little as she spoke.
She felt tired, tired to the very bone. Her
small sons, Louis and Justin, had plagued
the heart out of her with their mischief.
"I'll go get some, mother." Bernadette
was always the first to offer when any-
thing had to be done and as she was leaving
Marie and Jeanne decided to go along.
It was a long walk, going for the wood.
The best place was the wooded land beyond
the Massabielle Grotto which was used as
the public dumping ground. Bernadette felt
her heart quickening as they neared the
river and she saw the mill beside the bridge.
No one was at the gate and Mane and
Jeanne dashed quickly across, their laughter
coming excitedly as the slender suspended
bridge swayed under them. But as Berna-
dette neared it the young miller came out.
Bernadette always felt that breathless-
ness when she saw Antoine Nicolau. And
his eyes usually so brimming over with
laughter were tender as they rested on her.
"May I use your bridge?" she whispered
tremulously. „
"As often as you like, and no toll charge.
He took her arm and walked beside her.
"You'd better let me help you, the bridge
is not so dependable."
There were so many things Bernadette
would have liked to say to him but shyness
held her tongue captive. When she caught
up with the others they looked at her sur-
prised. She looked so different, she was
almost pretty with the color flooding her
small pointed face.
They saw the dumps on the hill sloping
above them as they reached the bend in the
road. Thin spirals of smoke drifted up
from the piles of burning rubbish and the
acrid smell caught in Bernadette's throat
so one of her coughing spells came on her
again. It was a desolate spot, the Grotto of
Massabielle. Except for a few scrubby
bushes there was no vegetation growing
among the rocks, the largest of which had
a small cavern in it which resembled a
niche set in a church wall. The small strag-
gling wild rosebush growing below it
swayed convulsively in the harsh wind that
lashed at the girl so furiously as she
struggled to get her breath.
Marie looked at her sister sympatheti-
cally. She mustn't come any further, Marie
insisted. Bernadette must wait there while
they got the wood. She must rest.
Bernadette sat down, and the young
voices faded in the distance. She was tired,
and it would have been good to sit there
resting if it weren't for the guilty feeling
that she wasn't doing her share. Then sud-
denly she felt no longer tired. It was as
if she had been refreshed by a long sleep,
as if winter had suddenly gone and it was
summer again. A warm glow swept through
her body and she realized the wind had
died down. Then the feeling of lassitude
and well-being went as she looked at the
rosebush. Though there was no stirring
anywhere, though not a shrub of a leaf
was moving any place else, the rosebush
was shaking violently.
It was then, just as she was getting to
her feet certain some evil spirit was at
play, that she saw the lady standing there
in the niche above the rosebush. She was
young and delicately fashioned, and so
beautiful Bernadette felt her heart kneeling
to her in prayer. Her white robe clung to
her slender figure and a broad blue girdle
lightly knotted under her breasts fell down
over her knees. But for all the fineness
of her raiment, there were no shoes on her
small ivory colored feet. Instead a golden
rose was poised on each of her insteps. And
as Bernadette stared, her quivering fears
went and in their place came a feeling of
consolation and peace.
So enraptured was she, Bernadette
scarcely realized what she was doing as
she sank down on her knees, reached in her
pocket for her rosary and made the sign of
the cross.
She was still kneeling there when the
others came back. Terror seized Marie's
heart when she saw her sister's rigid figure,
her colorless face, her eyes that had taken
on the look of the blind. She didn't answer
when they called. It wasn't until they were
upon her and Maria shook her that slowly
the color began to come back in Bernadette's
face and her eyes looked like her own again.
"What were you doing kneeling in the
rocks?" Maria demanded.
Bernadette looked at her in indecision.
"If — if I tell you," she said at last, "you
must promise not to give me away. Papa
might take a stick to me if he should hear
of it." Then as her sister, overcome by
curiosity promised, Bernadette told of the
lady.
"Bah !" Jeanne laughed. "What would a
beautiful lady be doing at a filthy place
like Massabielle?"
"I don't know," Bernadette picked up
her share of the wood. "But she was there.
Truly she was."
And it was strange going home, how
Bernadette did not get tired at all, though
the younger, sturdier girls panted with
fatigue under the heavy bundles of wood.
It was as if the lovely lady was still beside
her, so calm and happy did she feel.
But Marie could not keep the secret. She
blurted it out as soon as she was in the
house and her father's face darkened as he
listened, so that Louise fearing one of his
tempers turned to her first born.
"What is this foolishness ?" she demanded.
"It's true, Mama," Bernadette said softly.
"She was there in the cave at Massabielle.
Her face was so lovely, so beautiful. Just
to look at her made me — "
"Nonsense!" Louise caught her breath
sharply as she turned to her husband.
"Soubirous! You heard what she says?"
72
SCREENLAND
"I heard," he said heavily. "And I know
why she says it. She's showing off, making
up a story to sound important. Always
starts the same way with fairy-tales. Golden
roses on her feet, indeed!"
"Oh, Papa !" Bernadette was almost weep-
ing. "I really and truly saw the lady."
It was on Sunday Bernadette went to the
grotto again. After church the other girls
had teased her to take them to see her
lady. And again the lady had come, though
none of the others had seen her and Berna-
dette had gone into another trance as she
knelt there so the girls had become fright-
ened and ran to the mill to ask for help.
Antoine carried Bernadette to his moth-
er's cottage, his heart shaken with fears.
But again the color came back in her face
when she awakened and Antoine's fears
went when her slow smile came.
"What was the matter, Bernadette?" he
asked. "What happened?"
"The lady was there a long time," Berna-
dette said softly. "And she spoke to me.
She said, 'Will you render me the grace of
coming here each day for fifteen days?'
And then she added, T cannot promise
to make you happy in this world. Only in
the next.' "
His mother whispered something and
made the sign of the cross but Antoine
didn't speak. He could only look at Berna-
dette and feel his heart aching as if a knife
had been thrust through it.
He looked up then as the door opened
and Louise Soubirous dashed into the room
as if she were possessed. Marie had hur-
ried home to tell about Bernadette and
Louise had run all the way to the mill,
her tired feet propelled by her fears.
"I'm all right, Mother." Bernadette
smiled. "There's nothing to worry about."
"Nothing to worry about?" Now that
she knew her child was safe the fears
CAST
"THE SONG OF BERNADETTE"
(A 20th Century-Fox Picture)
William Goetz, in charge of produc-
tion. Director : Henry King. Producer :
William Peiiberg. Screen Play by
George Seaton, from novel by Franz
Werfel.
Bernadette Soubirous. . . .Jennifer Jones
Peyramale Charles Bickford
Sister Marie Theresa Vauzous
Gladys Cooper
Vital Dutour Vincent Price
Aunt Bernarde Casterot. Blanche Yurka
Antoine Nicolau William Eythe
exploded into anger. "Scare me half to
death and you say nothing to worry about !
I left your father's dinner to burn and ran
through the streets like a mad woman. And
what do I find? You sitting there like a
princess, you good for nothing — "
She raised her hand to strike her but
Madame Nicolau caught it.
"Don't," she protested. "The child is an
angel of God."
"Angel !" Louise scoffed. "She's the
laughing stock of Lourdes. Bernadette,"
her voice rose, "I won't budge from this
place until you promise never to go to
Massabielle again !"
It wasn't any good protesting when her
mother had made up her mind about some-
thing. Bernadette tried to argue with her
but it was useless. So in the end she
promised, but with all the cunning of love
she added slowly, "Unless you yourself
give me permission."
"That, I promise you, you will never
get," Louise said grimly. "I'm going to
send you to your aunt in Bartres where
you'll forget this silly nonsense."
But Aunt Bernarde allied herself firmly
with her niece when she came to Lourdes at
her sister's frantic bidding.
"-Bernadette is a simple, honest child,"
Bernarde declared firmly. "She hasn't the
cunning to invent anything like this. This
lady might well be a heavenly creature.
And since the lady has asked her to go
to the grotto for fifteen days, she must go."
"But what will people say?" Soubirous
asked darkly. "You don't know what it is
to walk down the street and have people
point you out as the father of 'that idiot.' "
"When I walk with her," Aunt Ber-
nade said, "let anyone dare to laugh !"
At first all of Lourdes laughed indeed
when they saw Bernadette walk to the
grotto. Then one by one others went with
her, impelled by curiosity at first, then as
they looked at her rapt, transfigured face
as she knelt and talked to the lady their
eyes were not worthy of beholding they be-
came converted one by one until the
crowds following her carrying lighted can-
dles and crucifixes took on the dignity and
humility of holy pilgrimages.
Soon newspapers all over France were
printing stories mocking the vision of
Lourdes, Lacade, the mayor, resented it
bitterly. He would not have his city made
the laughing stock of the whole country.
Something must be done to stop this farce
at once. But when he called on Dutour the
imperial prosecutor to help him, Dutour
pointed out he was powerless to interfere.
There was nothing unlawful in the girl
going peacefully to the outskirts of the
town, kneeling, saying her rosary and going
home again. And when Lacade insisted it
was insulting to religious sensibilities to
have the girl say the Blessed Virgin came
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SCREENLAND 73
to her in a public dumping ground, Dutour
only reminded him that the girl didn't
claim to see the Virgin Mary, that it was
the crowd who claimed that it was the
Holy Mother who came to the grotto.
Jacomet, the police commissioner, also
evaded Lacade's demand that he find a way
of stopping the girl's nonsense. Visioning
a beautiful lady could hardly be constructed
as a violation of the criminal code, he said.
If it were, the entire male population of
France would be spending most of its time
behind bars. And there couldn't be any
hustling the girl off to an institution for
the insane, either, with Dr. Douzous de-
claring there was nothing to indicate cata-
lepsy or hysteria and that her straightfor-
ward answers to his questions proved she
was neither an imbecile nor insane.
As a last resort the mayor went to
Peyramale asking that the church stop the
sacrilege. But the Dean of Lourdes said the
Church attributed no religious significance
to the so-called visions of Massabielle, that
too many frauds and psychopathies had
claimed similar experiences before.
"Then," Lacade was sure he had found
the way at last, "the State can invoke the
law which prohibits the opening of a new
place of worship without the consent of
the Minister of Culture."
"The Church has not opened any new
place of worship," Peyramale said. "The
Church neither sponsors nor recognizes
these daily heathen gymnastics that take
place at Massabielle."
"But it is your own parishioners who
carry on these pagan ceremonies," Lacade
protested. "I understand they use. a kitchen
table for an altar and there they pray. On
a spot littered with filth they pray to God."
"Prayer, gentlemen," Peyramale said
quietly, "is good no matter where it is
offered."
The sole responsibility had come back to
Lacade. There was nothing left but to have
the girl brought to him for questioning.
His heart sank when the police told of
Bernadette's infuriated followers escorting
her to the city hall and waiting outside
while she was being questioned. He hadn't
wanted to stir up the whole town with
elections soon to be held. And the combined
efforts of the mayor and the prosecutor
and the commissioner could not confuse the
girl or make her deviate from her story.
They were relieved when her father, fright-
ened for his child, made his way through
the crowds and came into the courtroom,
so they could pass onto him the responsi-
bility of keeping his daughter away from
the grotto.
But when Soubirous forbade Bernadette
to go there again he heard her weeping as
she lay in bed that night. Her asthma was
worse and her breath came in great gasp-
ing sighs that struck terror to his heart.
"You shall see her." He went over to
her bed. "If they lock me up — well, let
them But you shall see her."
Peyramale was walking in his garden
reading his breviary the next afternoon
when a chattering of voices interrupted
him. He looked up and saw a crowd coming
down the street, the girl Bernadette walk-
ing on ahead with Antoine the young miller
a pace behind her.
He stood there as the girl opened the gate
and came into the garden. It was the last
thing he wanted, having her come here.
"Your Reverence," she whispered breath-
lessly, "excuse me, Your Reverence."
Suddenly he turned and faced her. "So
you're the urchin every idiot in France is
talking about!" His voice was brusque as
he looked at the crowd outside. "Do your
couturiers and servants always follow you?
Well ! Speak, what do you want of me."
"The lady sent me." Bernadette looked
up at him appealingly. "Just now she said:
'Please go to the priests and tell them a
chapel is to be built here.' "
"Priests?" Peyramale's eyes were riveted
on the trembling girl. "What does that
mean? Your lady seems to be a confirmed
heathen. Even the cannibals have priests.
We Catholics have religious, each bearing
a specific title."
"But the lady did say priests," Berna-
dette insisted softly.
"Well, you've come to the wrong place,"
the Dean said abruptly. "Tell your lady
that if she wants a chapel she will have to
provide the money. You can also tell her the
Dean of Lourdes doesn't consider it very
fitting for a lady to climb barefoot on rocks
and send adolescents with messages. And — "
"I forgot something, Your Reverence."
Even the girl's fear of him couldn't keep
her from interrupting. "The lady also said :
'Let processions come hither.' "
"Processions, eh ?" He frowned. "Do' you
think tomorrow would be soon enough?"
"Oh, yes," she said softly, all unaware
of the sarcasm in his voice.
"One moment!" Peyramale thundered.
"Let us find out how extraordinary this
lady is. I have heard there is a wild rose-
bush growing in the grotto. I want you to
tell the lady this, that the Dean of Lourdes
would like her to perform a little miracle.
He would like her to make the wild rose-
bush bloom now, in February."
All of Lourdes was excited about the
Dean's order and the next day the ranks
of Bernadette's faithful followers were
swelled by almost all the population of
Lourdes, so that it looked indeed like the
procession the lady had requested. Even
Lacade went with them, flanked on one
side by Dutour and on the other by Jacomet,
and all of them relieved that now at last
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74
SCREENLAND
all this nonsense was to come to an end.
Only Bernadette was calm as she knelt
below the niche. Her wrapt smile coming
as the lady appeared in her niche, beckon-
in? her forward. An incontrollable desire to
kiss the small ivory colored feet swept
through the girl as she climbed the rocks
up towards the niche and with passionate
devotion she thrust her head into the rose-
bush. A gasp came from the crowd as she
lifted it and they saw the blood coming
from the scratches on her face. But Berna-
dette was only aware of the lady.
"Go to the spring," the lady said gently,
"and drink and wash yourself."
There was no spring, and thinking the
lady meant the river Bernadette turned to-
ward it, but the gentle voice stopped her.
"Not to the river," she said, nodding to-
ward the edge of the grotto. "Go to the
spring. Eat of the plants jrou will find
yonder." Bernadette followed her eyes to the
spot without sand or rubble where a hand-
ful of grass and a few miserable herbs had
managed to grow. Running toward it the
girl flung herself on her knees and pulling
up the greens began eating them, all una-
ware of the uneasy mutterings of the crowd
as they looked at each other beginning to
doubt her sanity. And when the girl look-
ing feverishly for the spring began digging
in the earth and began to rub it on her
arms and face, a cry of horror rose from
the crowd Louise couldn't bear it any
longer. Running to her child she put her
arms around her and tried to pull her away.
"No ! No V Bernadette protested "I must
wrash myself in the spring. The lady asked
me to."
Someone tittered and Jacomet came for-
ward, holding up his hand for attention.
"You can see now that the story of the
Blessed Virgin was born in a sick and
warped mind." His voice was triumphant.
"You have been duped by an idiot I beg
of you, go back to your homes."
Only two remained after the crowd had
left, Antoine and Bouriette, a stone mason
almost blind in one eye who was his friend.
Antoine was sick at heart. The girl he
loved so dearly was insane. He felt it
wTould be better if she were dead, and the
overcast sky and the sighing wind seemed
to share his desolation as he sat on the hill-
side, his hands pressed on the ground be-
hind him. Suddenly he felt a strange sensa-
tion and lifting his hands saw they were
wet and then as his eyes stared incredu-
lously he saw the clear stream of water
coming from the place where Bernadette
had dug.
"The Dean demanded a miracle," An-
toine said in a shaken voice. "There it is !"
With a cry Bouriette stumbled toward
the stream and knelt beside it, his hand
scooping up water and mud and pressing
it against his useless eye. And when he
rose again his vision was brighter.
Now it was not only the people of Lourdes
but pilgrims from all over France, from
Spain and the Basque country, rich and
poor, proud and humble alike, who walked
behind Bernadette to her trysts with the
lady. And it was on the fifteenth day when
the lady said she was not to come back
to the grotto until she sent for her that
word came the Dean wanted to speak to
Bernadette.
Peyramale was very gentle when she
came into the room. And a great pity for
her stirred in his heart.
"My dear girl," he said. "Have you ever
thought what your future will be like?
After First Communion girls may indulge
in proper pleasures. They go to dances,
meet young fellows, and after a time, please
God, they marry and have children.
Wouldn't you like to be such a girl?"
"Of course." Bernadette looked at him
eagerly, a soft pink flooding her face. "I
Absent-minded
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would like to go dancing and have a hus-
band some day."
"Then wake up, now !" He leaned to-
ward her earnestly. "Otherwise life is at
an end for you. You are playing with fire."
She could not understand what he meant.
She only knew that when the lady sent for
her she would have to return.
The next day Jacomet, going through
the statute books trying to find a law that
could ztop the long processions from going
to the grotto, sighed with relief when he
discovered there was an ordinance decree-
ing that no water could be consumed by
anyone unless it had been thoroughly tested
by a registered chemist.
Now at last there was a legal way to
stop it, and on Lacade's orders the stream
was blocked off and guarded by gendarmes.
The few who tried to drink from the
water had been arrested and the crowds
no longer made the pilgrimage to the rocks.
And it was almost as if Bernadette had
forgotten the events at the grotto so
calmly did she go through her days.
Then two months later the summons
came. Bernadette was drying a plate when
she heard the lady's faraway voice and in
her eagerness to obey she did not even
realize that the plate had fallen to the floor
and broken or that her mother was angry.
She stopped a few yards away from the
barricaded cavern but her eyes lifted above
the boards to the niche in the rock and
there was the lady. Never had her smile
seemed so lovely, never had there been so
much tenderness in her eyes.
"Farewell," she said softly, and even as
Bernadette knelt there looking at her she
vanished.
"Farewell," Bernadette said, and then
overcome by grief she flung herself pros-
trate on the ground and sobbed.
The gendarmes who only a moment be-
fore had felt powerless to interfere, almost
as though some will other than their own
held them back, came forward now and
placed her under arrest. But this time it
wasn't the officials who questioned her.
They had sent for a psychiatrist and after
a harrowing examination he pronounced
her insane.
Peyramale, who had stayed in the back-
ground during the inquisition, rose protes-
tingly. "This is the most shameful piece of
hypocrisy I have ever encountered !" he said.
"I promise you that I shall raise such a
voice throughout all France that the rever-
berations will send petty politicians top-
pling from their seats. Come here, Berna-
dette," he said softly, and as she obeyed
his arm went protectingly about her. "I
know this child. So do the police. She
is neither a maniac nor a menace to her
fellow men. If you gentlemen still intend
to take her, well and good. But rest as-
sured I will not stir from her side. When
your police come I'll say to them: Load
well your guns, for your path lies over my
dead body."
No one stopped him as he left taking her
with him. And knowing the child's danger
it was to the hospital he brought her where
she would be safe until he returned. For
he was going to Tarbes, to lay Bernadette's
case before the Bishop.
That night as Bernadette lay in bed, her
wide eyes staring into the darkness, the
door opened and Sister Vauzous came in.
"I am being called to the Mother House
of our order at Nevers," she said, her
mouth tightening as she looked at the girl.
"I couldn't leave without telling you how
I feel, Bernadette. You have been calculat-
ing and clever, you have even won over
the Dean of Lourdes. But you should be
thankful that you did not live in former
times when creatures like you who boasted
of equivocal visions were burned at the
stake. None of my pupils have given me
more sorrow. I have prayed for you night
after night and I shall continue so that
your soul will not be destroyed by the
danger to which you are exposing it."
But as she was leaving she could not
resist that last look at the girl lying there
on the bed. A shaft of moonlight lay across
her face and the wide, thoughtful eyes
looked tranquil and at peace, and involun-
tarily the nun's hand closed around her
rosary.
It was on Peyramale's insistence that
the church began its investigation of Berna-
dette, that investigation which was to take
years before it would be finished. But
scarcely had . it begun when the Empress
of France sent one of her ladies in waiting
to the spring in the grotto when her child,
the little prince they called Loulou, became
ill. The beautiful Eugenie had made a vow
to her God that if her son recovered she
would publicly asknowledge her faith in
the spring and the Blessed Virgin of
Lourdes and when the prince drank from
the water and became well again she kept
her promise.
So it was on the Emperor Louis Napo-
leon's orders that the grotto was decreed
open for the public and as the years went
on pilgrims came there from all over the
world. And constantly word came of new
cures, and the pile of crutches and casts
and braces left by those no longer needing
them offered their own mute testimony.
Bernadette was a woman grown that
day when the Dean of Lourdes sent for
her. He stood at the window watching as
she lingered at the gate a moment talking
to Antoine who had accompanied her.
And Peyramale sighed as she came in the
gate and he saw the radiance in her eyes.
"Here," he said gently as she came into
the room. "Come by the fire and get warm."
And then as she obeyed him : "Father
Pomian tells me your sister was married
the other day."
"Oh, yes !" Bernadette's shy smile came
eagerly. "We had a big cake with figures
on it. It was ever so nice. And I am to
take her place with Madame Millet. It
won't be so hard. It's just housework and
the pay is good. It's strange, Your Rever-
ence, the lady told me I could never be
happy in this world, but I am. Happier
than I've ever been. I've got a job and —
and—"
"Yes," Peyramale nodded gravely. "An-
toine is a splendid young man." Then as
she blushed his voice softened. It was a
hard thing he had to tell this young woman.
"Bernadette, the commission which has
been examining you and the cures at the
grotto admit the possibility that you were
chosen by the powers above and that your
hand alone brought forth this spring. Do
you understand what that means?"
She shook her head as if ashamed that
she did not know, and the Dean sighed
again before he went on.
"It means that this report will be sent
to the greatest and wisest men of the
Church. They will be watching you for
decades and then perhaps long after the
rest of Us are dead and thought of no more,
you will — ."
Suddenly she understood what he meant.
"But that's frightful !" Her voice came
in quick protest. "It can't be! I don't want
it!"
"But don't you understand, dear child?"
he said. "The most Blessed Virgin con-
descended to you. This places an obligation
on you. You can't play truant from your
destiny as though it were school and be-
come an old widow's servant. A long time
ago I told you, you were playing with fire.
Your lady was Heavenly fire. Heaven chose
you and now there is nothing left for you
but to choose Heaven."
"Everything you say is true," she whis-
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pered. "And I will do exactly as you ask,
but— but— "
She could not go on. She could not say
Antoine's name or tell of the dreams she
had shared with him, of the life they had
planned together. But Peyramale under-
stood, and his voice was gentler than it
had been even before as he went on.
"Do not worry about your family. I
have arranged for your father to be estab-
lished in a mill so that he can practice
the trade for which he was meant. Your
family can live without fear of poverty."
Every person in Lourdes who could get
there was crowded around that home
which had once been a jail, the day Berna-
dette was to leave for the convent at
Nevers.
The two nuns who were to accompany
her were already waiting in the carriage
and Bernadette felt a moment of panic as
her eyes swept over the crowd and she
saw that the one she was seeking had not
come.
"I said goodbye once this morning, I
know," he said. "But I had to come. I have
a little something for you. Sometimes it
is difficult to say certain things in a letter,
so wherever you may go, if you ever need
me send me this." Peyramale put a small
card into her hand. "And I will come."
The tears rushed to Bernadette's eyes as
she stared down at the picture of the
Nativity on the card that had been re-
fused her that day in the schoolroom.
It was just beyond the outskirts of
Lourdes that she saw Antoine waiting on
the country road. Her heart was too full
lor words as the carriage stopped and he
thrust the white roses he was carrying
through the open window.
"I couldn't say goodbye before the others "
he whispered, "because there was something
I wanted to tell you. I am going to stay
unmarried too, that is what I wanted to say
to you. And now I wish you luck on your
journey, Bernadette."
For a long time afterward Bernadette
sat there straight and still. It wasn't until
Gourdes was many miles behind her that
her tears fell at last on the white roses
But there was no trace of them left in
her eyes when she faced the Mother Su-
perior in the Convent Hall, answering her
questions Yes, she was the postulant from
Lourdes. Her name was Bernadette Soubir-
ous and she was just past twenty. No there
wasn t much she could do.
"But in the world what would you have
liked-to-be ?" the nun asked.
I always thought I could have been a
good servant girl," she said simply. •
So she was set to work in the kitchens
and it was there Sister Vauzous saw her
one day, but still she could not believe in
her former pupil's humility. Even as the
?rarf WCnt and Sister Vauzous became the
Mother Superior and Bernadette a nun
who still chose the most arduous tasks for
her own, the older woman could not believe
m her, and when the other nuns spoke of
the limp that was becoming more and more
pronounced as time went on, the Mother
Superior insisted it was just Bernadette's
way of gaining attention. But sometimes
something in the calm, still face made her
wonder, and one day tortured by doubts
she went to Bernadette's cell.
„ '*I1've *ried to believe in you," she said.
Only God knows how I've tried. But I
cannot. Even the Holy Father in Rome be-
lieves, but I can't. In all our sacred history
the chosen ones have always been those
who suffered. I know what it is to suffer.
Look at my eyes. They burn like the very
fires of hell. Why then should God choose
you and not me?"
"I cannot answer that," Bernadette said.
"If," the other leaned forward, "if I who
have tortured myself cannot glimpse the
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Blessed Virgin, how can you who have
never felt pain dare to say that you have
seen her? If I could only find evidence
that you have suffered — if you could give
me proof, maybe then these monsters of
doubt and hate would stop consuming my
very soul. For the love of God, Sister, give
me proof."
"I wish I could help you," Bernadette
said gently. "But I have never suffered. I
have never — " Suddenly she stopped and she
smiled hopefully. "Perhaps I can help you.
It may be that there is proof for you." She
lifted her habit and the older woman stood
there aghast, unable to speak, as she stared
down at the • huge tumor covering the
young nun's knee.
The Mother Superior tried to speak but
no words came. Suddenly she collapsed at
Bernadette's feet sobbing. And as the sad
young eyes stared down at her compas-
sionately she was able to believe at last.
There came the day when Mother Vau-
zous herself suggested that Bernadette make
the trip to Lourdes and bathe in the spring
that had helped so many. But the nun shook
her head.
"The lady said, T cannot promise you
happiness in this world, only in the next,' "
she said. "The spring is not for me."
It was when she knew she was dying that
she sent the card to the Dean and he came
to her.
"Your Reverence, I did not lie to you,"
she said faintly.
"God knows you did not, dear Sister,"
Peyramale smiled. "You saw her, my little
one, and you will see her again."
"Oh, no!" she said quietly. "It is not at
all certain that the lady will let me be her
maid. All I could achieve was being sick
and maybe I have not suffered enough."
"\ f've suffered enough, my child, for
the h^ven of heavens." His eyes were full
of compassion. "If anything is certain, dear
one, it is that."
Suddenly Bernadette felt as she had back
there in Lourdes, when the lady had sum-
moned her. Her eyes turned to the door
and there standing on the threshold was
the lady, smiling and beckoning, as she
had that day she had told her to come
to the spring. She was so beautiful, the
lady, even more beautiful than Bernadette
had remembered her.
Then the lady was gone, but Bernadette
still stared toward the doorway. Omy now
it was as if death was giving her new
vision so she could see farther, farther
than she ever had before, all those miles
back to Lourdes and the mill beside the
river. It was as if the years had crumbled
into nothingness, as if she had gone back
to that day she had been scarcely more
than a child and the young miller had
helped her across the bridge.
She smiled once and then her head fell
back against the pillows. For a moment
Peyramale stood looking down on her still
face, on her eyes that even now in death
had not lost that sudden rapture.
"You are now in Heaven and on earth,"
he said gently. "Your life begins, O Berna-
dette."
Even as he spoke the bells of the con-
vent began pealing as they were one day
to peal in that great church which was to
rise above the grotto in Massabielle and
as they were to ring many years later in
three hundred churches in Rome.
Ex's" Can Be Friends
Continued from page 3 I
had been spotted dining out and, apparently,
were having a wonderful time.
"In fact, you couldn't tell it from be-
fore," the joyous columnist gurgled.
You could certainly "tell it from before"
a week or so later, as you are about to see
for yourself.
The place was Ciro's in Hollywood, the
time — Saturday night, the occasion a bene-
fit show for the bombardier squadron named
the "We Dood Its" in honor of Red Skel-
ton, and the guests of honor, naturally, Red
and Edna Skelton.
Edna arrived first, punctual as usual. She
was chatting with members of her party
when Red appeared on the scene, convoying
an attractive blonde. He did it almost in-
stinctively: he walked over to where Edna
was sitting and performed the introductions.
"Edna, this is Muriel Morris. Muriel,
th[s is Edna Skelton."
He did it wifh the air of a man who
thought a lot of a certain blonde lady and
wanted his judgment confirmed. If such was
the case, he was not disappointed. The two
ladies chatted only a minute or so. It was
enough for Edna Skelton who leaned over
and remarked, smiling sweetly, to someone
in the party : "She seems like an awfully
nice person, doesn't she?"
Come April and Red received word that
his next picture would be "Whistling in
Brooklyn," a picture involving the daffy
Dodgers of that celebrated hamlet. More
importantly, it was going to be filmed in
Brooklyn, at Ebbets Field, no less.
The first person Red told about it was
Edna.
"We ought to have a wonderful time in
New York," Red said. "I've been looking
forward to it for years."
"Me, too," Edna said.
The trip to New York was a three-day
riot, as all members of the Skelton retinue,
including the delighted Pullman porters,
will tell you. They practical- joked back and
forth, did impromptu skits, and gagged all
over the place. They put in twenty hours
playing gin rummy: (Red still owes her the
six dollars.) They whooped and they hol-
lered. When they reached New York, they
let out a wild yippee. They were here, La
Guardia !
It was a pretty full month in New York.
When the circus came to town, Red, an
alumnus of a minor-league circus or two,
took Edna. He behaved like Junior, scan-
dalized a dowager or two but panicked the
spectators in the immediate vicinity.
He took her to a couple of ball games,
introduced her to the flea circus on West
42nd Street, escorted her (again) through
Chinatown. For Easter he sent her the
hugest pink bunny this side of Alice's
Wonderland. ( She still hasn't decided what
to do with it.)
In a way it was like a five-week Mardi
Gras and in another way it wasn't. The
New York junket wasn't all play. Far from
it. There was work to be done, lots of it,
in connection with Red's Tuesday night
radio show (which boasts a Hooper of 34,
meaning an estimated 34 million listeners)
transferred to New York, at great expense,
for the duration of the shooting on "Whis-
tling in Brooklyn."
Red's radio program is a department
supervised by Edna Skelton. It is Edna
who whips up the outline of the show,
stuffs it with gags (ably abetted by writers
Dick McKnight, Jack Douglas, and Benny
Friedman), and acts as board of good taste
in the event that the boys are undecided as
to whether a bit of horseplay is a little
rough around the edges or not.
Sunday afternoons in New York — as in
78
SCREENLAND
Hollywood — Red and Edna would talk
over the next show. By morning Edna
would be ready with the outline. Monday
night, Red, Edna, and the boys would put
the show together, polishing up gags, mak-
ing substitutions, adding and subtracting.
Come Tuesday noon and the script would
be ready. Tuesday afternoon would find
Red busy getting on speaking terms with
the script, sharpening the timing, and kill-
ing gags which had lost their humor.
Tuesday at dinner time Red and Edna
would confer. Dinner over and the show
was ready, subject, of course, to Red's
countless improvisations before the mike.
An incident that occurred after Red had
signed off at the conclusion of his first
broadcast in New York stamps Red for
the right guy he is. It is Red's habit, as
guests at his broadcasts know, to put on a
wilder, more abandoned, and, possibly,
more hilarious show during the half hour
that follows his regular show — off the air,
of course. For twenty minutes he had re-
galed the packed studio with his shenan-
igans. Then, smiling from ear to ear, he
faced the studio audience and inquired:
"How would you like to meet Edna Skel-
ton?"
The audience roared a loud yes.
"Come on out, Edna," Red yelled.
She came out, neat and petite, and wear-
ing an engaging smile that won over the
audience instantly.
Then and there they began a routine
which brought down the house, Edna play-
ing straight man, catching dialogue, rigging
up laughs for Red, sparring verbally, and,
in the end, carrying Red off the stage on
her back to the delight of all hands.
It is high time for you to be wondering,
gentle reader, how it happened that two
such nice people came to the parting of
the ways in the first place and, having done
so, how it happened that they continue
to gravitate in the same orbit. A reporter
for a New York newspaper, calling on the
Skeltons, put the questions right up to
them, and got some interesting comments.
They maintain personal relations, the re-
porter concluded, because each is the best
investment of the other.
"As long as we stick together, we're sure
of eating regularly," Red said, quick like
rain.
"He's a pretty good guy," Edna said.
"Fond of him? I never said I wasn't."
It was Edna who provided a clue to the
cause for divorce.
"Maybe we had to spend too much time
together of late," Edna said. "We'd start
the day at six in the morning and work
like beavers until dinner. From 7 to 11 at
night Red would do camp shows. And after
midnight sometimes, we'd talk shop until
three A.M., whipping up gags and routines.
"We're both quick-tempered, but quick to
forget. It's different now. If we argue, I
can leave and go home or he can say so-
long and shut the door."
Where will it all end up? It's hard to
say. Right now Red and Muriel Morris
are quite an item. He calls her "little doll."
She calls him nothing more original than
"Red." A native Californian, Miss Morris
is learning the rudiments of interior decor-
ating, for which subject she has a decided
flair. Since Red can't dance (or at least
sticks to the story), they never go dancing.
Since Red is not amused by night clubs,
they give the bistros a wide berth. Mostly
they go to the movies which both of them
enjoy no end.
If there are orange blossoms and Mendel-
ssohn music in the air, you can't prove it
by Red who parries all questions having to
do with romance with a question of his own,
to wit: "And what, Sir, do YOU think of
the Pythagorean formula?"
ANNE BAXTER AND
DANA ANDREWS IN
SAMUEL GOLDWYN'S
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Roddy McDowall's
American Diary
Continued from page 45
a small station. We got on the train there.
We were afraid we wouldn't make it be-
cause Mr. Harris wouldn't drive over 35
miles an hour. When we got on the train,
we found that 20 other people had also
missed the train.
Monday. March 22: Up at eleven. Had
breakfast and then Nellie (Mrs. Nelson)
worked with me on my lessons. I learned
some poems. When I got to Dallas I was
met by a lot of WAACS. They drove me
to their camp in a jeep. I was sure excited.
Then Mummy and I went to our hotel. I
was interviewed and had pictures taken.
At dinner at the Mural Room, I was asked
to go on the floor with a Dr. Giovanni, a
very clever man who picks your pocket
without you knowing it, a sleight-of-hand
artist, I guess you call him. He took my
watch and wallet and I couldn't figure
out how he did it. (He gave them back
all right.)
Tuesday, March 23: Up at seven. Went
to Greiner School in Oakcliff and addressed
750 pupils. I didn't have a prepared speech
but I thought of enough to say to talk for
half an hour. I talked about the war, what
the children did in England, what the stu-
dents here could do, and then about my ex-
periences with Monty Woolley. I told them
that Monty was not a gruff old bear really,
but that he was a sweet man. Monty will
probably bawl me out for the campaign
I gave him. Went to a department store
later and autographed "Flicka" books. Went
to the Red Cross booth and I made a
speech appealing for Red Cross funds. Had
lunch and then went to the State Fair.
I saw the Cotton Bowl ! How I wish there
were a football game here today! My big-
gest thrill was seeing all of the statutes
of the Laws of Texas in the History Build-
ing in the Hall of State on the Fair
Grounds. Also saw the six flags that have
flown over Texas in its history. I've read
about Texas but I never realized how dra-
matic its story is. How little I've known
about America ! I also saw a copy of the
Declaration of Independence and the Con-
stitution of the United States.
Back to another school where I talked
to 800 children. I hope I didn't bore the
students. They were so polite. When I got
to the hotel, 20 children were waiting to
interview me. One of the little girls asked
me, "Don't you wish you were a normal
boy?" I told her I thought I was. She said
then, "But I mean — don't you wish you
could play with other boys your age and
not have to be kept by yourself?" I told
her that I had perfect freedom and lived a
very normal life.
I went to another hotel and told a group
of WAACS what the women in England
were doing for the war and what American
women could do. I was really making a
recruiting speech and it was such a thrill.
Saw Linda Darnell's home today too after
I had finished a broadcast.
At night I made an appearance at the
Palace Theater — and I spoke again to the
audience. Mummy and I then went to the
hotel and packed. I hate to leave Dallas.
Wednesday, March 24: Up at 6 :30. Left
at 7 :40 for Kansas City. School on the
train. Met in Kansas City by more WAACS
— and the Marines. (Wonder how Vee and
her Marine are getting along? They fight
one minute and make up the next but my
sister is like that. Wonder how Gordon
stands her. She's really swell, though.)
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• You help win the war
• You save something
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SCREENLAND
Thursday, March 25: Talked to the stu-
dents of the Paseo High School. The way
I talk ! I get started and can't stop ! And
I have never had a prepared talk yet Got
in a police car and the policeman let me
blow the siren. I've always wanted to do
this. He also made me an honorary police-
man and gave me a badge — number 240 —
and everything. Then I went to the Kansas
City Canteen and entertained the service
men. I even led them in the Paul Jones,
a dance I learned when I was in Washing-
ton at the President's Birthday Ball.
Friday. March 26: Left Kansas City for
St. Louis. Slept and did more school. At
the St. Louis Union Station, Mummy and
I were met by four Boy Scouts and one
Scout leader of Troop 90, the largest in
America. They made me the first honorary
Boy Scout in the country. It was a very
great honor. The Scouts were our body-
guards all day. Interviewed at the hotel
and had lunch. Then to the McKinley High
School and talked to the students.
I had quite an experience. I went to the
Mayor's office and met the Mayor of St.
Louis. He was very charming. While we
were talking, he sat me down at his desk
and said, "Now, Roddy, you're going to be
the Mayor of St. Louis." Good thing the
people of St. Louis didn't know I was their
Mayor for a while. I'm not very good at
politics. But it was lots of fun ! Did a
broadcast later on KMOX and then to the
Fox Theater that night for a personal
appearance.
Saturday, March 27: Autographed more
books and appeared at the Fox Theater
again. Then I went to church. Made a
broadcast over KSD to recruit sailors.
I'm sure covering the ground with this
recruiting. Then to the Art Museum in the
afternoon. I was late getting there and the
Museum was closed but the manager opened
it for me so I could see all the wonderful
pictures. I saw some Gainsboroughs, Mil-
lets, Corots, Titians, and Van Goghs. The
manager gave me some post-cards of the
paintings for my diary. Also saw Gilbert
Stuart's portrait of Washington. I think
the story behind this painting is so in-
teresting. When Stuart asked Washington
to pose, Washington had just had his
teeth removed and false ones put in on a
spring system. When he posed, he had to
hold his mouth very tight and also had
cotton wool in his cheeks. This hurt the
President so much that Stuart had to make
a rough sketch and then he finished the
portrait later without Washington.
Back to the hotel and had another in-
terview with the school children.
Sunday, March 28: Up at 7:30. Crossed
the Mississippi River. What a wonderful
sight ! America is wonderful. Arrived at
Indianapolis at one o'clock. Soldiers, sail-
ors, and a marine met us. Visited the James
Whitcomb Riley Hospital for Crippled
Children and saw them having the Nurse
Sister Kenny treatment. The children were
so happy and gay. They have a lot of cour-
age. I talked with each of them for a long
time. Then I did a broadcast in which I
told how I liked collecting books. That
afternoon, an elderly couple, Mr. and ]\frs.
Loveless, called me at the hotel and said
they had heard the broadcast. They said
they had no children and no one close to
them and that they felt they were so close
to me. They asked if they could come over
and bring me some books. They came that
evening and brought me four very old and
valuable books that they owned.
Dressed up that night as an air-raid
warden and the outfit was right because
Indianapolis had their first blackout that
night. Even though it was quiet and peace-
ful, I remember a lot of blackouts in
London when it wasn't quiet and peaceful.
CONTINUED NEXT MONTH
\ *
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CHARLES ATLAS, Dept. 659,
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□ Check here if under 16 for Booklet A.
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SCREENLAND
Guaranteed by
l Good Housekeeping .
81
QUICK RELIEF
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LYDIA E. PINKHAM'S gSSS&S
82
This man was taught
not to drink water
Drinking water is scarce in North
Africa. And what there is, is likely
to be bad.
So before our soldiers landed
there, they were weaned away from
water. A dash of iodine in their
drinking water served the double
purpose of disinfecting it, and mak-
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boys landed in Africa, they'd lost
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The favorite prepared drink is
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Sounds like somebody was taking
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But keeping them that way takes
money. So much money that Uncle
Sam asks us to invest not 10% or
15% or 20%, but all we can in War
Bonds. *
Chances are, you're already in
the Payroll Savings Plan — doing
your bit. But don't stop there.
Raise your sights! Do your best!
Remember, you get back $4 for
every $3 you invest, when Bonds
are held to maturity. But your
money is needed NOW!
BUY MORE
YOU'VE DONE YOUR BIT.. 1 NOW DO YOUR BEST!
WAR BONDS
This space is a contribution to America s all-out war effort by
Screenland Magazine
SCREENL AND
PRINTED IN THE U. S.A. BY THE CUNEO PRESS, tN
MINER'S
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Copyright 1943, Liggett & Myers Tobacco Co.
NOV -5
t f < jg§mtf£& V mm ■WMMi I
Portrait of Constance Luff Huhn by Maria de Kammerer
By CONSTANCE LUFT HUHN
Head of the House of Tangee
JUST a year ago we presented our new
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who had long desired a lipstick that really
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4
NEW TANGEE MEDIUM-RED
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BEAUTY— glory of woman...
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Protect them both...
BUY WAR BONDS AND STAMPS
TANGEE NATURAL . . . Orange in the
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^wkif^fL^ ^aL$ Smile,..
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- 3
ust a boy and his dog • • •
From the pages of Eric Knight's great best-seller (he wrote "This Above All"
too, remember?) comes a great drama. No roar of guns, no bombs, no tanks,
no planes here . . . but emotion deep, human and intense in a story you'll live
and love. The kind of story real people like to pass along to their friends.
M-G-M PRESENTS THE
TECHNICOLOR
PRODUCTION
Screen Play by Hugo Butler
Based Upon the Novel by Eric Knight
LASSIE
COME HOME
A Metro -Goldwyn- Mayer Picture
with RODDY McDOWALL • DONALD CRISP
DAME MAY WHITTY- EDMUND GWENN
NIGEL BRUCE • ELSA LANCHESTER • LASSIE
Directed by FRED M. WILCOX • Produced by SAMUEL MARX
(The above advertisement is also appearing in American Magazine, Good Housekeeping, Parents' and Woman's Home Companion.)
SCREENLAND
Paul Hunter, Publisher
Delight Evans, Editor
HOMER ROCKWELL, Executive Vice President
Elizabeth Wilson,
Western Representative
Marion Martone,
Assistant Editor
■mnninin iiniiiiiiiiinmiiiiiiiiiiiiiiiiniiiiiiiniiifiiiiiiiniiiniiiiR
nnqnniiaiiininiriinniiiiiiiiiiiiiiiiiuiiiiiiiiiiiiiuiiiiiiiiiiiiiiiiiii
October, 1943
Frank J. Carroll,
Art Director
Anthony Ferrara,
Asst. Art Director
iiDinimiiiiiHniiiraiiiBiniimiiraiiiiinnumniiiiiiiiiniimra
uuiiiiiinniiiuiniiiiiiiiuiiiniuiininiiiiiiiuiiiiiiniiuiiiiiini
Vol. XLVII, No. 6
EVERY STORY A FEATURE
The Editor's Page Delight Evans 19
Betty Grable's Marriage Elizabeth Wilson 20
The Man Who's Had Everything. Spencer Tracy S. R. Moolc 23
Meet Claudia. Dorothy McGuire Elza Schallert 25
That New Boy Bob Walker Rachele Randall 26
Hooray for Hope! Bob Hope 28
Lost In Action. Leslie Howard May Mann 30
Glamor Guy. Ray Milland Tom Waller 32
Private Life of a Softie. Bill Bendix Jack Holland 34
The Bogarts of Brawley. Humphrey Bogart Liza 36
"A Lady Takes A Chance." Complete Fictionization
Elizabeth B. Petersen 42
While You're Away. Annabella (Mrs. Ty Power). Jane MacDonald 52
FULL COLOR PORTRAITS:
Ginger Rogers and husband, Pvt. Jack Briggs, photo by Jean Duval 24
Veronica Lake, playing in Paramount's "So Proudly We Hail". ... 33
Carmen Miranda, appearing in "The Gang's All Here," for 20th
Century-Fox 39
SPECIAL PICTURE PAGES: "How (Not) To Reduce"— by Betty Hutton;
"Soldier's Wife" — Gene Tierney; "Beauty On Ice" — Vera Hruba; "The
Bride Wore Blue" — Janet Blair.
DEPARTMENTS:
Hot from Hollywood 6
Streamlined Living. Evelyn Ankers (Mrs. Richard Denning)
Betty Boone 8
Your Guide to Current Films Selected by Delight Evans 10
Fans' Forum 12
Honor Page 40
Here's Hollywood
Candid Photos by Jean Duval — Gossip by Weston East 54
Beauty and the Bath Josephine Felts 60
Guide to Glamor 62
Cover Portrait of GARY COOPER and INGRID BERGMAN
in "For Whom The Bell Tolls"
Paul Hunter, President
Homer Rockwell, Executive Vice President and Advertising Manager
Lee Wagner, Circulation Manager
SCREEN LAND. Published monthly by Hunter Publications, Inc.. at 205 E. 42nd Street, New Tork. N. Y.
Advertising Offices: 205 E. 52nd St., New York; 410 North Michigan Ave., Chicago; 427 W. 5th St.,
Los Angeles, Calif. Manuscripts and drawings must be accompanied by return postage. They will receive
careful attention but SCREENLAND assumes no responsibility for their safety. Yearly subscriptions $2.00 in
the United Stat«3. it8 dependencies, Cuba and Mexico; $2.50 in Canada; foreign $3.00. Changes of address
must reach us five weeks in advance of the next issue. Be sure to give both the old and new address. Entered
as second class matter, September 23. 1930, at the Post Office. New York. N. Y.. under the act of March 3, 1879.
Additional entry at Chicago, Illinois. Copyright 1943 by Hunter Publications, Inc. Printed in the TJ. S. A.
MEMBER AUDIT BUREAU OF CIRCULATIONS
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Published In
this space
every month
The greatest
star of th»
screen!
We think that the best story the late
Eric Knight ever wrote is "Lassie Come
Home." We liked his "This Above All"
but when it comes to "Lassie" we liked
this above all.
★ ★ ★ ★
So much for the wonderful book — now
for the wonderful picture. It is called
"Lassie Come Home."
★ ★ ★ ★
We predict that the whole country will
go to the dog when they hear the word-
of-mouth praise from those who have
seen "Lassie."
★ ★ ★ ★
Yes indeed, "Lassie" is a human thing.
It takes a sudden dive to the bottom of
your heart and stirs up the waves of
compassion and understanding.
It is a picture of suspense — as exciting
as any thriller you've been thrilled by
and more artistically told.
★ ★ ★ ★
Out at the Metro-Goldwyn-Mayer
studio they're handing bouquets to
young Fred Wilcox who turned in this
first feature directorial assignment.
★ ★ ★ ★
Rarely has there been a better cast in a
motion picture. To name a few — Roddy
McDowall, Donald Crisp, Dame May
Whitty, Edmund Gwenn, Nigel Bruce,
Elsa Lanchester. Sort of makes you
think of the cast of "How Green Was My
Valley," doesn't it?
★ ★ ★ ★
Hugo Butler, who wrote the screen play
from the Eric Knight "best-seller,"
pulled his copy out of the top drawer.
And Samuel Marx produced "Lassie"
with loving care.
★ ★ ★ ★
As the broad beautiful scenes in Tech-
nicolor unfold, we do more than admire.
We find ourselves in the grip of a char-
acterful drama that will be played in
theatres over and over again.
★ ★ ★ ★
Inquire of your favorite theatre when
"Lassie Come Home" will be played. If
you are a father, bring your wife and
kids. If you are a mother, bring your
husband and kids. If you are a kid, take
the lazy grown-ups in hand.
★ ★ ★ ★
Go out of the house to see
"Lassie Come Home."
★ ★ ★ ★
We're just a lion who's
putting on the dog.
SCREENLAND
5
I SMILED at the for-
tune teller, for not so long
ago my hair was so dull and mousy-
looking I was heartbroken. But
that was before Mary, the girl a,t
the beauty shop—.
TOLD ME ABOUT Nestle Colorinse
and how it made even the dullesth&iz
so much brighter and lovelier.
"Colorinse," she said, "gives you
the kind of hair that men can't help
admiring— softer, silkier and filled
with colorful sparkling highlights.
And Colorinse makes your hair so
much easier to comb, easier to
manage." Of course, I tried it-
could any girl resist? And—
WHAT A THRILLING DIFFERENCE! Bob
says now that even the ring he gave
me doesn't have the lovely sparkle
of my hair. Incidentally, Nestle
Shampoo before and Nestle Super-
set after Colorinsing makes hair
still lovelier.
/) <» FOR YOUR NEXT PERMANENT, ASK FOR
' * A NESTLE OPALESCENT CREME WAVE.
COLORINSE
for 10^
5 mini far 25^
At 5 & )0t stores
end beauty counters
Dick Haymes, Amer-
ica's newest singing
idol, who is called
Frank Sinatra's
greatest rival, has
been signed to a
seven-year contract
for two pictures a
year, by Twentieth
Century-Fox. Dick,
current crooning
sensation of Man-
hattan, was formerly
vocalist with Benny
Goodman, Harry
James and Jimmy
Dorsey before em-
barking on a singing
career on his own.
First closeup of the
happy bride and
groom, Janet Blair
and Sergeant Louis
Busch. Sergeant
Busch, now band mu-
sic arranger at the
Santa Ana Army Air
Base, met the screen
star four years ago
when he was a
pianist-arranger and
she was singing with
Hal Kemp's band.
I UNE HAVOC will tell you in no uncer-
J tain terms that she just "loves" Jack
Oakie. By that she means she loves being
with him and appreciates his many quali-
ties. Beyond that, June refuses to admit it's
serious. Jack continues to live all alone in
his big ranch house, once owned by Bar-
bara Stanwyck and Robert Taylor.
TIRELESS in war effort, Hollywood has
never stopped responding to the pleas
of the American Red Cross. Margaret -Sul-
lavan was one of the first to visit the blood
bank and offer her pint. She knew the
minimum required weight was 110 lbs.
Maggie weighed 106. Somehow a brick
managed to find its way into her pocket !
It was a noble trick but it didn't work.
The Red Cross workers were touched but
la Sullavan was turned down. Back she
came a month later and this time she really
SCREENLAND
from
HOLLYWOOD
had gained the weight. Our boys are giving
all their blood. The Red Cross asks for
just one pint of yours. Have you given ?
TIFTEEN THOUSAND attended and ten
T thousand were turned away when Judy
Garland made her debut with a symphony
orchestra at Fairmount Park's famous
Robin Hood Dell. Even though she shook
like a leaf, Judy charmed the Philadelphia
throngs. It was a great moment in the
great heart of the little girl with the big
voice.
WE don't mean to get personal, but Hedy
Lamarr herself isn't exactly being
secretive about it. About what? About her
desire to raise a large family and the sooner
the better. Being a young lady who usually
gets what she wants, look for an announce-
ment on the John Loders.
«■
^2^$S5£,GOES TO PAR AMOUNT'S
LET'S FACE IT
B^rry
REALLy
C/VES our
w/th those
Cole Porter
songs/ and
THEy 'VE
EYE// GOT
Boe Hope
MOOF/NG
SAW THE
PERFORMANCE OF
THE STA&£ H/T
ON BROAD fYA / /
Wf, >fc >j
...au th/s
AND "FOR
WHOM THE
BELL TOLLS"
COM/NO
TOO/
BOB
p<"-omoVa, Pres
ents
YOU'RE R/&HTf
Meusse —TH/S
P/CTURE /$
aScream, aHowl,
A Movie that's
^000 AND
Ctroovie! Ml
^ TS FACE IT
Mr?'***
SCREENLAND
Copyrighted Paramount Pictures, Inc. 1943,
The talk of the town now
turns to a remarkable pic-
ture, FIRST COMES COURAGE,
in which a deeply moving
romance is blended with the
flaring brilliance of
Commando warfare
Lovely Merle
Oberon and
dashing Brian
Aherne share
the starring
honors.
Tenderness
and the
warmth that
comes from
the heart play a big part in
thrilling DESTROYER, which
stars Edward G. Robinson.
Glenn Ford and Marguerite
Chapman share the spotlight
with Edward G., when they're
not sharing zing-y kisses!
All you who roared
at Charles Coburn
as "Mr. Dingle" in
"The More The Mer-
rier" will be glad
to hear about MY
KINGDOM FOR A COOK.
In this uproarious hit, >
Coburn' s appearance,
has been changed
but you can't
disguise a DINGLE! 0
LIVING
How q Navy
Wife in Holly-
wood has worked
out her design
for wartime liv-
ingl Evelyn An-
kers, starlet bride
of Richard Den-
ning, simplifies
her housekeeping
"Poppy's home!" says Dick as he bounces
into the kitchen as Evelyn is preparing
dinner. Hint to husbands: Don't forget
flowers — they help keep the cook happy.
Evelyn says she cooks "by ear."
Never consults a cook-book, but re-
sults are delicious, or so Dick says.
"IT'S Pappy, honey!" cried Richard Denn-
I ing, entering the kitchen in his Navy
| whites, carrying a lunchbox and an
enormous bouquet of flowers.
Mrs. Denning (Evelyn Ankers to you)
flew to welcome him with a kiss. They
are both tall and blonde and very hand-
some. "They go well together 1" might
have been written about them.
"What do we eat?" he demanded, like
husbands anywhere.
"Spareribs, salad, and grapefruit pie!"
caroled Evelyn.
"Not bad, honey — not bad!"
He hurried to change into "blues," and
Evelyn went on with the meal.
"I make dressing with spareribs." She
lifted a bowl of cooked vegetables — celery,
onions, carrots and squash — from the re-
frigerator. "I cut up two slices of bread —
today I'll use raisin and nut bread, as
that's what I happen to have on hand. I
mix the vegetables with the bread, moist-
ening the whole thing with soup, instead
of water, because I have a little leftover
soup."
She molded the mixture swiftly into a
melon shape, put it in her pan_ and ar-
ranged the floured spareribs over it, topped
them with bacon fat and popped the pan
into the oven.
"When it's hot, I'll put potatoes cut in
ASK AT YOUR FAVORITE THEATRE
FOR THESE COLUMBIA PICTURES
8
SCREENLAND
halves and tomatoes around the meat and
finish baking. Salad tonight will be appl;;.
carrots and raisins, since apples have an
affinity for pork. I'll whip them up with
a. good creamy salad mayonnaise."
Dessert of grapefruit pie is Evelyn's
own invention, a dish that has a great
appeal for Richard.
Richard was wrestling with a cold one
day when his bride was pondering the
problem of wrhat-to-feed-the-groom. She
knew that cooked grapefruit is considered
excellent for colds, but very much doubted
if a hearty male appetite would be satisfied
with sliced citrus.
She took graham crackers — "ten or
twenty of them" says the artist of the
cook-by-ear method, blandly — and crushed
them. Blending them with a "little butter,"
she lined a piepan with them. Next she
put a layer of grapefruit sections, covered
with a sprinkling of brown sugar, then
more cracker crumbs, more grapefruit, a
layer of raisins, brown sugar and finally a
topping of marshmallows brushed with a
tablespoonful of cream. Bake this ten min-
utes and a more luscious dessert you never
tasted. I don't knew whether or not it
cures colds.
Evelyn makes out her menus by taking
an inventory of her ice-box, kitchen shelves
and ration books.
"Leftovers usually give me ideas. I cook
by imagination, so when I see a scrap of
cold chicken, a bowl of cooked peas, a
wedge or two of cheese, a stalk of celery
and a few lettuce leaves, I sort of com-
bine them in my mind. Right there is
material for a grand luncheon salad. Snip
them up, mix with a tasty dressing and
serve on a lettuce leaf.
"If I have had lamb stew and some of
the thick gravy is left, there's the begin-
ning of a delicious soup. I add vegetables
and seasoning. I practically never throw
anything out!"
She scrupulously saves fat from her
cooking, strains it into a can and takes
filled cans to her butcher, as all Uncle
Sam's nieces are urged to do.
Evelyn Ankers had found her way
around a kitchen only three times in her
life before she married Richard Denning
in September. 1942.
Evelyn (she pronounces it Eeevelyh) has
traveled more than 150.000 miles since she
was born in Valparaiso, Chile. Her first
ten years were spent in South America
(Please turn to page 14)
The young and handsome Richard
Dennings have an evening of fun
making, playing their own records.
PAUL LUKAS
in his famed stage role
GERALDINE FITZGERALE
HAL B. WALLIS
PRODUCTION
LUC1LE WATSON • BEULAH BONDI • GEORGE COULOURIS
Directed by HERMAN SHUMLIN, who staged it for Broadway
From the Stage Play by Lillian HELLMAN- Screen Play byDashiell Hammett
Additional Scenes and Dialogue by Lillian Hellman • Music by Max Steiner
SCREENLAND
9
It's high time
you discovered this
(this Tampax principle
long known to doctors)
Don't wait another month
before investigating Tampax
' and investigating it thor-
oughly! This principle of
J' internal absorption" is an
old one to doctors, but
Tampax makes it available to women in
general — with neat disposable appli-
cators for easy insertion. You can buy
this modern sanitary protection in three
absorbencies: Regular, Super, Junior. >
When Tampax is in place you cannot
feel it! And it creates no bulge, bunch
or "line" in any costume— not even in
slacks or a swim suit. No belts, pins or
pads. No odor. No chafing. Quick to
change and very easy to dispose of.
Tampax is dainty, simple and convenient.
. Tampax saves time for the active,
fcusy woman. It saves embarrassment
for the sensitive woman. And it preserves
the "silhouette" of the smart woman.
It is made of long-fiber surgical cotton,
extremely absorbent. So compact that
an average month's supply will slip into
your purse. Sold at drug stores, notion
counters. Introductory size,
20£. Bargain Economy Pack-
age contains 4 months' re-
quirements. Tampax Incor-
porated, Palmer, Mass.
NO BELTS
NO PINS
NO PADS
NO ODOR
3 Absorbencies
REGULAR
SUPER JUNIOR
Accepted lor Adver-
tising by the Journal
of th e A m erica n
Medical Association.
fyttb GUIDE
CURRENT FILMS
SELECTED BY
FOR WHOM
THE
BELL TOLLS
Paramount
One of the great pictures of all time, this translation
of Ernest Hemingway's famous novel actually lives
up to much of its advance publicity. True to the book
in mood and action, the Hollywood version has the
advantage of the finest camera work, in Technicolor,
yet seen on the screen. Thanks to Sam Wood's virile
yet always sensitive direction, and a gallery of great
lifesize portraits of the memorable characters from
the book, FWTBT will hold your interest throughout
most of its 2 hours and 50 minutes' unreeling. From
the moment Robert Jordan (Gary Cooper) arrives in
the mountains on his mission to blow up the bridge,
until its heroic accomplishment you will experience the
heartbreak and hope, the high tragedy and terror of
the Spanish Civil War, alongside the picturesque and
indomitable gypsies who fought it. Exquisite love
scenes glorify Ingrid Bergman as Maria. Katina
Paxinou, Akim Tamiroff great as Pilar and Pablo.
Gary Cooper's Roberto is pallid in comparison, but he
is perfect teammate for Bergman. You MUST see it.
BEHIND THE RISING
RKO-Radio
Here is no manufactured "Jap atrocity" film, but a
highly dramatic, keenly contrived drama based upon
the facts contained in James Young's book. Carefully
avoiding the deliberately sensational, it is a picture
which should be seen for its authentic information as
well as its pulse-stirring scenes. The story concerns
a wealthy Japanese, a former liberal, who urges his
Cornell-educated son to throw in his lot with the
new order which dreams of world conquest. Service
in China with the Jap invaders turns the boy into a
brutal militarist who would destroy the girl who loves
him and the Americans who had befriended him.
Highlights : exciting fight between an American boxer
and a huge Jap wrestler ; J. Carrol Naish's fine per-
formance as the father, Margo's as the Japanese girl.
HERS TO HOLD
Universal
The presence of Joseph Cotten in his first romantic
role supplies a much-needed fillip to Deanna Durbin's
rather too placid film life. It's Cotten, as a fascinat-
ing love-'em-and-leave-'em character, who invades Cin-
derella Durbin's cinematic privacy and teases her into
giving an alluring^ performance of a debutante turned
defense worker. The fact that the heroine's motive is
at first a frank yen for Mr. Cotten rather than the
call of patriotism may upset some Durbin fans, but
even they will admit the star shows exceptional
sparkle, especially in the love scenes. Highlights :
home movie sequence in which Charles Winninger as
Deanna's doting dad runs off scenes from early Durbin
movies, a nostalgic note ; lively action in the Vega
aircraft plant, and Gus Schilling's gay performance.
10
VICTORY THROUGH
AIR POWER
Disney-United Artists
S GREENLAND
For the air-minded, the month's most fascinating film !
It's a full-length cartoon in Technicolor based on the
book by Major Alexander P. de Seversky, combining
the inimitable Disney caricatures with "live" action,
adding the Major's voice expounding his theories in a
learned lecture with slides. The Disney genius is evi-
dent in the drawings depicting the history of aviation
from the first flight of the Wright Brothers, through
the part played by air power in World War I, to
illustrations of air might in today's conflict. All-out
Disney fans may be disappointed in his latest feature
as entertainment, but they can hardly fail to be im-
pressed by the novel manner of presentation and the
infinite possibilities which it opens up for future films.
(More Reviews on Page 67)
(Off/ ^Jrienrh are S)e4t
YOU may not see them for weeks, months, years,
but when the emergency arises rhere they ate . . .
willing, solicitous, trustworthy.
Many of you can temembet your old family doctor and
his little black bag with Listerine Antiseptic tucked in the
corner. You felt better the minute he enteted the house.
You can temember, too, the first time you were hurt
and facing the danger of infection — a cut finger, a
skinned toe, a cold coming on — how Mothet brought
Listerine Antiseptic out of the medicine cabinet to help
you through your trouble. You felt good about that, too;
Aside from keeping abreast of the advances in medicine
and bacteriology, doctors haven' t changed greatly, nor has
Listerine Antiseptic. In any home, their ftiendly presence
lends, as always, a feeling of protection and confidence.
Make a friend of Listerine Antiseptic. It is a trust-
worthy fitst-aid in countless little emetgencies when
your doctor, deluged with really serious cases, may be
delayed in coming.
Lambert Pharmacal Co., St. Louis, Mo.
"SZhe 4ame adv-i<& tpa/ve if&evK 3)atl .
LISTERINE ANTISEPTIC, *fan "
<yi(<we i/ian dMy, y#<w& in 4c r vice
BECAUSE OF WARTIME restric-
tions you may not always be able
to get Listerine Antiseptic in your
favorite size. Rest assured, how-
ever, that we will make every effort
to see that it is always available in
some size at your drug counter.
SCREENLAND
13
"a girl's hands must be soft for
romance." Don't think such charming
hands are not for you. They easily can he —
if you make regular use of Jergens Lotion.
Jergens helps prevent the roughness and
chapping that seem so forbidding. This
lovely lotion gives you specialized, almost
professional hand care.
"How the Stars help keep their
hands romantic." The Hollywood
Stars care for their delightful hands with
Jergens Lotion, 7 to 1. They probably know,
2 of the ingredients in Jergens are the very
ones many doctors use to help grubby,
rough skin to heavenly softness, young-
looking smoothness. No sticky feeling. Use
Jergens Lotion — as Alice Faye does.
Streamlined Living
Continued from page 9
where her father was an engineer, but she
went to schools in London, made her stage
debut in Colombia, and later played on
stage and screen in England, New York
and Hollywood.
Her first cooking hint came from a
French chef in Paris, who was addressing
Evelyn's mother at the time. "Never," he
cried, dramatically, "cook a chicken with
the breast up. Lay him breast down in your
pan so the juices run into the white meat
and keep it tender and not dry."
The little girl heard and remembered.
Several years later, the cook of the Ankers
menage was away for the day, Evelyn's
mother was ill, and a chicken reposed in
the refrigerator. "I'll cook it," offered the
daughter of the house. She did so, with the
aid of several directions called from her
mother's bedroom, and it was delicious.
"There's nothing to cooking," she decided
then and there.
Next time, many months later, she
tackled a turkey, which also turned out to
be toothsome. Finally, she bowed out of the
kitchen with the preparation of spaghetti
and meat balls.
In the midst of her motion picture career
she married. Richard was joining the Navy,
giving up his motion picture salary for that
of a Yeoman 3-C, so there was no question
of Brentwood, swimming-pools and the
glamor-star home life so often pictured.
The young Dennings rented a four-room
apartment and Evelyn announced that she
would do all her own work. There was
nothing to cooking, as she remembered. So
for New Year's Day, 1943, she invited ten
people to dinner!
"Everyone gave me cook-books when we
married," recounted Evelyn, "but the only
times I've ever looked into one whatever I
was trying to make didn't turn out right.
I suppose I cook by ear, so when I care-
fully measure out so much baking powder,
so much flour, so much salt or sugar, I do
it all wrong. When I just throw in what I
happen to have around, everything's won-
derful.
"Not that I care to entertain ten people
at dinner often in a tiny place like ours.
Our dining room will seat six people in a
pinch ; it's more comfortable with four. But
we had been entertained ourselves by this
one and that one and Dick's mother sug-
gested that we might as well pay them all
back at once. That seemed reasonable to
us.
"I cooked a big ham — please remember
this was before ration points ! I'd seen
lovely pictures of hams with pineapple
wedges on top, so I cooked mine with pine-
apple. Then I had five kinds of vegetables,
an enormous gelatine salad, and three kinds
of dessert. I put everything on the dining
room table, set up three card tables in the
playroom, and we all helped ourselves.
"I was a little worried at first, because it
was my first big dinner. Poor Dick must
have been frightfully anxious but he was
afraid to come into the kitchen. He half-
opened the door, peeped in around it and
said : 'How you comin', honey ?' I was
decorating the salad. It was a huge affair
of fruit in gelatine, topped with cottage
cheese, and I was busily making a pattern
on it with mayonnaise. I didn't know you
could buy those decorator tubes ; I thought
you used an envelope and squeezed the stuff
out of a rolled spill, so I was doing that
when he spoke. I looked around at him and
said: 'All right — won't be long now!' — and
with that I must have given an extra
squeeze to the tube, for out plopped the
entire contents all over everything ! My pat-
Jergens Lotion
for soft,
adorable Hands
14 SCREENLAND
tern was ruined. I felt like an artist after
somebody's slashed his masterpiece. But
then I saw how funny I was, so I scraped
off the mess and made a new pattern. The
dinner was a success."
When the war is over, the Dennings hope
to build a small house in Santa Monica
facing the ocean, preferably high on the
Palisades on account of the view, but at
any rate where they can enjoy the beach.
They spend every spare moment now down
by the water, so why not live there and save
mileage, says Richard?
In the meantime, money the Dennings
might spend for higher rent goes into war
bonds. Their present apartment was taken
over from Evelyn's stand-in, complete with
all the larger pieces of furniture. The bride
and groom brought in their pictures and
personal effects, bought a few good smaller
pieces, lamps, curtains and drapes and set-
tled in to enjoy whatever time together
the Navy permits.
They arranged the former living room
as a playroom, delighting in "gags." For
instance, Universal Studios crowned Evelyn
the queen of horror pictures because she
had screamed her way through any number
from "Son of Dracula" to "The Mad
Ghoul." The list of these films, each on its
separate painted sign, was hung beneath
a grinning skull and presented to the young
actress, who brought it home and solemnly
bestowed it on her husband. Richard gave
it a Spanish sombrero, a serape, a cigar
and a dagger and stood it behind the gay
little bar that came with the apartment.
"We have no liquor, so you see the bar-
tender is dead for the duration," he com-
mented.
Evelyn had a beautiful time fixing up the
bedroom. She made a bedspread with navy-
blue-and-white striped ruffles and pillow
slips, and a vanity stool to match.
"I made the stool from a nail keg," she
exulted, "padded it and sewed on ruffles.
I made my own lamp shades, too, thread-
ing elastic through the silk ruffles so I can
take them off and on for laundering." She
has a washing machine which she operates
herself.
"Housekeeping in a tiny place like this
isn't difficult. Once when I was working
pretty hard and had to get up in the dark
to be at the studio on time, I thought I'd
better have a maid. But after she'd been
around for a few hours and I'd tried to
show her how I like things done, I decided
it was easier to do the things myself."
Katherine Booth was a model before start-
ing her film career. Watch for this auburn-
haired beauty in M-G-M's "Swing Shift Maisie."
Why Cupid quit
in the case of Claire!
The Plot: Is it really over between them?
Does Jack's letter say an end to the happy
plans they made together?
How easy to take love for granted, to
think it's yours for keeps. How quickly ro-
mance can fade if a girl forgets to guard
precious charm. Poor, foolish Claire, to
take chances with underarm odor!
The Clue: Claire's evenings are lonely. One
night in a magazine she reads: "Baths only
take care of past perspiration. To prevent
risk of future underarm odor, use Mum!"
THEN ONE HOUOAV PARTY-
W you'RE SURROUNDED,
a. CLAIRE.' I'M LUCKY
iW TO GET ANOTHER
H DANCE WITH YOU.'
The Rescue: "I was silly, I was reckless to
take chances with love! I'll never skip
Mum again. Half a minute like this will
protect charm all day or evening!"
(to herself)
JACK JUST CAAIT STAY AWAY,
MOW THAT I'M A MUM GIRL k i
. FOR- KEEPS/ jf
Underarm odor is the enemy of your charm!
Play safe— with Mum! In 30 seconds, you smooth
on Mum— it's quick! Then you won't offend all
day or all evening. Mum is dependable.
And Mum is safe— safe for your skin, even
after underarm shaving. Safe for clothes, says the
American Institute of Laundering. Millions of
women prefer Mum!
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TAKES THE ODOR OUT OF
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Product of Bristol-Myers
SCREENLAND
15
Fans' Forum
p-'ctures in a lighter vein to provide com-
plete relaxation for everyone. Our minds
need a rest as well as our bodies.
I recommend, and believe I share the
feelings of all uniformed men, that Holly-
wood provide more musicals and comedies
with such stars as Bing Crosby, Bob Hope,
Fred Astaire, Martha Raye, Kay Kyser,
Jack Oakie, Eleanor Powell, Dorothy La-
mour, Ann Miller and others.
How about taking up the cudgels,
SCREENLAND?
SGT. BEN SCHNEIDER, Memphis, Tenn.
The lovable tow-headed moppet who
played Ulysses in "The Human Comedy"
was not content with stealing the show
from veterans Mickey Rooney, Frank Mor-
gan and Fay Bainter, but also captured my
heart. I'm speaking of Jack Jenkins.
I have thought of him a lot, for the na-
tive flair for sensitive acting he showed in
that picture indicates that if handled prop-
erly, he will some day become an adult
artist.
I hope he will not be handicapped by
reaching stardom as a child, though, for it
is generally recognized that the public does
not accept child-idols as adult performers.
Instead of stardom, this little tyke should
be permitted to develop gradually his gift
for acting.
But right now, let him lend his childish
charm, his velvety-eyed appeal, his wistful
eagerness to many other motion pictures.
I nominate little Jackie my favorite child-
actor — Star of the Future.
R. J. BUTNER, Indianapolis. Ind.
Continued from page 12
This is an Open Letter to Hollywood
about Helmut Dantine.
"Oh, yes, I remember now. He was the
Nazi flyer captured by Mrs. Miniver. He
was the Nazi commandant in 'Edge of
Darkness.' " Nazi, Nazi, Nazi, that's all I
hear when I mention the name of Helmut
Dantine.
So many actors, when typed, lose out in
Hollywood, so please, don't type Mr. Dan-
tine. Such a man as this one, with his
rugged handsomeness, would make a won-
derful romantic leading man if producers
and directors would only wake up and
pay some attention to him.
Every time I see Helmut Dantine on the
screen he's pushing someone around — Nazi
style — or getting killed himself. For
heaven's sake give him the kind of parts he
deserves ! In my opinion, Dantine could
handle any part assigned to him and do a
swell job.
BETTY BROWN, Raleigh, N. C.
Until I saw "Assignment in Britanny,"
I shunned war pictures as much as was pos-
sible. Like all other people in America, I
wanted fun and laughter when I went to a
movie. I went to this show for the sole pur-
pose of having something to do and, ever
since then, I've been seeing it again and
again in my mind. Pierre Aumont is the
reason. He made this simple war picture,
the plot being of the general run, into a
movie that will live forever in the minds
of American girls. His blond handsomeness
turned my heart over and over. His charm
far surpasses the male leads of our Holly-
wood today. His smile, which he seldom
used, was the most intriguing male smile
I've ever seen.
DAISY FOSTER, Chadron, Neb.
Sure, I have a favorite star I would like
to nominate for an Oscar — "My Friend
Flicka."
Perhaps, because as a child I, too,
dreamed of owning a "yellow" colt, this
tenderly human story by Mary O'Hara ap-
pealed to me, and when I saw spirited, de-
fiant Flicka it was like a dream come true.
Roddy McDowall plays the part of Ken
McLaughlin, the boy who almost gave his
life for his horse, Preston Foster as the
father and Rita Johnson as the mother are
well cast, but it is Flicka that steals the
show — and your heart.
"My Friend Flicka" is not a sophisti-
cated romance or a colossal production;
just an intensely human, down to earth
story of a boy and his love for a "loco"
horse, but it is as refreshing as a summer
shower on our sun-baked Kansas prairie.
Filmed in gorgeous Technicolor, against a
background of western hills, it is a picture
that brings restful forgetfulness of our
own chaotic world, sending you from the
theater resolved to buy another bond, that
America may always be the peaceful land
depicted here.
So here's a bouquet of Kansas alfalfa,
Flicka, for a superb performance.
GLADYS E. McARDLE, Lebanon, Kans.
We
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16
SCREENLAND
7
AN OPEN LETTER
TO DONALD O'CONNOR
DEAR Donald:
As the second great Donald in the history of
motion pictures, I salute you. And you know you re-
mind me a little of D. Duck, at that. You two Dons
both knock yourself out entertaining us. I really think
you'd accomplish the same results with less effort, if
you don't mind my saying so.
Don't get me wrong — I'm a great admirer of both
of you. And I don't have to tell you, with all your fan
mail, that you are a sensation. As the new boy wonder
of Hollywood you keep us air chuckling — and espe-
cially the soldiers who have seen you in "Mr. Big."
One of them said to me the other day, "Say, who is
this Donald O'Connor? Here we had been having a
steady diet of these 'big' pictures with plenty of stars;
lots of war pictures, too, with big scenes. But for our
money we'll take O'Connor — 'Mr. Big' is our idea of
a 'big* picture."
It always takes the movie audience to "discover" a
Don O'Connor. Big names may be forced down their
throats but let a smart company like Universal un-
earth a talent like yours and give it a chance and a
new star is born. And now that you're a "big" star
yourself don't try quite so hard. You don't have to.
You've got everything, so take it easy. Jitterbugs will
date but a personality like yours is good forever, if
you ease up on the mugging and gestures. Good luck
to you, little "Mr. Big."
Top Z z m°tion *.°r "»
/# ' I IK
The Pin-Up Girl tells our star reporter her
own story of her romance with Harry James
By Elizabeth Wilson
THERE may be two people in this world who are
happier than Betty Grable and Harry James, but
I'm sure I don't know them. Newlyweds have a
way of being rather revolting to people who aren't new-
lyweds— thereby causing them to take two aspirin and
a double shot of something after an afternoon spent with
them. But Betty and Harry are different. Marriage be-
comes them. It has made them even more attractive than
before, if that's possible. Of course Betty still shakes a
little from the excitement of it all, and Harry blushes
shyly like a yokel local fresh from a strawberry festival.
You'd never take him for the most popular young man
in America today.
"It happened so fast I have a hard time believing it's
true," Betty told me two days after she had said "I do"
in Las Vegas, Nevada. '"Harry called me Thursday and
proposed over long distance. I'm afraid I fairly threw
myself at him. Instead of a coy this-is-so-sudden, or a
girlish I'll-have-to-think-it-over, I shouted 'Yes' so
loudly that the New York operator evidently thought
my conduct too brazen and interrupted with 'Mr. Harry
James calling — ' as if I didn't know. I told him I wanted
a quiet wedding without any fuss, so we decided to meet
in Las Vegas the Monday morning after the Fourth.
The studio gave me an hour off for lunch on Friday, so
I rushed out and bought a new dress at the nearest shop.
No prospective bride ever bought a wedding dress faster
than I did. All I know is that it was blue with no yellow
on it — Harry's one pet superstition is that he won't have
any yellow, around him:"
Before Betty became Mrs. Harry James she was a
pessimist about love. She belonged to that lucky-in-busi-
ness-unlucky-in-love school of thought. Her friends used
to say to her, "Betty, you've had marvelous luck in your
career, but you have the damnedest luck in your ro-
mances." And when shortly after she broke off with
George Raft and started going with Harry James (who
was still married though he and his wife had been sepa-
rated for a year and a half) her friends clucked dismally,
''Betty, you dope, there you go again." With this con-
stantly being dinned in her ears Betty decided, "I'm so
happy and successful in my job, I guess it's expecting
too much to be happy and successful in love." So when
the attractive Harry James fell in love with her last
March, and she with him, she refused to let him propose
until he was free to marry her. "There's no use crowding
Fate," she said. On the last Thursday in June, Louise
Tobin James obtained a divorce in Juarez, Mexico. The
first thing Harry did was to call Betty up from New
York and propose.
"I told Mother that night I was going to marry
Harry," Betty continued, "and she was awfully pleased.
It seems that Harry with his quiet old-fashioned gallan-
try had asked her for 'her daughter's hand in marriage.'
Mother just couldn't resist that. She thinks Harry is
the most wonderful man ever."
Along with Edith Wasserman, {Please turn to page 64)
The happy newlyweds, on facing page, home after their hectic mar-
riage. Top, this page, Grable of the famous gams helps to scrap the
Axis by demonstrating the best way to test an object for copper
before you turn it in to your movie theater's "for-the-duration"
copper, brass, and bronze program. Your theater manager will give
you a free ticket to a copper matinee. Right, Betty in costume for
'Rosie O'Grady," her latest musical romance for 20th Century-Fox.
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HHE AAAN WHO'
Spencer Tracy thirteen years later!
Candid closeup of "Spence" per-
sonally and professionally, by the
one writer who knows him best
I - ' By
S. R. Mook
I HIRTEEN years is a long stretch in the
span of anyone's life. I often ponder over
the alchemy of the changes Time has
wrought in Spencer Tracy since I've known him.
We met thirteen years ago when he was making
his first picture — "Up The River" — a satire on
gangster and prison life. Spencer was something
new in Hollywood. His cockiness lacked the
brashness of William Haines' — the self-assurance
of Robert Montgomery's. And Spence's existed
only on the screen. Off-screen he was diffident
to the point of timidity but he had a geniality about
him — the warmth and friendliness of a playful St.
Bernard puppy.
The rave notices he received for his work in the
picture didn't change him. He only wondered if
he had been as good as his notices and, if so. how
it had happened.
He had been working steadily in New York
plays for several years but had just scored his
first big hit when he came out here — Killer M ears
in "The Last Mile." It was stark drama and, as
I said, his first picture was a comedy — a rollick-
ing, rousing farce.
The old Fox company, dubious about putting a
dramatic actor into a comedy, had signed him for
he one picture with an option for a contract,
hen the picture was (Please turn to page 72)
Meet
Claudia
OTHERWISE DOROTHY McGUIRE
By Elza Schallert
I IFE for Dorothy McGuire. the young actress who is
being introduced on the screen in "Claudia."' has
I been one quick, brilliant, streamlined upsweep.
First of all. there was her over-night success in the
play of the same name hy Rose Franken, which followed
a comparatively brief and haphazard experience in the
professional theater. Dorothy herself was an instant hit.
The show went into a long run in New York, and later
toured. Meanwhile its triumphant young star was signed
to a film contract by that super top-notch (especially
since "Gone With The Wind" and "Rebecca") cinema-
maker, David O. Selznick. When it looked as if he might
quit making pictures for a while his contract with
Dorothy was speedily transferred to Twentieth Century-
Fox and now that smart organization is sponsoring her
debut with a zeal that has seldom been equalled.
The whole pattern of Dorothy's career thus far has,
of course, had "Claudia" as its major motif. She has
identified herself indelibly with the play's heroine So
true is this that when she was (Please turn to page 74)
Here's Dorothy
in title role of
"Claudia" os
Bob Young's
child-wife. Top,
love scene with
Reggie Gardiner
as Claudia ex-
periments with
sophistication.
\
25
BOB TAYLOR was having a shine in
the M-G-M barbershop. "Say, Bob,
we're going to sneak 'Bataan' at
Huntington Park tonight," a producer
said from beneath a coat of shaving lather
in the next chair.
"Swell, thanks," said Bob, jumping up.
"I've got to get to a telephone right away.
Promised young Bob Walker I'd let him
know."
Two hours later Bob Tayor was at the
studio auto gate to meet Bob Walker,
who has done the unheard of by starting
his film career "on top of the heap." A
real Horatio Alger, if Hollywood ever
saw one.
"Come along in my car," said Bob T.
to Bob W.
"I think you'd better come along with
us," Bob W. replied, "if you don't mind."
Bob T. opened the door. To his sur-
prise, sitting low in the seat was Mrs.
Walker — who is, as you know, Jennifer
Jones.
"Phil (Bob wooed and won her and
married her when her name was Phil, and
he still calls her Phil) isn't supposed to
be going to previews until her picture,
'The Song of Bernadette,' is finished. But
she. couldn't resist. She had to come
along," Bob W. explained to Bob T.
So it was the three of them sat in the
Huntington Park theater and saw
"Bataan." Bob Taylor's name flashed on
the screen. There was a hearty round of
applause. Bob W. glanced over at Bob T.,
half-wondering to himself if Hollywood
wasn't still a dream. He knocked on the
wood of the arm rest of his seat. Here he
was ! Bob Taylor, Lucille Ball and Desi
Arnaz on his left. The newly acclaimed
Miss Jennifer Jones, his very own Phil,
on his right. He was about to see what
kind of a movie actor this Bob Walker
would prove to be.
"Phil squeezed my hand when I came
on the screen. Personally I had a very
uncanny feeling," Bob W. said. "She
kept pinching my hand excitedly. She was
rooting for me, as she always has. Even
when the going was toughest — when
Hollywood turned us down flat and we
had to return to New York and live in a
one-room apartment and share the bath
with four families — Phil never for a
moment let me down. She was always
there — encouraging, believing in me. A
fellow can't be a complete bust with a
wife like that."
Needless to say the sneak preview of
"Bataan" only confirmed the opinion of
the executives of the studio, who had run
it earlier in a projection room of M-G-M.
When young Bob Walker came on the
screen, one producer nudged another —
and the nudges went right down the row,
with elation at the discovery of a new
First picture, top left, of Bob Walker in new
role with Greer Garson in "Madame Curie."
Next, family album photo of Bob at the age
of one year — he's the cherub in the center,
with his mother and two of his three broth-
ers, snapped in Salt Lake City twenty-two
years ago. Left, M-G-M 's two Bobs: Taylor
and Walker, seen together in "Bataan."
THAT NEW BOY
BOB WALKER
star. Louis B. Mayer had done it again! Bob Walker
was a natural. As for the preview cards, they were
ninety percent raves for Bob W.
The next day Bob was put into "Madame Curie" as
the juvenile love interest of Academy Award Winner
Greer Garson, to share third billing in another of the
studio's most important pictures of the year. And then,
as if Lady Luck hadn't sufficiently indulged him already,
young Bob W. was announced for the title role in "See
Here, Private Hargrove" — and slated in advance for the
lead in the next Judy Garland starrer.
Not even Bob Taylor or Clark Gable ever had such
phenomenal luck. What actor ever has so quickly
zoomed to stardom?
"It's just a fluke, my being in pictures at all." Bob said.
Bob is 24, six feet tall, lean and broad-shouldered, with
a mop of light brown, unruly curly hair. His eyes are
light blue, and dimples flash on his bronzed cheeks when
he smiles — reminding you of Dennis Morgan. It is with
particular pride that we write this introduction of Bob —
for he is from our own home town, Ogden, Utah. We
went to the same school, Central Junior High. For the
past four years, when Bob summer- vacationed at home
with his parents, the Ogden Standard Examiner gave
him a glowing write-up. A write-up that said the usual
thing: The home-town boy who was on the radio in
New York, who had a promising future.
"It was sort of embarrassing for a while,3' Bob ad-
mitted. "Each summer when I came home, the paper
would call and ask the same questions. I could only give
the same answers. Nothing new or spectacular. I think
they were just being very polite.
"I never thought all of this could happen, myself,'' he
went on. "Four years ago we came out here to Holly-
wood, Phil and I, and we got the royal brush-off. This
time, I was before the cameras the second day after I
arrived.
"I had given up all thought of motion pictures for my-
self." Bob admitted frankly. It was late afternoon. Bob
had been called into the pub- {Please turn to page 76)
You saw him in
"Bataan" and
you want to
know all about
him. So here's his
first interview
By
Rachele
Randall
By
May Mann
THE LONDON airliner from Lisbon
was ninety minutes to sea, flying a
wide safety arc from its regular course,
when Nazi reconnaissance planes were
sighted. Leslie Howard, a passenger,
scanned the sky with the others. It would
be like him, even then, to chuckle, like the
gentle cynic he was, "Jove, I hope those
Jerrys don't think we have Churchill
aboard !"
The Nazis swooped down, their guns
blazing — opening full fire on the defense-
less transport. Leslie indeed must have
thought in that last flash second, "Well,
this is it. This is the great adventure. Now
we shall see ."
Had there been the slightest chance to
use the rubber life rafts in the choppy
waters of the Bay of Biscay, Leslie, a strong
swimmer, might have escaped. There are
those even now who believe he might have
been picked up by an enemy fishing sloop.
That he will yet turn up after the war. But
last reports list Leslie Howard, soldier
without uniform, as lost in action. He might
well be safely making pictures in Holly-
wood today had he not had that inspired
loyalty to serve.
War had just been declared by the British
Empire when Leslie, in the midst of pro-
duction plans for his next picture with
Selznick, boarded a plane for New York
to take the first boat to England.
"We've got to put those Germans in
their place, once and for all," Leslie said.
"I don't know what I can do — but I as-
sure you I'll do something, if it's nothing
more than pushing a wheelbarrow.
"I think, however," he had said, "radio
will be one of the strongest weapons in
this war. Telling the people the truth, coun-
teracting that false propaganda the Ger-
mans have been putting out. I look like a
slight fellow (5 feet 11 and 145 pounds) to
man a gun. But thank God I can open my
mouth — and I'll do it."
From London Leslie went on the air
twice weekly for the B.B.G short-wave
broadcasts. He became England's most im-
portant short-wave broadcaster. He worked
feverishly and constantly, making pictures
under the direction of Great Britain's War
Ministry, broadcasting, lecturing exten-
sively. Appointed Britain's cultural envoy
to neutral countries, under the auspices of
the British Council, Leslie lectured on art
and education, with particular regard for
postwar potentialities, at the same time
effectively presenting the Allied nation's
side in the war.
Leslie Howard's career as one of the out-
standing romantic actors on stage and
screen, both in England and the United
States, is well-known. His numerous mo-
tion pictures: "Romeo and Juliet," "Inter-
mezzo," "Gone With the Wind," "The In-
vaders," "Mister V," and now "Spitfire."
produced by Leslie in London (his latest
film) — and his success on the London stage
and Broadway are {Please turn to page ygj
■
i
k
MAUREEN O'HARA, IN "THE FALLEN SPARROW," AN RKO-RADIO PICTURE
Maureen O'Hara says —
"Hollywood experts advise for me a
powder shade that emphasi7.es the ivory
fairness of mv skin. Like many other
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learned that ^ oodbury shades do much
more than just blend with skin coloring
— they give the most flattening color-tone.
The exquisite Woodbury Rachel is mv
shade. It gives a clear, warm, ivory
tone that means glamour. I'm told!"
Cupid
will get you —
To be lucky in love, wear your Woodbury
shade. Film directors helped create it.
And thanks to the Color Control process,
plus 3 texture refinings. Woodburv Powder
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°reS~<" "o extra
I
if
"Oh, brother, does
that stink!" says Mil-
land of his own sing-
ing in "Lady in the
Dark," Paramount's
big new film in which
Ray appears with
Ginger R o g e r s ,
above. Glamor get-
up below is for a
sequence in the film.
GLAMOR GUY
fcflL,"'
32
IF YOU concede background moulds character and
shapes one's philosophy, then put Ray Milland down
for a realist. This will be difficult for thousands of this
star's feminine admirers to do, including those kitchen
maids who habitually skirmish by outposts of headwaiters
for an autograph, mothers who nervously flaunt giggling
daughters hoping that chance will favor them with an in-
troduction, and girl elevator operators so distracted they
miss whole floors in their pursuit of a smile.
Such things happen to Ray every time he comes to town
and is booked into a suite in the Waldorf's tower right
alongside the New York home of the film industry's boss,
Will H. Hays. He loves it all, of course. What actor
doesn't? But he never associates such incidents with
glamor — a fighting word when it is applied to him, yet
fairly accurate when you really know Milland, under-
stand the tempo of Waldorf admiration, and maintain
perspective by a vivid recollection of what else glamor
means to Webster — "a charm on the eyes causing them
to see things differently from (Please turn to page 81)
Ray Milland may hate glamor, but he's got it
r
PRIVATE LIFE OF A
OPTY
Believe it or not, big Bill Bendix
is just a family man at heart
AT LAST the truth is out. Bill Bendix, toughest guy
f-\ on the screen, is just a home-body at heart.
/ \ I know. I dropped in on him the other day, just
after he had finished his latest role, in "Hostages." Bill
was dressed in what he called his "leisure outfit," and he
had all the earmarks of a very happy, contented guy.
For the first time in his life, he owned something. A
house. The first home he has had since he left his papa's
knee to seek his fortune.
When I walked inside, the delightful odor of home
cooking permeated the room. Tess, Bill's wife, explained,
"That's my spaghetti sauce you smell cooking. Sue and
Alan Ladd are coming over tonight. They live just across
the street, you know. Alan has been asking for spaghetti
for a long time, and since he was able to leave the base
tonight, I decided to see that he got his spaghetti."
Despite the fact that Bill has knocked Alan from here
to Timbuctoo and back in various pictures, the two are
the best of friends. Bill is a bit surprised by this, espe-
cially since he really knocked Alan out during the making
of one scene in "The Glass Key."
"It's a wonder Alan ever speaks to me," Bill said as we
By
Jack Holland
sat down in the comfortable living room, "because he's
taken plenty from me in the pictures we've made. That
time I knocked him out — well, I was more scared than
he was. Course, my conscience is cleared now. He
knocked me out in 'China.' "
Bill's home is far from pretentious. It is a seven-room
bungalow in the Los Feliz district. Bill and his wife had
only moved into it a month before, and the two of them
had spent every spare minute furnishing and decorating
it themselves. Their chief pride is in the guest room which
they have paneled and trans- {Please turn to page 82 )
These exclusive photos show
Bendix of "Wake Island" and
"China" as he really is: a
home-loving hombre who likes
to cook, croon, collect beer
mugs, and enjoy the first real
home big Bill has ever owned.
A LMOST every time the studio gets a gander at the
j— \ size of the Bogart fan mail, and reads a few of
/ \ those torrid letters written by fatuous women
who want him for their pin-up boy. they decide that
something really ought to be done about prettifying
their sinister looking star. This always annoys Bogie.
All you have to do is put shoes, a tie, and a pressed pin
stripe on Bogie and he bellows that he is being prettified.
Bogart doesn't fancy himself as a sleeked-up, eau de
cologne glamor boy. That's for the Errol Flynn type.
He likes to think of himself as a thug, with cropped,
unkept hair, a week's beard, and a cigarette dangling
out the side of his mouth. So when Columbia offered
Closeup of Hollywood's
THE BOGARTS
him the part of the hard-boiled American tank sergeant
in their epic of North Africa, called "Sahara," Bogie
was happy. This was right down his alley. For eleven
weeks on a desert location he could look worn, tired,
disheveled, and unshaven to his heart's content. As Mayo
Bogart expressed it. "I got so sick of seeing Bogie with
that sand in his beard. Kissing him was like kissing an
emery board."
The location of "Sahara" was in the Southern Cali-
fornia desert, where Uncle Sam trains soldiers for over-
seas duty — the idea being that if they can survive the
130 heat there Africa will seem fairly refreshing. The
Bogarts, accompanied bv Sluggie, their Scottie. moved
into Brawley, a town 35 miles from the desert location,
and were lucky enough to get a bedroom, sitting room,
and bath, in the local hotel. Bogie, unlike a lot of hus-
bands, dotes on his wife's cooking, so Mayo immediately
set up a hot plate and went marketing. Mayo can do
more with a hot plate than most people could do with
most colorful couple
OF BRAWLEY
the entire kitchen of the Waldorf with a chef thrown in.
Every morning Mayo would prepare Bogie's lunch on
the hot plate and take it out to the location in the
studio mail car. She and Bogie would spread the lunch
on the hot sands, with an eye out for rattlesnakes. Then
she'd play gin-rummy with her spouse between "takes,"'
and blister none too prettily in the blazing sun, until it
was time for the company to break for the day and
drive into town. Back at the hotel, while Bogie took a
shower, Mayo would prepare a tasty dinner over the
hot plate — the temperature by then having sunk to a
mere 115. You'd think the little woman would have con-
sidered herself very much put upon, wouldn't you?
You'd think she would nag a bit, cry a bit, and threaten
to go home to mother. But you don't know Mayo. She
loved it. "One of the grandest times we've ever had,"
she reminisced over iced coffee, "though Bogie and I
manage to have fun no matter where we are.
"Did I tell you how Bogie finally got a trailer dress-
Sand goggles for "Slug-
gie," Bogart Scottie who
went along on location
with Bogie and Mayo
shown center, above).
ing room on the location?" she asked. "It's a wonderful
story. One day it was so terrifically hot that we just
couldn't eat on the sands. So Bogie found a truck that
offered us slight shade. We settled ourselves on a couple
of kegs inside and were in the midst of our lunch when
suddenly the special effects man ran up to us and shouted,
'Mr. Bogart, put that cigarette out ! You're sitting on
dynamite kegs.' I almost choked on a sandwich, and
Bogie turned pale under his tan. When the company
heard about it they presented Bogie with a trailer. I
guess they decided it was better to buy a trailer than
have him blow up and ruin the picture."
The Bogarts have never (Please turn to page 66)
37
How
(NOT)
to Reduce
"Let's Face It," girls,
exercise is a won-
derful thing — if you
haven't anything bet-
ter to do. Personally,
I have. But the other
day I started worry-
ing about my waist-
line and you know
where that leads —
to a reducing salon,
"gym" to you. There
I was in there punch-
ing, riding a bicycle,
knocking my brains
out — and what hap-
pe ned ? When I
weighed myself I'd
gained two pounds!
"Don't these guys
ever eat anything
but Baby Ruth?"
Well, Soldier, anywhere and any-
time you do "fatigue" duty, you'll
think the same . . .
Because wherever our fighters go,
Baby Ruth goes too. And so do many
other fine foods produced -and pack-
aged by Curtiss Candy Company.
Our big food plants are working
day and night to keep pace with the
demands of the Armed Forces . . .
and the home front as well.
Active, hard-working people realize
that Baby Ruth and Butterfinger are
great candy bars, rich in dextrose
sugar, providing real food energy to
help folks fight fatigue, to carry on
their work and play.
While we are not always able to
keep all dealers supplied with Baby
Ruth and Butterfinger, we promise you
our best efforts to produce both the
quantity you demand and the quality
you expect of these great American
Candv Bars.
buy u. s.
WAR BONDS
AND STAMPS
When you don't find
BABY RUTH
on the candy counter,
remember . . . Uncle
Sam's needs come
first with us as
with you.
RTISS CANDY COMPANY* Producers of Fine Foods • CHICAGO, ILLINOIS
Jean Arthur plays a city girl who takes a bus to
the wild and woolly West in search of excitement
and adventure. After a hectic trip fighting off un-
welcome advances she finds both — and romance too.
Jean Arthur's funniest film! Exclu-
sive fictionization of gay new ro-
mance starring the screen's most
wonderful wacky heroine, with John
Wayne as her hard-to-get cowboy
SO FAR there hadn't been any of those breath-
less clays the travel folder had guaranteed. So
far there hadn't been anything that could even
vaguely be described as adventure. Of course Mollie
had never been almost scalped by an Indian before,
but that could only be listed as another annoyance
considering the Indian was about eight years old
and spoke with a Tenth Avenue accent and his
tomahawk had come with his Indian suit, a bar-
gain at three ninety eight. The kid certainly was no
bargain to Mollie; neither was his brother, the
pint-sized cowboy. When it came right down to
it the whole trip — one hundred and thirty-seven
dollars, all expenses paid — had stopped being a
bargain.
It had started out so brilliantly, too, with Mal-
com and Bob and Greg all coming down to the bus
to see her off on her tour to the great West. Not
that Malcom and Bob and Greg were her idea of
excitement but going away made everything seem
different, and the corsage of real gardenias and the
steamer basket complete with fruit and dates and
nuts and the special deluxe copy of "Guide to the
West" weren't things that happened to a girl just
every day. And certainly no girl could object to
having three men fighting for her favors and prac-
tically knocking off her hat when they kissed her
goodbye. The wistful girl in the seat next to her
just couldn't get over such an excess of male devo-
tion.
"Honey, you mind if I ask you a question?" she
said. "What are you going away for?"
Mollie only smiled. It was nice having people
realize she was popular and a girl who didn't have
Copyright 19 ',.i by RKO-Radio Pictures. "_4 Lady Taken A
Chance" in based upon an original story by Jo Swerling.
Screenplay by Robert Ardrey. Complete cant on Page 69
When Jean goes to a real Western rodeo she
meets John Wayne, a handsome cowboy, under
thrilling circumstances. But the city gal fails to wow
the virile Westerner and finds herself hitch-hilting.
Fictionized by
Elizabeth B. Petersen
to think of vacation trips as man-trapping expeditions.
''I wish I'd have known." The girl looked sadly at the
other passengers' and there wasn't any denying the bus
exuded a hearty family atmosphere. "I bet I wouldn't
have come. Look at the no-fellas!"
"That's all right with me." Mollie grinned. It was just
then, like an actor making an entrance, that Smiley Lam-
bert, the tour guide, climbed on the bus and Moliie's first
misgivings came.
"Hello — ello — ello!" He was all cheer and good
will. "If you don't mind I'd like to introduce myself. My
name is Smilev Lambert, but vou folks can call me Smiley
Lambert. Hal' Ha! Ha!"
That was just an example of Smiley's wit and it went
on and on. It never stopped except for the times he tried
to get them all into sing-songs, or worst of all when he
insisted on paying Mollie special attentions that weren't
listed in the folder at all. By the time the bus stopped at
Fairfield, Oregon. Mollie felt as worn out as something
that had been marked down in a bargain basement.
"All out for the rodeo!" Smiley carolled joyously. "Ar-
rive one P. M. depart ten P. M." Then confidentially, to
Mollie alone, "What's a rodeo? Dumb animals, cowboys,
sun in your eyes and dust in your nose. Xot for you and
me. We'll live, hit the high spots, paint the town magenta.
How's about it, baby?"
"Listen. Mr. Lambert." Mollie said firmly, "I came
out West to see the West. I didn't come '-'.king for boy
friends. As a matter of fact I have plenty of boy friends.
If I do say so myself. Too many."
A blood-curdling yell echoed down the aisle, but for
once Mollie didn't mind having the embryo cowboy de-
scend on her.
"Ohooooooooooooh !" he yipped. "I'm Gene Autry."
"Thanks, Gene," Mollie grinned. "'Let's go !*'
The rodeo was thrilling. It made up for all the rest of
the trip. Mollie simply had to get snapshots to take hack
to the office and here was a thrilling subject just meant
for admiring ahhhhs, that daredevil rider on the bucking
bronco careening out of the chute.
It was awfully hard to focus. Just as Mollie thought
she had the perfect picture the rider suddenly disap-
peared and all she could see was the horse getting bigger
and bigger and bigger until it seemed to fill the whole
lens. And then suddenly the whole West collapsed on top
of her.
Of course it wasn't the whole West, it was only a very
small part of it. and Ace Hudkins. star rodeo performer
to be explicit, thrown from a bronco right on top of a
groggy Mollie.
But she wasn't . groggy for long. What girl could be
groggy with eyes like that, gray they were, less than an
inch away? What girl could be groggy with firm, sun-
browned cheeks pressed intimately against her own ? Cer-
tainly not Mollie. She had come to see the wonders of
the West and she was seeing them now, all of them.
When Duke started to get up Mollie grabbed him by the
shirt and pulled him back again just to get another look
at that face.
"Yawright?" Duke said, when he managed to get to
his feet at last.
"Oh, sure.'' Mollie kept on staring.
"Sure you ain't busted no place?" Duke still sounded
anxious.
"Well, I'm pretty sure." Mollie was using the coy
technique that had never failed her yet.
Motile
d^w&d '» *•
b'°»*et from I'' S'e°,s
fur"S on her 7* ou*
V then f°eS ,back
"9. Hollywood styP
"Okay," Duke said. He leaped lightly over the rail and
sauntered across the field.
But if Duke thought he was going to leap right out of
Mollie's life he was mistaken. Mollie the pursued became
the pursuer. Mollie was right there waiting for him when
the rodeo was over.
"Would you mind giving me your autograph?" she
asked, holding out her souvenir program. Then as he
scribbled his name she looked down on it. "Thank you
very much, Mr. Hudkins. I don't get sat on every day.
Well — goodbye."
She still stood there but nothing happened, and a girl
can't stay forever after she's said goodbye. Just as Mollie
started to walk away he called her.
"You wanna sign my program ?" he asked. And as
Mollie did, giving an extra flourish to every letter with
her heart racing as she did it, he grinned, "I don't sit on
people every day, either. Come on, let's go, Mollie. You
drink beer, don't you ?"
The folder had been right after all. This was one of
those breathless days it had promised. Mollie felt every
last gasp of air had been squeezed out of her as he took
her arm.
"I must say this is certainly an extra-added attraction,"
she said as he steered her into the beer parlor. "Isn't it
funny the things that can happen just because somebody
sits on somebody? You mind if I feel your arm?"
Duke certainly didn't mind. He was used to flattering
tidbits like this. For Duke was a man all girls oohed and
aahed over, as Mollie was soon to find out.
But at the moment he was all hers. Mollie kept staring
at him over the rim of her glass all dreamy-eyed until it
was too much even for Duke and he began swallowing
nervously. He was awful glad his pal Waco arrived just
then.
"Yuh all right, Duke?" the old man asked anxiously.
Waco was a Western type, too, but more along the old
prospector lines. He looked as if he hadn't met up with
a razor for years.
"Hey, Waco, sit down," (Please turn to page 6 8)
45
SOLDIER'S WIFE
46
Hollywood's Gene Tier-
ney is Mrs. Oleg Cassini
in Junction City, Kansas
Lite many another war wife, Gene Tierney fol-
lowed her husband to camp, set up house-
keeping in a tiny cottage where she cooks all
their meajs, does all the housework. Only time
Oleg is home for meals, though, is Sunday
mornings, and now that he is in officers' training
school at Fort Riley he doesn't get home at all
except for a very infrequent Saturday night.
Then they entertain Oleg's friends and their
families — see pictures at top left and right.
By the time you read this, the Cassinis will be
three. Gene's last picture before motherhood is
"Heaven Can Wait," for 20th Century-Fox.
Beauty on
Look out,
Sonja Henie
— here
comes Vera
Hruba! The
gorgeous
Czech is now
a star at
Republic Stu-
dios, where
she is being
groomed for
stardom in
"Gay Blades
Vera, a sensation on
skates as you know if
you saw "Ice-Capades,"
is also star material, in
the opinion of Herbert
Yates, big chief of Re-
public Pictures, shown
at far right with Miss
Hruba at party in her
honor. Soldier is Lieut.
Ed. Grainger, former
Hollywood producer.
THE BRIDE WORE BLUE
Janet Blair, the bride of Sgt. Lou Busch, selected a simple wartime trousseau, exclusively
pictured here. Janet will next appear with Rita Hayworfh in Columbia's "Heart of a City"
i r l«ft is of beige
l„„.fs wort day*™ dress, lower ' . u
■ -j. was married to
f
★ ★_ ★
Aw
Exclusive photos
show Annobello
(fop) with Ty's sister
and her new baby,
in Tyrone's old room,
now the nursery.
Above, keeping busy
by sprucing up the
old porch furniture.
By Jane MacDonold
52
STREAMLINING isn't a new accomplishment for
Annabella. When she married Tyrone Power at the
time she was getting rave notices for "Suez" she
calmly announced she wasn't accepting any offers from
studios.
"Why did I do it ?" She looked surprised that anyone
should question the reason when the logic of it was really
so obvious. "If I had kept on working it would have been
difficult for both of us to be free at the same time, and
we wanted to be together as much as we could."
Her return to the screen as star of "Bombers Moon"
now that Ty has joined the Marines seems just as ob-
vious to Annabella. She isn't one for embroidering facts
with sentimental nosegays and the words she used to
explain how she is adjusting to a life suddenly changed
by war, were as direct as her own boyish handshake.
"Work doesn't give you leisure for self-pity or think-
ing of things that can't be helped," she said simply. "Your
attention is focused on what you're doing, not on your-
self. Between pictures I spend my time working for the
Red Cross and the VACS."
A nice economy of words that to tell of the work Anna-
bella does in her resting periods. She's already finished
her first aid and advanced first aid courses and the me-
chanic's course required for volunteer ambulance drivers.
Now she's enrolled in a Hollywood hospital for training
as a nurse's aide and if anyone thinks that's a glamorous
way of being patriotic let them spend just one hour be-
hind the scenes at a hospital.
Annabella isn't concerned with glamor. Small and
slender, she looks as fragile and delicate as the proverbial
Dresden shepherdess. She would be the first to laugh at
that description and her laugh is one of the things that
make a liar out of her appearance, just as the strength in
her small, capable hands does and that effortless boyish
walk of hers too.
She likes simple things, fundamental things. Small
dinners shared with close friends is her favorite way of
entertaining and she gets satisfaction out of taking house-
hold tasks in her stride now that the servant question
has really become a oroblem instead of just a filler-in for
bridge table chat. There's only one thing she hasn't at-
"I'll keep right on living and
working and dreaming in Our
House, so that it will stay the
same for you to come home
to!" That's the spirit of Ameri-
can war wives, and that's the
way one wife in Hollywood
— Mrs. Tyrone Power (Anna-
bella)— keeps her chin up in
these trying times
tempted yet.
"I can cook," she says candidly, '"but I hate it ! It I
had to, I would. But never for fun. You see. cooking
stops me from being hungry, and I love to eat."
But her enjoyment of food presents no menace to the
Powers' brood of hens. There are thirty-six of them in
her chicken yard and if the number decreases it won't
be for the usual appetizing. reason for very early in her
farming career she discovered she couldn't eat anything
she had petted and fed.
They're pampered pets, those Power chickens. Noth-
ing is too good for them. When Annabella read the de-
scription of a wonderful new type of chicken residence
built in tiers with floors of fine (Please turn to page 85)
53
Annabella is proud
of her chickens, and
that's no publicity
photograph at top
right. She really
takes care of 'em.
And when the car
needs washing that's
Mrs. Power's job, too.
BY WESTON EAST
GOSSIP DUVAL
CANDIDS BY JEAn
HERE'S HOLLYWOOD
Beginning directly above and reading clockwise: Marine Pvt. Jack Briggs plays
chauffeur for wife Ginger Rogers, Groucho Marx and Fay McKemie at Camp Elliott,
where they broadcasted for his show, "Blue Ribbon Town"; Ann Sheridan looks over
script with Capt. Tom McNight before going on air for Command program; Roi Russell
and hubby Capt. Fred Brisson attending "Build A Cruiser" benefit at Hollywood bowl;
the grown-up Shirley Temple also does her bit for our boys; Marjorie and Lt. Jack
Reynolds at Cruiser rally; Jack Benny, Capt. McNight and Judy Garland all set to start
Command Performance show for overseas servicemen; and close-up on opposite page is
the best picture ever made of Miss Garland in action in front of a microphone.
NOW that Tallulah Bankhead is once more headed for Hollywood, the old
town will take on some color again. "Tallu" is going to make a picture for
Alfred Hitchcock. A movie star isn't exactly a novelty on the 20th lot. But the
advent of Bankhead has everyone tingling with anticipation. Wonder what
La Bankhead will say when she finds out she's in Shirley Temple's former
dressing room ?
ROBERT YOUNG, that ol' Victory Garden expert, tells this one on his little
"dotter." Carole Ann. It seems Bob was pulling weeds one day when Carole
Ann said. "Daddy, where do we get ears of corn from?" Stumped for a
moment, daddy Young then brightened and replied, "Oh, didn't you know?
The stalk brings them !"
LOU COSTELLO, who's been in bed since March, has just taken his first
- step. During this long time it's taken for his partner to recuperate from a
serious illness, Bud Abbott has refused to work with any other comedian. Nice
"team" work and has been for a long time..
FOOD rationing holds no terrors for Greer Garson. She's deliberately taken off
fourteen pounds to portray Madame Curie during her middle years. Instead
of living the part, Greer is "dieting" for it! Ouch.
GINGER ROGERS was all set to rent a house in La Jolla. to be near Camp
Elliott where hubby Jack Briggs is stationed. At the last moment plans
changed. The man owning the house decided to remain. However, he offered
Newlyweds Maria Montez and Jean Pierre Aumont drink a toast at Mocambo. Below, from left:
Lionel Barrymore, Gary Cooper and Ruth Hussey talk things over prior to performing on a
Screen Guild radio program; Dick Powell and Eddie "Rochester" Anderson at a Command Per-
formance, entertaining air show broadcast to our boys overseas; and Dinah Shore with steady
escort Pvt. George Montgomery at one of popular radio broadcasts in which they took part.
,1
Ginger two rooms and the run of the place.
She jumped at the chance. Her magnificent
ten-room hilltop home in Beverly Hills
stands idle in the meantime.
RITA HAYWORTH may or may not be
in love with Orson Welles. But she
definitely is not in love with "stooging" for
his magic act. Recently Orson was rehears-
ing for a big Army and Navy relief show.
Something went wrong and Rita found her-
self locked in a breakaway trunk. It took
a good thirty minutes to get the lock un-
sprung. Never have you seen a girl so
happy to breathe fresh air!
MOST embarrassed young man was
Dana Andrews. Picked up by police
during a search for draft dodgers. Dana
had forgotten to take his draft card with
him. He was held in jail for an hour while
they checked with the FBI. No — his mem-
ory won't be failing him again !
DOLORES MORAN, who looks like a
pretty girl come to life, really made
San Francisco sit up and take notice. It's
just coincidental that Bobby Stack hap-
pened to be free the night Dolores was in
town. Or was it? Anyway, they did the
town together and looked mighty decora-
tive doing it.
BELIEVE it or not, a fan letter addressed
"Sex in Sepia, Hollywood, California,"
was delivered safely to Lena Home.
NICE gesture on the part of Betty Hut-
ton. Instead of rehearsing her new
song numbers every day at Paramount, she
tries them out on the soldiers every night
at the Hollywood Canteen. She asks the
boys for suggestions and has received some
very helpful ones. In this way, everyone
has a good time.
WHILE in Canada, Barbara Stanwyck
handed out a kiss with every war bond
she sold. Uncle Sam's treasury is swollen
as a result. But you should see Barbara's
lips! She says she feels just like a Ubangi.
NEVER have you seen such cooperation
and speed as took place on the "Gov-
ernment Girl" set. Olivia de Havilland,
the star, learned the boy friend John Hus-
ton would be stationed in New York for
two weeks. Last reports had the picture
so far ahead of schedule, they ran out of
dialogue !
HAVING devoted the last few months
to camp tours and local benefits, Joan
Blondell decided to treat herself to a new
tailored suit. She wanted a midnight blue
French flannel, but couldn't find a yard
of it in town? Suddenly she remembered
Dick Powell's dinner jacket hanging home
in the closet. Hollywood won't be having
a dress-up affair until after the war, rea-
soned Joan. By thaf time Dick could buy
himself another dinner jacket. So Joan
had his made over for her! Mighty sharp
it looks too.
ROBERT PRESTON has landed in Eng-
land. A news picture sent from the
other side revealed him standing with a
group of young American officers. His
mother, reading the morning paper, just
happened to see it.
WAR or no war, the English are still
movie fans. Clark Gable finds it next
to impossible to go to a public place. In a
letter back to a studio buddy, Clark said
he wished makeup man Jack Dawn could
send him over a new face !
HAY MILLAND walked into his house
|^ and plunked a small square box down
in front of Mrs. Milland. Inside was a
ruby dinner ring, in honor of their eleventh
of lovely women for
neckline flattery is
Deltah Pearls*—
matchless for beauty,
color and iridescence —
the perfect finishing
touch to every costume,
daytime or evening.
Necklaces with bracelets
and earrings to match.
At better jewelers.
L. Heller and Son, Inc.
Fifth Avenue, New York.
1
Q^VO S UN EST
wedding anniversary. The very next morn-
ing at the breakfast table they picked up a
local trade paper. There in the gossip col-
umn was the report that the Millands were
on the verge of separating. The columnist
who wrote it had learned that Ray was in
New York. Which was true. He had flown
there to make three free broadcasts for the
government. Mrs. Milland couldn't go be-
cause her nurse was ill and there was no
one to leave with little Danny. Thus,
another false Tumor was born.
THE on again-off again marriage of Janet
Blair and Sergeant Louis Busch finally
came to pass. Up to the very last moment,
Lou wasn't too sure that his furlough from
the Santa Ana air base would be granted.
They were married at Lake Arrowhead,
outdoors. The wedding music was fur-
nished by a tinkling stream. Janet wore a
simple costume and carried orchids. Never
have you seen two eyes so big and so filled
with happiness. Rosalind Russell's wedding
present was addressed to "My Sister
Eileen." What a long way little sister has
come !
AS IF actually being in the Army wasn't
enough, over 200 soldiers of "This Is
The Army" donated blood to the Red
Cross before they quit Hollywood.
THE day following the premiere of "So
Proudly We Hail," Sonny Tufts awak-
ened to find himself a star. This gives you
Marie Wilson, Charles Coburn, Joan Blondell
and Jack Oaltie make up the gay foursome
attending a recent benefit. Right, Red Skel-
ton greets Dinah Shore at a rehearsal for
the Gershwin Concert at the Hollywood
Bowl and gets a big smile, but Paul White-
man doesn't seem happy about Red break-
ing in on them — two's company, remember?
an idea how drastic is the manpower situation in the movies. It
isn't that Sonny is such a good actor. But he is a new face and
has an ingratiating personality. Paramount are going to spend
the money building him that they wanted to spend on Stirling
Hayden.
TOR once Maria Montez was happy with her costume, dialogue,
•and the way they directed the scene. Of course it just hap-
pened to be her wedding to Jean Pierre Aumont — a wedding
Hollywood never expected to see. Charles Boyer was best man,
Janine Crispin matron of honor. They exchanged plain gold
wedding rings and it really was all quite nice and simple. Jean
Pierre leaves soon to join the Fighting French forces overseas.
Maria hopes to follow later on and do war work too.
/"lARY COOPF.R walked on the "Saratoga Trunk'* set nearly
^— ' an hour late. He looked harassed and worn. Everyone thought
he mu^t have had his car smashed or something equally serious.
Typical of Gary, he offered no explanation. At lunch time he sat
down at the table with Errol Flynn. During their conversation
Gary revealed what was bothering him. That morning he had
helped pull daughter Maria's baby tooth. He hoped he hadn't
hurt her !
58
SIGHT of the month : Mexican Margo in her Japanese makeup
for "Behind The Rising Sun," amusing the cast with a
rumba to the tune of her own Castanet accompaniment. No won-
der the visiting sailors looked so bewildered.
nAULETTE GODDARD'S new tan has her cameraman cut-
r ting paper dolls. On her it's becoming. But on the screen it
makes her go a shade darker than Ethel Waters. Paulette has
been asked to stay in the shade until the picture is finished.
AN ARMY assignment will keep Lieut. Bill Holden away
from Brenda Marshall until a week before the arrival of the
expected baby. Her doctor won't allow her to fly to him, either.
Both are terribly disappointed because they had dreamed so long
of this great moment in their lives.
"/"-RY HAVOC" finally finished with all thirteen girls still
^ speaking to each other. But boy, oh, boy, did they keep tab !
All through the picture they had tousled hairdos and grimy faces.
Had one gal appeared with an extra eyelash she never would
have, lived to wear it. Director Dick Thorpe said if it hadn't
already been made, he'd insist that his next picture be called
"No More Ladies." But don't get us wrong — he loved 'em.
WAR WORKER— Muriel Lunger and her mother
have both taken war jobs at Bendix. Muriel tests
altimeters.
OFFICIAL WAR MESSAGE
There's a war job for you — in a plant, store,;
office, restaurant, transportation company, com-
munity service. Check Help Wanted ads for
needs in your area. Then see your local U. S.
Employment Service.
ENGAGED, HAPPY- "Hold that engaged
look," orders their Navy friend, as
pretty Muriel and her fiance smile up
at his camera. A snapshot taken on
last summer's vacation.
MURIEL LUNGER'S BEAUTY is serene and poised. Her eyes are a dreamy
grey-blue, her soft-smooth Pond's complexion fine-grained as a rose petal.
HER RING — the diamond is set in platinum with a
small diamond either side. The slender band is gold.
CHARMING MURIEL LUNGER —
daughter of the well-known Mr. and
Mrs. William S. Lunger of Wash-
ington, D. C, engaged to Raymond
W. Hitchens of Baltimore — he, too,
has an essential war job with Bendix,
in the plant protection department.
Waking up at 8 :30 P.M., eating lunch
at 3 in the morning, going home
when most of us are just starting our day,
seems quite natural to Muriel now. She's
simply reversed her clock.
"I've discovered one thing," Muriel says.
"Long hours working on a war job have
made me extra fussy about how I look.
I just love slipping into something pretty
at home, and adore creaming my face with
Pond's to help smooth away tiredness and
make my skin feel all glowy— and so
clean and soft!"
Copy Muriel's soft-smooth beauty care,
like this:
SMOOTH on snowy-white Pond's Cold
Cream and pat briskly, gently to work its
lovely softening creaminess all over your
face and throat. This softens and releases
dirt and old make-up. Now — tissue off.
See how clean and sweet you look!
"RINSE" with more Pond's Cold Cream
for extra cleansing and softening. Whirl
your Pond's coated fingertips around in
little spirals — out over your eyebrows, up
over your cheeks, around your nose and
mouth. Tissue it all off again.
Give your face this twice-over Pond's
creaming every night, every morning— and
for daytime clean-ups! You'll love how
beautifully clean, how much softer your
skin will feel.
It's no accident lovely engaged girls
like Muriel, noted society beauties like
Mrs. Geraldine Spreckels and Britain's
Viscountess Milton are devoted to Pond's
Cold Cream. Get a jar today! Have your
first Pond's creaming tonight !
' Ttioftj/ 7/wie- iwmeti -ode o«w<
THERE S A GLASS SHORTAGE — SO BUY ONE BIG POND'S JAR INSTEAD OF SEVERAL SMALL ONES. IT SAVES GLASS NEEDED FOR FOOD JARS.
SCREENLAND
59
DO YOU jump in and out of your
tub, without a thought to all the
beauty benefits of bathing? Natu-
rally, you take a bath every day. Who
doesn't — in this day and age when daily
bathing is so much a part of the American
Way of living. But do you really stop to
consider all the things a bath can do for
you besides just cleaning up the body?
We all know that bathing cools us when
we're warm, warms us when we're cold,
relaxes us when we are tense and invig-
orates us when we are tired. It keeps us
dainty and sweet each day. But, more
than all this, a bath can be a beauty treat-
ment for our whole selves.
You can make of your bath a pleasant
interlude in which to get your beauty house
in order. Pretty and nonchalant as she
looks, that's just what Kita Hayworth is
doing. She is really bathing with a pur-
pose. As a matter of fact, with a triple
purpose. She is cleaning and softening her
skin ; relaxing those muscles, tired from
work or dancing ; and soothing her
nerves so that fatigue and strain will
never show up on her lovely face.
Rita knows the A B C's of beauty
bathing and we'll pass her formula
on to you.
With moderately warm water
(neither too hot nor too cold) a big
cake of pure, mild soap, a couple of
brushes, you're off for a good clean start.
Fortunately, your skin is an extremely
washable product that improves with con-
stant scrubbing. So get right to work with
your soap and brushes. Make a rich, creamy
lather and scrub, scrub, scrub. In this
process, you're not only removing dirt and
ridding your skin of the dry and dead cells
which take away its live and radiant look,
but you're also stimulating those little
glands under your skin to throw off their
waste material.
After you have scrubbed from top to
toe, rest — like Rita — on your merits for a
while by just sitting in those active lather
suds. Allow the rich oils of your soap
really to penetrate your hide. They will
help to keep it soft and smooth as satin —
and if you have used a scented soap the
fragrance will linger on.
Rita's, and your, next step depends on
what the after-bath plans are. If it's a
bedtime bath you're taking, we suggest
that you rinse off with water of exactly
60
Here's JUDY GARjAN D.../w/y
Star of
Metro -Gold wyrt- Mayer's
PRESENTING LILY MARS
I use Lux Soap
regularly," charm
ing Judy Garland says.
"It gives my skin the gentle,
protecting care it needs
real beauty care ! " Try ACTIVE
LATHER FACIALS for 30 days! See
what they can do to make your skin
smoother, lovelier.
SCREEN STARS
ARE RIGHT.'
ACTIVE -LATHER
FACIALS ARE A
REAL BEAUry
CARE. SMOOTH LOTS
OF THE CREAMy
LUX SOAP LATHER
WELL IN
9 out of 10 Screen Stars use Lux Toilet Soap 6eca#se /fs a rea/ &£4(/7r Soafi
SCREENLAND
61
the same temperature as your soaping.
The nice limp state that tepid water brings
will relax you for a good night's sleep.
(Incidentally, many doctors prescribe pro-
longed tepid baths as sleep inducers.
Twenty minutes in a lukewarm tub will
take the jangled edges from any wearied
nerves!) When you get out of you/ tub,
without speeding up your tempo, gently
rub a softening cream, or body lotion, on
roughened spots. Usually, hands, elbows,
heels and knees need a bit of lubrication.
At night, Julie Bishop applies a hand
lotion to her upper arms to keep them
lovely for her appearances in evening
gowns and short-sleeved daytime dresses.
A cool — or cold, if you can stand it —
rinse or shower is the follow-up of an
early morning, or before date, bath. In
your tub, like a cat, you've relaxed, and
now, like a cat you'll want to gather up
energy before you leap into the day's work
or fun. The colder water will close your
body pores and start the circulation racing
through your veins. Doesn't Janet Blair,
Columbia star, look in condition for a
wonderful performance when she emerges
from Tier cold morning shower? A dash
of cologne, which is slightly astringent
too, and a whisk of dusting powder will
make her ready for a sweet and pretty
day or date.
Most of the movie actresses are bathing
beauties ! They make their baths serve their
moods and grooming needs. They have all
kinds of gadgets to attach to their tubs
and all kinds of bathing habits. "Singing
in the shower" or tub is a favorite practice
because it does much to relieve taut, over-
tired nerves. You just can't be tense and
sing joyfully. You have to let go.
Among the many relaxing stunts enjoyed
by movie folks is this one — the tub is filled
half way with tepid water and the body
well lathered with a fresh smelling soap.
The head rests on the back of the tub on
a nice soft cushion made by folding the
turkish towel. Over the eyes are placed
little pads wrung out of ice-cold water, or
those small herbs packs. Ten minutes of
this and even very high strung nerves give
way to that smooth feeling.
Another relaxing trick is to read while
your body is getting its refreshing soap
and water treatment. On the little stool
next to the tub have a book of short stories
or some magazines. Don't have hair-raisers
or thrillers for they may get you keyed
to a high pitch. And that's not soothing to
the nerves. Stories, which have a lulling
effect, are recommended by those in the
know.
But not all actresses use bath time as a
rest time. Many do those little extra groom-
ing jobs while in the tub. When they don't
have a small vanity attached to the tub,
they have a handy kit near-by. In this
are such things as tweezers, creams, mani-
cure equipment and the like.
We know one young starlet who gives
her feet that "extra" touch while in the
tub. She rubs her soles and the back of
her heels with pumice stone, because it
helps to remove callouses and make the
skin smooth. After her bath, she rubs her
feet with a heavy lubricating cream or
foot lotion. With just these few minutes of
care she keeps her feet paticularly fit.
Never does she have wrinkles on her brow
because of aching feet.
With all the wonderful bath products
on the market now, there's simply no
rhyme or reason for every girl not being
as fresh and clean as the well-known
daisy. There's a soap for every kind of
water — hard, soft, and medium. Each type
of skin can find a cake, or box, of soap
that will suit its special texture.
Soap and water baths are as old as the
hills— and as reliable So trust your beauty
to them. They'll never let you down.
GUIDE TO GLAMOR
From Head to Toe You Can Keep Yourself Fresh and
Pleasing with These Good Grooming Accessories
Pond's "Lips" in their dreamflower print
dresses and in shades from light to dark.
POND'S "Lips" tell a pretty lipstick story.
The paper case has gone into print with
a gay and charming dreamflower design.
For a wartime paper stick, this one is
really very strong because it has a sturdy
top and a base of colored plastic. Inciden-
tally, this case is a swivel one, and is
amazingly trim and slim in these fatter
lipstick times ! . . . The stick itself is as
satin-smooth in texture, as always, and
the colors just as beautiful.
FALL is in the offing, but the popular
leg art goes on and on. Armand's Stock-
ing Stick suggests an easy way for giving
the illusion of sheer, fine finish hose. The
Stick, in tawny warm shades, comes in
cake form. The application is simple. You
wet one leg from ankle to above the knee
with dampened wash cloth, and then apply
the Stick with sweeping strokes.
Cologne gives an "extra" touch after tub or
shower. Hobnail Cologne is Wrisley's latest.
FROM the deep South comes a powder
pleasant for both Northern and Southern
skins. It's Nadinola, a finishing dress which
is said to give that "peach-bloom" surface
to the face. Blended in five skin tones.
REALLY heavenly relief for tired feet is
in sight when you cast your eyes in the
direction of the set of foot lotions aptly
called Foot Heaven. These products, which
will help alleviate the present scourage of
foot worries, couldn't be more welcome.
They come in neat companion bottles.
The A. M. lotion exhilarates the feet
and awakens them for the day ahead. You
simply massage it softly on the soles and
sides of feet and between the toes. Before
you go to bed or after your evening bath,
Evening Heaven is applied in the same
way. It acts to soothe the feet and puts
foot aches to sleep.
Heavenly bliss for tired feet! Foot Heaven by Jourdeau. A boon for standees.
62
You
•tsee
aboutlt nwl04anA Aung
Yes,
an
:'S S
1 art*-
Copr. 1943, lorr Laboratories ■ Paterson, N. J.
Founded bv £. T. Reynolds
DMA-GLOSS mi polish
Cuticle Lotion
Polish Remover
Dura-Coat
SCREENLAND
63
ANN SHERIDAN
appearing in
Thank Your
Lucky Stars"
A Warner Bros.
Picture
Cosmetics by the
HOLLYWOOD
WEST MORES
Created for Hollywood
Stars . . . and YOU.
Perc Westmore
Director of Make-up,
Warner Bros. Studios,
Hollywood
Recently, that famous Royal Family of
Make-up, Perc, Wally and Bud Westmore,
created a splendid line of cosmetics for a
select group of Hollywood stars. Now, they
are available to you at good toilet goods
counters everywhere.
The foundation cream is made with lano-
lin to keep your skin soft. It will never give
you a "masked" look, it will never cause
your skin to become dry or flaky. You will
be amazed at the way this House of West-
more foundation cream hides minor skin
faults and how well it keeps the powder on
your face.
This foundation cream is just one of the
many House of Westmore beauty aids which
will give you a lovelier make-up. Try any
one or all of them.
ovt^e of
WESTMORE
COSMETICS
In 25j£ and 50f<
sizes, at toilet
goods counters.
Betty Crable's Marriage
Continued from page 2 1
a friend and also wife of her personal rep-
resentative, and a male member of the
studio publicity department to act as buffer,
Betty took the 7 :30 train to Las Vegas,
Sunday night, the Fourth of July. Arriving
in Las Vegas around one-thirty in the
A.M. they drove over to the Last Frontier
Hotel. Betty noticed that she had wiggled
so much on the train that her dress was
in a thousand wrinkles. Edith said that
would never do for a bride. So Betty Fur-
ness, who was staying at the hotel while
getting her divorce from Johnny Green,
was routed out of bed and told to bring
along her iron. She proceeded to press the
bride's dress right on the bride.
"Harry's train from the East was due
at 2:28," said Betty, ."and I was right there
at the track waiting for him. Next it was
announced for 2:53, and finally got in at
3 :20. Despite the fact that it wasn't even
daylight several hundred fans had gathered
at the station. When the train stopped
Harry saw me waiting in the car and made
a mad dash through the clamoring fans
who seemed bent on snatching his necktie.
He didn't see the iron chain that separates
the tracks from the parking space, and of
course tripped right over it, and nearly
killed himself then and there. 'There he '
goes,' I thought. 'There goes my bride-
groom.' If I hadn't been so nervous I
guess I would have laughed — it looked just
like a scene in a slapstick comedy — but
all I could think of then was getting Harry
in the car before jitterbugs could grab him."
Back at the hotel Betty learned that the
hotel manager and the studio press agent
had arranged for her to be married in the
wedding chapel there in the hotel. (Those
Nevada hotels think of everything.) But
she took one look at the three hundred
or more people gathered around and began
to shake. So did Harry. Now Betty and
Harry are just about as averse to crowds
as cornbread is to butter. Harry likes
crowds when he's tooting his horn in front
of his orchestra at the Paramount, and
Betty likes crowds when she's dancing in
Technicolor at the Roxy. But right now
they didn't want a crowd. They wanted to
get married, and they wanted to . do it
quietly. The red-hot pin-up girl, with the
famous legs, and the red-hot band leader,
with the famous lips, suddenly became as
shy as doves.
"I took one look at that crowd and that
chapel," said Betty, "and I thought to my-
self, this is not for me. I might as well
have stayed in Hollywood."
So Elizabeth Ruth Grable, 26, of Los
Angeles, and Harry Haag James, 27, of
Beaumont, Texas, were married in one of
the bedrooms of the hotel. Witnessing the
ceremony were Emanuel Sacks, a New
York radio executive and friend of Harry's
and Betty's two friends, Edith Wasserman
and Betty Furness. "I apologized to the
minister for waking him up at such an
ungodly hour," Betty continued, "but he
said he was used to it. I think he had sort
of counted on giving us the fifteen minute
service, but at my request he cut it to
three. I've never been so nervous in my
life. I was shaking so Harry could hardly
slip the wedding ring, an old-fashioned
gold band, on my finger. Then someone
brought in a beautiful cake that the chef
at the hotel had made. A photographer
asked me to cut a slice and hand it to
Harry so he could take a picture. And the
next few minutes everything was in utter
confusion. Suddenly I remembered I hadn't
had anything to eat in twelve hours or
more so I reached for a piece of cake, only
to find that it had been snatched away.
Imagine, not even being able to get a piece
of your own wedding cake!"
(Betty discovered later that some would-
be-helpful person had boxed it so that she
could take it back to Hollywood with her.
After seven hours of jostling around it
could have passed for anything.)
The Harry Jameses left for home about
five A.M. and had their wedding breakfast
at Simon's drive-in in Los Angeles. It was
meatless Tuesday and no hamburgers, so
Betty had the sixty-five cent special with
one cup of coffee, which she generously
offered to her bridegroom. Such is love in
wartime. A far cry from those Hollywood
wedding breakfasts of yesteryear with
champagne flowing like water, eh?
Charles Laughton and Donna Reed, star and featured player of "The Man From Down
Under," portray Australians who are prepared to defend their country from the menace
of a Jap invasion in Hollywood's first motion picture of the modern Aussies at war.
64
SCREENLAND
MEDICAL AUTHORITIES
RECOGNIZE
PHILIP MORRIS
proved far less irritating to
the smoker's nose and throat!
WHEN SMOKERS CHANGED TO PHILIP MORRIS,
EVERY CASE OF IRRITATION OF NOSE OR
THROAT-DUE TO SMOKING— EITHER CLEARED
COMPLETELY OR DEFINITELY IMPROVED !
— facts reported in medical journals, on clinical
tests made by distinguished doctors. Proof that
this better-tasting cigarette is better for you . . .
less irritant to nose and throat!
OR PHILIP
America's Finest Cigarette
The next day Harry had to report at
Metro where work has started on his next
picture, "Mr. Co-Ed," and Betty had to
dash over to Twentieth to record song
numbers for "Pin-Up Girl." The song she
sang all morning, composed by Mack
Gordon and James Monaco, went like
this: "This is it, I don't know why, but
we just seem to fit. I caught your eye, and
zing the spark was lit. I must admit, that
this is no maybe, baby, this is it." They'll
tell you on the recording stage that Miss
Grable gave it everything.
"Harry had his work at Metro and his
radio program," said Betty, "and I had my
picture, so things were pretty hectic, but
we finally managed to get moved into
Harry's house in Beverly Hills — he had
rented it sight unseen two weeks before.
Harry has a housekeeper who adores him
and his band so, thank heavens, she will
look after the house. My mother and dogs
will stay at my house in Bel-Air, which
I have never even finished furnishing — I've
been so busy since I bought it, what with
camp tours, pictures, a session in the hos-
pital, and two weeks vacation in New York.
Harry has been reclassified 1-A by his
draft board. So if he goes into the Army
this Fall I will move back into my own
home with my mother."
Betty first saw Harry James some years
ago when he was blowing a trumpet in
the Benny Goodman orchestra. Betty was
dancing with her husband, Jackie Coogan,
and when Gabriel blew his horn she
stopped dead in her tracks and informed
Jackie that the trumpet player, whoever
he was, was nothing short of a genius. A
few years later she met him in Chicago —
this time she was dancing with Victor
Mature — and she told him she thought he
was a genius. Betty has the real musician's
passionate admiration for a talented mu-
sician. Just let Betty hear good music,
classical or swing, and she's in seventh
heaven. "Sometimes I think," Betty told
me once, "the job I liked best of all my
jobs was when I was the singer with the
Ted Fio Rita band. I am perfectly happy
just to sit and listen to music for hours
and hours without moving."
Last summer Harry James brought his
now famous band to Twentieth Century-
Fox to play in several sequences in
"Springtime in the Rockies," Betty's pic-
ture. Betty was very much engaged to
George Raft at the time, and outside of
admiring Harry as an artist she had very
little truck with him. In fact it was the
Hollywood Canteen that brought Betty
and Harry together. Betty had broken off
with George and she was pretty depressed
about life and love and things. Although
she had always been more or less faithful
to the Canteen, she now became a Monday
and Tuesday night regular. She soon dis-
covered that she forgot her own worries in
her efforts to cheer up the soldiers and
sailors she danced with. Well, it so hap-
pened that another Monday night regular
was Harry James, and his band. Betty, in
the overwhelming arms of an ambitious
gob, would nod pleasantly to Harry on
the stage, and it might have ended there.
But one night her friend Edith Wasser-
man said to her, "I'm sorry but I won't
be able to drive you home tonight, Betty.
But Harry James has promised me that
he'd see that you got home all right." Mrs.
Wasserman definitely started something.
Soon afterwards Harry had to return
to New York to fill his sensational en-
gagement at the Paramount — where 7,500
jitterbugs jammed the theater before 8
A.M., and danced in the aisles when he
began playing "Two O'Clock Jump" on
his trumpet. He and Betty only had six
dates before he left Hollywood. Betty was
stricken in the midst of "Rosie O'Grady"
Screen land
and had to be rushed to the hospital.
Flowers, phone calls and letters arrived
every day from Harry James. When I
expressed surprise that such a busy man
had time to write letters Betty informed
me, "The nine weeks before I joined him
in New York he wrote me a letter every
day. One night when I was with him in
the East we got out our letters and counted
them. I won. I had written him even more
than one letter a day."
Early in June, with "Rosie O'Grady"
finished at last, trie studio gave Betty per-
mission to take a two weeks vacation in
New York. Every night, with her mother
and her best friend, Paula Stone, Betty
sat at a table at the Hotel Astor and
listened to Harry play. After that they
would go to a night club, often with mem-
bers of the band, and discuss music for
hours. Betty loved it. "Every place I went
with Harry hundreds of jitterbugs sud-
denly appeared," she said with a laugh.
"They never bothered me. I just sat by
and twiddled my thumbs while Harry
signed autographs." In the afternoons
they'd go to baseball games, both of them
being baseball addicts of the first water.
Harry being practically the only band
leader who can dance, they also spent a
lot of their time together dancing at the
various clubs. Those two are well suited
to each other. They have many enthusiasms
in common, including their great love for
music. "You'd think Harry would be con-
ceited," Betty added, "but he isn't. Not in
the least. He's the sweetest, shyest, most
thoughtful man in the world. And I'm the
luckiest woman in the world. Even in my
wildest imaginings I never thought I could
be this happy!"
And now, it seems the Harry Jameses
are planning to make it a threesome. Betty
wants a baby "as soon as possible," she
says, and that would make it all perfect.
65
The Bogarts Of Brawley
Continued from page 37
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66
{
complicated their lives with a Garbo-com-
plex. But they do like their privacy.
"Friends," Bogie once said, "are all right,
but the trouble with them they're always
dropping in." They had expected to spend
a few evenings alone in Brawley, but first
thing they knew they were running the
Bogart Canteen. There are about 20,000
Marines turned loose in Brawley every eve-
ning, and it seems there is no price ceiling
in that town. The boys are charged $4 a
piece just to sleep in a room with four
or five other boys. The Bogarts heard a
few of their hard luck stories and the next
thing they knew they were entertaining
twenty and thirty boys after dinner every
evening. They turned over their sitting
room to as many as it would accommodate.
"Mayo never knew when she woke up,"
said Bogie, "just how many Marines she'd
find in the sitting room."
On Sundays the Bogarts and their good
friends, the Pat O'Moores, always invited
some of the boys around to play darts
with them in the patio of the hotel, with
plenty of refreshments on the side. Throw-
ing darts is a favorite pastime of Bogie's.
"You should have seen those muscle boys
throw darts," he said with a dry laugh.
"They'd throw them like hand grenades.
When I'd kid them they'd say, 'By_ the
way, Bogie, did I ever show you this judo
trick?' And then they'd throw me like a
hand grenade."
After Bogie has washed the dinner
dishes — that's always the understanding
with the Bogarts when they are on their
boat or on location : Mayo cooks, and Bogie
washes up — they'd often wander down to
the hotel lobby to play bridge with some
of the card-minded Marines. "It was like
playing bridge in the center of Grand
Central Station at five o'clock of an after-
noon," Bogie said, "with dog fights thrown
in for extra excitement. First thing you'd
hear would be a series of growls, and the
next thing a lamp would come crashing
over. We had it all arranged with the
hotel manager. If a stray dog came in off
the street and picked a fight with Sluggie
then the price of the lamp was on the
house. But if Sluggie picked the fight we
paid for the lamp." Sluggie, it seems, was
not named Sluggie without reason. The
Bogarts had quite a lamp bill. It would
have been even bigger except that Sluggie
was laid tip for a week. The joy of his
life was chasing lizards on the location.
But one day in the midst of the chase one
of them darted under a rock and Sluggie,
coming at full speed, knocked himself out
cold.
"You'd meet wonderful characters in
the lobby," Bogie continued with a chuckle.
Some of the local guys were creeps, but
most of them were a lot of fun. There was
one character who said he used to be a
chorus boy in the original company of
'Good News.' He asked for nothing better
in life than a couple of beers and an au-
dience so he could recite 'Fut, fut, fut and
fut' — It goes on and on and finally ends
with 'one fut in the grave.' After that
he'd do Joe Penner imitations. Another
character who stayed at the hotel was a
cattleman who went around with a gun in
his pocket all the time. He used to bat
his wife around. J. Carrol Naish had the
room next to them, and was afraid that
the creep would shoot at her some night
and the bullet would come through the
wall. 'Never you worry, bub,' the creep
told him, 'I been tempted to shoot my
wife for years, so I just never bring my
gun home loaded.' "
Sr. REENLAND
Bogie liked the kids he met on the
desert tremendously. One of the companies
worked in "Sahara," and Bogie got to
know a lot of the boys very well. "We like
you," they told him, "but we wish Ann
Sheridan was the star of this picture,
instead of you." (There isn't a dame in
the picture, worse luck for the boys.)
Bogie made the discovery that there is a
lot of ham in Uncle Sam's Army. Holly-
wood is likely to be overrun when the boys
get back from Africa. In one scene the
boys were given the command to retreat
towards the camera. A few of them were
instructed to die in front of the camera,
and the others were supposed to pass on
by. When it came time for the "take"
the boys pushed and shoved each other in
order to die dramatically in front of the
camera. Only one soldier, an unimaginative
guy, passed out of camera range. The boys
who were told to wear German uniforms
for several sequences kicked like Texas
steers. But when the lieutenant explained
the importance of the picture they all
agreed.
When a "creep" in a restaurant or night
club heckles Bogie about being a "tough
guy" the said creep is very likely to find
himself slugged. But when the Marines
teased him he took it good-naturedly. He
always fell for their judo gags, though
he never knew when it might mean a
broken collar bone. However, he admits
he did get embarrassed a bit the day a
jeepful of Marines visited the desert loca-
tion and offered to take him for a ride.
"He can't go," said Mayo, "until he learns
his lines for his next scene." "Yah, yah,"
kidded one of the Marines, "the toughest
guy in America and he lets a little woman
push him around!" Bogie merely smiled.
Mayo and Bogie don't give two cents
about society. Never have. So it was with
great glee that Mayo reported that they
had at last made the society page. "After
all these years," she said, doubling up with
laughter, "the Bogarts made the society
columns. The occasion was my birthday
party. It was quite an event in Brawley.
Bogie gave me a birthday party at the
hotel, and I think there must have been
9,000 Marines there. The hotel chef baked
me a huge birthday cake with large purple
and green bouquets on it. And right across
the center he had written in purple icing,
LOVE TO THE WIFE. I don't know
whether that tender sentiment was Bogie's
or his. I suspect it was Bogie's. Anyway,
the party made the society column."
Bogie's fellow actors came bearing gifts.
The Bruce Bennetts presented Mayo with
a giant size frog of colored clay. Rex
Ingram presented her with a live desert
chuckawalla. J. Carrol Naish tendered a
bag of clean sand in memory of the desert
sandstorms. Rudy Mate, the cameraman,
gave Mayo a blanched oxen's head which
he had found on the desert. A very good
party.
Bogie is now working at Warner Broth-
ers, his home lot, on a picture called "Con-
flict," in which he wears a tie, and shaves,
to his disgust. This is the picture — it was
formerly titled "The Pinnacle" — that he
took a suspension for rather than do. But
after he and Mayo had had a nice rest
on their boat, Bogie decided that he might
just as well pretty up a bit and do it.
When someone asked him why he changed
his mind he said, with typical Bogart
humor, "It was called 'The Pinnacle,' and
hell, I don't know what a pinnacle is.
Then they changed it to 'Conflict.' Well,
conflict I know."
Your Guide to Current Films
BO M BA RD I E R — RKO-Radio
An entertaining, educational service film
which glorifies the American bombardiers
— the men who operate the Norden bomb-
sight. It shows the establishment of schools
before Pearl Harbor, the training of these
high-altitude precision bombardiers for the
combat duty made necessary by that treach-
erous event, and builds up to an exciting,
suspenseful climax when the boys are lead
by Pat O'Brien, as their instructor, on a
bombing raid over Jap territory. O'Brien
is capable in that role. Randolph Scott, as
a pilot, Anne Shirley, the romantic interest,
Eddie Albert, Walter Reed, as trainees,
give fine performances. Scenes of Jap planes
attacking our flying fortresses are stirring.
STORMY WEATHER — 20fh Century-Fox
Tuneful, fast-stepping all-Negro musical
film which traces the life of hoofer Bill
Robinson from the start of his career, after
serving in World War I, to present day.
The story furnishes an ideal background
for the presentation of a cast filled with
big-name colored entertainers, including
Cab Calloway, Fats Waller, Dooley Wil-
son, the Nicholas Brothers, Babe Wallace
and others. Robinson does a tap dance on
drums. Lena Home, cast as the songstress
whom Bill loves and who encourages him
in his career, delivers Stormy Weather and
other torch tune's with sensational effect.
Dancing, singing and comedy at a gay jive
tempo make this sure-fire entertainment
BACKGROUND TO DANGER — Warnerz
A suspenseful movie of intrigue and es-
pionage, laid in Turkey, which revolves
around the fight between Nazi and Allied
agents over phony secret papers which pur-
portedly show a plot by the Soviet to in-
vade Turkey, and with which the Nazis
hope to create an incident which will arouse
that nation against Russia and serve to
sever Turkey's relations with the Allies. If
you like excitement you won't mind the im-
plausible story, since it is filled with daring
escapes and pursuits — from torture cham-
bers to wild motor chases over mountainous
roads. George Raft, as the U. S. secret
agent, Peter Lorre and Brenda Marshall, as
the Russian agents, and Sydney Greenstreet,
as the Nazi spy, all good performances.
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For it's little extra things like these that make you
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67
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A Lady Takes a Chance
Continued from page 45
Duke said. Then to Mollie, "I want you
to meet my better half."
Mollie was pretty sad. It had been so
nice, personal and private like, and now it
was spoiled. And it was going to get more
spoiled. A girl in Western togs passed the
table and Duke reached out and swung her
around by the belt.
"Why, you bow-legged hunka nothin' !"
the girl beamed. "How you doing, Duke?"
"Sit down!" Duke boomed. Then to
Mollie, "Want you to meet an old, old
friend of mine, Linda Belle.''
"Duke !" Another girlish voice hailed
him. The voice belonged to Carmencita
who sat down promptly on Duke's order
only to be followed by Lily. Mollie sat
there just glaring. She didn't even look up
when Flossie arrived complete with fringed
skirt and riding boots.
"Hi'ya, hoss thief!" Flossie slapped Duke
across the shoulder. But this time Mollie
beat Duke to the draw. Before he could
answer she was on her feet.
"Sit down !" she said. And then with her
head held high she marched right out of
the place and she had reached the souvenir
shop on the corner before Duke caught up
with her.
"What'sa matter?" he asked. "When I
take a girl places, it's kinda unusual she
don't have a good time. I'd like to have
another chance if it's all right with you."
It was, but just for appearances' sake
Mollie gave in gradually. And then she was
really seeing the West, for Duke took her
to a gambling palace. Golly, Mollie had
never had such fun in her life, kissing
Duke's dice before he threw them and luck
came rolling in with every kiss and the
money kept mounting and mounting in
front of Duke.
"Hey, you're pretty lucky," a fat man
said. "But you ain't fooling me, big boy.
You're just lucky count of that little old
lucky girl makes you lucky."
"You got something there," Duke said.
"Whadday'a say you lend me your little
old lucky girl a few minutes ?" the stranger
said. "I like to win somethin'."
"You go out and find your own lucky
girl," Duke said. He was still trying to be
affable but it was a strain with the man
leering at Mollie like that.
The man couldn't take no. "Kiss 'em,
baby, kiss 'em," he said. And he pushed
his dice right against Mollie's lips so hard
it hurt and she couldn't help that little cry.
It was all Duke needed. In another minute
the fat man's chin was caught by Duke's
fist and he went flying over the bar.
"Jeepers !" Mollie said. "Jeepers !"
The place was in an uproar as the fat
man got back to his feet and lunged at
Duke. Tables crashed and chairs crumbled
as everyone in the place began taking sides.
It was no place for a lady and after Duke
had knocked down three men cold he picked
her up and carrying her to a window threw
her down onto the hay wagon parked under
it and before she caught her breath Duke
came sailing out of the window and landed
beside her. Mollie smiled at him adoringly.
"I just about think this is the most in-
teresting evening I ever spent," she said.
Then anxiously, "You got the time?"
"You're okay," Duke said peering at his
watch. "You married?"
"Well, my gosh I" Mollie gasped. "If I
was would I be doing this? Of course I
don't want to give you the impression I
haven't been asked. Are you ?"
"No," Duke grinned. "Of course I don't
want you to get the impression I ever asked
anybody."
"Why not?" Mollie whispered expect-
antly. She could just hear the answer.
"I don't believe in it," Duke said, and
all Mollie's hopes went flat.
"Well," she. gulped, "lots of people are
married and they seem to like it fine."
"No, they don't," Duke said. "They just
make out like they like it because they're
ashamed to admit they made a mistake."
Mollie was too smart to answer that one.
"I was just thinking," she said dreamily.
"I wish we'd landed on your horse instead
of this old hay wagon. We could have gone
riding through the night, like the wind.
What's your horse's name?"
"Sammy," Duke said.
"Sammy." Mollie thought it over. "That's
a wonderful name for a horse. I've got a
horse, too. Her name is Gwendolyn. She's
white all over and she's got a nose like
velvet and a coat like — golly ! And her eyes.
You should see her eyes. Like hamburgers."
"Well, I'll be doggoned." Duke edged a
little closer. He wasn't acting at all like a
man who didn't believe in marriage. "Where
do you keep her ?"
"In my head," Mollie sighed. And then
as Duke sat up indignantly thinking he'd
been taken she went on wistfully, "She's
the loveliest horse that ever was. Only
trouble is no one can see her but me."
That got Duke. Poor kid, wanting a
horse that badly. He'd never felt so touched
in his life.
"When did I ever meet a girl like you?"
he said.
"Jeepers!" Mollie's shaken smile came
with his face close to hers like that. "When
did I ever meet a fella like you?" And
then as his hand reached out and he touched
her something happened to her breathing.
She just couldn't.
"I — I think I better get the bus," she
gasped.
But the bus wasn't there when they got
to the terminal. Only her suitcase was there
in the waiting room.
"What's the idea the bus leaving before
ten, like they said?" she demanded, and
then as the attendant pointed to the clock
they said twenty minutes after twelve Duke
took out his watch and stared at it.
"Musta been having a right good time,
lady," the attendant said. "They said to tell
you you can get the bus coming back Satur-
day morning over at Gold City."
"We're playing Gold City, Thursday,
Friday, Saturday," Duke said, banging his
watch against the wall trying to make it
go again. "Me and Waco, we're driving
there tomorrow."
"But I'll miss the Columbia Gorge and
the Pacific Ocean and the Waterfalls of
Seven Delights," Mollie sighed. "You don't
know how I've been counting on it. Well,
I guess I'd better find a hotel."
"You may have a little trouble." Duke
picked up her suitcase. "This here being a
rodeo town, hotels are usually full. But
you can have my room."
"Where'll you sleep?" Mollie asked.
"I don't usually have much trouble,"
Duke said. "Let's go."
"Golly!" Mollie lopked at him as if he
were Sir Galahad. "I wish all ladies in dis-
tress could meet up with fellas like you."
But when they went up to the room and
Duke woke up Waco who just picked up his
clothes and went out as if he were used to
this sort of thing and Duke not only stayed
but began lowering all the shades, Mollie
began wondering. Then when Duke tossed
his hat on the bed and came toward her,
arms held wide and that confident look in
his eyes, she stopped wondering. His arms
68
SCREENLAND
"A LADY TAKES A CHANCE"
(RKO-Radio Picture)
Original story by Jo Swerling.
Screenplay by Robert Ardrey. Frank
Ross, producer. Richard Ross, asso-
ciate producer. William A. Seiter, di-
rector.
MoUie Truesdale Jean Arthur
Duke Hud kins John Wayne
Waco Charles Winninger
Smiley Phil Silvers
Weatherford John Philliber
Florrie Mary Field
Bob Grant Withers
:
ai
went around her neck and she pushed him
away. He pretended bewilderment but he
couldn't fool Mollie any more. She knew.
She picked up her suitcase and when he
tried to take it away Mollie yanked it back
so hard it flopped open and everything
spilled on the floor.
"I'll go sleep in the park." Mollie wanted
to cry. "All they got out there is bears."
"There ain't no park," Duke said. "Stay
here. I'll git."
Mollie heard the door slam behind him.
Mollie took three little steps toward it and
stopped. "Oh !" she said in a thin little
piping voice. And then she began to cry.
Mollie didn't sleep much that night but
she was young and it didn't show on her
face in the morning. A good thing, too, for
Mollie had to look her best. Most of her
money had been put in that bus ticket and
she had to hitchhike. But even though
Mollie tried all the most alluring signals
ten cars passed before one stopped. It was
an old jalopy and it was Hauling a horse
trailer, but Molly didn't mind until she saw
it was Duke who was driving it.
"Never mind," she said haughtily and
turned away.
It helped after that to have the big, ex-
pensive-looking roadster stop and to sit be-
side the handsome driver and be able to
signal derisively at Duke as they whizzed
by. The only trouble was it wasn't going
all the way and Mollie was left at a cross-
road practically in the middle of a desert.
The skull of a steer leered up at her. She
moved away but it didn't help. A car didn't
come by for hours. It got dark. A coyote
yelled and she almost screamed. She was
so relieved she could have cried when she
saw headlights coming up the road at last.
It was Duke. But this time she wasn't
proud. This time she climbed into the car
and sat meekly down beside Waco.
"Thank you very much," she said humbly.
And that was the last that was said until
the car stopped and they all got out. They
were going to sleep on the desert.
Since she'd stopped being scared Mollie
had become proud again. She didn't say
anything while Duke built a fire and made
supper. She didn't say anything while they
ate. Finally Duke couldn't stand it.
"Lookit, Miss Truesdale," he said. "Is
there any good reason you and me should
sit around here insultin' each other?"
"I insulted you, Mister Hudkins?" Her
eyebrows lifted. "I'm sorry."
"Quit calling me Mr. Hudkins," he said.
"Anything else I could call you, Mister
ludkins," she said stiffly, "would hardly be
ppropriate for a lady to utter."
Duke only got up and stretched.
"Well, time to go to bed," he said. "Hope
you won't mind sleeping on the same desert
with me."
It really was silly, Mollie thought, the
way Duke was fussing over that horse of
his, getting him to lie down as if it were a
Tm your wife... remember !??!"
I. We had been perfect mates ... at first. Then, George began treating mo like a stranger.
He'd go for hours without talking to me . . . without even looking at me. It was maddening!
2. At home-nursing class one day, I flunked
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3. When I asked her what I should do, she
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she went on to explain how this famous
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wives, won't harm sensitive vaginal tissues.
"Just follow the easy directions," she said.
4. The? advice turned out to he first aid to
our marriage, all right! I keep Lysol disin-
fectant on hand always . . . it's so easy and
economical to use. And, as for George, he
remembers me now . . . with flowers!
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SCREENLAND
69
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baby and putting a blanket on him so ten-
derly.
"Aren't you going to put a rope on him ?"
she said as Duke finally finished fussing.
"How'd you like me to put a rope on
you?" he said indignantly.
"I wouldn't," Mollie said. "But I'm not
a horse."
."What's the difference?" He began put-
ting out the fire. "Anything that ties you
down is no good. Like a steady job or if
you own a ranch. Take me. Could I go
where I want when I want to? Or do? I
don't like any business but the one I'm in.
Living the way I like to. By myself."
"It sounds lonesome," Moll.ie said.
"Maybe." Duke hauled some blankets out
of the car and threw one on her. "But me,
I don't like ropes. Goodnight."
He went over to Waco who was already
asleep and lay down beside him. In a minute
he was asleep, too. Mollie couldn't sleep.
It was cold and the coyotes were howling.
She started to shiver and getting up took
the blanket off Sammy and wrapped it
around herself. It didn't help much. An-
other coyote howled and she crawled over
toward Duke. She finally lay down about a
foot away from him. Then as she began
nodding she edged closer and closer.
The sun woke her up. At first she just
lay there thinking what a comfortable pil-
low she was sleeping on, then as she opefled
her eyes she saw the pillow was Duke's
arm. She was all ready to settle back to
sleep again when she remembered and
scrambled to her feet. And just then Sammy
sneezed and Duke woke with a start.
"What's that?" he demanded. Then as
Sammy sneezed again he looked at him and
saw him blanketless. Worse, he saw Sam-
my's blanket still wrapped around Mollie.
"Ain't you got no respect for nothin'?"
he demanded furiously. "Stealing a horse's
blanket. Waco, get going. Sammy's got a
cold. We gotta get to Gold City and fast."
Sammy had sneezed and there was no
breakfast, no lunch. Mollie was pretty dis-
gusted sitting on the running board of the
car in the veterinarian's yard looking
through the open barn door at Duke kneel-
ing beside Sammy as the vet examined hirn
and listening to the crunch Waco's shoes"
made in the gravel as he paced nervously
up and down.
"I've never seen such a fuss and ruckus !"
Mollie said indignantly. "Just 'cause a
horse sneezes. It's just a cold in the nose.
I've had lots of colds in the noses."
Just then the vet straightened. He looked
serious.
"You've got a pretty sick horse," he said
to Duke. "No use beatin' around the bush.
Maybe pneumonia's started, maybe not.
Whyn't you come around five or six this
afternoon? Either he'll be okay or we'll
know."
Duke looked as if he'd been kicked in
the stomach.
"Wish it was me sick instead of him,"
he said. "Least I could say where it hurt.
He can't."
"Duke," Mollie said. Her voice sounded
choked. She went over to him and put her
hand on his arm. Her eyes looked sorry.
"Oh, Duke, it was my fault."
"It's all right, Mollie." Duke didn't sound
mad. It was worse the way he sounded, so
aloof and distant. "Been nice knowing you."
And he walked away.
"I was right about him." Mollie looked
disconsolately at Waco. "He's the most un-
usual man I ever met. He certainly is the
right fella for the right girl."
Waco looked frightened. He picked up
her suitcase but Mollie shook her head.
"I'm not leaving just yet," she said firm-
ly. "My bus doesn't go until morning. I'll
stay here, so I can go to the rodeo and
let Duke know if anything happens or — "
"Mollie, I want to give you some ad-
vice," Waco said. "Go home. I'm an old
man and I like you. Now I know Duke
and I know women, all kinds. I know your
kind and if you don't watch out you're
gonna get your heart broke. You're barking,
up the wrong cowboy."
"Listen!" Mollie said. "Any fella can
love a horse can love a girl." She gave
Waco a long challenging look. "Betcha!"
She said firmly. Waco only shook his head
and left.
The rodeo was on full force when Mollie
arrived breathless.
"Duke," she called from the other side
of the fence. "Sammy — "
She was almost crying and Duke leaped
off a bronco and ran over to her. His face
was set. Desperate. "Sammy what?" he
said expecting the worst.
"He's okay," Mollie could only whisper.
And then she was really crying and Duke's
arms went around her.
"Good doctor, that Humbolt. He's the
man I'm gonna see if I ever get took sick,"
he said jubilantly. Then his finger went
up to her eyes and he wiped away a tear.
"Don't cry, Mollie," he said. "Nuthin' to
cry about."
What girl wouldn't hope again after
that? Mollie felt confident again. All Duke
needed was a little technique now. So in-
stead of taking a room at the hotel she
took one of the cabins in back for the
homey atmosphere she was going to intro-
duce to Duke. She was going to show him
how comfortable a home could be and how
nice it was to have a woman around Mollie
certainly was a girl who knew how to dish
out technique.
She went shopping, not just for things to
eat, but for things to give the right look to
the room. Candles and a tablecloth and
napkins and silverware from the local five
and ten. She even spent her last cent buy-
ing flowers, some for the table and some
for her hair.
Duke didn't protest too much when he
came to take Mollie for dinner and she
suggested having it there instead. He
thought he'd made a mistake, though, when
the cocktails Mollie had mentioned turned
out to be made of tomato juice. But Mollie
could cook, and Duke enjoyed dinner even
if he didn't quite know what to make of
the table decked out so elaborately that no
one would have suspected it was just a
folding bridge table. He felt a little un-
comfortable, but he liked it. When he began
smiling Mollie felt the time had come to
plunge.
"You know, Duke," she said softly, "all
we've been together and all the fun we've
had and — and I hardly knew anything
about you. Gee, there's a million things
about you I'd — "
She stopped as she saw him begin making
faces. Terrible faces. And then he pointed
to his mouth and she saw something was
stuck in it and looking down on the gooey
cake on her own plate that she hadn't
touched yet she realized what it was.
"Here." She poured him some coffee.
"Drink this. It'll sort of loosen it up." Then
as Duke did and he began being able to
move his mouth again, she leaned forward.
"Gee, I'm sorry," she said. "It's just I
wanted to have everything fancy for you."
The table was small. Her forehead was
practically against his. Neither one of them
knew how it happened, if it was Duke who
kissed Mollie or Mollie who kissed Duke.
Anyway it was quite a kiss. It was differ-
ent from anything Duke had ever run into
before. As they drew away he looked prac-
tically slap-happy.
She had him on the ropes. Now she was
going to give the decisive domestic punch
line. "Let's clear up things," she said
70
SCREENL/*ND
breathlessly. "Then maybe we can talk. We
can talk and — "
He was still smiling as she took a frilly
little apron off a hook and tied it around
his middle. He took a dish away from her
and began wiping it as if he loved doing
it. And then suddenly he looked up and saw
himself in the wardrobe mirror and the
smile was gone.
"I look like a husband," he sounded
aghast. "I'm drunk. I ain't had a drink all
night, and I'm drunk."
"Oh, gosh !" Mollie's voice rose despair-
ingly. "I thought — "
"I know what you thought !" he bellowed.
"But you come to the wrong place, Mollie.
I ain't built that way. I ain't gonna get
hooked. I got my own way of livin' and I
don't want nobody changing it. Lemme
alone and quit tryin' to hook me !"
"I wasn't trying to — " Mollie tried to
look dignified but it was hard with her
tears coming that way.
"Don't start cryin' !' His voice sounded
gentle. "Mollie, just let me say this. If I
wanted to get hooked, I'd let you hook me.
I don't know anybody else I would." Sud-
denly he tore off the apron and strode to
the door. "But I don't want to get hooked!"
And he took his hat and almost ran out
of the door.
She couldn't believe she wasn't going to
have another chance. She couldn't believe
he wasn't coming to say goodbye. But he
didn't. And it certainly didn't help much
to have Smiley Lambert leer at her when
she got on the bus.
"Hope you're none the worse for wear,
kid, like they say," he winked.
"And just what do you mean by that,
Mister Lambert?" Mollie said discovering
she could still sound indignant. But it took
the last bit of her strength. She couldn't
do anything after that but just sit there
remembering and remembering.
Malcom and Grey and Bob were waiting
for her at the bus terminal. Malcom had
brought her a corsage and the three of
them began fighting about who was to take
her home. But it didn't help any. She
started walking through the revolving door
and the three of them started after her
when suddenly they saw her coming back
through the revolving door again. Only she
wasn't walking, she was being carried.
They couldn't believe their eyes at first
seeing that cowboy carrying Mollie just
like he owned her.
They all crowded around, united for once
against this common enemy, this outsider,
but Duke only pushed past them and kept
on carrying Mollie right to a bus that was
headed West. Only when they got on did
Mollie find her voice again.
"Just a minute !" she said, mustering all
her dignity. "I'm not getting back on a
bus. I just got off a bus. This is New York
City, you know. You can't just come
charging in here and decide everything for
everybody. If you think I'm gonna go
through again what I went through before
— well, you're certainly mistaken, Duke."
He smiled then as he put her down in
the seat and sat down beside her. Her heart
felt as if it had turned to jelly. But he
didn't have to think all he had to do was
smile and she'd come running.
"Lis.ten, Duke," she said. "Even if I
changed my mind and even if I wanted to
go back with you, I can't. I'll lose, my job."
"That's all right," Duke said. "I've got
a job for you. I fired Waco."
She started to say something but Duke
pulled her close and kissed her. The bus
started with a violent jerk and Duke and
Mollie bounced with it but they kept on
kissing. None of the passengers had ever
seen anything like it. This was a romance
for keeps, they decided. If those bumps
couldn't shake them loose, nothing in the
world could ever.
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The Man Who's Had Everything
Continued from page 23
previewed they promptly took up the option
— at $1,000 a week. But his contract with
his stage producers stipulated he was to
play the Chicago run of "The Last Mile"
and several other large cities. He went
back to fulfill his obligations and was 'off
the screen nine months with only his one
big hit to his credit.
When he returned to Hollywood the hul-
labaloo he had caused had died down. But
he was promptly put into "Quick Millions"
— a picture that couldn't quite make up its
mind whether to be a comedy or a drama,
succeeded in being neither and ended with
almost the entire last reel devoted to a
dry preachment against gangsterism.
From then on it looked as though
Spence's film career was doomed. His con-
tract called for yearly options and Fox were
determined to get their money's worth out
of him. He went from one bad picture to
another that was worse. Warner Brothers
borrowed him for the lead in "20,000 Years
in Sing Sing" in which Bette Davis played
opposite him, and he turned in an impres-
sive performance. But the same company
was making "I Am A Fugitive From A
Chain Gang" at the same time. The latter
starred Paul Muni. The two pictures were
similar in theme and, as Muni was a War-
ner Brothers star, his film received the
benefit of the publicity campaigns and
"Sing Sing" went unsung and almost un-
noticed.
Columbia borrowed him for the lead in
"A Man's Castle" in which he and Loretta
Young were starred. It came darned near
winning the Academy Award for the best
picture of the year. But it did Spence
little good. When he returned to his home
lot nothing was changed. Winfield Shee-
han, head of the studio, had steadfast faith
in Spence, but he seemed unable to find
decent pictures for him.
It was about that time Spencer called
me one day and asked me to have lunch
with him. "I don't know what to do," he
reflected gloomily. "They keep putting me
in these rotten pictures that nobody goes
to see. I have no box-office. My option
is coming up and my next raise is to
$1500. They'll never pay it."
But they did. And Spencer continued
making pictures nobody went to see.
About a year later he called me once
more. "I want to ask you something no-
body but a ham would ask," he said. His
face reddened in embarrassment but he
faced me squarely. "Do you think," he
queried, "there is any real place for me
in pictures ?"
"Place for you in pictures?" I echoed.
"You're one of the three or four best actors
on the screen today."
"My option is coming up again and I'm
thinking of asking for a release. Do you
think I could get a job at another studio?"
"If you can't," I retorted hotly, "the
picture industry had better call it a day
and fold up. You might do better at an-
other studio. You couldn't do worse. Uni-
versal let Bette Davis go and look what
Warners did with her. M-G-M let Deanna
Durbin go and look what happened to her
at Universal. Warners let Ginger Rogers
go and look at her now."
He signed with M-G-M shortly after
that.
As nearly as I remember, his first part
under his new contract was as the priest
in "San Francisco" with Clark Gable and
Jeanette MacDonald. Spence wrapped up
the picture and walked away with it. He
was set.
A year or two later he won the Academy
Award and repeated his performance the
following year. And that from the man
who three years before had asked me if
there was any real place for him in pic-
tures!
But if Time brought success it has
brought heartaches, too.
"I've often wondered," I said to him re-
cently, "if success is worth the price you've
paid for it."
''What do you mean?" he asked sus-
piciously.
"Perhaps I'm wrong," I replied, "but it
seems to me you are one of the unhappiest
people I know. I can't figure out how
much of the change in you is attributable
to the fact you are thirteen years older
now than you were when I first met you
and how much is due to the change in your
position. I think, though, you've paid one
hell of a price for success. You're an
insomniac now, you haven't much home
life, you rarely go anywhere nights, and
don't seem to me to get any enjoyment
out of life. I believe those two Oscars
have brought you more grief than joy be-
cause I think every time you start a new
picture you're worried to death for fear
your performance won't measure up to
them."
Spence pondered all this for a few mo-
ments. "We all change as we grow older,"
he said finally. "Our senses become dulled
to _ an extent. There isn't that zest for
living we have when we're young. Repeti-
tion takes the edge off our enjoyment. You
can't keep going to fights and wrestling
matches year in and year out. You become
bored with them. I've never cared for
night clubs. Fun lies in different directions
as you mature.
"Jimmy Cagney, Frank McHugh, Pat
O'Brien, Ralph Bellamy and Lynne Over-
man and I used to have dinner together
Another lovely newcomer to trie screen is
starlet Trudy Marshall, appearing in "The
Dancing Mastert," for 20th Century-Fox.
72
SCREENLAND
once a week — until Lynne died and Ralph
went back to the stage. We had more fun
then than I have ever had in any way.
Jimmy, Frank, Pat and I will get together
again when Frank and Pat get back. In
the meantime, Jimmy and I still have din-
ner together a couple of times a week and
we still have fun in our own way. We
can't do all the things we used to. Jimmy
hasn't time. I don't know anyone in Holly-
wood who does as much war work as he —
and with less fanfare. In addition, he's
president of the Screen Actors' Guild and
he's on the board of directors of a couple
of other actors' organizations. Wasn't it
swell he won that Oscar?" he broke off
suddenly. "He should have had it years ago.
"As far as my home life goes," he went
on slowly, "you know that even before I
came to Hollywood I've always had an
apartment away from home when I was
working. I get edgy and it isn't fair to
my family to inflict my moods on them.
Now, with this gas and tire rationing I
can't live on the ranch with them all the
time. It's too far away from the studio.
But I go out there as often as I can —
three or four nights a week. Other actors
are away from their homes three or four
nights a week with their war activities and
their wives see no more of them than
Louise and I see of each other. Only I
think most of them are not as happy to see
each other when they are together as
Louise and I.
"About those Oscars : you're barking up
the wrong tree, mister ! They don't worry
me. The only thing that worries me is
whether the pictures I'm going into are
going to be good and whether I'll be able
to get ill out of the part there is in it. No
actor who takes his work seriously can
help worrying over those things. If that
kind of worry makes me seem moody or
grouchy, I'm sorry but there's nothing I
can do about it."
You often read this or that actor reminds
a writer of a small boy. It is more true
of Spence than anyone else I know. His
enthusiasms are, and always have been,
those of a kid. When he speaks of his
family his face lights up and he has the
same naive pride in them most boys have
in Iheir fathers.
_ At one time the Office of War Informa-
tion was going to send him on a mission
to the islands in the Pacific. It fell
through. Another, time they were going to
send him to Africa and that project, too,
failed to jell. But while they were hang-
ing fire Spence was as thrilled as though
he had been the first to fly the Atlantic.
Just now he is all worked up over a
vaudeville unit the studio is building around
him to tour the Army camps. Spence will
be the master of ceremonies and also ap-
pear in a sketch — a comedy. There will
be singers, dancers and other varieties of
entertainment.
_ "Irene," he said enthusiastically, refer-
ring to Irene Dunne who is appearing with
him in "A Guy Named Joe," "has promised
to go out with us for the first show if
she isn't working. Mickey Rooney has
promised to go out once, and so have Judy
Garland and others. Of course, we can't
keep them all with us all the time but there
will always be a guest star and, even
though the other performers are not always
the same, the show will be.
"You say," he went on, suddenly chang-
ing the topic, "you think I'm unhappy. I'm
not. Happiness is such an illusory— such
an elusive thing — who can say exactly what
constitutes happiness? Life can't be always
at the high water mark — not for anyone.
I only know I have had a fuller life than
most people and if there have been shadows
there have been highlights, too.
"No, pal," he finished softly, "don't ever
feel sorry for me. I've done all right."
(...OF CONFIDENCE )
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Meet Claudia
Continued from page 25
scoring her stage victory much of the pub-
licity projected the idea that Dorothy ac-
tually was Claudia — a veritable counterpart
of the giddy, gabby child- wife with a
whimsical turn of mind whose funny re-
marks kept the audience in stitches.
Doubtless you know this Claudia, for
she is a popular and piquant figure in cur-
rent literature. In the play she was quite
an order to portray. Besides being a kind
of dipsydoodle she had to meet tragedy
courageously. Dorothy, in interpreting her,
had to register poignant drama and comedy.
With considerable decisiveness Dorothy
torpedoes the Claudia resemblance rumor.
"Someone called Claudia a 'brilliant nin-
compoop,' " she told me on our first meet-
ing, "and I think it's a swell description.
But heavens, if I had to do and think as
Claudia does at times I'd Vonder if I were
in my right mind. Claudia's fun but she's
frequently screwball.
"Over all, though, she's a perfectly ex-
hilarating girl to portray because she is
forever experimenting with life, especially
where men are concerned. She's always
putting them in a test tube to find out
what makes them so attractive 'chemically'
or otherwise. Then, too, there's her other,
serious side — devotion to her mother."
It wasn't a case of love at first sight
between Dorothy and Claudia, however.
She wasn't "sold" on the role, and her
acceptance of the part, the way she came
to get it and all, were a happy accident.
"The play that I was really interested
in about the time 'Claudia' was coming to
life was a dramatic one titled 'Liberty
Jones,' written, you know, by Philip
Barry," declared Dorothy. "I just lived
for the opportunity of appearing in that.
While it only lasted two weeks when it
was produced in New York, I felt then
and still feel it was divine — nothing less!
But I lost out on even playing it for that
long. When I received word that another
actress had been chosen for 'Liberty Jones,'
it was as if .my whole career had been
shattered because I wanted it so much.
Therefore, when the 'Claudia' opportunity
came along, I was more or less numbed.
"I didn't react to the character at all.
I read the 'Claudia' part for John Golden,
the producer, and Miss Franken, but I
didn't think my reading even made sense.
I felt all unhinged. I was in a mood by
this time to quit the theater for good.
"It was at my moment of deepest un-
certainty that Miss Franken suggested:
T think you had better plan on going up
country to my house for the week-end.
We'll visit, get better acquainted with each
other, and with Claudia.
"I had the strangest set of emotions.-
To hear from Miss Franken gave me a
lift. It sort of half restored my confidence.
Yet at the same time I was so completely
indifferent about the whole thing. I couldn't
believe I was fitted for the part. I knew
that Miss Franken and Mr. Golden had
interviewed some two hundred actresses.
"That was all the more reason why I
couldn't even conceive that Miss Franken
wanted me. Still — and this is very strange,
indeed — I felt down deep inside me that
'Claudia' somehow was my destiny ! And
even stranger, I had only one impulse and
that was to run away from the character
and the play at that very moment. When
you're finally at the threshold of good
fortune it often scares you away.
"Maybe all this sounds terribly mixed
up, but frankly I was going through just
such a set of scrambled reactions. I think
now I can explain the reason for all my
great confusion at that time. I couldn't then.
"Actually, I believe I just hadn't dared
entertain the hope of getting the 'Claudia'
break. So often I had missed chances to
undertake the leading role in an important
play, and had to settle for an understudy
or some rather insignificant part. You see,
I understudied Martha Scott in 'Our Town'
and Julie Haydn in 'Time Of Your Life.'
"I must^have had the subconscious fear
that I might be handed another under-
study in 'Claudia.' Undoubtedly, I was try-
ing to protect myself against that. I'm
sure now I just couldn't have faced being
'second choice' once more !"
That trip up country settled many
things for Dorothy. She just about quit
"fighting fate" thereafter. Incidentally, her
detachment toward the "Claudia" role
helped give it the enormous sincerity and
vitality that distinguished it on the stage.
She didn't attempt to be funny. She was
lackadaisical and perfectly natural. The
public right then and there concluded that
she was Claudia . . . born to the part. It
was one of those spontaneous happenings
which occur once, perhaps, in a dozen years.
The thing that amazed me when I met
Dorothy, above all else, was that in spite
of her remarkable stage conquest, she had
apparently retained clear and undefiled her
true sense of values. There was nothing
about her that suggested the "star."
When I lunched with her at the Cafe
de Paris at Twentieth Century-Fox studio
her attire even fit the description, "plain
and simple," for it consisted of brown
slacks and a beige-toned mannish tweed
jacket. She wore no nail polish, and her
hair had a windblown air about it, and
a great way of flopping into her blue eyes
as she grew animated in the conversation.
Dorothy definitely takes her place as
a personality different from any that is
known to filmgoers. She doesn't conform
to the Hollywood pattern nor, for that
maater, to any other pattern. She doesn't
chatter with that assurance typical of most
stars, even young ones, who are "giving
out" with an interview. Dorothy McGuire
considers the answer to any serious ques-
tion you put to her as if the weight of the
world depended upon it. If it's the least
bit off the beam or if she isn't quite sure
of the answer, her fingers unconsciously
reach for a lock of her hair and she clings
to it like an anchor while she mentally
decides what form the response is to take.
And she'll agonize until she is sure that
she is stating what she means with honesty
and exactitude. It may only be part of a
sentence that expresses what she feels but
it reaches you with a dynamic impact.
Much of the time Dorothy sails along
in her conversation blithely, especially
when she is talking about the theater. She
almost sobbed when she told me of why
she loved going on tour with plays. She
practically shed tears of reverence during
the telling of traveling over the same road-
beds leading to towns that the great ones
of the past in the theater had visited.
"I used to sit with my face pressed to
the train window," she said with whimsy
and tenderness, "repeating to myself : 'Here
are the scenes they too saw as they trav-
ersed this road bringing the magic of their
art to the workaday world — the world
of reality.'
"Sometimes I'd hardly go to sleep at
night. I still wanted to keep on _ gazing
even into the blackness trying to imagine
myself among the company of the artists
who have written the history of acting
and entertainment in this country. There
is something so wonderful about knowing
that in your very small way you too may
74
SCREENLAND
belong to that assemblage, you too perhaps
may one day link hands in the fulfillment
of your dreams with that gallant group
of great ones."
Unquestionably her attitude of idolatry
toward the celebrated figures in theatrical
history caused Dorothy to thrill to the
utmost over her association with John
Barrymore in "My Dear Children." The
fact that this was not one of the great
John's more legitimate stage successes did
not lessen the joy of her actually taking
part in a play with so noted a star.
"I shall never be able to fully express
my gratefulness for being in the same
company, on the very same stage, with Mr.
Barrymore ! It was an education in acting.
The habit of work and the striving for
highest goals in the acting profession have
been part and parcel of Dorothy's con-
sciousness since she was a young girl of 13.
At that time she made her debut in
Omaha, her home town, in Sir James
Matthew Barrie's play, "A Kiss for Cin-
derella," and had none other than Henry
Fonda, a guest star, as her leading man.
However, Dorothy was no ordinary
baleful "child wonder;" she had a great
deal of ability. At the time, Violet Heming,
prominent on the stage, remarked that this
youngster was born for an acting career.
She said she had a natural intuition for
the art and was like a breath of spring.
The astonishing thing is that those words
still fit Dorothy to a T. The intervening
years — Dorothy is about 24 now — have not
altered her talent. It is the kind of talent
that is often full blown at the very outset.
Dorothy has an almost child-like outlook
even now on the glamor that pervades the
profession she's chosen. Her viewpoint on
it is entirely idealistic. When she was in
the theater she lived in her own w7ay.
There was no chi-chi about it Since she
has come to Hollywood she has main-
tained the same spirit of simplicity.
In New York she lived in a walk-up
apartment which cost her $60.00 per month.
She did not own a car, nearly always
footed to and from the theater, was famous
for the absence of the usual theatrical gor-
geousness in all her surroundings. Yet
there is never anything lacking in taste
in the setting for the McGuire individuality.
Since coming to Hollywood she has
secured a car but that is because there
is no other means of transportation around
the film town. Her household both in New
York and Hollywood consists of a maid
who came from her family home in Omaha.
Dorothy is an only child and her parents
still reside in the Nebraska capital.
Her marriage to John Swope, in July,
caught the Hollywood gossips gaping as
they had her romancing with Capt. James
Stewart — who, as John's best friend, was
best man at the wedding. Dorothy's new
husband is the son of George Swope, pres-
ident of General Electric. The groom is
vice-president of Southwest Airways, Inc.,
and manager of Thunderbird Field.
What the future will hold for Dorothy
in pictures is a matter of conjecture. Pos-
sibly "Claudia" will turn into a series of
films like the "Hardy" family. Rose
Franken, the author, has kept her heroine
alive for several years without much
trouble.
People respond to the character for some
reason, probably because Claudia repre-
sents a sort of revolution against heavy
mental responsibilities, a delightful little
escapist, yet capable of taking real prob-
lems seriously.
Well, if Dorothy McGuire continues
playing Claudia in pictures, one thing is
certain. People more than ever will swear,
aver, avow, asseverate that she is Claudia,
and nobody else. As a matter of fact, no-
body else could be !
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That New Boy Bob Walker
Continued from page 27
licity department. Five magazine inter-
views were lined up with dozens of requests
for Bob Walker art and material. Our
conversation was very informal — for we
had mutual interests to discuss. Without
any flossy questions, or anticipated replies
with chosen words, I wanted to know all
about Bob. At the same time, it so hap-
pens that this is his first interview.
"Phil had been signed for 'Song of Ber-
nadette' and she was expecting to leave
for Hollywood momentarily. I had a good
number of radio shows in New York. In
fact, I was doing all right. But I didn't
want us to be separated. Phil in Holly-
wood and me in New York, 3000 miles
between us. We've always been together.
"I was thrilled, more thrilled perhaps
when Phil got her chance first, than when
mine came. I was eager for her to con-
tinue her career. Please understand, we
didn't want to be separated. Rather than
be apart, I decided to chuck my radio shows
and come with her. I felt reasonably sure
I could get radio work in Hollywood.
"However, my agent in New York sug-
gested, 'Why don't you take a fling in
pictures too, Bob ? They need new leading
men.' It was on his persuasion that we
went over to New York's M-G-M office,"
Bob continued. "It so happened that Mr.
Mayer was in New York. I was taken in
for an interview. The next day I was mak-
ing a test. And by the fifth day I was
told to leave immediately for Hollywood!
"In one day Phil and I stored our furni-
ture. She took the children, Bobby and
Michael, and went west. I followed as
soon as possible. Before we could unpack
in Hollywood, there I was before the
camera with Bob Taylor, Thomas Mitchell,
George Murphy, Lloyd Nolan, Lee Bow-
man and Desi Arnaz. Sounds like fiction,
doesn't it?" Bob smiled that engaging
grin that's going to captivate college co-eds
and loyal little Rosie-the-Riveteers from
coast to coast.
"Gas rationing was scaring everyone
from renting big houses in Hollywood," he
added. "Everyone was taking small apart-
ments close in. We couldn't find a small
house or a small apartment anywhere.
Here's another amazing thing that hap-
pened. A real estate agent offered us the for-
mer home of Tyrone Power (where he lived
before he married Annabella) for much
less money than a small house. So here
we are in Hollywood a few short weeks-
Phil playing the lead in a best-seller, and
me starting the lead in a best-seller, and
living in Tyrone Power's house in Bel Air!
And having Bob Taylor, such a swell fel-
low, for a friend — and me making cinema
love to Greer Garson!"
Bob shook his head — and laughed right
out loud. "Just doesn't seem possible !"_
But this is only part of the most amazing
story to come out of Hollywood in a decade.
To start at all, we must start right back
at the beginning. Back in Ogden, Utah,
when I knew Bob — when!
Bob was born in Salt Lake City. His
father was a newspaper editor. Then the
family moved to Ogden. At Central Junior
High School, Bob was the despair of his
teachers. Bright, intelligent, but too active
to pore over books. "At math I was ter-
rible." D. H. Adams, our principal, was
a kindly man, seasoned through forty-five
years of handling young people in school.
"If young Walker ever hits his stride, he'll
do all right," he used to say. "He's an
energetic youngster. Just needs to get him-
self set."
But Bob cut one shenanigan too many.
His family despaired of his poor grades.
And when his aunt, Hortense Odium of
New York, who owns and runs Bonwit
Teller, came to Ogden for a summer visit,
she was Lady Bountiful personified, as far
as her young nephew was concerned. She
offered to send Bob to the San Diego Army
and Navy Academy. A bit of military
discipline, no doubt, would straighten out
all his youthful perplexities. It did.
"I took dramatic art at school, because
I thought it would be one of the easiest
courses to get through," Bob admits. "In-
stead, for the first time in my life, I found
something I liked to do."
The dramatic teacher was elated with
Bob. She encouraged him to make it a
life job. In fact, he stayed at the Military
Academy five years — just to work with this
drama coach. His talent won two scholar-
ships to the Pasadena Community Play-
house. But Aunt Hortense again stepped
in as Lady Bountiful, and offered to send
him through the American Academy of
Dramatic Art in New York.
This was in 1937. Bob stopped off in
Ogden on the way East. And the paper
published his picture : Home-town boy
going to Broadway, was the caption. Gifted
young actor for whom big things were
predicted by genial editor Glen Perrins.
Two summers later, Bob came home
again. This time with one of the prettiest
girls Ogden had ever seen tucked under
his arm. Bob's bride, said the society item
that announced the young couple were on
their honeymoon.
Miss Jones professionally, she was. To
Bob — Phil. She also was an aspiring young
actress. They had attended classes together
at the American Academy in New York.
They had rehearsed together — played
scenes, read plays, and dreamed of a fu-
ture in the vacillating fortunes of the
theater — together.
Bob had a cycloramic story to tell. About
Broadway. Starving for art's sake. How
he had lived in a cooperative lodge where
he worked for his bed. How his brother
had finally staked him to ten dollars a
week — every cent of which went for food
and clothing. An actor, even an aspiring
one, must eat, and must have sartorial
appeal. Front — that's it. Good clothes for
front to attract a producer. To make
Broadway visualize him as a young mati-
nee idol. But in spite of daily pounding
the pavement, Bob had to admit that Broad-
way wanted none of him.
It was a case of real love between Bob
and Miss Jones. There was no money for
a dashing courtship. Just walks in Central
Park, strolls along Broadway, hunting
books and poring over plays in the public
library. Sometimes a sandwich at the
Automat.
Their first acting job was the occasion
of jubilant rejoicing: A spot in a play at
the Cherry Lane Theater in Greenwich
Village at fifty cents a performance.
Of course Ogden heard the news. Bob
might as well have been leading man to
Katharine Cornell, the way the notice in
the home-town paper went, with its glow-
ing account of Bob's performance.
Then Miss Jones' home town, Tulsa,
Oklahoma, offered her the role of leading
lady in a radio stock company. Of course
she suggested Bob as the leading man. For
fourteen weeks of their radio engagement,
Bob scrimped and saved his $25 per — and
gathered the courage to propose to Miss
Jones, to share his very uncertain future.
So they were married. Miss Jones'
parents gifted the bridal pair with a sleek,
big, high-powered black convertible Pack-
76
SCREENLAND
ard. And they drove in splendor to Holly-
wood— stopping off, as I've said, in Ogden.
The future seemed glorious. Besides their
press clippings from the radio stint, they
were armed to the teeth with letters. Let-
ters to very important agents in Hollywood
— from very important people in New York.
How could they possibly miss ? Aunt Hor-
tense, whose firm owned heavy stock in
RKO, sent a letter — not only of introduc-
tion, but asking for a screen test.
"Our letters didn't mean a thing," Bob
said. "They were all from relatives. The
addressees took them politely enough and
said, 'We'll see what we can do.' At RKO
we were hastily ushered in — and out.
'That's all, brother!' We never did see
our test. And we wondered if actually
there had been any film in the cameras.
The worst way to try to crash Hollywood
is to come as the protegees of relatives. I
guess the studios are run ragged with let-
ters of introduction from their relatives of
relatives of relatives !
"Phil and I began auditioning for agents
— anyone. Seeing how we were graduate
actors of accredited schools, we would audi-
tion with heavy stuff. Like Ibsen's 'Ghosts.'
Stuff that was too heavy and actually not
our type. If we'd picked something like
'Our Town' — or just been ourselves — we
might have clicked.
"I landed a job reading scripts at $35 a
week for a literary agent. We couldn't
get Hollywood to give us a tumble. Finally
we sold our car and returned to New York.
This time the Bob Walkers didn't stop
off in Ogden. It would have been a bit
embarrassing, after those glowing write-
ups, predicting movie stardom that had
preceded their Hollywood endeavor.
"It may be the vogue to live in Green-
wich Village when you're an actor, but not
the way we lived," Bob laughed. "We
lived in a tenement house and shared the
bath. We had the kind of sink that is
covered by a drain board and is the major
part of the kitchen. It was hot and stuffy
in summer, cold in the winter. But as
Phil said, Mrs. Eleanor Roosevelt, the wife
of the President of the United States, had
a Village apartment down the street. We
had atmosphere ! Phil had Tinker, her
puppy, and Polly the parrot — and she had
a way of making even that little room look
homey and inviting. It was a wonderful
place to come home to every night. When
our resources were very low I got another
job reading scripts for another agent at
$35 a week.
"Bobby came along. That was three
years ago. And Phil decided to quit her
career for the time being and have our
family all together.
"Being a father gave me a full sense of
responsibility. I had to make more money.
I had to get something steady. I attended
a weekly audition for unknowns and
seemed to go over pretty well. I landed a
part on the radio in 'Yesterday's Children'
at twenty dollars.
"At Christmas time we'd go to dinner
at the home of our rich relatives — and we'd
feel very poor and very unimportant," Bob
said. "I know my family often must have
thought that acting was a poor profession,
that I should get into business, something
more staple. Instead, I kept getting more
and more radio skits — until finally I was
doing five shows a day on the air. In-
cluding 'March of Time' and 'Aldrich
Family.'
"In fact, by the time our second son,
Michael, who is now two, was born, we
were very comfortable. We had a very
nice apartment, and money we might have
spent on night clubs we invested on good
furniture of our own. We had bought a
car again to take the kids to the beach in
the summer. It was a little flivver, but it
looked almost better to us than our original
wedding present, which we had so hated
to sell in Hollywood.
"Life was pretty wonderful. Phil and
the two babies were well and contented. I
had plenty of work. We had a good trusty
woman to care for our children. So I was
happy when Phil said she wanted to return
to her career. I wasn't unmindful of those
dreams we'd dreamed together in the be-
ginning. Her interest was the theater, too.
"Selznick signed Phil — and later she was
cast for 'Bernadette,' as you know. Then
I went to the M-G-M office. The salary
they offered didn't awe me. Playing several
shows a day in radio was all right. Some
of my friends in New York now are mak-
ing around a couple of thousand a week.
But I signed at a comparatively small fig-
ure to come to Hollywood with Phil.
"Everything's worked out wonderfully
now," Bob said. "After 'Bataan' the studio
tore up my original contract and gave
me a swell one at good money."
Of course the news flashed to Ogden and
the paper. "I felt really good this time to
see that the editor could honestly be justi-
fied in what he printed about me," Bob
said. "Living up to home-town predictions
is pretty terrific. They ran my picture with
Bob Taylor. Some break !"
The Walkers have been kept so busy at
work since their Hollywood advent they
have not had time to go to Hollywood
parties or night spots with the young movie
set. Bob says they are the "home-type."
"Phil and I read scripts to each other.
We study every night. Then there's the
two little fellows. They had a real thrill
the other day. Made their first news break
in Louella Parsons' column. They went to
a party and were mentioned as the sons
of the Bob Walkers.
"Had to send that home to Mother for
her scrap book!" Bob said with a grin.
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Continued from page 30
equally well known. But few knew Leslie
Howard himself. Those of us who did knew
a "genius." A man gifted in the arts, who
was not only a fine actor, but who proved
himself a great producer. With George
Bernard Shaw, he produced "Pygmalion."
At the Hollywood preview Leslie keenly-
regretted the critics not giving their at-
tention to his efforts on the production,
rather than his acting. He worked from
early to late on "Intermezzo" as co-pro-
ducer with David Selznick. There was
script to revise,- okay. Sets, costumes, di-
rector, players, the endless details of pro-
duction. Leslie was well pleased with this
picture, which introduced Ingrid Bergman
to this country.
Leslie had a superb poise, which he wore
with an amused detached smile. Nothing
seemed to upset his scheme of things. De-
tails did not disturb him. His mind was
actively curious. He liked to know other
people's minds. He liked to develop and
originate ideas. He projected himself, his
own thoughts into his screen characteriza-
tions. "That's really me playing me," he
said during a screening of "The Petrified
Forest." Leslie was a vital person. For all
his gentle, soft-spoken manner, his slight
physique, he was energetic, forceful. He
did not fight with words — but rather with
supreme indifference that usually won his
point. To women, Leslie was a dream-hero
come true. He understood women, because
he had made a study of them. He knew that
pretty words, gallantry, masculine atten-
tions were as essential to a woman as love.
To his own wife, he played the role of lover
by his attentiveness. Because his slight ap-
pearance made him appear the dreamer,
Leslie was wont to be daring. He played
a fast game of polo. He once dove into the
ocean to save a drowning man when a life-
guard was afraid of the riptide. To know
Leslie at all was to know a strong, vital,
forceful personality.
During the filming of "Intermezzo" Les-
lie bought his first home in Hollywood,
Hedy Lamarr's charming little house in
Beverly Hills. All done in soft creams and
crystal, with a large swimming pool taking
up the entire length of the back garden.
"Isn't it glamorous living in Hedy Lamarr's
house?" Leslie would say. "We feel very
excited about it, really!" Leslie was an
inveterate swimmer. He never missed a
morning in the pool. Leslie Ruth, then
sixteen, always swam with her father be-
fore breakfast. Sometimes I was a third.
Mrs. Howard would sit in the patio, and
there was much laughing and talking back
and forth — until the smell of simmering
country sausages announced breakfast was
soon to be served. Then a scramble to get
dried and dressed and breakfast in the open
air. By eight-thirty, Leslie had backed his
convertible out the drive and was on his
way to the studio.
Leslie loved people. He liked to sit, un-
observed, and watch them. Many a time
we'd go to lunch and sit at some corner
table and pick out the celebrities who came
in. The Vendome, on Sunset Boulevard,
which has long since closed its doors, was
a particular favorite with Leslie. He would
bring his miniature Leica camera along and
sit snapping pictures of the stars. "Who
is that lovely creature?" he asked once. I
think of her now. She was Carole Lom-
bard, laughingly breezing by. He was de-
lighted when Wally Beery and his brother,
Noah, lumbered over and I introduced
them. "You don't mind if I snap your pic-
ture ?" he asked — then naively explained, "I
used to say I was snapping these pictures
for my daughter, Leslie Ruth, but she's
here with us this trip. I guess I must admit
my curiosity for seeing the film stars my-
self."
I first met Leslie Howard in 1936. He
was making "The Petrified Forest" — which
he had successfully played on the stage —
with Bette Davis at Warner Brothers. I
remember the unit man took me on a big
sound stage that had been converted into a
desert. "Mr. Howard is the most difficult
man to find," he said. "He is always wan-
dering away. Sometimes we find him in
his automobile asleep. Or behind a piece
of scenery — just sitting with his pipe, cogi-
tating.''
Leslie was within earshot of this conver-
sation, for he stepped right out from behind
the scenery and said, with a smile, "An
amusing chap, this Howard, I must say."
Leslie remarked that the new girl ap-
pearing with him in the picture was "Re-
markable ! Bette Davis, her name is, and
I think she will be one of the great names
in this business. It is a relief to work with
an actress who knows her lines and how to
use them. Bette knows just what she is
doing."
Later Leslie returned to England. He
was about to realize his fondest hope, of
producing and playing "Hamlet" on the
stage.
A year later on Broadway, Leslie opened
his own production of "Hamlet." The sets
were lavish and modernistic. The critics
applauded the sets — and panned Leslie's
"Hamlet." After a short run, Leslie took
his company on a tour of the United States.
"Hamlet" came to Ogden, Utah, my
home town, while I was there. I called
Leslie and he invited me to dinner and to
the play.
"What a time we've had of it!" he said.
"Every actor wants to take a crack at
'Hamlet,' you know. But I had never been
able to interest a producer to back Mr.
Shakespeare's classic for me. When I got
back to England last year I found I had
enough money to do it on my own. It is
the one thing I have always wanted to do.
This will not enrich me to say the least,
travelling across the country with this
heavy scenery and big cast. But it's a great
adventure. I'm getting to know America
like I never did before. I had to leave Mrs.
Howard in Denver with the flu. What a
dear she's been. It's been a long, arduous
trip for her."
We left the cafe for the theater which
was three doors down the street. There
Leslie stopped, appalled. People were lined
up by the hundreds in front of the Orpheum
Theater waiting for his arrival.
"I can't get through that crowd," he said.
"Don't tell me you've developed stage-
fright?" I laughed. Leslie had. Rather
than forage through the crowd — we did an
about-face and walked to the back entrance
of the theater.
After the last act, Leslie, King Lear,
and I went to an ice-cream parlor for sodas.
Leslie never drank, but consumed more
malteds than the average college co-ed. He
was trying to put on weight. He wore his
usual tweed suit and tan sweater in lieu of
a vest. Off-stage, Leslie was seldom taken
for an actor.
Even then Leslie was aware of the un-
rest in Europe. "There's bound to be an-
other war — although no one wants to think
of it," he said. "Amazingly enough, the last
78
SCREENLAND
war made me an actor," he reflected. He
related his enlistment when he was 21 in
World War I. He had been a bank clerk.
His skill at horsemanship won him a com-
mission as lieutenant in a famed cavalry-
regiment, the "20th Hussars." Leslie saw
action with the Canadian troops at Bethune,
and being- severely wounded, was sent home
before the war was over.
"After all of that excitement, crouching
behind a grilled wicket in a bank, counting
other people's money, seemed very dull,"
Leslie said.
Leslie had some experience with amateur
theatricals at the front. He was intrigued
and decided to try his luck on the stage.
He had the usual disappointments, but he
also had the encouragement of his mother
and father and his two brothers and two
sisters. In less than two years, he was a
stage favorite in London in such plays as
"Mr. Pirn Passes By" and "Our Mr. Hep-
plewhite." After "East Is West," he re-
ceived Broadway offers. For two years he
played on Broadway in a succession of hits,
during which time he wrote and starred in
"Murray Hill." But Leslie's heart was
always in England. So home he went.
Before we had finished our soda, Leslie
was summoned to the telephone for a long
distance call. He was highly amused when
he came back. "What do you know," he
said grinning delightedly, "that was my
wife, Ruth. She called to tell me that she
was never so thrilled in her life. It seems
Nelson Eddy is stopping at the same hotel.
He heard she was ill and sent her a large
bouquet of flowers, and stopped to pay his
respects. She said he was just as charming
as he was in 'Rose Marie.' "
We all laughed. Here was Mrs. Howard,
married to one of the screen's greatest
lovers, but with typical movie fan interest
she had been very excited and thrilled at
Nelson Eddy's courtesy. "I must go and
see this Nelson Eddy on the screen," Leslie
said "According to my wife he has great
charm." Leslie's eyes twinkled.
It was Mrs. Howard who invited me for
tea with the two of them one Saturday
matinee at the Biltmore in Los Angeles.
"Hamlet" was winding up and Leslie was
to make a picture. "This is just like a
honeymoon," she said. "Leslie and I have
taken a little apartment. No servants. I
cook our breakfast and our dinner. It is
wonderful to be alone." Both Leslie and I
teased Mrs. Howard about her telephone
call and her meeting with Nelson Eddy.
Time flies in Hollywood. It was several
months later that I suddenly received a
telephone call from Leslie from the United
Artists lot. "I am leaving for England in
the morning," he said. "If we're going to
have that interview, we'd better make it
today." I met him at the studio and we
climbed into his convertible and drove over
to the Vendome. I suppose that was when
I really came to know Leslie Howard. He
was in a reminiscent mood.
Leslie talked about his home in England,
"Stone-Maries," about 25 miles out of Lon-
don in the verdant English countryside.
Leslie bought it when it was a small house
to match his salary. As his income in-
creased, he added rooms and land — until it
was a country showplace. "I'll send you a
picture of it," he promised. "One of Leslie
Ruth and I." He talked about Leslie Ruth,
his daughter. How lovely she was. What
an inseparable pal she was to him. The
Howards had their own stables with riding
horses and a magnificent string of polo
ponies. The latter Leslie had twice shipped
to Hollywood. Leslie's son Ronald is also
an excellent polo player.
Polo is a dangerous game, but Leslie dis-
closed that he would never have a mishap.
"I have a good luck charm. It never fails
me," he said. Leslie was almost fanatical
about this charm, a little gold English coin
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suspended on a heavy gold chain around
his neck. "I am never without it. Some
people think superstition is foolish. But I
am very superstitious, if you call it that,
about this good luck charm. It has not only
brought me luck for years, but it has actu-
ally saved my life." Leslie related that he
was about to board a plane, when he felt
the chain snap from his neck. He immedi-
ately cancelled his trip. The plane crashed
less than two hours later. Another time he
was driving in a London fog. The chain
broke, and he stopped driving. In fact, he
sat all night in his car until the fog lifted.
When it did, he saw he had driven off the
road and was within six feet of going over
a cliff.
"Once," he continued, "I lost it on the
polo field. I had the field searched for
three days until it was found. I've had
luck with it. I never go without it."
Intrigued, I voiced the wish for a good
luck coin, too.
"I'll send you one like this from Eng-
land," Leslie offered. But as we left the
Vendome, it was still on his mind. "I am
so absent-minded," he said, "I think I'd
better do it now. I know a little jewelry
shop on the way home. We'll stop and
get one."
Leslie's little jewelry shop proved to be
none other than the swank Brocks in Bev-
erly Hills. Inside he showed the salesman
his lucky charm and asked if he had any-
thing similar. Charm bracelets were in
vogue and the clerk suggested various little
charm emblems. But I had no bracelet on
which to fasten one. "Here is just the
thing, Mr. Howard," said the salesman.
"This tiny gold watch on a chain to wear
around the neck. They are distinct novel-
ties. We have only two of them."
Yellow gold— Leslie's favorite. "I'll take
that one," he said, picking up a handsome
tiny oblong watch on a gold chain. I pro-
tested, thinking the watch would cost too
much money. Perhaps fifty dollars. Be-
sides I had a wrist-watch. But Leslie in-
sisted in his generous way and wrote out a
check for $170, plus tax for the little good
luck trinket — that I have religiously worn
to this day as a good luck piece.
(I wonder, as do many of Leslie's friends,
if Leslie's good luck charm was intact on
his neck on that fateful trip from Lisbon)
Leslie standing up on the seat of his open
convertible, squinting at house numbers in
front of my house, was the next time I saw
him. He was quite near-sighted. "Oh,
there you are," he said as informally as
though it had been yesterday, instead of
practically a year since we'd met. He had
been to England and back. "I was driving
over to N. B. C. for a broadcast rehearsal.
Won't you come along? It's nice seeing
you again. How have you been?" Then —
"I see you're wearing your good luck
charm. Has it brought you luck?"
Leslie Ruth had accompanied her parents
to Hollywood. They had just purchased the
house that Hedy Lamarr owned before her
marriage to Gene Markey. "It has the
most wonderful pool. You must come over
in the mornings and have a swim," Leslie
invited. Leslie was like that. Informal,
gentle, generous, without affectation, im-
portance, or pretense. He lived simply,
worked endlessly. Few knew that he com-
posed music. That he wrote musical scores
for his pictures. That he sat up half the
night working. Often Mrs. Howard said
he would rise at dawn — and go for long
drives up the coast — some melody humming
in his head — some plot, some new twist for
a characterization, a play, a scene, be-
setting him He seldom went to parties.
But he enjoyed the friendship of his fellow
country men in the film colony. Norma
Shearer, the Ronald Colmans. The Bill
Gargans, his closest friends, named their
eldest child in honor of Leslie.
His little English-French secretary adored
the ground he walked on. Knew him as the
genius he was. At the studio, they worked
on the film, "Intermezzo." On the production
of future pictures. It was a great shock when
a few months ago in London, she was
stricken with a strep throat and died with-
in twenty-four hours. He had grown to
depend on her efficient helpfulness. Her
complete absorption in his work.
The last time we lunched together we
were discussing whether actors and actress-
es who portray so many emotions are emo-
tionally unstaple. "I don't think so," Leslie
had said. "My wife's part of me. I fell in
love with her when I came out of the war.
She had been a nurse. We married within
six days. I have never stopped loving her.
Ruth is a remarkable woman. A pillar of
strength and unity in our home. Our
two children are our common bond, that
strengthens our love — and our mutual in-
terests in life. Everything I do I do. for
her and the children. For myself, money
doesn't mean much. Some times I would
like to quit, you know, and take a fling at
writing, travel about the world for a year
or two, but I have set my family up to a
certain high standard of living. I wouldn't
want them to sacrifice because of some
whim of mine.
"Men are attracted by beautiful women,
no doubt. If they are honest, they admit
that." Leslie said. "But that doesn't mean
that they necessarily fall in love. Too many
people call some physical whim, some sud-
den emotion, love. When it is not love at
all. As for actors and actresses, they are
playing a role — all for effect. It isn't a
sustained emotion."
Leslie then paid tribute to the beauty of
Merle Oberon, who he said was the most
attractive girl on the screen, in his opinion.
Leslie confided his vast production plans
after the war. His own organization in
the Denham studios in England was now
perfected. He had several pictures in readi-
ness. But first would come his films for
the English government. War motion pic-
tures.
I was making twice monthly trips be-
tween Salt Lake City and Los Angeles. To
my agreeable surprise, Leslie Howard was
a fellow-passenger one morning — en route
East. It was winter time and there had
been two serious plane accidents on the line.
"Are you afraid?" I asked, as several pas-
sengers were expressing concern.
"No," Leslie smiled with a shrug of his
shoulders. "I'm sort of a fatalist, you know.
When the time comes it will come. Death
— it should be an interesting adventure."
We were flying over the high Nevada
terrain, endless mountain peaks. Certainly
no landing place. Over the same terrain
where Carole Lombard's plane was to crash.
"I sometimes wonder what I would do
if we crashed," Leslie mused. "I suppose
it would be so sudden, we wouldn't have
time to think about it."
I stopped at Salt Lake airport. Leslie
flew on.
Letters from England brought the news
of his activities with the British War Min-
istry. That his beloved home, "Stone-
Maries," had been opened for a children's
shelter in the English countryside under
Mrs. Howard's capable supervision. That
his son Ronald was married during a fur-
lough from his post aboard a British mine-
sweeper. Then Leslie Ruth's marriage.
Trans-Atlantic cables brought the news of
Leslie's automobile injury in a London
blackout. Then his jaunt to Canada with
Laurence Olivier for "The Invaders." His
promise that soon he would be in Holly-
wood. Perhaps this August for a lecture
tour in America. . . And now — Leslie
Howard's Missing — In Action ! For his
country and all he believed to be right!
80
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Continued from page 32
what they are in reality; fascination."
There was one girl elevator operator who
may have got in his hair on a recent visit
because she persisted in requesting his floor
number every time he boarded her car —
"as though she didn't know it," reports
Milland. Possibly the thought she was just
naturally dissident never entered his mind.
The realist in Ray prevailed when his reac-
tions indicated he would show her and all
the other girl operators that some actors
can do more than act and wear smart
clothes ; that he could fly her little crate
blind. So he added respect to admiration
when he took over the controls and put the
conveyance into a fast climb, levelling off
within an inch at the stratospheric thirty-
seventh floor.
The girl operators did not know, and
very few other persons do for that matter,
that Ray's left hand is virtually useless.
Doctors wanted to amputate it when a jig-
saw he was operating in the basement of
his Beverly Hills home slipped and cut the
tendons. He did not even tip off his studio
about the accident which was caused by his
interest in mechanics, a hobby from which
he learned many things that make operating
elevators adolescent stuff to Ray.
If the elevator operator had been a
steeplechase jockey Milland could have
taken over the reins almost as easily as he
did the controls. At 170 pounds, he is only
five pounds heavier today than he was in
1933. Then he nearly lost his life in Eng-
land on the back of a mount which tumbled
and in so doing not only upset Milland but
eleven other horses and jockeys following
him over the same hurdle. That time Mil-
land survived with muscles badly torn from
knee up the thigh of one leg. But there is
no limp suggested in his walk now.
Milland likes to talk about that race. If
he hadn't been injured he might not cur-
rently be a big name in theater marquees.
Up to then he had made one serious pass
at a movie career. Hollywood sent for him
and, when he arrived with luggage, brushed
him off until he returned to England in
disgust and in need of a job. And the first
job that turned up was for a professional
jockey.
"My father had a brother who bred
horses," Milland recounts. "He was what
is known in England as a gentleman farm-
er. He liked to ride and hunt. As a lad I
used to spend three months of each year on
his place.
"I discovered I could make my living,
such as it was, as a jockey. I rode for three
months. During that time I won seven of
the forty races in which I was entered. As
you know, a jockey is just as good as his
horse and when he is earning his living
riding he has to take any horse he can get.
"My last race at Hurst Park was over
frozen ground. It was a three-miler. I was
leading to the last jump. The horse was
cold. I gave him every hook I had. I knew
he was at the end of his strength. He went
over on his side. Of the thirteen riders in
the race only one finished. The other eleven
horses and men hit me. I was in bed for
three months. I was the only male boarder
in a boarding house where fourteen old
ladies lived. Those fourteen old ladies took
care of me."
It was while he was recuperating that
Milland concluded show business was his
field. He decided that as soon as he could
stand on his feet ne would grab some other
job and wait until savings complied with
ocean fare and train ticket back to Holly-
wood. This time ne meant to tackle film-
town in his own way and not be dependent
on the whims of any one movie company.
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Ray had no idea when an English pro-
ducer of an advertising film asked him to
wear a fur sarong that not so much time
would pass before he would be in a series
of Hollywood jungle pictures playing oppo-
site the screen's original sarong girl. The
fur sarong was just incidental to tracing
garb men wore through the dark ages to
enlightened times when some of them were
wearing the brand this commercial picture
was advertising.
"For this work," reports Ray, "I received
seventy pounds. When I paid my debts I
had just enough to take me to New York
but no farther. Just about the time I was
ready to sail I got another part in a picture
which paid me one hundred pounds. As
soon as I finished that part I bought a
ticket to the United States. In the middle
of the Atlantic I received a message in-
forming me that there was another part
awaiting me back in England. I replied I
would return if the producer would defray
my traveling expenses. I was told to take
the next ship back. So, when I arrived in
New York one afternoon in 1934 at four
o'clock, I had exactly one hour to leave
the ship, walk down to another pier and
board another ship which was leaving for
England at five o'clock."
The pushing-around Milland took in
Hollywood before he got into the groove
of big hotel suites and mass attention is too
well known to call for any embroidery here.
Until that happened, however, he was just
another good looking guy.
Coming to town this last time, Milland
left in Hollywood completed and ready to
be shown, when Paramount decides to re-
lease them this winter, two of his most im-
portant works, "The Uninvited" and "Lady
in the Dark." He is particularly enthusias-
tic about "Lady" which he thinks may win
the Academy award and in which he makes
his debut as a singer. Passing judgment on
his own warbling, he invariably says softly,
"Oh, brother! Does that stink!"
The one really sour note while Ray was
in New York was sounded not by himself
but by an elderly newspaperman who has
long figured that the Veronica Lakes, Pau-
lette Goddards, et al, must have their male
counterparts. This writer picked on Milland
as an excellent subject for such analysis
and comparison.
Ray, who is fairly articulate under most
circumstances, actually sputtered when the
reporter asked him bluntly, "Say, what do
you fellows do to be so glamorous?"
Bouncing from his chair as though it had
suddenly become charged with electricity,
he snapped, "What ! What ! ! I wouldn't
know what the h — — you are talking
about."
Private Life Of A Softy
Continued from page 35
formed into a playroom. Bill was showing
me the bar. "To show you how loyal I
am to Paramount," he said, "the top of
this bar came from the studio. I couldn't
find a bar top anywhere, so I went to the
prop department and bought one." Then
he showed me another of his prize posses-
sions— four colorful beer mugs. "Alan and
Sue Ladd gave us those," he said.
We went out into the backyard, where
Bill took me to see his Victory garden.
"It's not big, but the stuff is growing,"
Bill said. There were beets, cabbage, rad-
ishes, green beans, celery,_ and tomatoes.
When we went back inside, Tess began
to tell me about Bill's cooking. "He can
fix up a very good dinner any time. His
roasts are something — but he really shines
with his biscuits."
Bill beamed and added, "Sure I like to
fuss about in the kitchen, and I am a good
cook. But don't talk to me about doing the
dishes and the dirty work. When that time
rolls around, I just disappear. Why, I used
to fight against doing dishes when I was
a kid, but even then I was cooking for my
mother and father. You see, they worked,
so I helped out. That's how I learned."
"I'll usually find him out watering his
garden," Tess said, "when dish-washing
time rolls around. But you should see him
when he takes care of that garden. He puts
the hose down, turns on the water, lets
it run, and then stands, looking very pre-
occupied, and watches. If he's not in his
garden, you'll find him over at Alan's.
Whenever Alan gets home, all he has to
do is to crook his finger from across the
street, and Bill is gone."
Bill was sitting in a big wing-back chair
during the conversation. Near him on a
table was a frilly lamp.
"Some lamp, don't you think?" he asked,
pride oozing from him. "I picked it out."
"You should have seen him shopping for
it," Tess added. "He wanted a lamp with
a lot of ruffles on it — and he got it."
This, then, is one picture of a tough mug.
Bill Bendix the killer! Bill Bendix the
concocter of terrific biscuits and the guy
who likes ruffles on lamps. Bill Bendix the
softy I
"I like this house," Bill continued, "be-
cause it's a place where you can be your-
self. I don't go for these places that are
all fussed up with what they call antiques
or French period pieces. I want a place
that looks as though it had been lived in."
Then he became serious. "This house means
a lot to Tess and me — and to Lorraine,
our daughter. We've had a long, tough
row to get it. And it's been born out of a
lot of talks we've had and a lot of plans
we hopefully made for years. We've been
married over fifteen years and it's our first
home. You can't help being proud of a
place when you've worked so hard and so
long to get it. It seems like a mansion to
me compared to the three-room apartments
we had in New York."
We got to talking about the sofa that
faces the imposing fireplace in the living
room. It wasn't covered with silk or satin
or anything like that. It reminded you of
a couch you might have in your own home
and yet not even call it your "very special
furniture." But this couch occasioned the
one big argument Tess and Bill had.
"When Bill saw that sofa," Tess said,
"he about had a fit. He looked at it from
all angles, saying continually, You've been
cheated ! It won't even hold together. Look !'
Then he'd get behind and push. 'See how it
gives !' he exclaimed. 'This is going to fall
to pieces. Now, you get the men from the
store down here and make them take it
back.' Once in a while, Bill has to get
something off his chest, so I just let him
talk — even though I thought he was wrong
and said so. He seldom loses his temper,
but he did that day. Well, I got the men
from the - store. I was telling them how
dissatisfied Bill was with the sofa. They
told me that it had to have a certain 'give'
to it in the back — that it was built that
way. I was getting very insistent, though,
and was ready to have them take it back.
Just then Bill came in. He went over to
the men and said, 'Sit down, sit down. Why
haven't you offered them some refresh-
ments, Tess?' He then listened to them as
they explained why the sofa was built as
it was. Without batting an eye, mind you,
he turned to me and said, 'You see, Tess, I
82
SCREENLAND
told you the couch was okay. So all of
your fussing was about nothing !' "
"Don't go giving the idea that I'm the
boss around here," Bill said. "You. Lor-
raine, and I are each supposed to have a
third of the authority in this house, but I
give Lorraine my third and you still keep
yours. So where does that leave me?" He
turned to me. "The real boss in our home
is Lorraine. For a thirteen-year-old girl,
she wields plenty of authority. But I pin
her ears back once in a while."
"Bill is very much the stern father when
Lorraine gets home from school," Tess
put in, "but that doesn't last long. He
spends most of his time rough-housing with
her. The tv/o of them turn the house into
a bedlam."
"I treat her like I would a son," Bill
said. "And we get along okay."
Both Bill and Tess are very proud of Lor-
raine's new interest in the piano. They say
that she inherits her musical talents from
Bill's father, who was quite a musician.
Lorraine also is a source of amusement to
them, especially as regards her opinion of
pictures. She thinks Bill is a ham in some
of them, but she sees all of his films. She
saw "Wake Island" nine times and she saw
"China" four times. She has only one
serious disagreement with her parents,
though, and that's about the matter of
going out.
"She thinks she's grown up," Bill said,
"and she can't see why I won't let her go
out at night. I tell her to have the boys
here at the house. She thinks I'm strict."
Lorraine came in while I was there. She
walked over to Bill, rubbed his head, and
he practically went to sleep. Drowsily, he
remarked, "Whenever she wants something,
I always get my head rubbed." Abruptly he
went back to the original subject of who's
boss. "You should see how easily I give
in. Why when Lorraine and I have an ar-
gument, for instance, I never win. She
always comes out on top. And all Tess has
to do to get me to do something is to ask
me and I do it. She has a way of shaming
me .into doing things."
"Remind me to try that on you when I
want help with the dishes," Tess added.
"This wife and daughter of mine," Bill
continued, "have the darndest way of mak-
ing me think I'm all right and at the same
time implying that I never do anything
right."
Tess, for her part, claimed that she
always comes running whenever Bill wants
anything. She cites Sunday morning break-
fasts as an example.
"Bill likes a big Sunday breakfast," Tess
said, "fried potatoes and all. And when he
wants to eat, you move ! I remember last
Sunday particularly. We had had friends
over the night before, and I hadn't straight-
ened up the house. I'm a funny person — I
can't think of doing anything until every
piece of furniture is in its right place and
such things as doilies are straightened out.
Well, last Sunday, Bill came downstairs
and yelled, 'I'm hungry ! Let's eat !' I said
I'd get things ready right away. But I
decided to stop first and straighten a chair
and smooth out a few doilies. He was
prancing back and forth and finally he
called out loudly, 'There you are fussing
with doilies and I'm starving to death !'
Frankly, the only time Bill is at all diffi-
cult is when he wants to yell at somebody —
and even then his bark is synthetic. He's
really a very mild even-tempered fellow.
Bill blushed at that — oh yes, he blushes —
and told me what a good cook Tess is.
"You know, for a while we had a cook.
And no kidding, we hadn't had her two
weeks until I was sick ! I was so used to
Tess' cooking that I couldn't eat anything
this woman fixed. You should see how she
coukl ruin a prime rib. I like my food plain.
Give me a good piece of prime rib or a
"Count
me in
too!"
The Way
to Say
"God Bless America!
The next step in this war is up to the millions
of movie-goers! Maybe you don't realize how im-
. portant you are but the success of the THIRD
WAR LOAN depends on this fact: Small bonds
in millions of hands is better for your country
than big bonds in a few hands. If your heart is
with our invasion armies, the best way to back
the attack is to buy a bond over here for the
boys over there. The THIRD WAR LOAN
starts September 9th. Your local movie theatre
is ready to serve you.
[
This Space Contributed by this Publication in Cooperation with the War Activities
Committee— Motion Picture Industry and the U. S. Treasury War Finance Committee
SCREENLAND
83
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OFF
steak — one weighing about a pound and a
half and nice and thick — potatoes, a slab
of pie, and coffee, and I'm happy. Of course,
I'm speaking of the pre-point days."
The romance of Tess and Bill is one that
seems to have come right out of a story
book. They are the only married couple in
Hollywood who were childhood sweet-
hearts.
Bill and Tess are the same age — 37. He
was born in January and she in October, so
he draws an edge of a few months. He met
her first when she was three weeks old.
Their families had always been close
friends. "Of course, I was a little young
myself to remember what I thought of
Tess the first time I saw her," Bill said.
Tess and Bill, like all kids, fought all
of the time when they were youngsters.
He pulled her braids and thoroughly con-
vinced her that he was an annoying brat.
"The one thing I remember about Bill
as a boy was that he was always dressed
in white," Tess said. "As a friend of ours
once remarked, he looked like a perpetual
Communion suit. Almost every Sunday, he
and his mother and father would come to
Jersey to visit my folks and me. On the
way over, Bill would climb over fences and
up lamp posts, so that by the time he ar-
rived his suit was in tatters and dirty."
"But I was pretty," Bill laughed. "I was
a lovely kid in a revolting sense of the
word."
When they were twelve, all was sweet-
ness and light. The new interest in each
other came about because Bill suddenly de-
cided he'd be an actor. He fascinated Tess
with his Charlie Chaplin imitations and
with his athletic prowess. And when he
became a choir boy and even sang in the
Knights of Columbus shows, he was just
too wonderful. By the time he and Tess
had reached the ripe old age of seventeen,
romance had really blossomed. And foot-
ball did it ! The minute Bill began to play
football, Tess forgot all about her other
beaus. He became the superior male, un-
challenged by anyone.
"Every Sunday," Tess went on, "my
family and Bill's would ride in our seven-
passenger Nash out to see Bill play foot-
ball, rain or shine. He would never wear
a helmet — that was the ham in him. And
he was always getting hurt. The strangest
part of it all was that he'd always manage
to get hurt right on the 50-yard line — never
near the end zones. More of his ham. I
would get very frightened and when he
saw how sympathetic I was, he'd miracu-
lously get up and go on playing. Oh, I
thought he was wonderful !" Tess smiled
and added, "Incidentally, he is still the
biggest baby — always wanting sympathy."
Shortly after the heroic days of foot-
ball, Bill and Tess broke up. The break
came when he up and left a good job to go
to work in a lumber camp in Connecticut.
"Bill was always leaving good jobs,"
Tess said. "I came from a family who were
established. My Dad held the same job for
35 years. And I couldn't see why Bill had
to be so flighty. Well, he stayed at the job
only three weeks and then he came back."
When they were twenty-two, they de-
cided to elope.
"I never proposed to her," Bill said.
"We'd been engaged so we just decided
to get married. We happened to tie the
knot at the height of the depression. Tess'
folks wanted to give her a church wedding,
but we didn't want them to spend the
money, so we eloped. And then it all
began."
For a while, Bill held a good job as a
manager of a grocery store. But the gro-
cery business suddenly went pfft. He then
tried his hand as a singing waiter and
finally did some "master-of-ceremoning" at
various night clubs. Then came the time
when there were no more jobs — and no
SCREENLAND
money. Bill and Tess entered the bleak
period — with no holds barred.
Typical of this period was the day when
Tess went down to the Goodwill and
paid a quarter for a dress. She never told
Bill where she got it until later.
"I don't mind telling these things about
us," Tess said, "because we've lived an
honest life and we're not ashamed of our
past. I remember the day so well when I
knew we would have to apply for relief.
I wouldn't let Bill go down to the relief
station and stand in line. You see, we were
living in my home town and I didn't Want
him to have the humiliation of having my
friends see my husband standing in line
for relief. So I went down and applied. We
did try to keep from accepting any of the
charity grocery baskets the relief head-
quarters gave out. Bill always fought
against this. But we had Lorraine then, and
so one day I came home with a basket
of groceries. When Bill saw me come in
with the food, he didn't say a word. He just
had tears in his eyes. I'll never, never
forget him as he looked at that moment.
"The strangest part of all this bad period
in our lives, though, was that we never
lost hope. Bill would get down, but he'd
never lose his confidence. He and I both
knew that some day, somehow, we'd get to
Hollywood and he would be a success."
Strangely enough, going on relief brought
about a break. It enabled Bill to apply for
work on the Federal Theater Project. His
performance in a Federal production of
"It Can't Happen Here" attracted the at-
tention of Cheryl Crawford, New York
producer, who cast him in her show, "Four
Cents A Word." But the play never opened.
After this, Bill did six plays. All flopped.
Then came a period of summer stock dur-
ing which time Bill's stature as an actor
grew.
In November of that year, Bill read for
the part of Krupp, the policeman, in Saro-
yan's "Time Of Your Life." He won out
over 50 contestants. Tess went with him
when the show was on tour. Lorraine
stayed with Bill's parents and then with
Tess' mother and father. After Bill finished
the run of the show and had done another
season of stock and some radio, Tess be-
gan to look ahead. If Bill was to be in the
position to accept only the play that would
do him good — if he could turn down parts
that would not have carried on the ad-
vantage given him in "Time Of Your Life"
— then she would have to help. To take
care of that day in the future and to help
tide them over, she applied for a job in a
factory, without Bill's knowing it. Bill was
furious for a long time. He kept saying,
"Here I am doing nothing, and my wife
is working." It especially annoyed him that
she had to get up at five to be at work by
seven. Her salary of $22 a week — $27 at
times when she worked overtime — kept
them going.
Not long after Tess started work,
M-G-M called Bill and asked him to come,
to Hollywood to play in "Woman of the
Year." The studio had caught his perform-
ance in "Time Of Your Life" and had been
impressed by him. He went to Hollywood
alone, thinking he would only stay about
three weeks. Later, Roach offered him a
three-picture deal. Then he sent for Tess,
telling her she needed a rest.
"I wanted to sign with M-G-M," Bill
said, "so when I got the offer from Roach,
I went to a casting head at M-G-M and
told him what had been offered me, hoping
he would say, 'No, we want you here.'
Instead, he said it was a great chance and
I should take Roach's offer. I did."
While he was at Roach's, Paramount
asked him to test for the role of the mug
in "The Glass Key." After that, he was
put into "Wake Island" — then the contract.
Bill Bendix was in. The long pull was over !
While You're Away>hr
Continued from page 53
wire netting so no dainty claw would touch
the ground she decided her chickens should
be ensconced in just such a sanitary domi-
cile.
Everything would have been perfect — if
it weren't for the chickens !
"After a few days I wouldn't go near
them," Annabella confessed ruefully. "They
began scolding and giving me dirty looks
every time they saw me. At first I kept
telling myself that they would get used to
it, that they were much better off in their
nice, big clean house. But then I realized
if I were a chicken I'd hate it too, that
I'd like to have my feet on the ground and
dig for worms and catch lovely little ap-
petizing flies. The gardener was pretty dis-
gusted with me when I had them put back
in their run after all the work of assem-
bling the thing but I'd rather have the
chickens' respect than the gardener's."
Even before gardeners disappeared from
the Hollywood landscape Annabella liked to
work in her garden. Not puttering around
with an unsullied trowel in immaculately
gloved hands or picking the flowers some-
one else's effort had forced into exotic
bloom, but getting right down on her knees
and digging. Not for her are dainty garden
costumes or faultlessly tailored slacks. She
goes in for sturdy pinafores and overalls,
the ordinary denim variety that can take
a lot of punishment.
"Last year Tyrone and I spent practi-
cally all our free time in the garden," she
said. "It was just after our gardener had
gone and we didn't know much about it.
We planted everything at once and every-
thing came up at the same time. First we
ate nothing but peas, then beans and squash.
By the time our corn ripened and we were
even eating it for breakfast we'd learned
our first lesson in practical gardening. This
year the vegetable garden was planted by
degrees so there is a constant supply of
even-thing."
Now that Tyrone is away she's glad of
that interest in her Victory garden. She
knows she is^ helping the war effort and
at the same time helping herself by crowd-
ing hours that could be lonely and purpose-
less with an interest so compelling it doesn't
give her time for self-pity.
"You can't feel sad in a garden," she
went on. "There's too much to. be done,
too much to distract you. Especially when
there are four dogs following you wherever
you go and 3-ou have to call them back
from a newly planted patch or stop and
play with them for a while because they've
been used to having Ty rough it up with
them. And it helps having things go on
just the way they did when he was here.
It seems to bring the time when he will be
back again so much nearer."
Annabella doesn't go in for high-sound-
ing phrases and hearts and flowers when
she talks about Ty. She's not a girl to wear
her heart on her sleeve. Her love for him
is expressed in the very simplicity of her
words, in the sort of things she remembers,
the small unimportant things, the fun they
had together.
There was that day one winter when the
sun was so warm that thoughts of picnics
and swimming become almost intolerable
and so they rushed the season by getting
into swim suits and going down to the
pool. Only it wasn't enough for Annabella
and Ty to go swimming themselves. One of
them had an idea and the other improved
on it and they got the ducks out of their
quarters and brought them up to the pool
so they could make believe it was summer
too as they paddled around in the water.
There was that other day Ty wanted
another dog and instead of buying a highly
pedigreed pet who would be sure of a home
anyway went down to the pound and came
back with a dog who showed the effects
of a hazardous past.
There is her quiet pride too when she
tells of the high honors Ty won at Boot
Camp and how popular he is with his
fellow Marines and how when he was at
the San Diego Base he used to come home
for weekend leaves with his station wagon
crowded with as many men as could get
in it.
It wasn't until Ty left for Officer's Train-
ing School at Quantico that the Power
house in Brentwood threatened to be a
lonely liability.
"The days were good," Annabella ex-
plained. "There was always enough to do
to make them pass quickly. And even the
evenings weren't too bad when I stayed
home and read or rested. But the times I
went out and then had to come home alone
to an empty house were awful. That was
the sort of loneliness I couldn't stand, hav-
ing no one to talk about the evenings with
or laugh over something that had struck
us both funny.
"Then when Ann Hardenburgh, Ty's
sister, came to live with me after her hus-
band went into service, I realized how silly
it is to stay lonely, how much better it is
for a woman alone to get together with
another wife whose husband is away, too.
Ann and I have our own interests and for
the most part we go our own way, but it's
wonderful for both of us to know there's
always someone there to talk to when the
doldrums threaten.
"Going back to Hollywood after my visit
with Ty at Quantico would have been a
miserable experience if Ann hadn't been
there. I even found that I cut my visit
shorter without any qualms since I had to
be home when her baby came. It's won-
derful how it helps your morale, being
needed by someone.
_ "Getting ready for that baby was an ex-
citement I wouldn't have missed for any-
thing. I looked the car over every day to
be sure nothing was wrong in case of an
emergency that night and I made Ann
promise to try to behave and not have it in
the car on the way to the hospital.
"And it was so much fun preparing
things ! Ty's room was the only one that
fitted in just right as the nursery and all
the time I was in Quantico I kept trying
to get my courage up to the point where I
could tell him that when he came home
his room would be all pink and blue. But
I couldn't. His personality just doesn't go
with pink and blue." Her laughter came
then. "I just can't wait to see Ty's face
when he comes home and finds all that
pint-sized furniture in his study and sees
all those little blue things spilling out of
his bureau drawers. He'll think it's a gag
until he has to start hauling all of his own
things out of the little house in the garden
where we've stored it."
That laughter, that gay conviction in her
voice was the biggest proof of all that
Annabella has won her own private war.
For it's that way she has of looking for-
ward to the day Ty comes home again and
refusing to focus any of her thoughts on
the day he left that has given the waiting
months a fulfillment and happiness they
couldn't have had otherwise. Annabella
has streamlined her life but there's nothing
streamlined or modern about her philos-
ophy. It's the sort that has sprung from
the hearts of all women of courage who
have waited through wars since the world
began.
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Kay Kyser doesn't seem to be getting anywhere with heroine Marilyn Maxwell in this
scene from Metro's new musical, "Right About Face," but he wins the lady eventually.
Roddy MacDowall's American Diary
Continued from Last Month
Monday, March 29: Up early. Very
early! Drove to the Shortridge High
School and spoke to around 4000 children.
Back to the hotel and was given a really
great honor. I was chosen to open up the
bond-selling program for the building of
the new Vincennes, the ship that was sunk
in the Battle of the Solomons last year.
Went to the dime store to get some
charms for Vee for her bracelet. No soap.
That afternoon, I went over to the In-
diana State Capital and met Governor
Henry F. Schricker, Jr. He is a very nice
man. He showed me his plaques and then
I sat in his chair and was Governor for a
while. He gave me a book of his speeches
and signed it. From four to five, I was in-
terviewed by 25 children from different
papers of the schools. I made an appear-
ance at the Indiana Theater that night.
Much to my surprise, I was presented with
a model of the Vincennes for the speech
I made this afternoon.
The waiter came in tonight and brought
Mummy and me some orange juice before
we went to bed. Mummy told me to close
the door to my room. We had separate
rooms. The door got stuck and we couldn't
open it. Mummy was so excited. We finally
had to get a carpenter to open it for us.
Something always happens to us — I'm glad
to say !
Tuesday, March 30: Went up to the top
of the Soldiers and Sailors Monument and
looked all around. Then to the Auditorium
and the War Memorial. It is the most
beautiful building I have ever seen — the
Auditorium. There is so much beauty in
America. Nellie and I then went to the
John Herron Art Institute and saw more
fine paintings. Did a broadcast afterwards
on the Navy floor in the Post Office.
Went to Cincinnati next. Had more
school on the train. We were taken to the
Netherlands Plaza Hotel and had the
nicest suite, a kitchen, two bedrooms, two
bathrooms, and a tremendous living room.
It's terrific. Radios in every room too. I
felt so swank. Did a broadcast at WCKY.
Wednesday. March 37: Up at 6:30. This
morning I talked to the students of the
Western Hills High School. My speeches
are getting longer all of the time. Then I
had a second breakfast with the Navy
Mothers. And another broadcast over
WKRC. I made a speech too, to recruit
WAVES. American girls are so pretty 1
Did another broadcast for Ruth Lyons'
"Petticoat Party Line" over WLW. This
is a wonderful show. There were 300
women in the audience. After lunch, I
talked to students of the St. Xavier's
High School. Then I had a press interview
with 30 children from the high schools.
Appeared for the first time at the Palace
Theater. The big thrill was having dinner
at the hotel with none other than Mr.
Gregor Ziemer, who wrote "Education for
Death." Made a second appearance at the
Palace at 9:30. The Mayor of Cincinnati
introduced me.
We were packing — Mummy and I —
around midnight when there was a knock at
the door. Mummy thought it was the bell
boy, so she said, "Come in." We turned
around and saw a very strange looking
man. He said he was in the Polish Army
and that he wanted us to help him get back
in. Mummy told him it was late and not
the time to discuss such things. Then she
told him to go, please. He said he had
written a story too. By now, he was closer
to us. Mummy got scared and said,
"Please, will you go!" He said he would
but he had a very funny look in his eyes.
Mummy said, "Now!" And he went. A de-
tective finally caught the man. He wasn't
quite right in the head, poor fellow.
Thursday, April J: Got on the train so
early to go to Pittsburgh that I've for-
gotten the exact time. Went to bed and
slept till three. Saw a lot of factories. Got
into Pittsburgh at six-thirty. Made a speech
for the new War Bond Rally.
Friday, April 2: Did a broadcast at nine.
Another interview. And talked again to
another school. I went to the Children's
Hospital and talked to the crippled chil-
dren. They are taken care of so well. One
little boy told me how much he appreciated
86
SCREENLAND
Before . . .
SELF-CONSCIOUS
Now. . .
SELF-CONFIDENT
Laine Solg was "just average."
Thought herself born shy-
that beauty was beyond her
reach. Before Powers Training
she was SELF-CONSCIOUS.
Her beauty highlights are re-
vealed in the PHOTO-REVISE
drawn for her. This is one of
the 60 personal "just for you"
Powers Home Course features.
Here's how Laine looks today
with her Powers training. She
was thrilled to be selected
as "Miss United Nations."
Now she's SELF-CONFIDENT.
my coming to see them. I told him I
wanted to thank him for the privilege of
being able to visit them. Later, approxi-
mately 300 children interviewed me. They
sure kept me busy with their questions.
Then a broadcast. Back to the hotel and
packed after the appearance at the Fulton
Theater. On the way to the train, I ap-
peared at the Variety Club Canteen.
Saturday. April 3: Reached Chicago at
eight. A quiet trip. Nothing much to report.
Have left Chicago for Salt Lake.
Sunday, April 4: Mummy and I are lazy
today. We didn't get up until eleven. We
arrived in Cheyenne, Wyoming, at 11:50.
Mummy admired a plate in the hotel and
the manager gave it to her. She was rather
embarrassed. Bought some charms for Vee.
Left by train.
Monday, April S: Train tried to make
scrambled eggs out of us the way it banged
back and forth. Mummy and I thought they
were trying to train commandos. Got in
Salt Lake City at 5:30 A.M. Waited
three-quarters of an hour for the taxi.
Went to our rooms and slept until nine.
Then an interview with the press and had
lunch with the members of the British War
Relief Society. Mayor Al Jenkins was
there. He used to drive a racing car. I
spoke after the luncheon. Mummy, Nellie,
and I then drove in the Fire Chief's car to
the Fire Station. I got into a huge fire
engine. Something else I've always wanted
to do. Did a broadcast at KLO. Back to
the hotel and school for two hours. Ap-
peared for the British War Relief again.
Tuesday, April 6: Left for the Indian
Reservation at 8 A. M. It was a 160-mile
trip. Had lunch at the Reservation. I was
dressed in headdress, moccasins, legs, and
waistcoat The Indians gave me the outfit
and a bow and arrow. They did the Beat
and Circle dances for me. Chief Andrew
Frank made me Chief Little White Owl.
The Governor, who was there, too, is
White Feather. Then the Chief and I rode
in a parade with other Indians. Afterwards,
I visited the Indian children in their school.
Wednesday, April 7: Presented Mayor
Al Jenkins with a plaque from the British
Children. This is now at the City Hall,
racing car. Then I went to meet Presi-
dent Heber J. Grant of the Mormon
Church. He said he was 86 and 1/3 years
old. We were only supposed to be there
for five minutes because he isn't very well,
but we were there over an hour. He
wouldn't let us go. He even followed us
to our car. He is so very sweet. After
that, we went to the Mormon Tabernacle.
Alexander Schreiner, the organist, showed
us the different keys. The organ is ter-
rific! Did a broadcast over KSL. At the
premiere that night Governor Maw of
Utah introduced me on the stage. The most
wonderful part of the evening was a tele-
gram from Daddy who is in Canada.
Thursday, April 8: Went through the
State Capitol today. This was the most
important happening of a full day. Saw the
Governor's reception room. The room is
done in 20-karat gold Even the chairs are
trimmed in gold. Went out to the Great
Salt Lake and was nearly blown off the
Black Rock — it was so windy. Left at 7 :20
for Chicago.
Saturday, April 10: Friday uneventful.
Arrived in Chicago today. The Junior Vic-
tory Army made me an Honorary Colonel.
Had lunch at the University Club and made
a speech for War Bonds. Sat next to the
man who makes O'Henry bars. He sent
me a whole box. What a break ! I appeared
at the Chicago Theater. Then went to the
Sherman Hotel and opened the 2nd War
Loan Drive. I sold $3,500,000 worth of
bonds today. I am so excited! We were
disappointed to learn that we missed seeing
our old friend, David MacDonald, who
«.
87
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made "This England" in which I appeared
in London and who also made the wonder-
ful "Desert Victory." He left last night.
Sunday. April II: Went to the Culver
Military Academy. I saw Constance Ben-
nett's son Peter Bennett Plant. I used to
ride with him. I was given his room mate's
uniform and I put it on in Peter's room.
Then I rode with the famous Black Horse
Troop. I felt so humble because I was
with so many fine horsemen and I had
never ridden anything but western saddle.
Had to leave at two but I hated to go. I
did a broadcast for the WACS, WAVES,
SPARS, sailors and soldiers on WBBM
in the Wrigley Building. Hit the hay !
What a day. I am too tired even to read.
Monday, April 12: To the Spalding
School for Crippled Children. These chil-
dren amaze me. They are so contented even
with their tragedy. Did another broadcast.
Tuesday, April 13: Left for Milwaukee
at 9 :20. Met by the boys of the St. John's
Military Academy. The students at the
Bay View High School were told that I
would come out to entertain them if they
would sell $35,000 worth of bonds in four
days. They sold $31,000 in two days. I
talked to them for 45 minutes. Then I
went to an orphanage. These little children
bought over $70 in bonds. There was a big
bond premiere of "Flicka" — admission by
bonds only. It was a $500,000 premiere.
Up to the time we were in Milwaukee, I
had sold $7,000,000 worth of bonds but I
had sold more because there were other
speeches and broadcasts I made that hadn't
been accounted for. I love selling bonds !
Wednesday, April 14: There was a huge
luncheon given for all the children repre-
sentatives of the various school papers. The
lunch was held in the Fox projection room.
I had to leave early for an appointment.
Big dinner in the hotel tonight. Left for
Chicago. Arrived at 10 :30 and got on our
train for Detroit at midnight. Bed ! Ah !
Thursday, April 15: Arrived in Detroit
at 7 :45. Went to sleep during a breakfast
at the Cadillac Hotel. Train rides — in fact,
any kind of rides — make me sleepy. After
breakfast went to a press luncheon. After-
wards I spoke to a very large audience at
the Wayne University. Children's interview
— and dinner. Went through the Detroit-
Windsor Tunnel to Canada where I did a
Broadcast for some British children.
Mummy and I wanted so much to go to
Vancouver to see Daddy but we didn't
have the time. I miss him so very, very
much ! Went back to Detroit.
Friday, April 16: Up at ten. Went to
the Art Institute. Liked the El Grecos so
very much. Then to the USO Canteen and
talked to the boys. Appeared at the Fox
Theater that night. An ordinary day.
Saturday, April 17: Left at 8:30 for
Buffalo, New York. Met Mayor Joseph J.
Kelly first at the City Hall. He was very
nice to us. I went to the Lafayette Square
where I sold bonds for the cruiser USS
Buffalo. Then I made an appearance at the
Chez Buffalo Theater. And after a broad-
cast, I went back to the Lafayette Square
to sell more bonds.
Sunday, April 18: Went to church with
the Fire Chief and his boy. After lunch
I rode in a big tank in one of the largest
parades ever performed. It took three
hours. That tank was really something!
At last we got to see Niagara Falls ! I have
never seen anything so wonderful. I threw
a cent into the Falls. Then we went into
Canada. Mummy shopped, of course.
Monday, April 19: Broadcast started the
day. Spoke for 40 minutes to 9500 children
at the Bennett High School, my biggest
audience. Also had lunch there. The stu-
dents gave me a medal for selling so many
War Bonds. Another interview with chil-
dren at the hotel. Left at 5 :30 for Cleve-
land. Arrived there at 8:30 and had an
interview. Also met the daughter of Claude
Monet, the famous painter.
Tuesday, April 20: Did a broadcast for
the Board of Education to 100,000 children.
Also broadcast on "Mutual Goes Calling."
Went to the Cleveland Stage Door Canteen
and was on the stage for 45 minutes. I
made an appearance at the Hippodrome.
Wednesday, >4pr// 21: Left for Toledo
at 7:30. Arrived at 10:30 and was met by
some WACS. Broadcast and talk for Libby
88
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High School. Appeared that evening at the
Paramount Theater and USO Canteen.
Thursday. April 22: Left for Chicago at
9 :30. Arrived 12 :45. Went to the Chicago
Art Gallery right away. Then I left for
Des Moines. After we got back to the hotel
from appearing at the Des Moines Theater,
Mummy discovered we left "Happy," my
Snow-White dwarf, back in Cleveland.
She called Cleveland and found that Happy
was sitting on the hotel manager's desk.
Friday, April 23: Interview and radio
show. Met a Lt. Adams of the WACS at
luncheon. She was in France when it fell
and had a Croix de Guerre. Went to the
State Capitol, met Governor Hippenlouper.
Then to Fort Des Moines to have dinner
with the WACS. What a time they gave
me! Back to the hotel' and packed. Arrived
in Omaha at 11 :20. What a trip this is '
Saturday, April 24: Went to sell the first
E bond in Omaha. Then Mummy and I
went shopping. Appeared on the Orpheum
stage with Tommy Dorsey.
Easter Sunday: Went to church and then
to Boys Town. A wonderful thrill— I met
Father Flanagan and the Mayor of Boys
Town. I talked to a lot of the boys. This
is such a wonderful place! Went later to
the Joslyn Memorial and saw five more
El Grecos. Back to the hotel. Dinner— at
last ! Left Omaha for Denver. Bed— finally !
Monday, April 26: Arrived at 9. Met by
the boys of the Colorado Military School
When we got to the hotel, there was
Happy ^ waiting for us. He'd had quite a
trip. He's our good luck piece, you see
Met Governor Vivian at the Capitol. I
stood on a little plaque on one of the
Capitol steps which says, "You are now
standing one mile above sea level!" Then
to the Natural History Museum and
through Lowery Field. Mr. Hoffman, who
owns some of the theaters here, drove
us to his home, Shangri-La, which is an
exact copy of Shangri-La in "Lost Hori-
zon." It is beautiful. Broadcast with Gov-
ernor Vivian and appeared at the Denver
Theater. Sold bonds in the booth.
Tuesday. April 27: We had two motor-
cycle cops who drove us all around Denver
with the sirens blowing all of the time.
It was such fun! Spoke at the East Side
High School, the South Side High School
and at the East-West Side High School.
Left Denver for San Francisco.
Wednesday. April 28: Train all day.
School. Very peaceful. Ho hum!
Thursday, April 29: Arrived in Oakland
and went on the ferry to San Francisco.
We were met by the Fire Chief and rode
in his car. I pushed the siren button all
the way. Spoke at a Shrine luncheon and
then went to the Mission School and made
a speech. Also appeared later at the War-
field Theater. I went through the Mission
Dolores.
Friday. April 30: Another speech at an-
other high school. Appeared at the Or-
pheum Theater with Woody Herman.
Mummy and I went for a drive up a 45-
degree hill. Mummy just closed her eyes
and said, "Tell me when we get to the
top !" Left at 9 for GLndale.
Saturday. May 1: Arrived in Glendale.
Home at last ! It's been a wonderful trip
but — "Home Sweet Home." Vee and Gor-
don met us at the station. I doubt if Vee
knew much what happened since she only
has eyes for Gordon. Girls in love are so
funny ! I'll have a few weeks off and then
I'm going to start work at M-G-M with
Irene Dunne in "White Cliffs." I'm cer-
tainly looking forward to that. I am so glad
I took this trip because now I know
America so well. It is a country, though,
that no one can ever really know enough
about. It is beautiful and colorful. If my
trip did nothing else, it Americanized me.
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89
7 things you should do
to keep prices down!
If prices soar, this war will last longer, and we could all go
broke when it's over. Uncle Sam is fighting hard to keep
prices down. But he can't do it alone. It's up to you to
battle against any and every rising price ! To help win the
war and keep it from being a hollow victory afterward —
you must keep prices down. And here's how you can do it:
BUY ONLY WHAT YOU NEED
Don't buy a thing unless you cannot get
along without it. Spending can't create
more goods. It makes them scarce and
prices go up. So make everything you
own last longer. "Use it up, wear it out,
make it do, or do without."
2. PAY NO MORE THAN
CEILING PRICES
If you do pay more, you're party to a
black market that boosts prices. And if
prices go up through the ceiling, your
money will be worth less. Buy rationed
goods only with stamps.
3* SUPPORT HIGHER TAXES
It's easier and cheaper to pay for the
war as you go. And it's better to pay
big taxes now — while you have the
extra money to do it. Every dollar put
into taxes means a dollar less to bid for
scarce goods and boost prices.
PAY OFF OLD DEBTS
Paid-off debts make you independent
now . . . and make your position a
whale of a lot safer against the day you
may be earning less. So pay off every
cent you owe — and avoid making new
debts as you'd avoid heiling Hitler!
». DON'T ASK MORE MONEY
in wages, or in prices for goods you have
to sell. That puts prices up for the
things all of us buy. We're all in this
war together — business men, farmers
and workers. Increases come out of
everybody's pocket — including yours.
K SAVE FOR THE FUTURE
Money| in the savings bank will come
in handy for emergencies. And money
in life insurance protects your family,
protects you in old age. See that you're
ready to meet any situation.
• BUY WAR BONDS
and hold them. Buy as many as you can.
Then cut corners to buy more. Bonds
put money to work fighting the war in-
stead of letting it shove up prices. They
mean safety for you tomorrow. And
they'll help keep prices down today.
KEEP PRICES DOWN . . .
This ad vert ise men t, prepared by the War Advertising Council, Is contributed
by this magazine In cooperation with the Magazine Publishers of America.
Use it up . . . Wear it out . . .
Make it do ... Or do without.
90
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Published In
this space
every month
The greatest
star of the
screen I
We said we had put our Best Foot
Forward, but we've got a still better
foot. It's "Girl Crazy."
★ ★ ★ ★
We're crazy about "Girl Crazy" for a
combination of reasons. We're Gershwin
crazy, Mickey Rooney crazy, Judy
Garland crazy, Tommy Dorsey crazy.
Some of us old harkers hark back to the
original Broadway show and remember
"I Got Rhythm," "Bidin' My Time,"
"Embraceable You," and other wonder-
ful melodies and lyrics.
★ ★ ★ ★
Well, brethren and sistern, the verdict
is in. The screen "Girl Crazy" will de-
light the harkers-back and delight those
butterflies who have recently emerged
from the cocoon.
★ ★ ★ ★
From the moment that Mickey meets
Judy in that broken-down jalopy and
sings "Could You Use Me," the gaiety
gets going and keeps going.
★ ★ ★ ★
When Judy sings "They're Writing
Songs Of Love But Not For Me," hard
hearts melt. When Mickey does his
Madison Square Garden routine all
sides shake.
★ ★ ★ ★
We can't omit mention of Gil Stratton,
"Rags" Ragland, Nancy Walker (re-
member her in "Best Foot Forward").
Robert E. Strickland, June Allyson and
Guy Kibbee. They're a great cast.
★ ★ ★ ★
Fred Finklehoffe did the screen play
from the musical by Guy Bolton and
Jack McGowan. The great late George
Gershwin did the music and brother
Ira the lyrics. Norman Taurog directed,
Arthur Freed produced.
★ ★ ★ ★
Tommy Dorsey 's lively band. Beautiful
girls. Loud comedy. In the words of
"I Got Rhythm," could you ask for
anything more?
★ ★ ★ ★
The story deals with an eastern playboy
who gets a degree in discipline from the
wild and woolly campus of an Arizona
College- * * * *
It is a colorful production in typical
Metro-Goldwyn-Mayer style.
★ ★ ★ ★
As for us
★ * * ★
We're Girl Crazy. — ./Jeo
Paul Hunter, Publisher
Delight Evans, Editor
HOMER ROCKWELL, Executive Vice President
Elizabeth Wilson, ll^^SHHHHHHHH Frank J. Carroll,
Western Representative jjjg^^^pg^^fr MMLI ^ ®>recioT
Marion Martone, SHhI j^^^^^KHH Anthony Ferrara,
Assistant Editor »3|^8BjBSiBgP^S«M Asst. Art Director
milllllilillllilill milium mum i i i i ^^^^^^^^^^^g*^^^T 1 11 11 1111111 <"" »"l«"illin
mi ii fgffj^ /tlffP IT UP/ A II ' "'
November, 1943 * Vol. XLVIII, No. I
EVERY STORY A FEATURE
The Editor's Page Delight Evans 19
Vision, and a Voice. Dick Powell Hattie Bilson 22
Preston Foster's Diary of "Guadalcanal Diary". 24
8 Points for a Bachelor Girl. Lynn Bari Barry Farrar 26
Golden Boy. Sonny Tufts John R. Franchey 30
They're No Softies! May Mann 34
Hollywood Canteen Celebrates Maude Cheatham 38
Deadline Darling. Susan Peters. .Gladys Hall 44
"I Am Grateful To Be In Free America," says Katina Paxinou
Elizabeth Wilson 46
.1 - | III! Will II II
FULL COLOR PORTRAITS:
Donald O'Connor and Susanna Foster, appearing in Universal's
"This Is The Life" 21
Joan Fontaine, playing in "Jane Eyre," for 20th Century-Fox... 32
Walter Pidgeon, soon to be seen in M-G-M's "Madame Curie" 40
SPECIAL PICTURE PAGES: Shirley Temple, Lucille Ball, Tullulah Bank-
head, Dolores Moran, Catching Up with Cary Grant, Why Alice Faye
Can't Retire, Meet Some New Men, Rita Hayworth Greets the Cover
Girls, Marsha Hunt.
DEPARTMENTS:
Hot from Hollywood 6
Your Guide to Current Films Selected by Delight Evans 8
Honor Page 12
Fans' Forum • • • • 14
High Spots In Beauty Josephine Felts 16
Here's Hollywood
Candid photos by Jean Duval — Gossip by Weston East 56
Guide to Glamor 64
Streamlined Living. Anne Baxter Betty Boone 68
Cover Portrait of RITA HAYWORTH, Star of
Columbia's "Cover Girl"
Paul Hunter, President
Homer Rockwell, Executive Vice President and Advertising Manager
Lee Wagner, Circulation Manager
SCBEENLAND. Published monthly by Hunter Publications, Inc., at 205 E. 42nd Street, New York, N. V.
Advertising Offices: 205 E. 52nd St., New York; 410 North Michigan Ave., Chicago; 427 W. 5th St.,
Los Angeles, Calif. Manuscripts and drawings must be accompanied by return postage. They will receive
careful attention but SCBEENLAND assumes no responsibility for their safety. Yearly subscriptions $2.00 in
the United States, its dependencies. Cuba and Mexico; $2.50 in Canada; foreign $3.00. Changes of address
must reach us Ave weeks in advance of the next issue. Be sure to give both the old and new address. Entered
as second class matter, September 23, 1930, at the Post Office, New York, N. Y., under the act of March 3, 1879.
Additional entry at Chicago, Illinois. Copyright 1943 by Hunter Publications, Inc. Printed In the U. S. A
MEMBER AUDIT BUREAU OF CIBCULATIONS
4
SCREENLAND
Picture of a Xion going CRAZY with Joy I
He's just seen a preview of A GEM FROM M-G-M
the merry musical ^J^H^Y
It is studded with beautiful girls and sparkling with Gershwin music
MICKEY ROOVFV
and.
JUDY GARLAND
and.
TOMMY DORSET orS&fea
GIL STRATTON "RAGS" RAGLAND NANCY WALKER ROBERT E. STRICKLAND
JUNE ALLYSON • GUY KIBBEE • Screen Play by Fred Finklehoffe • Based Upon Musical Play
"Girl Crazy" by Guy Bolton and Jock McGowan • Music by George Gershwin - Lyrics by Iro Gershwin
Directed by NORMAN TAUROG ■ Produced by ARTHUR FREED • A METRO - GOID WYN - MAYER Picture
SCREENLAND
BIG PICTURE
SAIL, HAIL,
THE GANG'S
ALL HEH£il
AND IT'S ^""^
AL PEARCE
radio's super-stupor salesman, Elmer Blurt,
and his fun-makers
with
DALE EVANS
FRANK ALBERTSON
Gloria Stuart
Wally Vernon
featuring
Radio's Popular Entertainers
Artie Auerbach as
"Kitzel"
Arlene Harris as
"Tizzie Lish"
William Comstock
"Pinky" Tomlin
Wendell Niles
The Sportsmen
The King Cole Trio
and JAN GARBER
AND HIS ORCHESTRA
Hash! Watch for "In Old
Oklahoma"— glorifying the roman-
tic pioneer spirit of America.
in Hit Songs - W*
TBS?**
IACK THE ATTACK"
FROM
HOLLYWOOD
IF Barbara Stanwyck and Robert Taylor
were experiencing a "cooling-off" period,
certainly there was no evidence of it just
before he quit Hollywood. They refused
all farewell party invitations, because they
wanted to spend Bob's remaining weeks
with each other. Incidentally, Bob's G.I.
haircut practically "killed" Barbara. He
had it done in Hollywood because he
wanted to get used to it. Bob, looking just
like a handsome young Indian with his
clipped head, is in the Navy now.
WAY up on location for "Frenchman's
Creek," Joan Fontaine received her
nicest fan letter. It enthusiastically praised
her performance as little Tessa in "The
Constant Nymph." It was signed by John
Loder and Hedy Lamarr.
Pvt. Desi Arnaz bestowing a birthday kiss on
his wife, Lucille Ball. It was a Happy Birth-
day since they could celebrate it together
BY the time you read this, Richard Carl-
son will be in the Navy. At the last
moment he was given a deferment to appear
with Ronald Colman in "Kismet." But
when they got around to making wardrobe
tests, they also discovered they couldn't
make Richard look like a convincing Arab.
So he's out of the picture.
ONE thing sure, Ida Lupino will never
get any sympathy from the ladies.
Believe it or not, girls, Ida had to do some
torrid love scenes with Paul Henreid. She
complained to the director that Paul
squeezed her too tight and hurt her.
June Havoc and Jack Oakie, a pretty steady
twosome these days, pictured at the opening
of Orson Welles' Mercury Wonder Tent Show.
If was Ann Miller's and Edward G. Robinson's
turn to perform on "Mail Call," a radio pro-
gram broadcast to our fighting men overseas.
m0t_
It's a '
REPUBLIC PICTURE
1 i«a
IRE
6
SCREENLAND
The Greatest Love Story
Ever To Live On The Screen
Par anion nt Presents
FROM THE CELEBRATED NOT EL BY ERNEST HEMINGWAY
srarnnu'
Si Gary Ingrid
Cooper • Bergman
-i, AK1M TAM1 ROFF • ARTU RO de CORDOIA
JOSEPH CALLEIA and K A TIN A PAXINOU
Executive Producer B. G. DlSYLVA
Sam Wood
JN TECHNICOLOR
Screen I'lav by
Dudley Nichols
TOR WHOM THE BELL TOLLS" WILL NOT BE SHOWN AT REGULAR ADMISSION PRICES UNTIL 1945
SCREENLAND
Now it can be told!
The mighty epic story
of adventure, courage
and glory in the
desert. . .SAHARA
. . .starring the
great action
star of "Casa-
blanca" . . .
HUMPHREY BOGART.
Its tender human emotion and
matchless thrills will give
you a memorable entertain-
ment experience.
The suspense
is terrific. .
the action is
thrilling. . .
the— man— to-
man drama is tender
as a woman's heart. That's
DESTROYER. . .the stirring sto-
ry of 200 Americans aboard "a
hunk of tin with a heart". . .
starring Edward G. Robinson
with Glenn Ford and Marguerite
Chapman sharing the love-
interest. See it for thrills!
^For rollicking,
uproarious
laughter see
"MY KINGDOM
a FOR A COOK"
r> Charles
Dingle" Coburn
'is the star in this
story of a visit-
ing celebrity whose stomach
was the apple of his eye. We
recommend it as the laughing
successor to "The More The Mer-
rier". It's got that TINGLE I
Ijfoufr GUIDE
CURRENT FILMS
SELECTED BY
THIS IS THE ARMY — Warner Bros.
The genius of Irving Berlin, the superb talents of a
troupe of Uncle Sam's soldiers, the shrewd showman-
ship of Warner Bros, have combined to turn out a
great movie show. All the spirit and excitement of
Berlin's Army stage show are miraculously preserved
in celluloid, with a well-contrived plot played by some
of Hollywood's best actors to lend it substance. Be-
ginning with World War I, when Berlin staged his
first soldier show, "Yip, Yip, Yaphank," the adven-
tures of three buddies at Camp Upton and overseas
provide the drama, with their children taking over
after Pearl Harbor. You'll hear all those rousing num-
bers from the show, stirringly staged. You'll enjoy the
fine performances of Lt. Ronald Reagan, Joan Leslie
and George Murphy — but the real stars are the soldiers.
CLAUDIA — 20th Century-Fox
Hail a new star — the enchanting Dorothy McGuire,
who makes "Claudia" something to see. As the child-
wife of Rose Franken's best-seller and Broadway hit,
now a delightful movie, Miss McGuire is completely
captivating, and will undoubtedly set a new style in
screen heroines, and welcome. Wistfully wacky, Claudia
alternately charms and confuses her nice husband in
her valiant efforts to solve the problems of life, from
income taxes to amorous Englishmen, but before she's
through, she shows signs of "growing up" — though
not too fast. Yes, it is Dorothy McGuire's picture, but
here's special applause for Robert Young as the husband.
HEAVEN CAN WAIT-20/A Century-Fox
This Lubitsch picture is solid entertainment. His di-
rection has inspired its stars — Don Ameche and Gene
Tierney — to give the best performances of their
careers. Ameche is seen as Henry Van Cleve who,
believing himself unworthy of Heaven, applies for
admission to Hell and tells the story of his life and
.oves, in episodic flashbacks, to Hell's majordomo
(Laird Cregar), who sends him on his way to
Heaven. His worst sin : eloping with his cousin's
fiancee, Gene, who is lovely as a young girl and ages
prettily as Don's wife. Don't miss this delightful film.
GIRL CRAZY— M-G-M
Fans of the Mickey Rooney-Judy Garland team will
cheer their reunion (first since "Babes on Broadway"
in 1942) in this gay and lavish musical. Add Tommy
Dorsey and his orchestra, and some of George Gersh-
win's best tunes, notably / Got Rhythm and Bidin' My
Time, and you have sure-fire entertainment, with par-
ticular appeal to the young set. Mickey plays with
customary cockiness a girl-crazy young man about
town whose fed-up father packs him off to Cody Col-
lege in the Arizona desert (not a co-educational insti-
titution). Here the Mick learns to take it the hard way,
with Judy giving him a new and fresh slant on women.
BEST FOOT FORWARD— M-G-M
This screen version of the musical stage hit will de-
light all moviegoers. Lucille Ball, playing herself and
looking exquisite in Technicolor, is invited by student
Bud Hooper to Winsocki Military Academy's prom,
as Mis partner. Surprise! She accepts — for publicity's
sake. He's in a spot, having already asked Helen
(Virginia Weidler). His attempts to hide the star are
hilarious scenes. The beauty and pep of its many
youthful performers, who sing, dance, and make merry
to Harry James' jive and jump tunes, make it re-
freshing movie pastime. Tommy Dix, fine as Bud.
ASK AT YOUR FAVORITE THEATRE
FOR THESE COLUMBIA PICTURES
8
SCREENLAND
LET'S FACE IT — Paramount
This is one of Bob Hope's funniest films.
It will cheer you, make you come away
singing Let's Face It, and make you feel
better able to face anything. Bob's in the
Army in this musical comedy, but it's not
a war picture — it's strictly for laughs. He's
a soldier who uses his jeep to bootleg
sweets to fat girls at a weight-reducing
farm, to raise cash so he can marry Betty
Hutton. The jeep gets smashed. To pay for
it, he hires himself and pals out to three
lonely wives who want to make their hub-
bies jealous. The meeting of the scrambled
mates — soldiers, their own girls, the wives,
and their husbands with their sweeties is a
hilarious sequence. Bob and Betty make a
good team and furnish many hearty laughs.
MR. LUCKY — RKO Radio
An exciting underworld film, with some
new twists, in which that charming fellow,
Cary Grant, portrays a gambler who as-
sumes identity of a dead crony, a 4-F, to
escape the draft and carry on his racket.
He persuades a relief organization, through
a worker, Laraine Day, to permit him to
run a gambling concession at a war relief
ball, expecting to skip with the cash and
use it to operate a gambling boat. His love
for her reforms him and he gives back the
money. He disappears when the parole
board checks on the 4-F man, but later
turns up as a Merchant Marine hero. Cary,
excellent as the gambler ; Laraine, good to
look at, even if not too convincing. It's a
light, breezy screen tale with good suspense.
DIXIE — Paramount
Bing Crosby's new picture depicts the old
pre-Civil War days of show business, when
minstrels came to town, and tells the story
of Dan Emmett, original minstrel and com-
poser of the famous song, Dixie. Bing is
capable as Dan, and sings in great Crosby
style. Dorothy Lamour is his second love
who bows out when she learns the girl he
married, Marjorie Reynolds, is a cripple.
Both girls, fine. The film moves slowly at
times, but its catchy tunes (particularly
Dixie in the rousing finale), and good
comedy make it pleasant entertainment. The
costumes of that colorful era, gaudy min-
strels, and fires set by careless Crosby's
pipe are vividly portrayed in Technicolor.
M WOntM f
IA/E WARNER BROS. STARS WAfl/T rOU TO SEE
flOW MUCH TVtVE-RtUED FOrV A MOT/ON PICTURE
CArV BEfff SO GET SET FOR THE StMGW'EST
LA(jGHtN'B&Tf HAPPIEST SHOW OA/ F/lMf
WA RN£R BROS! Won der-En fer t^etn e *• t /
H'3
It's
lad-ria-ha.
Its
'ICE COLD KATIE"
GOOD NIGHT. GOOD NEIGHBOR'
I'M RIDIN' FOR A FALL'
HOW SWEET YOU ARE'
'LOVE ISN'T BORN' ^
THE DREAMER' ^gC^
SCREENLAND
NOW IT CAN BE TOLD!
m
10
SCREENLAND
SCREENLAND
11
r«vr«^rod,,ce
women »" ° Vin9 b'?-^|enera\ ^ ^ rfotS
12
I was an Absentee 3 days each month
Not that I wanted to be absent, but every month it was
the same thing. And not just me, mind you — there
are plenty other women in our plant who have to
let down on their "problem days".
EVERY
MINUTE
COUNTS
A war-plant nurse reports that their
greatest number of absentees are women
who miss 1 to 3 days of work each month,
frequently on "problem days" ! Quite
naturally, she asked the people who sell
Kotex* sanitary napkins, who are special-
ists in this subject, to help find a solution.
And then I learned—
I found the answer — how to feel better by following
a few simple do's and don'ts. They're all in this new
booklet . . . facts on sleeping, diet, exercise, drinking,
lifting, showers. How to curb cramps. When to see
your doctor. Facts for older women; and for when the
stork's expected. Plain talk about tampons. And how
to make your sanitary pad give greater comfort !
"That Day is Here Again" is the new
booklet just off the press and free to all
women — offered with the compliments
of Kotex in the interest of helping work-
ers and aiding the war effort. Send for
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On the job every day now—
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woman worker will want this booklet— even your
mother couldn't possibly know all the helpful hints
it gives for "that" certain time !
quantity of the a dl3tribut.on to yo
lumber you requir- ^ {fee man»al
Available, too, »• • u 3erves » •
EVERY
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For your free copy of "That Day is Here
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P.O. Box 3434, Dept. S-ll, Chicago 54.
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in these days when the nation is counting
on woman-power, we take pride in the
fact that more women use Kotex than
all other brands of pads put together
— to help them keep going in comfort.
(*T. M. Reg. U. S. P«t. Off.)
SCREENLAND
15
r axis' rorum
FIRST PRIZE LETTER
$10.00
I'm a crusader against flashbacks. It's
the worst movie idea I've ever seen put
into effect I know that stories like "Sara-
toga Trunk" and "Rebecca" were written
that way too and became best-sellers, but
it takes a heap of a good story to over-
come a horrible start like that.
There are countries where books are read
backwards, but the stories run the same
way. That is, page one is at the back of
the book. Tell me, honestly, have you ever
read the last chapter of a story first of
your own free will? No, you don't unless
the author forces you to do so. The answer
is simple. The end of the story is the
dessert and there is no fun in eating your
dessert before dinner. So it is with me.
When I find out in advance a picture is
told in flashbacks, I avoid it like a plague.
Also, the movies are getting away from
authenticity and realism and I, as an avid
fan, rebel. For instance, in "Stormy
DON'T LET IT GET YOU DOWN
The movie you saw last night didn't
please you? Disappointed in your fa-
vorite star's performance? Don't let it
get you down. Put it down on paper.
Tell us all about it in your own words.
We like controversial letters best —
those which are sure to start an aval-
anche of letters taking opposite sides,
but, remember, complimentary letters
are not against the rules. Your letter
may win a War Savings Stamp prize
and help hurry your next War Bond
purchase — and that's the way to put
a rush on Victory. Prizes : First,
$10.00 ; Second, $5.00; and five prizes
of $1.00 each, payable in War Stamps.
Closing date, 25th of month.
Please address letters to Fans'
Forum, Screeland, 205 East 42nd St.,
New York, N. Y.
Weather," young and beautiful Lena Home
had as her romantic interest, Bill Robinson.
A more incongruous pair I have yet to see.
Even the lack of young men cannot be
blamed as Cab Calloway was right in the
same film.
. Cary Grant was superb in "Mr. Lucky,"
but even though he loves her like all get-
out, wouldn't you think Babs would let him
take off that wedding band long enough
to lend a bit of realism to a picture he's
making? After all, it's his job, you know.
I wouldn't even care if they found a good
way of covering it, if he's superstitious.
There he was making love to darling
Laraine Day and sporting a wedding band
throughout. Tsk, tsk — consider Mrs.
Grundy.
I feel better already. I've said my little
say. Considering the number of pictures I
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SCREENLAND
see, it's time I had something to say about
them. Believe me, I do not often find fault
and consider movies the leading form of
entertainment, but I like them so much I'd
like to see a more perfect production.
JEANETTE ILLION, Irvington, N. J.
SECOND PRIZE LETTER
$5.00
He is as typically American as Joe
Doakes and apple-pie, this tall, clean-cut
young chap, with a face that is frankly
Irish, sincere, lovable and not too pretty,
thank heaven ! For a good many years I
have seen him on the screen, always name-
less because the parts he played were not
sufficiently important to warrant his name
in the cast. But of one thing I was always
certain: whatever the role, however brief
his bit in a scene, that part would be
played sincerely, intelligently, and with
everything he had to give it. Some day, I
told myself, that lad will have his chance.
If producers aren't too blind, that boy will
attain something very close to stardom.
Well, at long last, I know his name,
and it takes no seventh son of a seventh
son to predict that several million others
will know it, too — and remember it! So
pardon me, please, while I pat myself on
the back with one hand and extend the
other in congratulations to Warner Broth-
ers and specifically to one John Ridgely,
the unforgettable Captain Quincannon of
"Air Force."
WILLIE MAE JACKSON, Nashville, Tean.
FIVE PRIZE LETTERS
$1.00 EACH
I'd like to add my word of praise for
Deanna Durbin's splendid acting in "The
Amazing Mrs. Holliday." Lots of actors
will not compete with one child, much less
a whole boatload. But Deanna's talents stood
out, triumphant over "missionary" clothes,
children's unconscious scene-stealing, and
all sorts of competition.
I can see a new maturity in Deanna,
added poise, a depth of character that here-
tofore did not exist. If marriage has accom-
plished that, it is indeed a wonderful in-
stitution. She has improved so much even
since her last picture. Three years ago I
would have said she could not play such a
part as Mrs. Holliday. But today I can
think of no actress who would have been
as good in the part, certainly none better.
As an admirer of Deanna since "Three
Smart Girls," I'm proud to see her win new
laurels independent of her silvery voice.
MRS. H. S. TRUITT, Norfolk, Va.
What America needs to take her mind
off the gigantic problems facing her on all
sides and inflicting not a little restlessness
on all corners is a little relaxation with a
good movie and an outstanding cast. Per-
haps the fact is even more evident to me,
a war worker, because I have found that
there can be nothing more enjoyable and
restful after nine or ten hours of taxing
work than an appealing show, preferably
comedy and preferably with William Ben-
dix in the cast.
^ hen I first saw him making his screen
debut in "The Glass Key," I knew right
away I had found myself a hero. Oh, let
critics call him "the big brute," and other
such names, but as for me, once I had seen
him in "China" and "Wake Island," I
marked him as "a great actor" — not only
as a comedian which he has proved himself
over and over again, but also as a heart-
endearing character who will never cease
to be, at least for me, a source of profound
and untold enjoyment.
JUNE QUIGLEY, South Orange, N. J.
{Please turn to page 71)
"This couldn't mean ME!
Kay: Jeepers, Peg — who does that sign
mean? It can't be me! Or is it? Bob has
been making himself sort of scarce lately.
Peg: Look, Kay! I don't want your ro-
mance to come to grief— so I'll leap to the
rescue. You bathe every morning, yes! But
did you know that bath-freshness can van-
ish on the way to work? Well— it can!
Kay: You mean / am the office pest, Peg?
Peg : Kay, any girl can slip up on charm—
and not know it. But here's an easy answer
—every day, after every bath, use Mum.
I'll see Bob at the company dance tonight.
Now, with my bath to take care of past
perspiration and Mum for the future, I'll
be nice to dance with all evening long!
Mum
TAKES THE ODOR OUT OF
PERSPIRATION
Product of Bristol-Myers
Why let underarm cdor hamper success? Guard
charm — use Mum every day, after every bath!
It's quick— Takes only 30 seconds to use Mum!
It's safe — Mum won't irritate your skin, won't
injure fabrics.
It's sure —Mum prevents underarm odor with-
out stopping perspiration— protects your charm.
• •• • •
For Sanitary Napkins— Gentle, safe Mum is a dependa-
ble deodorant— ideal for this important purpose, too.
Scree nland
15
Pretty Barbara Britton, appearing in
Paramount's "So Proudly We Hail,"
concentrates on her eyes and lips.
HIGH
SPOTS
IN
BEAUTY
Spotlights
are always
on sparkling
eyes, dra-
matic lips and
vibrant skin
tones
Beauty and life lie in eyes. Make
yours as vivid and individual as
Merle Oberon does. Make your
lips expressive like Mary Martin's.
WHAT'S that certain something that
makes one girl of just average looks
seem so much lovelier than her
more naturally pretty sister? There's really
no mystery in this situation. The difference
is the same as that which you discover in
pictures artists paint. One painting which
may have fine drawing, good color, and
nice composition will leave you cold be-
cause it lacks appeal. Another with a sub-
ject not so perfect and with lines not so
accurate, will lure you with its charm
because it dramatizes certain features and
highlights color in such a way that it will
draw you back to gaze on it again and
again.
The Hollywood make-up men are artists
in their own right. And the impression that
their stars give out must be like our second
picture — arresting, intriguing and appeal-
ing. Make-up artists pick the facial spots
that have the most dramatic possibilities
and "light them up" so that they will shine
on in your memory. Which spots have this
interest? In most cases, the Eyes have it,
the Lips have it, and the Complexion Color
has it.
Movie actresses know that the light that
lies in almost every girl's eyes can be. en-
hanced and made vivid by good eye care
and by clever tricks of make-up. We take
it for granted that you wash the dust and
grime from your eyes at least once every
day and that you have your eyes examined
by an eye doctor if they cause you any
trouble. Starting — as we always seem to —
on this fundamental basis of health and
cleanliness, we can make our eyes what
they should be — the most attractive and
expressive of our features ! The beautifying
devices are many and the application of all
of them is easy to learn.
A box — or tube — of Mascara, to accent
and turn up the lashes ; a jar of shadow
to brighten or intensify eye color; a pencil
to fill in skimpy brows and a tweezer to
{Please turn to page 65)
16
Your lovely, lustrous hair is sure
g To make him fall for your allure!
leaves hair so lustrous. ..and yet so easy to manage!
The suit is a winter favorite. It's
and you can vary it with
dickeys and blouses — and wear it
under a topcoat all winter long! The
smartest hair-dos are simple and prac-
tical— with their beauty more than
ever dependent on the shining smooth-
ness only Special Drene can give!
Only Special Drene reveals up to 33% more lustre than soap,
yet leaves hair so easy to arrange, so alluringly smooth !
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SCREENLAND
17
nrs /May firerx/ 4vm f6e e/cy6e arrives
In his diaper days he'll first appreciate
its cool, antiseptic action to relieve
chafing.
A few years later he'll learn about
it when a little finger is cut or a little
toe is skinned and Mother adds an
additional kiss to "make it well".
Then, in his school days, he'll
probably discover — and remember all
through life — how useful Listerine
Antiseptic often is in helping to halt
a sore throat or head off a cold.
And, equally important, when he
becomes "girl-conscious", he'll real-
ize what a pal Listerine Antiseptic can
be in keeping him in the good graces
of his Lady Fair . . . how often it
guards against offensive breath when
non-systemic.
By the time he's twenty- one he'll
be a lifelong member of a club that
numbers millions . . . men and women
who feel that home isn't quite home
unless this safe antiseptic is handy to
meet the countless little emergencies
that so frequently arise. Lambert
Pharmacal Company, St. Louis, Mo.
BECAUSE OF WARTIME restrictions you may
not always be able to get Listerine Antiseptic in
your favorite size. Rest assured, however, that we
will make every effort to see that it is always avail-
able in some size at your drug counter.
SIXTY YEARS IN SERVICE
LISTERINE
ANTISEPTIC
FOR COUNTLESS LITTLE EMERGENCIES
18
Greenland
/
DEAR Gary:
Now please don't fall asleep halfway through
this letter. Try to listen, will you? The reason I make
this strange request is that I can't help remember-
ing how you spread your lanky length over two chairs
one evening after dinner at Claudette Colbert's house,
when she had a private preview of a new film, and
simply went to sleep. It wasn't a very good picture,
so I didn't blame you. And I have heard since then that
it is quite the usual thing for Cooper to snatch himself
forty winks almost any time, any place, when he gets
bored. But this time, Gary, please pay attention.
As just one of several million Cooper fans,
I'm wondering if you know you have become a
sort of symbol? You and Bing. Everybody
wants to know all about you two. They ask
me leading questions. What sort of fellows are
you anyway? Fortunately I can tell them very
honestly that you — Bing, too — are really pretty
much the same guys you play on the screen —
regular, easygoing, democratic — thoroughly
American in other words. "Sergeant York" of
course made you the very special hero of
American youth. Some of those boys who are
fighting so gallantly all over the world today
remember you in that picture and catch some
sparks of courage sent out by that rugged
character. And now your Robert Jordan in
"For Whom The Bell Tolls" is another American
of courage and conviction, and he will be
remembered too. Whether you like it or not you
stand for something big, and important. It's
no accident that you have been called upon to
play American heroes. Lazy and casual you can
be, but when it comes to a crisis Cooper is right
in there. Knowing you a little I can imagine
what it takes out of you to go around visiting
the kids in camps and hospitals. You can't sing
like Bing or crack wise like Hope. All you can
offer is — Gary Cooper. It seems to be enough.
So take a bow.
An Open Letter
to
GARY COOPER
The four greats of
"For Whom The Bell
Tolls" (lower left)
have their picture
taken together the
last day of produc-
tion: MoWa Bergman,
Director Sam Wood,
Pilar Paxinou, Rober-
to Cooper. Each
cherishes a copy as
a souvenir of a
memorable motion
picture achievement.
weet
15!
Shirley Temple, greatest child
star in entertainment history,
returns to the screen after two
years' absence in David O. Selz-
nick's "Since You Went Away"
Great producer Selwick of "Gone With The Wind" and "Rebecca"
fame, has signed 15-year-old Shirley Temple to a seven-year contract.
First film will be "Since You Went Away," from the story by Margaret
Buell Wilder, with Claudette Colbert playing Shirley's mother. Other
members of a spectacular cast include Joseph Cotten, Jennifer Jones,
Bob Walker and Monty Woolley — stiff competition for the little Tem-
ple. At right, closeup with Ching-Ching, who played in pictures with
Shirley when the star was 8 years old. Below, with Abby Langdon Wilder,
original Brig in her mother's book, whom Shirley will play on screen.
Visi
ision,
and a
Voice
Summing up the
secret of Dick
Powell's peren-
nial fan appeal
By
Hattie Bilson
WHETHER you have seen Dick on the screen
lately or gotten close enough for a Powell wel-
come, complete with broad grin, cheery hello
and arm linked through yours, you must have noticed
the amazing change from the Dick Powell of a year ago.
"What's happened to you, Dick?" you might inquire
as I did. "You seem different. Your manner is easier,
more relaxed. Even your voice — "
"That's how it all started," he says matter-of-factly.
"With my voice. It is two full tones lower than it used
to be."
You recall noticing a new quality in Dick's perform-
ances in "Happy Go Lucky" and "Star Spangled
Rhythm" and it suddenly dawns upon you that there
was a change in his voice. And yet you feel that you
have found only half the answer.
Dick's lower lip shoots out reflectively — an old and
engaging trait. "You see, producers thought of me only
as a singing star. I went from one musical role to another
until suddenly Hollywood stopped making musicals. It
Dick Powell's latest films for Paramount: "True
to Life," with Victor Moore and Mary Martin;
"Riding High," with Dorothy Lamour (center).
was the end of a trend and, in a way, I was happy
about it. I always wanted to get away from straight sing-
ing parts and play more colorful characters. I figured
that was the time to make the change."
"Sounds like a tall hurdle," you comment. "How did
you clear it?"
"I had been studying some of my recordings and
realized that my voice was pitched too high. I knew it
would require months of training and practice to develop
a lower voice, so I decided to take a vacation from the
screen and settle down to months of hard work and no
pay. Better sit down, it's a long story !"
You settle down comfortably beside him in the plush
parlor chair of a Pullman coach, one of the sets in
M-G-M's "Meet The People" in which Dick is playing
the lead. The scene he is making takes place in the rail-
road depot of a small town where Dick is employed as a
shipyard worker. Most of the townspeople, including
Spike Jones and his Band, are on hand to give him a
rousing sendoff to New York. {Please turn to page 60 )
'S5' '3 ■_; ;•- :
Dick and his wife, Joan Blondell, both- spend
most of their spare time between pictures
touring Army camps and visiting hospitals.
JOAN FONTAINE, UNDER CONTRACT TO DAVID O. SELZNICK, SOON TO APPEAR IN TWENTIETH CENTURY-FOX PRODUCTION, "JANE EYRE"
Joan
FONTAiN
-jjw Yotl tew* (ml \w ^WMQtw&tiljJfj Skw^ItoUL
Joan Fontaine advises —
"If your skin is like mine — neither
blonde-fair nor brunette-dark, then be
careful to choose face powder that gives
a fresh, warm glow. Otherwise your skin
may look dull." Wear Woodbury Windsor
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Who wouldn't love you?
Big moments for you when you wear
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Veronica Lake"? shade, new Natural —
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Lana Turner's shade, new Champagne
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Dorothy Lamour's shade. Brunette —
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A glamorizing set — $1.
23
PRESTON FOSTER'S DIARY OF
Stirrinjj ~sc«n«"*from "Goadolcanal^Dlary" ^
shows Preston Fosteis centerjUoyd No!aK*
Jaeckel, lerfA «*L .
"Guadalcanal Diary ' is one of the most significant pic-
tures ever made in Hollywood. To give our readers an
inside view of a great film in the making, Preston Foster
has granted us exclusive permission to print his diary
May 3: I got a surprise today! I
was chosen to play Father Donnelly,
a priest, in 20th Century-Fox's "Gua-
dalcanal Diary." This was amazing
news because I not only had never
played such a role in all my career,
but also because I had just finished
playing the criminal, Roger Touhy, in
the film of the same name. At first. I
was a bit leery of the new assign-
ment. But I've read the script and
think this is a great opportunity for
me. . My part isn't big — none of the
parts are — but it is the picture that's
important. That's why I'm glad for
the chance to be in it. Incidentally,
J^i^^ the' first motion picture /o re
cord an American victory in thisswarl
Few days later: This is just about
the first diary I've ever written — and
I keep forgetting it. "True" (Pres-
ton's, wife, Gertrude) thought I
should keep one on the picture for
the future, so will try to remember it
each evening. I've spent the last few
days tending to details on my ranch
before leaving for location. I have 406
acres and with the live stock, crops,
and all, it's not easy to pick up and
leave. "True" and Stephanie (Pres-
ton's small daughter) assure me they
can manage. And I have a good fore-
man, f-
((Pleas£jw2% to page 72)
V Lb
Lloyd Nolan gets an autograph from Major R.
E. Galer, who holds the Congressional Medal
of Honor and has 13 Jap planes to his credit.
Above, Foster, Nolan, Bill Bendix share scene
with real U. S. Marines. Below, Jaeckel
and Bendix re-enact great scene: rais-
ing Stars and Stripes over Henderson Field.
Left above: Foster meets Commander Gonzales and Captain
Loyer. Right above: Lt. James Hurlbut of the U. S. Marines,
who was at Guadalcanal (he was then a sergeant) as the first
U. S. Marine combat correspondent to see real action, goes
over script with 16-year old Richard Jaeckel, new "find."
Hi;
May '
LYNN BAHVS 8 POINTS c«
3- Ky yow houhh *
sweethearts.
Lovely Lynn Bari breaks down
and gives her "blueprint for
life" for publication. Good
advice for other girls to
follow — and stimulating read-
ing for their men friends!
8 POINTS FOR A
yOU never can tell about people— and how true this is of
those beautiful young things in Hollywood who go under
the general heading of "Glamor Girls." Certainly they
belie that old wheez which states so succinctly that ''beauty
and brains do not go together." And as like as not your first
casual impression of any film cutie would be knocked cockeyed
if you had the chance to spend a neighborly evening with her.
I pondered this bit of random philosophizing recently after
a mutual friend had taken me by Lynn Bari's Westwood
home for a visit. "This," I concluded, "just goes to show
how wrong most people are about a pretty face." And I'm
here to tell you that from that evening on I have been a
Bari fan.
Lynn has one of those "What's the sense of being stuffy'"
personalities. You get the first inkling of this the moment
you enter her unpretentious little home. And you're darn
sure of it as you walk down the high front steps after telling
her goodbye.
The other important thing about this Bari girl is that
merely being a success isn't everything to her — as it is with
Star of 20th Century-Fox's "Tampico"
turns practical. Exclusive pictures
show Lynn Bar! struggling with the
facts of life in wartime. Home enter-
taining is just one of the problems of
a Hollywood bachelor girl. She's fur-
nishing her nest as priorities permit.
By
Barry
Farrar
ACHELOR GIRL
so many of her cinema sisters. Lynn has what might he de-
scribed as a second career, that of living. And I mean she
has it down to a science. Early during our evening there she
alluded to her "Eight Points for a Bachelor Girl," and by the
time I had dragged them all out of her it occurred to me
that here was a design for living that might be used profitably
by any Miss from Boston to Bakersfield.
"I never have pretended to be a mental heavyweight," said
Lynn after we had juggled around a few ideas and had hit
upon her plan of living, "but you don't have to be a Ph.D.
to conclude that you need a good blueprint if you want
things to pan out right in the end. And that's all my "Eight
Points for a Bachelor Girl" amount to — a blueprint for life.
"As I see it, the modern bachelor girl is comparatively a
new product of the human order. She has established her
identity so rapidly and thoroughly, and she comes in such
variety, that she is in many respects a law unto herself. And
that's just the point I want to establish first. Her individual
code is good only so far as it gives her answers to problems
relating to society as a whole." (Please turn to page 78 )
A little home cooking and mend-
ing between pictures, and Lynn
likes it~— above picture is not to
be taken too seriously. It's only
that Bar! the Beautiful doesn't
want you fans to think she's get-
ting stuffy, just because she gave
in and told our reporter about her
8-point code for a bachelor lady.
27
It takes a tall, slim girl like Lucille to
carry off costumes like these, designed
for Miss Ball by M-G-M's famous Irene.
Below, three shades of bright turquoise
are used for this smart wool suit. The
slim skirt and jacket peplum are the
darker tone, sleeves and shoulder line
the lightest. Gloves and suede bag
match skirt shade while the hat, a pan-
cake of tulle layers, and the ruffle-
edged blouse are of the lightest shade.
Salute to a svelte
charmer— Lucille
Ball, bright shin-
ing star of "Best
Foot Forward"
Some of the most glamorous fashion cre-
ations of her screen career are worn by
Miss Bail in "Best Foot Forward," and
modeled for you here. Pink gold is the
shade of the harem-trousered pajama
suit at left. The flattering tunic is all-
over embroidered and sparkles with
multi-colored sequins. Below, a double-
skirted gown of white cotton net with
jersey bodice. Flowers at shoulder and on
skirt are rhinestone-sprinkled magnolias.
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29
"No woman in her
right mind would
pass Sonny Tufts
by unnoticed,"
says Paulette God-
dard. "Yum, yum!"
See Sonny in "So
Proudly We Hail,"
read all about him
here, and you'll ad-
mit Paulette knows
how to pick "em
By
John R. Franchey
THE way Sonny Tufts got into pictures is the way
they get into pictures only in pictures. Consequently
nobody is going to blame you for refusing to believe
that it actually happened to Sonny Tufts in the manner
about to be described — least of all Sonny Tufts. He still
doesn't believe it after almost a year, which is how come
he calls up his agent every Thursday and inquires : "Did
you get it, Bub ? Did you get it ?"
"Get what?" the tenpercenter invariably wants to
know.
'"The salary check, of course. What else?"
"Yes, Sonny, I got it," the agent sighs wearily. "Any-
thing else on your mind?"
"That's all I wanted to know. Bub. That's all I wanted
to know." And he rings off, after whistling a few bars
of a chantey from a Gilbert and Sullivan operetta, the
one that goes :
"I polished up the handle so care-ful-ee
That now I am the Ruler of the Queen's Na-vee."
But to get back to Sonny Tufts and his debut in pic-
tures, it won't happen again in a million years. All that
the big blond galoot had to do was to prance into a
studio, shake hands with the casting director, and recite
the following inspired words: "I'd like to get into the
movies."
Whereupon, did they pitch him out on his ear or clap
him in a psychiatric ward? They did not. Instead, they
handed the guy the part of Kansas in "So Proudly We
Hail," a strictly run-away-with-the-picture part which he
executed with such charm and dash as to catapult him-
self into the laps of the union's 29,000,000 adult females
who, judging from their response, have been awaiting
his arrival an awfully long time. Among which 29,000,000
females is Paulette Goddard, who describes the Tufts as
follows : "No woman in her right mind would pass Sonny
Tufts by unnoticed. In fact, none do. Not even Goddard.
This Citizen Tufts is going places — and fast — or I'm no
picker of star talent."
"Picker of star talent" is no idle boast on Miss God-
dard's part. That Sonny Tufts played Kansas in the
"So Proudly" saga is as much Goddard's doing as any
body's. Originally there were to be three leading men
in the film, one each for Claudette Colbert, Veronica
Lake, and of course, Goddard. The three, including
George Reeves, the freshly-hired Sonny Tufts for whom
as yet there were no definite plans, and a half dozen other
new faces whose names you never heard of were paraded
before the ladies in question, pretty much in the manner
of models at a fashion show. When it came Tufts' turn
to do a pirouette or two, Goddard let out a shriek. "That's
Kansas!" she yelled. "Yum, yum!-"
Director Mark Sandrich, naturally, asked questions,
learned that Tufts had never appeared in so much as a
movie short, and held parley with Goddard.
"It's an awfully important part, Paulette," Mr. Sand-
rich said, shaking his head dubiously.
"He's an awfully important guy from a feminine point
of view," Goddard came back. "That golden boy's got
vitamins."
The two talked it over and decided on a compromise.
Tufts would get the part, provided he looked good in a
test.
"It'll take a little scurrying around to find someone
good to throw lines at him," Sandrich said.
"I'll throw lines at him myself," Paulette said. "And
it will be a pleasure." *
The test bowled everybody over — including Goddard.
People on the set blinked, rubbed their eyes. Five minutes
after the camera had started grinding, a neophyte who
had never faced a camera in his life was behaving like a
veteran. A half hour later this same neophyte had tlie
picture crew cheering for him. He was making them
laugh at will. Before 150 feet had been shot, the results
were plain. Sonny Tufts was in.
The verdict was confirmed (Please turn to page 62 )
Paulette said,
"That's Kansasl"
when she saw
Sonny Tufts'
screen test, and
she was right.
The big blond
boy is a hit op-
posite Paulette in
"So Proudly We
Hail." Next you'll
see him opposite
Olivia de Havil-
land (far right)
in RKO's "Gov-
ernment Girl."
I ■ *^ . .. w»rt-u>t»eart
An hilarious hearty ^
encounter ... W and a g»y
WOttWn\^V-ivei»t»marriage!
who«ouWntr
presents
Qeb/rv
mm
IT WAS the Midnight to San Francisco
I — and forty minutes out of Los Angeles.
I The chair car's faded red plush seats
with high stiff backs apologetically showed
it had been pressed back into service for
war emergency.
Passengers struggled to settle them-
selves for the night with some approach
to comfort. A Pullman porter came
through renting pillows for a dime. A
baby cried. A woman with large diamond
rings repeatedly exclaimed, "I've never
sat up all night on a train before. I don't
know how I can stand it !" The man be-
hind her snored obliviously. A little boy
ran back and forth with paper cups of
water, spilling them on the way from the
water-cooler. A quartet of young girls
giggled over gin rummy. Several passen-
gers munched apples and peanuts from the
■candy butcher.
A girl with a swirled-up coiffure, six
seats ahead, suddenly rose. Slipping off
her mink coat, she folded it carefully over
a shivering three-year-old, stretched out on
a seat trying to sleep.
"She looks like Brenda Joyce, the
movie star,'' said the lady in the seat
ahead of me. "But it couldn't be. Imagine
a movie star sitting up on "a train like this
all night !" She laughed at the thought of
a glamor girl being transported in such an
unglamorous setting. She took another
look. "Why, it must be Brenda Joyce!"
she exclaimed. "I know it's her. What can
she be doing on this train?" She nudged
her husband.
"Probably same as us," muttered her
more practical mate. "Couldn't get a res-
ervation on a (Please turn to page 80)
Ann Sothern, M-G-M's "Maisie," became the
bride of Bob Sterling on May 23. Honeymoon
postponed: Bob had to report back to
Thunderbird Field #2 in Phoenix, Arizona, to
complete his primary course in flying; Ann
had to report for work in "Cry Havoc."
Don't call 'em Glamor Girls! They're no longer
pampered darlings —
the war has changed
them, and for the better
«, $(c^lLrt$ TN.T-"dg.-wg*W.B.N.Q
PAULETTE GODDARD, CO-STARRING IN "SO PROUDLY WE HAIL", A PARAMOUNT PICTURE
"Nothing shatters a man's defenses like a super-
smooth complexion. No wonder so many of us in
Hollywood trust all to our W.B.N.C. That's film-
star fast talk for . . .
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The fabulous Tallulah,
fresh from New York
stage triumphs, returns
to Hollywood after ten
years, to star in Alfred
Hitchcock's "Lifeboat"
COMES
BACK!
Tallulah Banlchead, who is making her comeback in
"Lifeboat," Alfred Hitchcock's new film for 20th Cen-
tury-Fox, is pictured here getting her daily exercise
— walking across studio lot; with hairdresser Ray For-
man, left; looking over her tests with test director Jerry
Webb; listening to advice of sound' man Bernard
Fredricks; greeting her friend, Don Dorks, SK l/c, on
leave from the Southwest Pacific; and, below, Tallu
with John Hodiak and Henry Hull in "Lifeboat."
_ a\ways ex~
(ts doors to 2 Mready *.sus the
™, Octohet 3rd. ' ^010= » d ^
»or>« oyer « eotertammen ?
radio and st ag Wiers. sauo Canteen.
^^*o«d *-.*• td and s^
^g^t&Sn^
GarfteW * Canteen as h" dway. ^
wood bad a ^ off JJro ■ {eaS
^^d%^;^^-«*
their own
' TlTenterta^f
■* one big ettor Coiurnb*a
Studio de*«ted to swank
hit, ""^fiau, ^o the btgg-'
teen. T>? *orned * °* a„d gave the
sdC *e st»«Sng. Con.
to remodel »"VJS more «»" oi only
iean actual e?end,t wer
*\5 000. at an d tYns. r m
$200. ^ ^tnoney corf**' to P
laterals and *oJ ,**«*° . s do
to keep the ^ and ^ concerns,
nercent ° V ,w Los ^T^itVi Tatl°
S0U ' W9W. D°tt,e
■ome .v R.gW,Do«-.e
A-,
with a
MOVIE LOVELY
When a girl is as pretty as Dolores
Moron, her day is just one publicity
pose after another. Who's complaining?
1 ^ J 2
Cream together a little Now, stir this creamy
cool water and a little mixture as you pour
Quick Elastic Powder, boiling water into it.
10*
Hot Flash of Boiling Water Cooks It
Completely. Gives You Nice, Clear,
Cooked Starch in 30 Seconds
Test this wonderful invention today and see for
yourself — you can do things with it you could never
do with starch. 1. Make cooked starch without
cooking it on the stove. Mix up a little Quick Elastic
and cool water. Now, bring it to the hot point —
cook it — by adding boiling water. 2. Iron cottons,
curtains, dresses, shirts — without sticking or pull-
ing. 3. Give all the things you iron a lovely, sweet-
smelling, elastic body and finish.
Note the difference in Quick
Elastic the moment you open,
that buttercup yellow box. It'%
powdmr. No lumps to boil down.
No waste. Gliders already in it
give you smooth ironing. Thou-
sands are changing to this dandy
powder. Join them. Learn the
pleasure of starching and iron-
ing the Quick Elastic way.
Catching Up
Scoop shots
on the set of
Hollywood's
best cam-
era-dodger
with Cary
It isn't that Cary Grant
hates publicity, he's just
too busy to bother. Most
wanted actor in movies,
he chases from picture to
picture and when he's not
working he insists on a
strictly private life with
his wife, the former Babs
Hutton. At Warners mak-
ing "Destination Tokyo,"
Cary unbent when he met
his old friend, Sgt. Earl
Oxford, of "This Is The
Army" troupe (right).
Cary likes his latest part,
that of skipper of a sub-
chaser in "Destination
Tokyo," because i t calls
for rugged action, which
he prefers to romantic
roles. John Garfield,
with Grant, below, plays
a member of the crew.
John Ridgely, remember-
ed from "Air Force," is
seen in scene at bottom
of the facing page. Hum-
phrey Bogart drops in
from adjoining set to greet
Grant (lower • right).
Susan's latest role Is in "Song
of Russia," Bob Taylor's final
picture for the duration
(right). Susan's private life is
pictured below: in her Santa
Monica home, and with her
best beau Richard Quine.
Darling
AN eighteen-year-old girl named Suzanne Carnahan
/-\ was walking across the campus of Hollywood
/ \ High School a few days before her graduation
in June of three years ago. Some five feet four inches
tall, 104 pounds slender, with gray eyes, tan hair, an
unremarkable nose and a wide, "one-sided" mouth, there
was nothing in her appearance to catch the eye. Except,
perhaps, a purposeful walk, an alert tilt of the head and
the fact that in the midst of titivated, high-heeled, lip-
sticked boy-surrounded misses she wore bobby socks, a
sweater and skirt, no make-up — and she walked alone.
Intending to be a doctor, young Miss Carnahan's mind
was, indeed, on her biology and chemistry exams just
completed, and on her plans for entering 'pre-med'
school in the Fall. At that moment a prankish Destiny
in the pedestrian form of a talent scout from the Sol
Lesser studios saw a star in the unsuspecting Miss
Carnahan.
Ever since Lana Turner stepped out of Hollywood
High to stardom, movie scouts have been browsing about
the campus hoping that lightning would strike twice in
the same place. But just what the scout thought average-
looking Miss C. had in common with Lana, whose lavish
charms none but the blind could miss, is something only
he could say. And did. He said Miss C. looked like the
"typical American girl" and that he liked the way she
walked, as if she knew where she was going and intended
to get there. He said that the words, "Destination, Star-
dom," went through his mind. So, approaching her, he
asked her how she would like to test for a part in a
Bobby Breen picture.
Miss Carnahan was astounded, amused, revolted, ap-
prehensive and intrigued, in the order given.
She was astounded because she had never thought of
being an actress. "Never once."
She was amused because : "At the beginning of our
senior year, we were asked to write down five things we
wanted to be. All the girls put down 'Actress.' I didn't. I
wanted to be a doctor. Besides, there were so many beauti-
ful and talented girls in the class. I would have been em-
barrassed. I felt that beauty plays a great part in the
picture business and goodness knows I am not a beauty
— anything but! Nor had I any reason to suppose I was
talented. I took dramatics in- high school but only be-
cause I had signed up for five solids, four of them heavy,
wanted one snap course, took (Please turn to page #<5 )
I AM
FREE
AMERICA
Katina Paxinou
to
Elizabeth Wilson
jSL — M
IT WAS inevitable that Hemingway's Pi'tor and Greece's Paxi-
nou should get together. They were made for each other. Like
body and soul. Hemingway has admitted that when he" wrote
"For Whom The Bell Tolls," he modeled the character of Robert
Jordan after his pal, Gary Cooper — Coop and the author having
been close friends since the ex-Montana cowboy starred in his
"Farewell to Arms" some ten years previously. And when he
lunched with Ingrid Bergman in San Francisco, Hemingway
(after he had recovered from the shock of seeing a cinema star
with her face peeling) inscribed in a copy of his book, "To
Ingrid Bergman — the Maria of my story." Hemingway did not
bother himself with the casting of Pilar. If he had met Katina
Paxinou at somebody's party he would have seen a slender,
"After Europe,
America is like the
'All Clear* signal
that follows a long,
harassing night of
ceaseless nerve-
wracking bombing,"
says Katina Paxinou,
the new Hollywood
sensation who loves
America as intense-
ly as she hates Nazis
Left, Katina Paxinou as Pilar in
"For Whom The Bell Tolls," her
first screen role in which she
scored a tremendous success. It
hardly seems possible that the
immaculately groomed beauty
on the facing page, who was the
first lady of the Greek stage be-
fore coming to Hollywood, could
have played Pablo's robust wife.
Below, Paxinou, wearing her
makeup, dines with Ingrid Berg-
man, star of the picture, and
Akim Tarniroff, who plays Pablo,
after a day of location work on
"The Bell." Opposite page, Ka-
tina playing cards with Luise
Rainer, who is returning to films
in "Hostages," Paxinou's second
movie; and with Arturo de Cor-
dova in a scene from "Hostages."
(|uiet woman, not more than five feet four, completely unlike the
dynamic, lusty Pilar of his story — "a woman of about fifty as
big as Pablo, almost as wide as she was tall . . . and a brown
face like a model for a granite monument — " He probably would
have looked at Madame Paxinou and said, "Pilar? Hollywood's
crazy."
But when the fireworks have died down, when the shouting's
over, when you have recovered from a three hour sit, one thing
in the "Bell" stands out in your mind. Pilar. It is Pilar with"
her wallowing walk, her pleasantly ugly face, her doud vulgar
laughter, and her tongue that "bites like a bull whip" who has
dominated the picture. And stolen every scene she's in. There
are dozens of actors and actresses in (Please turn to page 66 )
48
Alice Faye meant it when she said she wduffl retire after "Hello,
Frisco, Hello." But amazing public response1!© that film made her
change her mind. So now it's "just one more picture"— -this time, "The
Gang's All Here." We hope it's always one more picture for Alice
V
Alice Foye looks happy enough here, clowning with Benny Goodman. Yet she has a genuine inferiority complex
about her work, doesn't think she would be missed rf she quit the screen. Her studio and tans know better.
When Alice announced that she was retiring after "Hello, Frisco, Hello," everybody believed her. 'Unlike most movie
stars, she means what she says. It was the success of "Frisco" that altered her decision. Now "The Gang's All
Here," her new picture with Goodman, Phil Baker, and Carmen Miranda looks like another hit. Alice CAN'T retirel
Main reason Alice wants to retire is her devotion
to her husband, Phil Harris, and their adorable
baby. Alice believes she is losing a mother s great-
est happiness — taking core of her own baby. But
her studio, 20th Century-Fox, and her fans have
about persuaded her to stick to making motion pic-
tures rather than retire at the height of her fame.
19
MEET
SOME
NEW
MEN!
Hollywood
scouts once
concentrated
on search for
feminine
beauty. But
now it's mas-
culine talent
they're after.
Herearesome
recent finds
Ai
r
Rita Greets
THE COVER GIRLS
Gossip by Weston East
HERE'S
Marine Sgi. Glenn Ford, right, hav-
ing fun on a furlough date at Mo-
comba's with his lady love, Eleanor
Powell. At another table, (see photo
center bottom of page) Dinah Shore
and Pvt. George Montgomery en-
tertain Belita and Alan Baldwin.
Below, that's not smoke getting in
Sgt. Louis Busch's eyes — it's his bride's
(Janet Blair's) veil, and it's their
wedding day — no wonder they look
so happy. The newlyweds are pic-
tured in lower photo with Mr. and
Mrs. Fred Lafferty, Janet's ma and pa.
C TUNNED si>eechless was Robert Alda
C) when he attended the premiere of "This
Is The Army.'' Bob is the boy who has
come up from burlesque to play the coveted
role of George Gershwin in "Rhapsody In
Blue." He has yet to appear on the screen
and still the reception accorded him at the
premiere was worthy of any star.
NICE girl, June Havoc. A national mag-
azine wanted a story on John Payne.
If June would give them some copy, they'd
give her endless publicity for herself. June
knew John Payne was working hard for
a commission. She wasn't sure if the story
would help him or not. He wasn't in Holly-
wood to get permission. So June refused
to talk.
WAN JOHNSON should hire Hedy
V Lamarr and John Loder for his personal
press agents. At a dinner party given by
one of the biggest studio executives, Hedy
and John did such a rave over him, the
very next morning their host sent for Van's
test. Funnily enough, the Loders and Van
aren't close friends. They just like . his
personality and appreciate his talent.
LIFE begins for Loretta Young. Her career
■ is beginning to flourish all over again.
And now her handsome husband, Lieuten-
ant Colonel Tom Lewis, has been stationed
in Hollywood. Loretta's the envy of all the
svars who are living alone and not liking it.
DESPITE his strenuous routine, Glenn
Ford has never missed a day writing
to Eleanor Powell since he joined the
Marines. Plans for their wedding are all
set now. He's been promised a leave and
if he gets it, they'll be Mr. and Mrs. before
you'll be reading this.
WHEN Ava Gardner said she "wanted
to get it over with fast," she must
have meant it. The divorce from Mickey
Roon'ey awarded her in Los Angeles would
have become final next May. So Ava took
herself to Las Vegas, Nevada, and estab-
lished residence there for the necessary
six weeks "unhitching." Some say she's
going to become Mrs. Howard Hughes.
They've been saying that about someone ever
since Hughes and Billie Dove almost got
together. And brother, that's going back!
MAYBE now Laird Cregar will lose that
necessary poundage in peace. Dorothy
"Claudia" McGuire up and married film
writer John Swope. They kept it so secret
even her own studio didn't know that
Dorothy had found love. And it didn't
take her long, we might add. Swope,
Jimmy Stewart and Burgess Meredith
maintained a bachelor establishment before
the armed forces separated them. Holly-
wood is going to miss those parties the
boys used to throw. Captain Jimmy Stewart
was best man. The wedding took place in
Margaret . Sullavan's house.
HOLLYWOOD
Candids by Jean Duval
Left, Joan Leslie, Paul Henried and
Katina Paxinou, who plays Pilar in
"For Whom The Bell Tolls," get to-
gether for a chat before the Holly-
wood Bowl pageant, "We Will Never
Die," for benefit of Jewish Relief.
Below, Maria Montez made a very
beautiful bride when she married
Jean Pierre Aumont recently. Charles
Boyer and Jeannine Crispin were best
man and matron of honor, and picture
at left of Maria shows Boyer kissing
bride and Aumont kissing Jeannine.
THERE was more than one reason why
Bette Davis got such a terrific kick out
of a radio broadcast in the East. It was a
short wave show, directed to the boys
stationed in remote spots. The man up in
the control booth, who told Bette what to
do and how to do it, was Harmon "Ham"
Nelson, Bette's ex-husband. He gave the
orders and she followed them. "Ham" is
doing a good job for Uncle Sam and Bette
is rightly proud of him. They have never
ceased being good friends.
IOHN GARFIELD'S new son starts out
J in life with a million dollar name and a
bank account not to be sneezed at. The
baby has been christened
David Patton, after Gen-
eral Patton. Two thou-
sand dollar Victorv
Bonds were John's gifts
to the new "General"
the day he was born.
NOT three thousand
as his studio would
have you believe, but a
good seven hundred hys-
terical swingsters met
Frank Sinatra when he
arrived in Hollywood.
They screamed, clawed
and bit each other try-
ing to get closer to the
swoon crooner.
Y
Left, from top: Opening of the Mercury
Wonder Tent Show for servicemen brought
many celebrities together to watch Orson
Welles make with the magic. Greer Gar-
son attended with her mother and was
kept busy signing autographs; Xavier
Cugat, La Conga music king, amuses
his charming wife with his Mocambo
tablecloth art; Anne Shirley with her
escort, Al Bloomingdale, at another table.
Right, from top: Alexis Smith dancing
with Henry Wilson at Trocadero; Randy
Scott and the ex-Mrs. Vic Mature, Mar-
tha Kemp, smile for the camera — (that's
Alan Curtis back of Randy); Capt. John
Huston lights Anita Louise's cigarette
at Mocambo, while hubby Capt. E. Mau-
rice Adler looks on. Bottom: Jane Withers,
looking glamorous and grown up, and her
escort wave to friends across the room.
ORSON WELLES and his big top show
for service men opened with a bang
off Hollywood Boulevard. Assisted by
Joseph Gotten and Rita Hayworth, the
"great" Welles as a mighty magician really
did his stuff. Rita was only on for the first
night, however. Her studio boss didn't like
the idea of her "stooging" in a tent show.
Seems pretty silly when it was all. done to
entertain our boys in uniform.
EVIDENTLY when Greer Garson saw
that beard on Richard Ney in the over-
seas newsreels, it melted her heart. Then
again, maybe Greer thought the war might
'ast longer than anticipated. When Ney
arrived in Hollywood on leave, they dusted
off that marriage license and were mar-
ried. Her mother was the only witness. A
forty-eight hour honeymoon ended abruptly
when Richard returned to duty. '
WHO said women can't keep secrets?
Claire Trevor can and did. Last April
seventeenth she married Lieut, (j.g. ) Cylos
Dunsmoor in Tia Juana. His father is a
biggie in a bank and he's handsome enough
to be a movie star. Claire intends giving up
her career at least temporarily and moving
to wherever he will be stationed.
(Please turn to page 77)
HER RING — a beautiful 2-carat
solitaire, with a baguette diamond on
either side. The setting is platinum.
NAVAL OFFICER'S FIANCEE— ROBERTA
BOSWORTH of Highland Park, Illinois-
engaged to Li. E. Gardner Counselman of
Evanston. She is the daughter of Dr. and Mrs.
Robert R. Bosivorth, prominent North Shore
Chicagoans.
LANS change quick as a telegraph mes-
sage these wartime days. Roberta's wed-
ding invitations were engraved, her brides-
maids' dresses ordered, her wedding dress
ready — then her fiance was ordered to re-
port for immediate sea duty!
"He won't get a leave for several months,"
she told us, "so it will be a winter wedding
instead of the June one we expected."
Like so many lovely engaged girls, Roberta
Counts on Pond's Cold Cream to keep her
Complexion fresh and soft.
"There's something about Pond's that
agrees especially well with my skin," Roberta
says. "It's such a soft, such a smooth cream,
and it's extra grand for cleansing, I think."
PREPARING FOR WAR-
- TIME SCOUT DUTY —
Roberta is learning to be
a pilot in Chicago's Civil
Air Patrol — one of hun-
dreds of girls earnestly
training to supply woman-
power for the air force,
ft
OFFICIAL WAR MESSAGE
Many areas urgently
need women workers for
necessary civilian jobs.
You can help ! Check local
Help Wanted ads — then
get advice from your local
United States Employ-
ment Service.
/
ny more women use Pond's than any other face cream at any price.
COPY ROBERTA'S DAILY POND'S BEAUTY
CARE . . . First — she smooths Pond's Cold
Cream all over her face and throat. Pats briskly
to soften and release dirt and make-up. Tissues
off well.
Second — she "rinses" with more Pond's,
whirling her white-tipped fingers around in
little spirals. This makes her skin feel extra
soft and clean. Tissues off again.
Give your face a delightful twice-over cream-
ing with Pond's — every night and every morn-
ing— for in-between clean-ups, too. You'll see
why it's no accident engaged girls like Roberta,
society beauties like Mis. Anthon y J. Drexel, III
and Katharine Mellon love it. Cet your jar of
Pond's Cold Cream today!
SCREENLAND
59
U9
THANKS
TO
LOVELY
HAIR
1 THOUGHT I'd never get Bob to fall for
me. I was heartsick until Betty, my
friend at the beauty shop, said one day.
"HOW DO YOU EXPECT to attract Bob
-when you have no sparkle! Why even
your hair is dull and mousy -looking.
Men go for girls whose hair is bright
and shining."Why don't you let Nestle
Colorinse put sparkling highlights and
richer color in your hair. Colorinse
makes it softer, silkier and easier to
manage, too. It doesn't rub off no
matter how hard you brush, yet it's
easily removed with shampooing."
I TRIED IT THAT VERY NIGHT and what a
difference in my hair! Bob said that
he could hardly believe his eyes.
Colorinse certainly proved to me that
age-old beauty secret, "Romance be-
gins with glamorous hair."
r& FOR YOUR NEXT PERMANENT, ASK FOR
r"^"~' A NESTLE OPALESCENT CRIME WAVE.
COLORINSE
Vision, and a Voice
Continued from page 22
In 10/ and 25/
sizes. At beauty
counters every-
where.
You smile at Dick's typically small-town
suit and straw hat, then take an extra look
at the man wearing them. Dick has changed
in the past year — and to distinct advantage.
You like the leaner, stronger lines of his
face ; the new determined angle of his chin.
He interrupts your star-gazing with;
"After months of intensive work, I suc-
ceeded in. lowering my voice to its most
effective pitch. I thought the job was over
until I discovered that my new singing
voice didn't match my speaking Voice. A
fellow can't play a love scene 'way up here,
then burst into song 'way down there.
Therefore, it was necessary for me to
lower my speaking voice. And nothing
changes one's personality as much as a
change in voice. It makes you act and feel
differently. Even my mannerisms changed.
I wasn't really aware of the transforma-
tion, however, until my friends started
commenting on it."
Even as he spoke I recognized a new
depth and warmth to his voice. It is clearer,
more romantic. It has given him an air
of quiet vigor.
The first picture in which Dick tested
his new voice was "Happy Go Lucky."
He waited for public reaction. Dick has
always respected the opinion of his fans.
When they enthusiastically approved, he
was ready to embark on his new career.
Under his new long-term contract with
Paramount he will divide his time between
starring roles in important musicals and
straight leads in romantic comedies.
Calls for "Dick Powell for stills" drag
him away, but he returns within a few
minutes to explain further the part movie
fans have played in his career.
"On a recent Army camp tour we played
two regular shows every night, besides
entertaining in hospitals during the day
and giving impromptu performances any
hour they called on us. Many of the boys
I met were old fan-letter friends, anxious
to talk about old times. I was far too busy
to find time for regular eating and sleeping.
And you know what happened."
"Pneumonia, wasn't it?"
He nods ruefully. "Joan, my dainty little
wife, does as many camp shows as any
star in Hollywood and thrives on the
strenuous routine. But big, husky me — !"
He shakes his head. "If I hadn't been too
sick to care, I'd have been embarrassed.
"On the train for Hollywood a doctor
took my temperature and found it to be
104.9. He insisted I get off at Kansas City,
the next stop, wiring ahead for an ambu-
lance and hospital accommodations. Like
the rest of the country, Kansas City was
experiencing a shortage of medical men and
hospital space. After my train had left the
station I discovered that there was no am-
bulance waiting for me. Not even a porter."
Dick hauled four heavy suitcases through
the big Kansas City station, then waited
for over half an hour for a taxi which
rushed him to the hosp'tal. Shaking with
fever he staggered to the reception desk
only to learn that the hospital was already
overcrowded. There was no bed available.
"I just stood there trying not to bawl
like a baby," Dick remembers out loud.
As he turned to leave, wondering where
he could go, a young interne approached.
He wasn't really an interne — rather a pre-
mcdiral student helping the overworked
hospital staff during his spare time. "Aren't
you Dick Powell ?" he asked. Dick was too
surprised to answer. He wondered how any-
one could recognize him with a three-day
beard, eyes puffed and fever-blistered lips.
In one of the wards this young man set
up a cot and for the next eight days was in
almost constant attendance. When Dick
was well enough to leave he thanked the
interne for administering to his wants like
an old friend. "I am -an old friend — sort
of" he replied. "I wrote you a couple of
fan letters and you answered them."
Before returning to work in Paramount's
"Riding High" with Dorothy Lamour,
Dick went to Mexico to recuperate. It was
on this South-of-the-border visit that Dick
decided to learn the Spanish language. The
result was the hiring of one Eduardo, as
teacher-secretary. "The quickest way to
learn a language is to talk it as often as you
can," he says.
As though on cue, Eduardo pokes his
head through the train window and says,
"Mr. Powell, vamos, vamos." To which
Dick replies, "Si, Eduardo." Eduardo is
about twenty-eight, unusually fair for a
South American and seems like a very in-
teresting person. Dick explains he's from
Chile, used to teach political science in a
University there, was secretary to the
Chilean consul in Los Angeles.
"You must have quite a vocabulary by
now," you venture.
"Quite. There's 'vamos' which means
'let's go.' There's 'vamos, vamos' which
means 'get going in a hurry.' 'Si' meaning
'yes' and — er — let me see now — "
You interrupt tactfully by observing that
hiring a Chilean secretary-teacher is bring-
ing the good neighbor policy right into
one's home.
"The whole world will be a good neigh-
bor if this war and the subsequent peace
turn out right. Our soldiers are in every
part of the globe, learning about other na-
tionalities, making new friends, getting used
to their habits and customs. In the post-war
world the airplane will bring all people
closer together. The motion picture will
play an important part in solidifying inter-
national friendships. I want to be ready to
speak to other nationalities in their own
language."
"You mean you're planning to appear in
foreign language pictures ?"
"Not at the moment. But if they will
help bring greater understanding to the
world I want to be ready to do my part.
In .the meantime it's fun learning a new
language. Eduardo is even teaching Spanish
to my children. You should hear little
Ellen. She's only five but already can speak
whole sentences."
"Do Ellen and Norman show signs of
unusual musical talent?"
Dick becomes as voluble as any proud
young father with such a leading question.
"Our home isn't the same since Ellen and
I started singing duets. She loves music.
Norman has no time for singing. He's eight,
but much too busy being president of the
Children's Victory Club. That's an organi-
zation he started with neighborhood chil-
dren who earn a weekly allowance from
their parents for good behavior, picking up
their toys, putting away their clothes neat-
ly, helping with the gardening and doing
odd chores around the house. All members
of this club have sworn to use their earn-
ings exclusively, for the purchase of war
bonds. Isn't that swell ?"
You agree whole-heartedly that it's
plenty swell. And as you say goodbye (in a
voice two full tones lower than when you
started the interview) you cannot help ad-
miring the courage and perseverence with
which Dick Powell applies himself to the
job that has to be done, whether it be over-
hauling his voice, bringing entertainment
to service men, planning post "
tional friendships or teaching
fundamentals of the America
S GREENLAND
Put your Smile
on a
Seven -Bay Wck\
Wartime is no time for grumps and jitters. Women,
especially, have to keep things going at home with
a cheerful high hand — no matter what!
So use every little trick you know. Keep husy. Keep
beautiful. And above all, keep comfortable and
serene — whatever the time of the month.
That's easy — as busy wartimers by the millions are
finding out. They're switching to Modess, the sani-
tary napkin that's first for wonderful softness and
hours of safety. Read what some of them say about it.
"I'm fighting the food shortage! Gardening, canning, storing food —
it all keeps me on my feet lots more, but what of it? Someone put me
wise to Modess' extra softness, and I switched. What blessed comfort!
Now I breeze through the toughest days with a smile!"
^ MODESS costs no more than other napkins, but it's made with a special
softspon filler that's fleecy as down. Entirely different from layer-type
pad*, 3 out of 4 women voted Modess softer in a recent test!
"I'm taking over a man's job — working hard to help
keep America going while our men fight. No time to baby
myself on this job. But I did want more monthly protec-
tion, and thank heaven I switched to Modess! It's safer.
Gives me extra 'accident insurance' I need!"
^ MODESS has a triple fall-length safety shield at the bach.
This guards the entire napkin — assures greater protection.
"I'm doing K. P. at the canteen! And now, more than
ever, I'm depending on Modess to keep me sunshiny.
I've always liked it for the super way it fits. Modess
shapes itself so smoothly to body lines. Seems as if it's
really made for me."
•J" Because MODESS is softer, it's bound to fit as though
specially made for yon. Its softspun filler conforms to j our
body. And where some pads have hard tab ends, MODESS
has softest gauze. No telltale outlines.
Hustle with a Smile! Switch to
Modess
Modess
SAN I T A R Y MAPK INS
MODESS REGULAR is for the great majority of women. So highly
absorbent it takes care of even above-average needs. Makes bulky,
over-sire pads unnecessary. ****3IODESS JUNIOR is for those who
require a slightly narrower napkin. Available in boxes of 12, or Bar-
gain Bos of 56 pads.
SCREEN! AND
61
His leading lady! She's first in war ac-
tivities . . . she'll be first in the peace
parades . . . and she's first in the heart
of her serviceman! If you're the girl
who leads, you want Varva's leading,
lasting fragrance, "Follow Me"!
Extract, $1 to $15
Face Powder, six guest puffs, S 1
Talc, 55<i; Sachet, SI & $1.75
Bath Powder, $1
Bubble Foam, S 1
(plus taxes)
Golden Boy
Continued from page 31
VA R VA
THE FRAGRANCE THAT LEADS AND LASTS
19 West 18th Street, New York ll.N.Y.
a couple of days later when, all of a sud-
den, Director Sandrich up and decided to
film the kissing sequence. The decision
came as a sort of a blow to the Tufts
rooter. It was a bit early in the picture,
all hands agreed, for an utter tyro to take
Paulette in his arms (and her caparisoned
in a slinky black nightdress that revealed
every billow in her geography), muzzle her
a bit, and then, as per script, kiss her smack
on the mouth. It takes time and experience
to acquire the necessary nonchalance — es-
pecially before a hundred critical eyes.
And here a young Lochinvar was bidden
to do it after a mere two days of shooting.
One of the major worries was Goddard,
herself, who half expected him to wilt the
minute she threw her arms around his neck,
squeezed him hard, and looked up at him
winsomely.
A half dozen rehearsals and a baker's
dozen of "takes" and Paulette was sitting
in her dressing room removing her make-
up and feeling sorry for poor Tufts when
there was a knock at the door. She opened
it. There stood Sonny himself, looking as
blithe as a man who has dined on canaries.
"I dropped by to thank you for a lovely
afternoon," he said, gravely. "It was a lot
of fun."
"Don't mention it," Paulette said, a mite
flabbergasted.
Exit a blond galoot whistling.
Sonny Tufts, Paramount's own golden
boy, comes by his nonchalance, poise, and
easy grace as naturally as Boston-born
blue-bloods land in the social register. The
Tufts (if you aren't plagued with an in-
feriority complex) have been bivouacked
in Boston since 1638 and if any of them
has ever needed the help of the public al-
moner, there is no evidence of the fact.
Tufts pere, in approved Tufts fashion, was
a leading Boston banker so that when the
Tufts kith and kin first laid eyes on the
mewing little tyke about to be christened
with the resounding name of Bowen Tufts,
III, they sighed and pronounced in unison:
"What a fine-looking banker he'll make!"
On which score they were doomed to
disappointment, even as. they were in his
choice of a college — a bit later in life.
He grew like a rumor, survived the usual
juvenile maladies, and, in due time, was
dispatched to Philips-Exeter Academy. He
blossomed into an unorthodox Tufts by ex-
hibiting a curious passion for three unre-
lated subjects, football, Greek, and music,
all of which he negotiated with equal ease.
To foster his last passion, he organized
an orchestra, which hired itself out for all
hops and proms within striking distance
of the campus. It wasn't a bad outfit, all
things considered. At least, it was good
enough to be invited, come vacation time,
to provide dance music on a trans-Atlantic
liner. Sonny accepted in a hurry. They
made two round trips that first summer,
Sonny at the drums and acting as leader.
The Tufts Troubadours must have done
all right on the deep. They were rehired
the following summer. For a while the boys
deliberated about adding a girl warbler to
give the band a little class. However, sign-
ing up a girl for trans-oceanic voyages can
become a pretty complicated business. After
sober reflection they abandoned the idea in
favor of having Sonny sing the choruses.
They put it up to him and he agreed.
All that summer he stood up in front of
the band, singing weepy ballads while im-
pressionable college girls heaved and sighed.
He collected something like 37 mash notes
before the cruise was over.
The following summer he didn't have
to be coaxed to croon. He volunteered for
the job. The Tufts Troubadours embarked,
had a pleasant crossing, debarked at Naples,
bade each other good-bye, and took off in
all directions to see Europe, after promising
to meet in Naples six weeks from date for
the return journey back — tooting for their
return passage, of course.
Sonny had himself a whale of a time
that summer bicycling all over Europe,
sampling Paris, exploring Vienna, marvel-
ling at Budapest, and loitering in Prague.
He woke up one morning, looked up at the
calendar, and made the melancholy discov-
ery that he was due in Naples in 17 hours.
He checked out of the hotel on the run,
grabbed the first train headed South, and
arrived at Naples five hours after the boat
had sailed. He counted up his money. Cash
reserves: $17.10, 19 francs, 11 marks, and
43 lira. Undismayed, he scouted around,
lined himself up a job as an able seaman
on a tramp freighter and came home the
hard but interesting way.
He received a royal welcome by the
family after which paternal joy changed
to concern.
"Classes at Harvard have already be-
gun," his sire announced, "but I think I
can square you with the freshman dean."
"That's swell, Dad," Sonny announced,
"only it'll have to be the freshman dean
of Yale."
"Yale!" chorused the Tufts, shocked.
"I guess I forgot to tell you," explained
the Tufts scion. "Yale is where all my
friends are going, and Yale is where I've
decided to go."
"But the Tufts are Harvard men I" his
mother protested. "Your father and four of
your uncles are Harvard men."
"Maybe that's why the Tufts ought to
start giving Yale a break," quoth Sonny.
He arrived at Yale a little late to get in
much for football, but not too late to play
a couple of bang-up games on the frosh
eleven thereby making secure his bid for
a position on the varsity team the follow-
ing year, a bid that was realized three
years in a row and commemorated by three
varsity Y's in football. His passion for
Greek gave way to a new mania, anthro-
pology. His interest in music, far from
abating, mounted. During his four years at
Yale he bossed five bands all told, three
of them simultaneously. Jettisoning the
drummer's post, he concentrated on croon-
ing, which, judging from the favorable re-
action of at least half his listeners — the
prettier half, incidentally — was a wise
move. He took the applause so seriously
that come senior year he engaged a vocal
coach, who did all he could do for him
and encouraged him to stick with singing.
He did. Following graduation, he hied him-
self and his voice to Paris for study.
Six months of Paris and he returned
home, fired with the ambition to become
an opera singer, a star at the Metropolitan,
no less. His mind was made up. Losing no
time, he arranged for an audition at the
Metropolitan, sang, and was accepted for a
debut the next season. He took one glance
at the projected contract and was bowled
over at the small salary he was to receive
as a beginner. He was still mulling the
project over in his mind when he was
offered a singing spot in a Broadway mu-
sical, "Who's Who," an unimportant spot
to be sure but a spot paying twice the
money the Metropolitan offered. He
snapped it up and kissed opera good-bye.
From "Who's Who" he went into an-
other (short-lived) musical named "Sing
for Your Supper," after which, flushed
with success and nice little notices, he wan-
gled a singing engagement at a hotel spot
62
S GREENLAND
THIS IS MOWN
BY
fat PHILIP MORRIS
WHEN SMOKERS CHANGED TO PHILIP MORRIS,
EVERY CASE OF IRRITATION OF NOSE OR THROAT
— DUE TO SMOKING — EITHER CLEARED VP
COMPLETELY, OR DEFINITELY IMPROVED!
Facts reported in medical journals on clinical tests
made by distinguished doctors . . . Proving this finer
cigarette is less irritant!
called "The Glass Hat." He was signed
for only two weeks, but he sang so beauti-
fully that they kept him on for a whole
year. Engagement over, he trucked on down
to Palm Beach where he spent the entire
season crooning at the Whitehall, a classy
little bistro devoted to dining and dancing.
Come summer and he hiked back to New
York where all he had to do was say the
word and they'd book him into any old spot
he wanted.
Crooning at $150 a week was a nice
enough racket if it weren't for his friends.
His friends practically drove him crazy
with their constant yipping.
"You'd be wonderful in pictures!" the
girls would tell him. "You're a dope to
work for $150 a week when Bing Crosby
knocks off a neat $6000 a week in pictures,"
his buddies would tell him. One of his Yale
pals, a millionaire sportsman by the name
of Alexis Thompson, gave him no rest.
Every time he was in town and Tufts was
singing, he'd drop by, listen a while, watch
the way the audience reacted, join Sonny
when his stint was done, and lay it on good.
"Alan, you've got a terrific voice," he
would come at him. "You're a natural-born
actor. Why aren't you in Hollywood?"
"Because nobody has asked me," Tufts
would tell him, shrugging.
Thompson would shake his head, mutter
something about guys who aren't bright
enough to come in out of the rain, toss
down a quick one, and high-tail it out of
the place in high dudgeon.
Tufts had just finished doing a touching
little ballad called "The White Cliffs of
Dover" one balmly night in September,
1942, when he noticed friend Alexis at a
ringside table.
"I want to see you if you can spare the
time," Thompson informed him via lip
movements. "I've got a proposition."
"Legitimate?" Sonny wig-wagged back.
"You'll see," Thompson signalled.
Thompson's proposition was a honey. He
was ready to sign Tufts to a personal con-
tract.
"What are you going to do with me?"
Sonny wanted to know.
"Sell you to the movies, you dope. All
you got to do is listen, chum, and leave
the rest to me."
Whereupon Mr. Thompson supplied a
few details. As of now, he was ready to
pay Tufts the same money he was making
with the band. In addition, he was ready
to furnish the necessary expenses for a
trip to Hollywood, put him up at the la-de-
da Beverly Wilshire Hotel, and pay all
extraordinary bills pending the signing of
a contract with a movie studio.
"What makes you think I'll get a con-
tract?" Sonny demanded, a little dazed.
"I'm taking care of that, too. There's a
pal of mine by the name of Jack Donnelly
who runs a flock of hotels in Hollywood.
He knows everybody in town. All you've
got to do when you arrive in town is to
give Jack a ring. Leave the rest to him."
"Are you on the level?"
"I've got the contracts in my pocket."
"It's a deal."
Two weeks later he hopped a plane to
Hollywood, checked into the Beverly Wil-
shire on schedule, and called up Mr. Don-
nelly. Mr. Donnelly greeted him warmly.
"I've talked to a friend of mine over at
Paramount— Joe Egli, the casting director
— into giving you an audition tomorrow
at ten. Go in there and knock him dead."
At ten sharp the next morning he was
ready for his bout with Destiny. He fol-
lowed a pretty secretary into the office of
the casting director and introduced him-
self. Mr. Egli nodded, leaned back, and got
set to be knocked dead. "Yes, Mr. Tufts,"
he said, indicating he was ready for Sonny's
song and dance.
Sonny Tufts knows a cue when he hears
one. "I'd like to get into the movies," he
said nonchalantly.
Egli almost fell over backward. He shot
an amazed glance at Tufts. Sonny sat there
with that old Yale nonchalance and quiet
charm, completely unruffled. It was now
Egli's cue.
"What can you do, Mr. Tufts ?" the cast-
ing director inquired a bit uneasily.
"I sing," Sonny said.
"Are you prepared for an audition?"
"Why not?"
Mr. Egli led the way to the music de-
partment, paged an accompanist, and sug-
gested that Sonny start singing. Sonny ran
through a half dozen cowboy ballads before
Mr. Egli waved him to a stop.
"You sing well, Mr. Tufts, but I don't
think we need a singer right now. We've
got Bing Crosby under contract."
"Bing's the best." Tufts drawled.
Egli shot another penetrating glance at
him. Then he lit up. "Do you have any-
thing against straight acting, Mr. Tufts?"
"Nothing at all," Sonny countered.
"Fine. Report back tomorrow at ten."
He reported back the next morning, was
tested with Helen Walker, signed as soon
as the tests were run off, and told to stand
by for action. A few days later he was
picked as a candidate for one of the three
new leading men to be introduced in "So
Proudly We Hailed." Together with eight
other guys he was exhibited to the Misses
Colbert, Lake, and Goddard. When it came
Tufts' turn to do a pirouette or two, God-
dard let out a shriek.
"That's Kansas!" she yelled. "Yum,
yum !"
Which is where we came in. And w hich
is where we bow out, but not before in-
forming you that Mr. Tufts is happily mar-
ried, terribly in love with his wife, and a
one-woman man if ever there was one.
SCREENLAND
63
RUTH: "But, Mother, nearly all the girls in
my dorm are using Tampax now. It's not
considered new any more; it's just a regu-
lar thing."
mother: "Well, I'll admit it has a lot of
advantages, especially the quick chang-
ing, now that restrooms are so crowded
. . . You say a doctor invented it?"
RUTH: "Yes, and it has been adopted by
millions of women all over the world — in
Asia, Australia, Africa, Europe and the
Americas. I'm really enthusiastic, you see!"
mother: "I give in! If it can cure a sensi-
tive girl like you of self-consciousness and
make you light-hearted at that time of the
month, I'm for Tampax!"
Tampax is a form of monthly sanitary pro-
tection based on the principle of internal
absorption, long known to doctors and now
available for women generally. Made of
pure, long-fiber surgical cotton, firmly
stitched and exceedingly absorbent. It
comes compressed to small size in dainty
applicators. No belts, pins or pads. No
odor. No bulging or chafing. Wearer can-
not feel it. Hands need not touch it. Easy
disposal. Three absorbencies: Regular, Super,
Junior. Sold at drug stores, notion counters.
Introductory box, 20fL Economy package
of 40 lasts 4 months, average. Don't wait
for next month. Start Tampax now!
Accepted for Advertising by the
Journal of the American Medical [
Association.
TAMPAX INCORPORATED — SU-U3-D
Palmer, Mass.
Please send me in plain wrapper a trial package of
Tampax. I enclose lOt (stamps or silver) to cover cost of
mailing. Size is checked below.
( ) REGULAR ( ) SUPER ( ) JUNIOR
Name-
GUIDE 10 GLAMOR
Address.
Ciry
.State-
Choice news
from the world
of beauty and
good grooming
to give you a
new lift for the
winter season
ONE of the latest scents in perfume
comes to us from the house of Varva.
"Nonchalant," it is, and it is as devastat-
ingly nonchalant as anything we've ever
come across ! The odor is light but vivid.
The extract is available both in deluxe
bottles as well as sizes all the way down
to a miniature. This new fragrance is also
in such companion pieces as face powder,
talc, sachet, bath powder and bubble foam.
MAX FACTOR'S products are always
news — and such good news — to the
movie public. Two new packages done up
in his identifying black and white dresses
are here for all of us to enjoy — a beautiful
rouge and luscious matching lipstick. The
texture and colors are A 1, as always,
and they do a grand fall paint job. . . .
Containers are excellent in size, shape, and
wartime construction.
PERSPIRATION odors are like poison
to us at any time of year, and in the fall
when one expects fresh cool scents, th^-y
are more unforgivable than ever! A prep-
aration called "Nix" is the antidote to all
these outward symptoms of uncleanliness.
This deodorant cream according to direc-
tions, is as harmless to your skin as it
Helena Rubinstein's
Colloidal Handguard
Cream safeguards
your busy hands.
is to your new fall woolen dresses. And
you can buy it in large doses because it
doesn't dry out or crumble. . . . Nix comes
in a generous family size as well as in
small size jars, all capped with wartime
paper board covers. ... It has a spicy scent
that blends with any other perfume.
WITH cold weather on its way, an item
of special interest is Fleet's "Chap-
stick" — a little medicated stick which pro-
tects the lips, from winter dryness and
chapping. The boys in the Army and Navy
have adopted it wholeheartedly because it
fits in their pockets as easily as it does
in your handbag!
"CEET Take Wings" is the name of a
r Foot Cream and Foot Lotion Set which
Harriet Hubbard Ayer is giving to the
foot-weary world. It promises to lift and
revive your spirits as well as your feet!
You massage the cream vigorously into
your soles, toes, insteps and around your
toe nails. Rub it off, and then slap on —
and we mean slap — the lotion. Tender and
soft spots will be soothed and foot aches
will disappear. "Feet Take Wings" is ac-
companied by a booklet of foot exercises.
Good companions are Max Factor's rouge
and lipstick. New colors in new containers.
Varva's newest perfume is "Nonchalant,"
a gay and light perfume that lingers.
64
SCREENLAND
High Spots In Beauty
Continued from page 16
remove straggly hair, comprise your eye-
beautifying kit. There are everyday rules
for the use of this equipment and also very
special tricks.
Generally speaking, common sense plus a
dash of artistry is the recipe for bringing
life to your face and to your eyes. To make
your eyes a high spot in your facial pic-
ture, begin by applying a touch of shadow
to your lids. Choose the shade that blends
■with the color of your eyes and carefully
smooth it on so that it's really a shadow
— not a smear. With a light touch, fade it
upward and outward from the lashes to-
ward the brow. Soon you have a "back-
ground" that intensifies your eye color.
Xext, take your eyebrow pencil and wield
it as an artist wields his finest accent-
maker. Very carefully, trace the pencil
along the hairs of the brows — never on the
skin itself. This kind of pencilling gives an
even, darkened look to the natural arc of
brows. Then there's that little curling gad-
get that makes the droopingest eyelashes
sweep upward at a moment's notice.
Can't you see the eye picture beginning
to take shape? The background and out-
line drawing are there, and your eyes are
ready for that final touch that glorifies
them — the brushing on of your mascara.
Properly and subth- used, mascara creates
the effect of natural, full lashes that tilt
alluringly upward. From the base of the
lashes to their tips you should brush it
up and out toward the temples. ( Remember
that a moist brush works better than a
very wet one.) Then, before the well-
coated lashes are quite dry, go over them
with another clean brush to remove all
surplus mascara and to separate any hairs
that tend to stick together. Holding this
brush upward against the tips of the lashes
as they dry does a neat curling job, too.
Just a glance in your mirror will show
you the new life and beauty that your eyes
have taken on. There's nothing in the
beauty book that amazes us more than the
before-and-after eye story. Merle Oberon's
eyes, as they appear in the new Columbia
picture, "First Comes Courage," are spark-
ling examples of what we mean by artistic
application of eye make-up !
Because our mouths, next to our eyes,
are our most expressive features, they are
the second point to highlight in our beauty
portraits. And like eyes, lips can be trans-
formed and vivified with outline and color.
With all the advice that's been given on
how to increase mouth beauty it should
hardly be necessary to remind you of the
right procedure. However, we have been
so surprised by bad "amateur" jobs on lips
that we can't refrain from adding the
directions that a great cosmetic house —
which supplies many of the stars — gives.
Here are their three lip make-up steps :
First, dry lips thoroughly to insure good
adherence. Then, carefully outline your
upper lip, fill in its entire surface and press
it close to your lower one. Pressing the
lips together traces a symmetrical contour
for your mouth. Now, fill in the lower
lip and smooth your lipstick over the upper
one again. (Don't forget to bring the
rouge well inside the mouth to prevent any
sudden break in lip color.) If your mouth
is just right in size and shape carry your
lipstick exactly to its edges. On a full
mouth, the color should be kept slightly
within the outline, and on a thin mouth,
it should be extended a little beyond its
edge. See how Paramount's Mary Martin
enlarges her lovely lip contours just a tiny
bit. When your mouth has taken on per-
fection in color and form, then, moisten
your lips and give them an alluring finish.
MARTHA O'DRISCOLL IN WALTER WANGER'S "WE'VE NEVER BEEN LICKED,'
WITH ALAN CURTIS, UNIVERSAL STAR
His hearts in your Hands.
says Tfl^^fc OOaJm^II
". . . be sure your hands are fem-
inine, soft." He may turn from you if
your hands are coarse and rough. A foolish
risk! \ our hands soon have a seductive rose-
leaf softness, a beguiling young look, when
you use Jergens Lotion regularly. Like pro-
fessional hand care — so specialized. Yet so
easy. Tergens Lotion leaves no sticky feeling.
"Like most Stars, I use this hand
Car e, "says Martha. Hollywood Stars, you'll
find, use Jergens Lotion 7 to 1 over any other
hand care. Not surprising. Two ingredients
in Jergens Lotion are so marvelous for skin-
smoothing and softening that manv doctors
prescribe them. 10c to $1.00 a bottle. See
lovely results from the first application.
Only — be sure and use Jergens Lotion.
J
ergens Lotion
for soft,
adorable Hands
SCREENLAND
65
YOU CANNOT
BOAT THESE
Originally created by the Westmores -for a select
group of Hollywood stars. House of Westmore
Cosmetics ore now available to you at good
toilet goods counters everywhere.
Particularly outstanding is Westmore foundation
cream. It will never give you an artificial masked
look. It does not cause dry skin. Made with
lanolin. It will help keep your skin smooth and
soft. It effectively hides minor skin faults and will
give you a fresh, glamourous look without con-
stant re-powdering.
House of Westmore Cosmetics come in 25c and 50c
sizes. Regardless of price, you cannot buy better.
WESTMORE
COSMETICS
Perc Westmore,
Hollywood Make-
up Genius.
^1
Am Grateful To Be In Free America,
says Katina Paxinou
Continued from page 47
Hollywood who could have played Robert
Jordan and Maria. But only one who could
have played Pilar.
Mr. Hemingway, Paramount, and you
and I have Herr Schicklgruber to thank
for Katina Paxinou. Madame Paxinou and
her celebrated husband, Alexis Minotis,
were doing very nicely in their native
Greece as the idolized stars of the Greek
Royal Theater. Not only were they known
in every village of the Peloponnesus where
there was a theater, but their appearances
behind the footlights in the capitals of Eu-
rope— London, Paris, Berlin, Rome — were
considered exciting and artistic events.
Everywhere on the continent they were
treated like royalty — even, better than roy-
alty. Nobody took a shot at them.
Once they made a six-months tour of
America. That was in 1930. The rich, peace-
ful countryside, with its herds of cattle,
its acres of green corn, its overstuffed barns
and silos, made a deep impression on
Madame Paxinou. When her starving, de-
feated countrymen needed help, she re-
turned to America to seek it for them.
In December, 1939, Madame Paxinou
was appearing in Athens when a high offi-
cial in the Nazi ministry of public infor-
maton paid her a formal call. The Fuehrer,
it seemed, had requested that Katina Paxi-
nou do a play in Berlin. He offered a
fabulous sum of money. She explained to
him that she had signed a contract to play
"Ghosts" in England, and to her a contract
was a contract. "Poof, England," sneered
the Nazi official, "in three days England
will be nothing but an unimportant little
island." Madame smiled. He discovered the
Greeks do not scare easily.
The following spring Madame Paxinou
appeared before an enthusiastic London au-
dience in Ibsen's "Ghosts." (Alexis Minotis
remained in Greece to look after the Greek
Royal Theater in her absence.) And then
hell broke loose on a lovely earth. Madame
Paxinou found herself stranded in Eng-
land, thousands of miles from her husband,
her mother, her daughter, Iliana, her two
brothers and her four sisters, and her brave
but hopelessly defeated countrymen. "I
heard that little children were dying from
starvation in the streets of Athens," she
says. "I thought then of America. So rich,
and kind, and generous. I knew that
America would send help to my people."
To aid the Greek War Relief drive she
sailed secretly from an unknown port in
England on the coldest day in March, 1941.
Two days out her ship was torpedoed and
sunk. She spent nineteen hours in a lifeboat
with a few shivering survivors before a
British destroyer rescued them. "We could
see the ship sinking from the life-boat." she
relates. "As it sank beneath the waves it
made a horrible haunting sound, like a hu-
man being gasping in his death agony. I
can never forget that sound. I hear it in
the middle of the night and break into a
cold sweat. Somehow, as I watched the ship
sink, I felt sorrier for it than for myself. It
was heart-breaking to think it had been
de stroyed so wantonly. After I got into the
shaking life-boat I was too seasick to
worry about anything else. (Madame
Paxinou acts as she talks and proceeded to
give a realistic performance of being sea-
sick). 'But you can't be seasick now,' the
captain in the life-boat with me insisted.
'There are too many things happening for
you to be seasick' 'I'm sorry,' I told him,
'but nevertheless I am seasick.' "
The most thrilling thing that has ever
happened to her was their rescue nineteen
hours later by a British destroyer. The
Commander gave her his small suite —
which he had rarely used as he had been
on constant lookout duty for months. She
awakened the next morning, much . re-
freshed, expecting to see the coast of Eng-
land in the distance. But instead she saw
miles and miles of the North Atlantic. "We
have a job to do first," the Commander ex-
plained. For five days after Madame Paxi-
nou found herself engaged in a running
battle with the German cruisers Scharn-
horst and Gneisenau. The destroyer was
dive-bombed repeatedly. It stood off sub-
marine attacks with depth charges. It sank
one U-boat and captured another before
reaching a Scottish port.
"I didn't miss a thing in the war," says
Madame Paxinou, with her sad smile. "I
was in a front row center seat. I may speak
to you. continuously, to the end of my life,
and I have said nothing. You have to go
through the experience to know it."
But all was not death and destruction on
His Majesty's destroyer. When the men
and officers came off duty they gathered in
the officers' mess and drank cups of scald-
ing tea, played the phonograph, and made
up impromptu concerts. One of the seamen
had a bass viol with one string. A gunner
had a beautiful baritone voice. Madame
Paxinou, no mean singer herself, hastily
learned English folk songs. The ship's mas-
cot, a cute monkey, provided the comedy.
"Any moment they might have been blown
into the hereafter, but they sang, and
laughed, and played. I have never seen such
marvelous courage." When she eventually
returned to England, she wrote a letter to
the London Times telling of the bravery
and gallantry of the men on the destroyer.
The letter was read from pulpits in
churches all over England.
During the next eleven months Madame
Paxinou lived through the ferocious Nazi
air blitz in London. "London has never
been so crowded," she relates. "I stayed at
the Ritz hotel, and it was so filled with
people you could hardly push your way
through the lobby. People did not run away.
They came to London in droves. They
wanted to share this horrifying experience."
The nightly raids started at five and
lasted until eight in the morning when the
"all clear" signal was given. "I did not
sleep for eleven months. I am still a little
deaf from the constant bombing. But I
would not have missed it for anything in
the world. I am not a brave woman. I am
a coward, really. For the first week of the
London blitz I shook from head to toe
every time I heard a bomb burst. I would
wait for the bombs to fall — one, two, three,
nearer now, maybe the next one is for me,
four, five, six, I would count all through
the terrifying night. Then suddenly, like
everyone else in London, I became a fatal-
ist. I did not shake any more. I did not
cringe in bomb shelters. I am going to bed,
I would say, or I am going to the theater,
if it is intended that I die, then I die."
Friends finally managed to get her to
Lisbon where she was to take a clipper for
the United States. In the torpedoing she
had lost all her trunks and personal belong-
ings. Her last night in London her hotel
was bombed and she lost the few clothes,
and little money she had left. Paxinou, ar-
riving in New York, in April, 1942, had
lost everything — except her ability to act.
On Broadway she won high praise for
66
SCREENLAND
"You're stealing my husband !"
I . It was a terrible thing to say— to my best friend. But I couldn't understand
why Paul had become so indifferent — so cold to me. And when I saw him
being nice to Eileen, I guess I lost my head . . .
her revival of Ibsen's "Hedda Gabler."
But America, in the throes of becoming a
warring nation, was not particularly in-
terested in Ibsen. The play was an artistic
success, but a financial failure. Wondering
what she should do next, Madame Paxinou
received a phone call from somebody at
Paramount who suggested that she make
a screen test for the earthy, robust Pilar.
She hastily bought a copy of the book, and
after sitting up all night reading it decided
that she wanted to play Pilar even more
than Paramount wanted her to play it.
She was so scared at facing the cameras
for a screen test in Xew York that instead
of doing a scene from the script as she
was supposed to do, she merely said. "1
am Katina Paxinou. I am very frightened
of that camera, but I want very much to
play Pilar. I hope you will think I am
right for it. Goodbye."
Paramount thought she was right for
it and sent her to Hollywood on a con-
tract. And according to the reviews all
the critics thought she was right for it,
most of them agreeing that she steals the
acting honors, or comes mighty close to it.
What about this .Katina Paxinou who is
the new sensation of Hollywood? When
you meet her for the first- time you im-
mediately, look at her in amazement be-
cause she is younger and more slender
than she appeared on the screen. "I was
padded," she hastily tells you. "And I put
on ten pounds. Now I am trying to lose
it." She has raven black hair, and large
dark tragic eyes. Although she has spoken
English for years she still has a decided
accent, but only when she becomes excited.
The letter "i" has a way of becoming
"ee." For instance, "wisely" becomes
"weesely." Like most foreigners she has
gracious, charming manners so you are
thrown for a complete loss when she sud-
denly says, as she said to me, following
the introduction, "You are tiresome."
(Something, I may confess, I have longed
to say to a star for years. Never suspecting
that some day a star would sa\- it to me.)
What she meant, or so a member of the
Paramount publicity department explained
to me later, was that it must be very tire-
some to me to have to interview so dull
a person as herself. I'm not quite sure.
Madame Paxinou lives in a rented house
in Beverly Hills that has a white picket
fence and many gay flowers. Her con-
stant companion is a Great Dane who
watches her every movement with adoring
eyes — and eats her meat ration; Her hus-
band is in Hollywood with her now (he
tried to escape the Germans in Greece
three times before he finally succeeded )
and he is writing a book dealing with
Greece under the Nazi yoke. After the
war, it is the ambition of both Minotis
and Paxinou to present the Greek classics
in the Hollywood Bowl. In the meantime
their every aim is toward the help and
liberation of their country.
Katina Paxinou loves America just as
intensely as she hates the Nazis. "America
is a new country, a beautiful new country.
America is building traditions. The Old
World, torn with strife and greed, is
crushed with traditions. After long ex-
perience among people of other countries.
I have come to have great faith in the
Americans. Americans are so fortunate —
they have no fundamental national hatreds
or fears. It took time, and a Pearl Harbor,
but Americans are beginning to appreciate
the fact that God has given them the
richest country in the world, and it is.
their duty to cherish it and protect it. I
am so grateful to be in this wonderful
free country. After Europe it is like the
'All Clear* signal that follows a long,
harassing night of ceaseless bombing."
Whatever Madame Paxinou thinks of
me, I do not think her tiresome.
2. Instead of getting mad, Eileen simply
said, "You're upset and imagining things. Let's
talk this over sensibly." Then I sobbed out the
whole sad story — suspicions, fears, the trouble
between Faul and me. "Darling," she said, "it
may be your fault. There's one neglect most
husbands can't forgive — carelessness about
feminine hygiene."
4. Paul and I are so happy now. Eileen was
right about Lysol. I've learned that it's easy
and economical to use — and it works. But I
still blush when I think how unjustly I ac-
cused Eileen — and how grand she was to me!
3. "The doctor I work for," Eileen went on,
"advises Lysol disinfectant for feminine hy-
giene." Then she told me how Lysol solution
cleanses thoroughly and deodorizes, and won't
harm sensitive vaginal tissues. "Just follow
the directions," she said. "It's so easy. You
know, thousands of modern women use Lysol
for this purpose."
' For new FREE booklet (in plain wrapper) about Feminine Hygiene, send postcard or
letter for Booklet S.-1143. Address: Lehn & Fink, 683 Fifth Ave., New York 2-2, N. Y
★ BUY WAR BONDS AND STAMPS *
SCREENLAND 67
Check this
with your Doctor
Lysol is Non-caustic —
gentleand efficient in
proper dilution. Con-
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Effective — a powerful
germicide, active in presence of organic
matter (such as mucus, serum, etc.).
Spreading — Lysol solutions spread and
thus virtually search out germs in deep
crevices. Economical — small bottle makes
almost 4 gallons of solution for feminine
hygiene. Cleanly odor — disappears after
use. Lasting — Lysol keeps full strength,
no matter how often it is uncorked.
Copr.. 1943, by LehD & Fink Products Coro
Anne Baxter, granddaughter of famed architect Frank
Lloyd Wright, plans her Dream Home for the future
LIVING
By Betty Boone
YOU'D expect the granddaughter of
a world-famous architect to have
ideas about homes. And you'd be
right. Anne Baxter, granddaughter of Frank
Lloyd Wright, puts in her spare time de-
signing furniture for the future and draft-
ing plans for dream homes.
"The small home of tomorrow will be
planned by women," Anne declares. "Homes
have to be managed by women, and who
should know more about what's wrong
with present arrangements? That's only
common sense !"
Anne is not tall, and it seems to her that
kitchens are usually designed for show-
girl-sized women, except for the sinks
which are apparently arranged to accommo-
date children in junior high school — they're
so low !
"The kitchen in my dream home will not
be a large room," she told me, gravely. "It
will be arranged so that everything is with-
in easy reach. No standing on tiptoe, no
stooping over and making my back ache.
Naturally, I hope I'll have a maid in the
dream house, but I shan't count on one. The
only way to be free is not to depend on
other people."
At present, Anne and her mother, Mrs.
Catherine Wright Baxter, popular interior
decorator, live in a duplex in Westwood
the decor of which was mapped by Mrs.
Baxter, after conferences with Anne, young
heroine of Sam Goldywn's "North Star," in
which Farley Granger is her leading man.
"My ideas usually ran into too much
money," admitted Anne, "so we would work
out a compromise. I learned a great deal
about getting effects in less expensive ways.
I wanted soft green walls, but Mother ex-
plained that if we had them we'd have to
be more careful of exact matches in every-
thing else, so we did the walls in cloud
gray, with ceilings in a lighter shade.
Lighter ceilings make rooms seem higher."
Top, Farley Granger helps Miss Baxter
with the dishes after one of Anne's din-
ners. Photo of Anne reading in her dining
room, above, shows wallpaper she colored.
Scree nland
Anne entertains Farley Granger, her new
leading man, at tea in her living room.
The rugs in living room, sun room, halls
and dining room are green, however, and
so are the drapes. The sun room has pale
yellow glass curtains, and the sofa and
some of the chairs are upholstered in green
and yellow patterns against a soft gray
background. The mantel above the fireplace
is cloud gray, green vines trail down from
white vases, gray pottery horses prance on
either side of a bowl filled with white and
yellow daisies.
There's a Chinese lacquer coffee table,
a kneehole desk, tiers of side tables and a
set of flower prints that look like genuine
antiques.
"Mother picked those prints out and had
them aged by an expert," commented Anne.
"She's the greatest person for finding ex-
perts ! I think it's because she has end-
less patience. She will go after something
time and again, with only a mental picture
of what she's after ; but when she sees it,
she knows it instantly."
The dining room is papered in quaint old-
fashioned scenes, gray and green and yel-
low. "Tell you a secret," confided my hos-
tess. "We couldn't find the right combina-
tion of colors anywhere so we finally had
to take gray and green paper. When the
paper was on the walls, Mother and I took
yellow crayons and colored flowers, girls'
hats, ducks and so on, so that there was a
touch of yellow in each little scene."
Strips of the same paper likewise touched
with yellow, cover a screen that can be set
up anywhere in the living room.
Grays and greens dominate halls and
stairway, but a window in the upper hall
has been crossed with glass shelves and a
colorful array of ornaments and growing
flowers arranged upon them.
"My room was built around the carpet,"
confessed Anne. "I saw the red velvet
carpet at a big rug and carpet shop and
fell madly in love with it. Ordinarily it
would have been utterly beyond our mod-
est budget, but Mother found a slight flaw
in it — a tiny place where either the weave
or color wasn't perfect — so we were able
to buy it at half price. That's a tip decor-
ators often use — I don't know whether
you know it or not — but frequently a
slight flaw (if it's not in workmanship)
doesn't matter. In this case, Mother knew
she could conceal it by putting it under the
bed, but I doubt if it would have been no-
ticed, anyway.
"If your budget needs stretching, visit
a shop that has a selection of slightly
flawed rugs, upholstery fabrics, drapes, etc.,
and you'll be surprised how much you can
save and yet find things you really want.
"Having my red velvet carpet, I had white
BRIAN DONLEVY speaking:
In "THE MIRACLE OF MORGAN'S CREEK" a Paramount Picture.
1 ' ^
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SCREENLAND
69
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satin-striped wallpaper. The headboard of
my bed is red velvet and the canopy and
spread are of flowered chintz. The spread
is quilted"
Anne's dressing room goes back to the
grays and greens, and her bathroom is dusty
pink.
"Mother is mad about light rooms," ob-
served Anne, "so she hasn't a dark thing in
her bedroom."
Mrs. Baxter's curtains are of crisp frilly
white, like old-fashioned embroidered white
petticoats ; the same material is used for
skirts of twin beds and dressing-table, tops
of which are done in green-and-white
striped fabric.
The important thing about a house, ac-
cording to Anne, is the upkeep. Don't get
too elaborate things, unless you know how
to care for them, have sufficient help to keep
them in good condition, or can replace them
when they are not fresh looking.
"People who can't cope with housework
in wartime are almost as badly off as
people who are helpless in a kitchen," she
asserted. "These days it's a poor woman
who can't whip up an interesting meal,
ration or no ration. Mother and I rely
especially on herbs, spices, light wines and
relishes whether we are getting a 'com-
pany meal' or tiding ourselves over the
last few days of ration periods."
When their combined red coupons amount
to enough points to buy a roast, the Baxters
like to invite a friend or two to a "com-
pany meal."
"For example, last night we served
broiled grapefruit, Alsatian lamb, vege-
tables, salad and desert. We choose es-
pecially fine grapefruit, cut it in halves,
spread marmalade over each half, and
broil it. Serve this very hot.
"To make Alsatian lamb, you soak your
lamb for twelve hours in white wine with
a bay leaf, a few cloves and such spices as
appeal to you. Then you roast your lamb
with onions and carrots, basting frequently
with the juice you used for soaking.
"Scoop out little potato balls and saute
them in butter, if you are lucky enough
to have any (otherwise in such shortening
as you have on hand) and some of the
juice from the lamb. Also serve fresh green
peas with fresh mint.
"We always have relishes and odd dishes
on the table so that people with appetites
like mine won't feel they aren't getting
enough to eat. We had home-made pickles,
jam, little biscuits, carrot curls, chutney
and white wine.
"The salad was my favorite green salad,
Romaine, broken in three pieces so that
the pieces are fairly large. My French
dressing was made with herb vinegar and
crushed Roquefort cheese.
"For dessert, we served meringue shells
filled with strawberries and whipped cream.
However, it is not often possible to get
berries in other parts of the country at
this season of the year, and whipped cream
is becoming rarer every day, so perhaps a
bowl of fresh fruit and one of nuts should
be substituted."
As Anne grows up she finds that her
ideas of the ideal home change, so she
won't be too surprised if her present
"Dream Home" is altered before it ma-
terializes. This won't be until after the war,
when she hopes there'll be no need to
worry about priorities, shortages and
budgets.
"I want to build my house on a mesa,
standing high in a vast space, with the sky
reflected in a curved pool that will edge
the terrace. The house will be built in
the shape of a Maltese cross without the
fourth arm.
"A big living room in the central part
of the house will come down at the armless
point two steps to a low fireplace with a
copper hood. The chimney will also take
care of a barbecue fireplace on the terrace
outside. At the far opposite end of the
living room, lots of growing green plants
will come up from flower beds set into
the floor, with lights behind them so that
they will show up at night.
"Here and there I'll have chartreuse
accents, but predominantly the room will
be gray and green and vermillion. The rug
will be a thick pile of beige and gray and
henna in a dim sort of pattern, the kind
of rug that is nice to sit on. Before the
fireplace, I'll have a pineapple wedge couch,
the kind made in separate pieces that can
be fitted together as a long semi-circular
seat, or made into small love seats or
separate chairs. They will have deep cush-
ions but they won't be deep from back to
front, because I'm short in the legs and the
only way people my size can be comfortable
is to sit on one leg, and that gets very
tiresome before an evening is over !
"One side of this room will be nothing
but windows, and my dining table will be
light blonde wood placed directly against
the windows, with seats only on one side,
so that everyone can enjoy the view. The
chairs will be Swedish modern chairs in
the same light blonde wood as the table :
they will be tall and narrow-backed, but
the backs will be shaped to fit the occupants
so that my guests will be comfortable
while they eat. The chairs will be done
in rough textured material in clear bril-
liant vermilion.
"I have designed wooden candelabra in
a sort of grayish wood with irregular
branches. These will be set against the
windows so that when they are lighted
they will be reflected in the glass. Of
course, by the time I have my dream home
there will be no black-outs or dim-outs to
harass me!"
If Anne wishes extra bedrooms in her
house of the future, she will erect guest
houses, but at first there will be just one
bedroom, her own, in one of the arms of
the cross. The opposite arm will contain
a den with a bar and a kitchen fully
equipped and built to Anne's size. There
will be no door between den and living
room, so the decor of the den will be the
same as that of the living room.
"My bedroom will have plenty of win-
dows, especially in the corners. I'll put
my bed in one windowed corner and have
curtains around it so I can draw them
and lie there and look out at the stars.
"In the corner opposite my bed, there
will be a Mexican fireplace, with a Chinese
goat skin rug in front of it. Everything
will be simple and uncluttered, but the
bathroom will be my one touch of Holly-
wood, for I shall have a big sunken tub,
large enough to lie down in.
"My colors in the bedroom wing will
be plum color and orchid. Mother did
one bedroom for a client in three shades
of very thin material — one was dark orchid,
one lavender and one pale violet. The
materials were gathered into a canopy
crown above the bed and fell from it to
the floor. I may decide to copy that bed.
Then I'll have cerise accents in the room.
"The bathroom wallpaper will be morn-
ing glories in orchid tones against a
silvery background.
"This, you know, is my present plan for
my dream home. It's really only a begin-
ning, for I know I'll change it as I grow
older, especially if the war goes on. Per-
haps it sounds elaborate, but it isn't.
It's really rather small, very compact and
completely livable. I'll never change my
theory about houses — that they are meant
to be lived in and not Master Things for
which we have to slave and serve."
70
SCREENLAND
Fans' Forum
Continued from page 15
After I saw "The Human Comedy," I
agreed with the critics that the picture was
splendid and really worth seeing. But I
went with just one purpose in mind, to see
James Craig. He is, in my estimation, just
exactly what the doctor ordered — the much-
longed-for tall, dark, and handsome type.
His performance in "The Human Com-
edy" was excellent. It showed the "powers"
in Hollywood that he has the stuff that
makes an actor and when I say actor, I
don't mean all this put-on business. I mean
someone like James Craig who can play
almost any kind of part, and play it with
sincerity, as though he is actually the per-
son he portrays on the screen.
We, the audience, thrive, on reality. We
like to see the characters in the story be-
come alive so that we can visualize our-
selves in their positions. James Craig offers
us this because he is a real person both on
and off the screen.
Don't you think he deserves to be starred
in. something better than pictures like
"Swing Shift Maisie," his latest? Why
can't he be starred in more films like "The
Human Comedy"?
BERYL McNUTT, Detroit, Mich.
Out of my way, you imported Hollywood
pests, you exotic apples of your studios'
eyes ! I'm in no mood for your pale, pow-
dered profiles tonight! I'm looking for
something pretty fine that must have gotten
lost somewhere in the movie whirlpool ; a
handsome, clear-eyed, brilliantly talented
star who seems to have been trampled un-
der in the rush for you glittery, gloomy,
glamor boys, who now glide across the
screen in perplexing numbers.
Where is Dean Jagger, the tall, broad-
shouldered, appealing star of "Western
Union" and "Brigham Young"? Can't his
frank, steady American eyes compete with
the droopy lids of the foreign stars ? Can't
his pug nose, his unlined, boyish face, and
his quiet, expressive Yankee voice be given
the chance it deserves on the screen of his
own country, when the European profiles
are swarming around our cameras like the
Utah locusts?
Aren't you ashamed, Hollywood, about
what you're "not doing" for our own Dean
Jagger ? Give him a chance to pick up
where he left off and he'll be a glowing
credit to you.
ALICE SMITH, Berkeley, Calif.
He has only made one picture so far,
but he is my idol nevertheless. His blue
eyes fascinate me ; his personality thrills
me, and his smile simply "kills" me. When
he speaks, I sigh ; when he sighs, I can't
speak; and when he begins his songs, es-
pecially Night and Day, I swoon. Yes, ac-
tually swoon with millions of other ad-
mirers.
To him I am only a fan — maybe a little
more than that — because I am president of
one of the fastest growing "Swoon" clubs
in the country.
Have I spoken to him? Yes, I have,
which makes me just the slightest bit closer
to him. Sure, he's posed for pictures for
me and given me one of his million dollar
smiles when I thanked him for it. He's a
regular fellow and would go out of his way
to please one of his fans.
I understand he is now in Hollywood to
make pictures. Now I'll be dating him on
the screen at the movies on Saturday nights.
Who am I speaking of? By now you
ought to know it could be none other than
the swoon boy himself — Frank Sinatra.
ANN TROIANO, Brooklyn, N. Y.
See these
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Fighting the War
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SCREENLAND
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Preston Foster's Diary of "Guadalcanal Diary
Continued from page 25
May 12: Quite a jump. I'm forgetting
already. Been filling out questionnaires by
the dozens lately before leaving. I've given
out my age, birthplace, facts about my rela-
tives, occupations I've held for the last
five years, etc. Then I was finger-printed
All this detail is necessary since we're going
to be working directly with the United
States Marines on Camp Pendleton and also
with the Army and Navy — and they won't
take chances on anyone, even actors. I hear
that the Marine Corps allowed us to use
its property on Pendleton and to use its
men only after the script had been approved
May 16: Arrived at Carlsbad, ninety
miles from Hollywood, today and found
Tony Quinn, director Lew Seiler, Bill
Bendix (a great guy), Lloyd Nolan, and
the rest of the cast here ahead of me.
Checked in at the Carlsbad Hotel where
the cast is staying and then I went over
to_ Camp Pendleton to get my badge which
will admit me to the post. Pendleton is a
tremendous place. It covers over 205,000
acres.
May 17: Saw the beach and Henderson
Field sets today. They are impressive! The
crew from the studio' came down a couple
of weeks before and built the sets. They
brought over 200 huge palm trees to be
used on the beach and airport sets. They
also built a replica of the actual village on
Guadalcanal near Henderson Field. We'll
do most of our shooting on that set, I hear.
The detail was amazing. Everything was
complete — the fox holes, the anti-aircraft
guns, the thatched huts, and even the vari-
ous signs hung around: "Mo-Skeet-O
Flats," "Lovers Lane," "Edgewater Beach
Hotel" (hung over a dugout), and a gun
emplacement of sandbags with the sign:
"Through These Portals Pass the Fastest
Marines in the World." These same names
were to be seen around the actual village
on Guadalcanal, I understand.
Did the first scene today on the beach —
the Matanikau landing. (Matanikau is a
village on Guadalcanal, formerly held by
the Japs.)
May 18: Bill, Lloyd, and I have been
kidding each other about our parts. When
Bill heard I was doing the priest, he
wouldn't believe it. And when he heard
me do my first scene with the Irish accent
and all, he roared with laughter. "Pres is
the only guy in the picture who's not
Irish," Bill said to Lloyd, "and he has
the lousiest Irish accent I ever heard."
Then he added kiddingly, "No fooling,
Pres, you aren't going to play the whole
thing that way?" Later today, Bill had a
close-up so I got even with him by telling
him how hammy he was. Seriously, though,
Bill and Lloyd are great actors and swell
fellows and they're grand to work with.
We've been working with the Marines
for several days now and all of us actors
have been having a brand new experience.
We coordinate our shooting schedule with
the regular training schedule of the Ma-
rines. We are not allowed to interfere
with the training of the men in any way.
But the Marine officers — and the officers
of the Army and Navy — felt that the ex-
perience the men would gain in the pic-
ture in working on actual landing opera-
tions and in simulated combat would be
invaluable. It was this factor that helped
the studio to get permission to use the men.
We are not only using the men from the
Marines, Army, and Navy, though, we
are also using all government equipment.
There is not a single prop in the picture.
All the trucks, the 60 jeeps, the tanks, the
Higgins boats, the amphibious boats, the
guns, bullets, fighter planes, bombers and
knives that we are using in the picture
are Marine, Army and Navy equipment.
Even in the eating scenes, we use the
regular food rations given to men on actual
campaigns. Our corpsmen are real first aid
men. And I've learned today that all sur-
gical instruments that we will need for
the hospital scenes are to be furnished by
the Medical Corps of the Navy. We had
planned to use props, but the Marine doc-
tors said "No." They are so anxious for
everything to be authentic they are even
going to perform the operations in the
picture themselves. There has never been
such a completely authentic picture made!
May 19: The weather has been pretty
cloudy — hope the Chamber of Commerce
doesn't read this — and we're behind sched-
ule. We waited for the sun to come out
today and spent the time playing ball with
the Marines. The actors won! We're still
on the Henderson Field set, right by the
regular landing field. It's a dusty place
with flies and more flies. Bill, Lloyd, and
Tony are going to try to get a tent so
they can have some place to play gin
rummy. But no cards for me! I'm going
to soak in the sun. I'm well burned already.
The Marines are getting quite a kick
out of working in the picture. They are
terrific fans. Lloyd, Bill, and I have been
trying to sleep in the dugouts when we
aren't working, but the Marines come by
and ask us for autographs and ask such
questions, "What makes a star?" They are
grand fellows !
May 20: Talked to several Marine
heroes today. One was Sgt. Lou Hart,
who is now_ discharged because of phy-
sical disabilities. He told me he was on the
docks at Pearl Harbor on December 7.
He had planned to meet his girl at eight
that morning, -have breakfast, and then go
for a swim at Waikiki with her. But the
Japs changed his plans. He went right on
doing his work even when they came over.
Before they had left, he had bullets in
one arm, shrapnel in a leg, and an arm
broken in four places by flying timber.
Then there was Private Bill Peyton, an
18-year-old kid, who was on Guadalcanal.
He used to work at Universal in the pub-
licity department. He was in the Battle of
the Ridge and Battle of Tenaru. He had
several shrapnel wounds and was shot by
a sniper, the bullet passing just above his'
heart.
But of all the Marines I talked to, the
most vivid impression of what the battles
on Guadalcanal did to our boys came from
Corp. Andrew Barrett. He was in the
Battle of the Ridge, the Battle of Tulagi,
and the 2nd, 3rd, and 4th Battles of
Matanikau. He was a thin, very nervous
kid, but he had done a very heroic thing
on Tulagi. He would only tell me about
his experience when I pressed him. He
and two other Marines, Master Gunnery
Sgt. Goss and Sgt. Letho, had volunteered
to get some Japs out of a cave. First, they
dug a hole on top of the cave and put
in IS pounds of dynamite. They set the
charge off and still the Japs — those who
were left — wouldn't come out. Then they
charged straight at the cave and threw in
a bundle of TNT. The Japs promptly
threw the dynamite out. One stick ex-
ploded under Goss' legs and threw him in
the air. (He lived, though.) Barrett and
Letho then went ahead and finally were
able to blow the Japs out. Barrett said
that the naval shellings were far worse
on the men than the air raids. While he
72
SCREENLAND
was in action for four months, he exper-
ienced 75 shellings. His job was communi-
cation and reconnaissance. He checked the
dead and wounded as they were brought
back from the firing line. He was in the
heat of every battle and was almost always
among the first to attack.
Not much work today. Bed early — about
nine.
May 21 : We went out to the boat basin
today to shoot a scene where a Jap sub
supposedly chases two landing boats. Sky
still overcast. Some of the Marines were
getting bored with working in the picture.
Either they wanted to go overseas and into
real action or they simply said, "Glad I'm
not an actor. It's sure monotonous." Of
course, there were some boys who got a
big kick out of working with us. Corp.
Bob Dern, a good-looking Marine, was one
who was so excited he kept saying, "No
one will ever believe I was in this picture."
When he was given a line to say, he was
really thrilled. Those boys who did get a
thrill out of working in a picture were
really something ! One kid pushed Lloyd
aside during a scene today. As he went by,
he said, "Excuse me, Mr. Nolan, but I've
told my friends I'm in the picture and they
can't see me through you." Another boy
was reluctant to fall flat at the order,
"Hit the deck," during a sniping scene.
"I'm going to stay right out in the open,"
he explained. "I told my girl I was in this
picture and she's going to see me — or else !"
May 22: Up at the unheard of hour of
6:15 — and I'm a guy who likes to sleep.
Still cloudy — no chance to shoot till later
— but we had to go out. I decided I'd get
some sleep in a dugout while I was wait-
ing to do a scene at the airport but the
company was setting off explosions con-
tinually— and they were getting nearer to
me. I had to get up finally.
The minute the sun came out, we got
ready to do a scene where the Marines
are marching through the jungles. Before
we went in front of the camera, the
make-up man squirted some studio-made
sweat on us. A couple of Marines were
standing by watching. One said, "Ha ! The
way zve work, the sweat takes care of
itself."
An impressive scene. Hundreds of Ma-
rines all marching past the camera. These
boys are really rugged. That's what im-
presses me about them. They can take it.
They're afraid of nothing. And they all
swear by the Marine Corps.
Have been watching 16-year-old Richard
Jaeckel, who plays Chicken in the picture.
He is a good actor and should go places.
This is his first picture. He was a mail
boy at the studio and was chosen for the
part because he looked exactly like the
type for the baby-faced Marine. Dick is
quite an eater ! For lunch today, he went
back on the truck with the Marines and
ate with them. Then he came back on the
set and stood in line with us and had
another lunch. Soon he was back again
for a second helping. And it is not at all
unusual for young Marine to eat two or
three dinners.
Bill, Lloyd, and I have gotten hep to a
lot of the Marine lingo. When we want
someone to pass the sugar and cream, it's
"Down the side-arms." Coffee is "Joe"
and sugar is "sand." There's still a lot
more for us to learn.
Called my home before I went to bed
tonight. Everybody fine. Stephanie gave
me all the details about the cows and
horses.
May 23: The tent arrived on the set
today after Lloyd put the heat on our
producer, Bryan Foy. When Bill, Lloyd,
Tony, and John Archer — who is also in
the cast — went into the tent, they found
Marines piled on the two cots that had
been placed inside. Gradually, the Marines
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SCREENLAND
73
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left and the four began to play gin-rummy.
They are the noisiest gin rummy players
I ever knew. I couldn't sleep.
Some Marines were asked to volunteer
to play. Japs for a scene today. I use the
word, "asked" advisedly. Normally, a Ma-
rine officer (and Marine officers direct their
men in all their scenes) would give a
command and that would be that. But in
the case of a Marine impersonating a Jap
— well, that was something the officers felt
should be optional with each man. How-
ever, after some delay we finally found
enough Marines who would play Japs, to
complete the scene.
After this, there was another delay be-
cause the big 24's kept flying around in-
terfering with the sound track. When all
was quiet, we got ready. Bill, Dick, Nolan,
and I were supposed to jump into a fox
hole with some Marines. Bill looked at it
and said, "We can't all get in there." So
we asked Lieut. James Hurlbut, our tech-
nical adviser about it. He said a whole
squad has gotten into a fox hole on Guadal-
canal, so we surely could. Then I asked
him whether I should go in first since I
was playing a captain or whether Dick
should be the first since he was a private.
Jimmy Hurlbut settled it by saying, "On
Guadalcanal, it wasn't what rank you had
that decided who got in a fox hole first.
It was which of you ran the fastest."
Did a scene this afternoon by the burial
ground built on the set. A strangely mov-
ing experience. I felt that the boys who
were buried on the ground on Guadalcanal
might hear that scene.
May 24: Had a chance today to talk to
Jimmy Hurlbut. He was on Guadalcanal
during all of the action and he had a
close-up view of the big naval battle in
November when the "San Francisco" was
damaged and Admiral Callahan was killed.
He discussed the prototypes of the parts
we were playing. Father Donnelly, he said,
was really Father Reardon. Tony Quinn
was actually playing Platoon Sgt. Alton
Few, even though the name of his character
was Jesus Alvarez in the picture. Jimmy
said that the Marines who knew Few have
said that Tony was more like Few than
Few was himself. Lloyd is portraying Gun-
nery Sgt. John M. (Hook) Moran from
Brooklyn. I asked Lieut. Hurlbut about
some of the heroes on Guadalcanal. He
said, "There were 20,000 heroes out there."
He said the biggest problem during the
campaign was getting the daily quotas of
quinine to the men on the front line. When
things got really tough, an order went out
that no man was to leave the front with a
fever under 102. "As it was," Jimmy said,
"few left unless they had a fever of 105
or over. A very small percentage of men
died of malaria over there. The only bad
part of it was that the disease impaired
the men's fighting ability because it left
them weak."
May 27 : Been forgetting the diary again.
Not much happened though. Today, six
aces from Guadalcanal arrived. They are
going to fly the six Grumman Wildcat
Fighters that we're going to use in the
landing scene a few days off. The aces are:
Major Robert E. Galer — shot down 13
Jap planes and was awarded the Congres-
sional Medal of Honor; Major Marion E.
Carl — IS planes and has the Navy Cross;
Major D. D. Irwin — the Distinguished
Flying Cross — 3 planes ; Capt. Kenneth D.
Frazier — 11 Nips and a half — he said he
shared half of one plane with another
pilot; Capt. George L. Hollowell — 7 planes
and has the Distinguished Flying Cross;
and Capt. Fred E. Gutt — 4 to his credit
and was given the Purple Heart.
I watched these men flying around the
landing field today and over the village.
They dove so low that they almost knocked
off the fronds of the trees. Everybody was
unconsciously ducking. I decided that the
next time one came over, I'd be brave and
not duck. A pilot flew over me about that
time. Capt. Hollowell, who was standing
near me, ducked. I didn't. I said very
proudly later, "You ducked — and I didn't."
Hollowell replied, "I know that guy better
than you do. You're lucky he didn't shave
you."
June 1: No spectacular scenes- in the
last few days. I got a big thrill out of one
today. I did a scene in the hospital where
I read Admiral Halsey's actual words to
a boy who was supposed to have been
blinded.
In deep appreciation to you for
a job superbly done, and knowing full well
that you will win again and again unto
victory, we say, 'God bless you all.' . . ."
What a thrill those words gave me — his
entire message, for that matter!
When I came back from lunch today I
saw a couple of stunt men around with
whom I had become friendly. I said,
"Hello" to them but they ignored me. I
couldn't understand why. When I walked
over to my motorcycle, which I always use
to get back and forth from the set to the
hotel, I saw the reason for their silence.
Plastered all oyer it were copies of head-
lines from a Los Angeles paper : "Preston
Foster Scorns Stunt Men," the headlines
read. Then I saw the article — also pasted
on the cycle. It was a story saying that I
had refused to let the stunt men double for
me.
The stunt men, who are all practical
jokers, tried to get back at me by wiring
a prop bomb — not dangerous but plenty
noisy — to my motorcycle, but before I got
on it to go back to the hotel, a Marine
came up and told me quietly what they
had done. They were quite surprised when
I fixed it so their bomb wouldn't go off.
They had put a second bomb on that I
didn't know about. Fortunately, it didn't
go off. When the stunt men came over to
investigate, it suddenly went off in their
faces. It was a big laugh all around.
Dorothy McGuIre, star of the new motion pic-
ture, "Claudia," which is also the role she
created on Broadway, recently became the
bride of John Swope, son of Mr. and Mrs.
Gerard Swope of New York, with Capt. James
Stewart of the U. S. Army Air Corps and
Frances Starr, stage and screen star, acting
os best man and matron of honor. The wed-
ding reception took place in the gardens of
the Brentwood, California, home of Mr. and
Mrs. Lelond Hayward (Margaret Sullavan).
74
SCREENLAND
June 3: Lloyd had a narrow escape
today. He and Eddie Acuff were doing a
scene in which several men were being
attacked by snipers. Lloyd was lying down
behind a log. Eddie was shooting from
behind a tree. The call went out, "Hit the
deck." Eddie fell to the ground with his
gun. Through some mistake, the gun was
cocked and when it hit the ground, it went
off. The bullet — a live one — tore past
Lloyd missing his forehead by only a few
inches. It hit the log and tore a big hole
in it.
June 5: 43 Members of the Order of
the Friars Minor from the San Luis Rey
Mission, led by Father Leonard, visited
me today. Years ago, their mission was
located on the grounds of Camp Pendleton.
June 7: Actors are accused of being
blase, sometimes, but got a whale of a
kick out of a scene we made today. It was
the one in which the Marines lower the
Japanese flag and raise the Stars and
Stripes over Henderson Field. Felt like
cheering when the Rising Sun came down ;
cheering still more when our own flag
went up. It was a small flag that first
flew over Guadalcanal, you know. It had
been carried over half the world by a
Lieut. E. J. Snell, who dreamed of seeing
it raised over captured territory. Well, his
dream came true.
June 10: Missed some more days. All
the same, though — same dirt, same flies.
We spent today watching the pilots in
Grumman Wildcats flying around. It was
so hot that Dick, Lloyd, Tony, some Ma-
rines and I decided to go in swimming —
a la nude. This seemed okay as we were
away from everything. We had been in a
few minutes when we saw a girl coming
on the set. And then we caught Jimmy
Hurlbut taking our clothes away. There
was nothing for us to do but stay in the
water until the girl left. Jimmy will pay
for that!
June 12: I'll never forget this day. I
think we filmed one of the greatest scenes
of all time today. We did the scene where
the Marines land on Guadalcanal. We had
750 Marines fully equipped with every type
of weapon employed on such an expedition ;
22 landing boats manned by U. S. Navy
crews ; the 6 Grumman fighters ; and the
30 actors. The action was plotted by Lieut.
Col. A. J. Dyess, who led the Marines,
Commander Paul Laferty, in charge of the
boats and Major R. E. Galer, who led
the flyers.
The scene began with the planes flying
over at a terrific speed. They were fol-
lowed by a tremendous series of explosions
along the beach in imitation of a barrage
from warships supposedly standing off
shore and out of sight. Then a gas tank
was set afire, sending sheets of flame into
the sky. The first wave of Marines, 350
in 20 boats, swept in next, the planes
strafing the beach and zooming so low
over them that I thought they would be
sure to hit the men's helmets. Eight min-
utes later, the second wave came. The op-
eration was shot according to military
tactics and was completed in an amazingly
short time. It was so realistic that Mrs.
Humphrey Bogart, who was visiting us
that day with Bogie, practically had hys-
terics.
I thought I was going to get a ride in
one of the boats but I was told that the
actors would only be seen getting out of
them as they landed. I raised a fuss and
finally Lieut. Dominic said I could try
landing one when they reshot the scene
later. I had had experience with boats any-
way. After lunch, Lieut. Dominic got up
before the 800 present and announced, "Mr.
Foster will now land a boat." I suddenly
got stage-fright. I looked around for some
stunt men to go with me. They had dis-
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appeared. I asked Bill and Lloyd. They
laughed at me. Then some Marines came
over and said they'd take the chance. Out-
side of hitting the surf the wrong way and
having all of us thrown about, I did bring
her in fairly well. At least, Lieut. Dominic
said so.
Before we left, we filmed the scene
where 1000 soldiers from Camp Callan
portrayed the Army who comes to re-
lieve the Marines on Guadalcanal. This has
been a terrific day!
June 15: We're thinking of nothing but
that we're actually going out on a Navy
transport scene in a few days to film the
scenes on the ship. Our contact man,
Clarence Hutson, got the ship by agreeing
to work in coordination with the crew who
were going off on a practice cruise. What
a job he has done!
June 18: Marines and the Navy have
been checking up on our records before
issuing credentials that will permit us to
go on the transport. Still doing scenes at
Henderson Field in the meantime.
June 22: We finally left at 5:30 this
morning. Got to San Diego and were all
ready to be taken aboard a jeep lighter
and out to the ship when Dick Jaeckel
found he had left his credentials behind.
It looked for a while as though he'd be
left but we at last got the okay for him
to come. The news in the paper this morn-
ing was that 9 Jap subs had been sunk
off the Pacific Coast. And we were going
to be in submarine territory. We were all
a little jittery. Bill a little more nervous
because he had never been out on a ship
in his life. The men with families were
especially quiet — and worried.
Got out on the ship and were told where
the life jackets were kept — just in case.
And then we counted the life-boats. The
ship we were on had been in Guadalcanal
and had actually landed Marines on Tulagi
and on Guadalcanal. She had been bombed,
strafed, and shot at by artillery. Once a
bomb made a near miss at her stern on the
starboard side.
I was surprised to see how she had been
so completely rebuilt from a passenger
liner to a ship of war. Immediately, we all
wanted to ask questions. We soon learned
by the abrupt answers we got to certain
questions that there were things that could
not be discussed for military reasons.
Bill, Lloyd, and Tony went below to
play gin rummy. Those guys ! I stayed out
in the sun and went up on the bridge to
talk to the Captain.
June 23: We have been zig-zagging ever
since we left the harbor yesterday. We
had a thrill this A. M. Tony Quinn was
looking out over the sea. Suddenly, he
yelled, "I see a periscope out there!" We
looked and sure enough there was one.
Excitement reigned for a minute. No
wonder we were zig-zagging. Finally, we
were told it was an American sub. Some
moments, those !
I stayed on board tonight. Some of the
others went back to the hotel after we
docked. Bunk was comfortable but it was
stuffy below.
June 24: Did the scene this morning in
which I conduct general services for the
crew on the way out to Guadalcanal. Capt.
W. A. Maguire, chaplain's corps and one
of the heroes of Pearl Harbor, came to
see if all was handled properly. He is said
to have been the man who originated the
phrase: "Praise the Lord and Pass the
Ammunition" but he denies it and wants
to forget the whole thing. He was awarded
the Navy Cross for his work on that day.
The Marines in the scene, even though it's
all for a movie, seem very moved by the
sermon I read. There is a strong religious
feeling among the boys.
June 25: Staying on board has its ad-
vantages. I can sleep so much longer than
those who come aboard every morning.
Day started by anti-aircraft gun practice
today. What shots those boys were! Did
a scene with the Marine quartet where we
sang songs and others joined in gradually.
June 26: Tried to shoot in the harbor
today. Too much noise. So took time out
to enjoy the terrific Navy food on board.
June 28: Weather is beautiful now.
Played the ship's organ. Did the scene to-
day where the Marines go down the net
on the side of the ship and into the Higgins
boats below. We actors mixed up with the
Marines and went through the same actions.
All was done with split-second timing and
the boat was unloaded in three minutes.
Martin Black, one of the cast, almost had
his legs chopped off today when one of
the Higgins boats bounced up and nar-
rowly missed his legs as he was climbing
down the net.
June 29: Got a print of "Roger Touhy"
and showed it to the boys on board. A
very different role, that, from the Padre
I'm playing now. Left the ship today. All
transport scenes finished. Sorry.
June 30: Took a beating tonight at the
hotel after doing more scenes at Henderson
Field. In the midst of high-ranking Navy
and Army officers I was presented — by
General Fegan — with a campaign bar nine
inches long and four inches wide. It also
had three stars on it. General Fegan said
one was for my landing the boat that day;
one was for the Battle of Aliso Canyon
(a location spot) : and one was for the
Battle of the Carlsbad Hotel. After mak-
ing a flowery speech, he kissed me on both
cheeks.
July 1: Bill and Lloyd went out today
to do some cave scenes for the Battle of
Tulagi. I was glad I didn't have to go.
When they got back tonight, they told me
that it had been SOME day. Live ex-
plosions kept going off all around them.
They, with 100 Marines, had to climb up
a 45 degree angle hill through live ammu-
nition. And the hill was infested with red
ants, the kind that have been known to
eat a human body clean in three days.
Their hands were filled with tiny thorns
from some plant on the hill. They did say
how marvelous the stunt men were in their
falls — one man fell 50 feet, another 40.
There were a couple of accidents too. One
man was bitten by a scorpion — but no
one was bitten by a rattlesnake and there
were plenty about. A cave roof fell on one
member of the crew and broke three of
his ribs and he also had a concussion. Corp.
Bob Dern, the Marine I had met, took his
helmet off at the wrong time and was cut
on the head when an explosion went off
near him and a rock hit him. As for Bill
and Lloyd they were completely exhausted.
July 7: Wound up a few incidental
scenes and left for home. Have more work
to do at the studio but nothing exciting.
I'm glad to be on my way home. But the
picture has been a thrilling experience.
This is a picture of FACT. It is not fic-
tion. Its cost will run up to $2,000,000 or
over. It has taken longer to make than it
took the Marines to take Guadalcanal. But
it's a real contribution from Hollywood to
the war effort. I hope audiences share my
enthusiasm. After all, the United States
Marines have a century-old record that
every American is proud of. And "Guadal-
canal Diary" is their picture. As Bill Ben-
dix said to me the day we began shooting,
"Pres, this picture is bigger than any of
us actors. You know that, don't you?" _
I told him, yes, I knew it But if I
hadn't then, I know it now!
(Editor's Note: Preston Foster's Diary
Was Edited By Jack Holland.)
76
SCREENLAND
Here's Hollywood
Continued from page 58
REMEMBER the horn-rimmed vixen in
"Major and the Minor"? Her name is
Diana Lynn and she has grown into a
lovely young- lady. She now gets a big
buildup at Paramount, starting with "Our
Hearts Were Young and Gay." She's a
younger and warmer Margaret Sullavan,
if ever we saw one. All this and stardom
too. Wait and see.
HER studio is definitely bewildered by
Veronica Lake. Naturally she was
shocked when prematurely born Anthony
Detlie passed away. But now that she
seems better, she still doesn't want to re-
turn to work. If she isn't strong enough,
of course the studio understands. If it's
a part she considers subordinate to Loretta
Young's in the same picture, that's another
story.
UNLESS there is a last minute change,
Virginia Bruce will be Ronald Col-
man's leading lady in "Kismet." When she
returned to M-G-M to test for the
role, Virginia was more nervous than she
was ten years ago when they signed her
as an unknown stock girl. But in those
days she didn't face the camera with the
memory of Jack Gilbert and J. Walter
Ruben, both of whom she met on the
M-G-M lot.
BY the time this is printed, John Wayne
will be a member of the United States
Army. He has provided for his wife and
four children. Now he wants to serve his
country and forget the unhappy condition
of his domestic life. He's hoping there will
be a reconciliation waiting when he comes
marching home again.
NO less an authority than L. B. Mayer
(the beeg boss at M-G-M!) predicts
that Ginny Simms is headed straight for
stardom. Right now she's awfully nervous
in front of the camera — especially when
there are crowds of extras on the set.
Thanks to George Murphy playing opposite
her, she is getting plenty of encourage-
ment. George is patient and understanding
during the long rehearsal periods that he
doesn't need. But George remembers the
time when he did. Ginny will long re-
member him.
RAY MILLAND and his wife decided
quite suddenly one night that they
wanted to dine out at The Players. When
they arrived the parking lot attendant said
he thought the place was filled up. Mrs.
Milland remained in the car just long
enough for Ray to dash in and find the
head waiter. During that split second, a
Hollywood columnist, noted for her acid
tongue, saw Ray come in alone. The very
next day she printed the exclusive "scoop"
of the Millands' separation. Wonder how
much longer Hollywood is going to take
this kind of treatment from its very own?
BETTE DAVIS occupies the five-room
suite on the Warner lot Before Bette,
Paul Muni had it. Before Paul, it was
occupied by Ruth Chatterton. Actually,
Bette doesn't go in it twice a month. She
prefers the simple one-room portable dress-
ing room that stands on her set. When
Bette heard the studio had signed Joan
Crawford, she wanted them to turn the
big suite over to Joan. But the big bosses
felt that Bette was the number one star
on the lot, therefore, she must keep the
number one suite. Anyway, it was a nice
and sincere gesture on Bette's part.
PEOPLE were talking . . . about how young
Mrs. Smith had changed! In fact, how
the Smith marriage had changed!
Those two had been the town's gay-
est, most devoted young couple. But now
you seldom saw them together — and she
went about with smiling lips but tragic eyes.
The truth was that lovely young Mrs.
Smith was losing her husband's love . . . the
tragic part was she didn't know why!
Doctors know that too many women still
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77
8 Points for a Bachelor Girl
Continued from page 27
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I know I've been an awful grouch not taking
you any place lately. But after standing all day at
my new job, my feet darn near killed me with cal-
louses and burning. Now I've reformed — or rather
my feet have — thanks to the Ice-Mint you advised.
Never tried anything that seemed to draw the
pain and fire right out so fast — and the way it
helps soften callouses is nobody's business! Been
able to get some extra overtime money — so what
do you say, let's go dancing tonight. You can step
on my Ice-Mint feet all you want.
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It sounded like pretty heavy stuff, com-
ing from such a smooth article as Lynn,
but there was no doubt as to her meaning
when she waded into point No. 1.
"To begin with, as they say — you've got
to have a beginning, you know." She
laughed, a little confused and afraid that
I might be bored with her seriousness.
(Consideration for others is covered by her
Point No. 3). But I assured her I wanted
to hear her through, and she let me have
it. "Well," she continued, "a girl like my-
self first has to determine just where she
stands in life in relation to those around
her. And when she does figure out her
true social status she has to make up her
nrnd to do the best she can with what
she has. Learn To Live Alone And Like
It, therefore, is my first point. I know
that covers a multitude of things, but to
me it means only this — never fret about
anything; if you don't like things as they
are do something about it. Don't just go
on putting it off in the hope that a fairy
godmother is going to wave a wand and
change your plight.
"If you have a problem, write down the
several solutions you think might be prac-
ticable in solving it, and then try them out,
one by one. Almost invariably, if you have
given the matter any serious consideration
at all you will find a way out. As far as
I'm concerned this makes life a sort of
game, and if you play it on the level with
yourself at least you will never be bored
even if you do live all by your lonesome.
"My second point is on the mundane
side, but it is extremely important. It is,
Make a Budget and Stick to It. You might
be thinking this would be no problem at
all on a movie star's salary, but just the
reverse is true. I have seen and heard of
too many young fortunes taking wings,
so to speak, in this town. And I don't
intend to let that happen to my modest
bankroll.
"Our salaries out here have been whittled
down considerably by taxes, too, and by
the time I finish paring by budget of all
the essentials the actual net income is not
as astronomical as the public has been led
to believe. That is the reason why I took
this smaller place. It is so easy for a movie
personality to go overboard by setting up
a large home. Look around you and you
will see that even this isn't half decorated
and furnished." It was true. In the large
front living room there were no drapes to
cover the bare Venetian blinds. And in the
small parlor just off that room, where we
were seated, the window coverings were
not finished and fell too far down on the
floor.
"I'm having things like that fixed as I
go along," exclaimed Lynn. "Of course
priorities have something to do with it in
certain instances, but anyone knows you
can still get things if you want to pay the
price. I have no choice but to wait and
pick up bargains as I find them if I want
to stay within my budget. And since my
whole plan would be thrown off kilter if I
didn't, I'm doing it the Bari way." Lynn
wasn't kidding, either. The front room
looked as empty as a hiring hall, with only
two chairs and a divan in it. "I even found
it handy recently that I didn't have too
much furniture in there," she added with
a chuckle. "One night I had forty guests
over, and I don't know where I would have
put them if the living room had been clut-
tered up with furniture. They sat on the
floor or just stood, but we all had fun and
the informality seemed to make everyone
feel at home."
The mention of guests brought on Point
No. 3, Keep Your Troubles at Home and
Don't Burden Other People With Them.
"If there is anything that can make a
bachelor girl unpopular and talked-about
in a disparaging way," elaborated Lynn,
"it is the habit of running to this friend
and that friend with a continual tale of
woe. This point really goes back to Point
No. 1, because if you learn to live alone
gracefully you will know better than to
air your troubles — great or small. I repeat,
that I always find the right answer by
dragging out the old pencil and paper and
writing down possible solutions to be acted
on as soon as I can get to them. This
method is really like talking a problem out
with someone else, or in a sense, like talk-
ing to yourself. Only in this case you won't
drive yourself nutty, as the habit of talking
to one's self is said to do."
After this came Point No.. 4, Return So-
cial Obligations Cheerfully and Gracefully.
"So often we find ourselves being hypo-
crites and grumbling about our social obli-
gations," said Lynn. "We get off guard
and run up a list of them, and then half
break our necks trying to pay off. It prob-
ably will sound very tiresome to you, but
I'm afraid I'll have to harken back to the
thought of a budget to explain how I take
care of this one. Any girl, it appears to me,
has to be careful not to allow her circle
of intimate friends to widen to the degree
where she has to neglect entirely a single
one of them. I try to be unselfish about it
before I accept invitations by asking my-
self if the person doing the inviting will
really get any pleasure out of having me
along. And naturally I ask myself if I
think I will have fun.
"Occasionally I come to the conclusion
that it is simply aimless to accept certain
invitations. And in such a case — why not
stay at home? My Point No. 4 is covered
if I ask myself the question — 'Will I look
forward to returning the hospitality that
this particular host or hostess is offering
me?' And if I don't think I will I check
it off, because it is a bad bargain to begin
with.
"And in these days the bachelor girl is
really up against it when it comes to enter-
taining where food is involved. In order to
have friends in for dinner I have to take
my meals out for a week, just to provide
the extras for one night with guests at
home. Of course you can always take people
out to a restaurant, but there again the
budget rears its ugly head."
Having reached the half-way mark in
explaining her little plan of living, Lynn
stopped short and decided she was violating
Point No. 3. "I'm sounding like a Polly-
anna," she protested, "and besides, I'm
dwelling on my personal problems. So let's
skip the rest of it." But I reassured her
that she is known far and wide in Holly-
wood as being anything but a Pollyanna.
And I felt a little flattered, in view of her
objections, when she finally consented to
complete the story of her own personal
method of keeping her feet on the ground.
"All right," she said after a pause, "I'll
promise to tell you all if I can keep you
from yawning through Point No. 5. Any
man should be bored to distraction hearing
a girl talk about her clothes problems. This
is mighty important to a female, you know,
and given enough encouragement she will
go on and on.
"Anyway, here is No. 5 — Look Well at
All Times. Now that is really in order.
Mister, especially in this day and time. And
the bachelor girl who doesn't want to stay
that way all her life had better look to
her knitting on this one. It's amazing, when
78
SCREENLAND
you come to think of it, but the real am-
bition of every normal bachelor girl is to
stop being one some day to become a suc-
cessful wife and mother.
"But here we go back to that budget
again, or rather — two budgets, involving
both the allotment of time and money. In
order to cover my financial budget I take
care of my own clothes, and of course in
my job clothes are highly important. I have
found it smart in economy as well as in
styles, to lean to the simpler tastes. I have
to allow for several changes for going out,
so that I will have enough clothes not to
be repetitious. This involves re-making or
re-doing some dresses, and I think it is
very smart for any girl to do this now.
You can buy an extra War Bond or two
by cutting occasional corners.
"Usually, when I come home after a hard
day's work at the studio and plan to spend
an evening at home, I slip into a slack
suit, as you see me now. And I often wear
the same kind of outfit to work. But you
have to be careful about choosing duds
like these because you can so easily look
bedraggled even before you arrive where
you are going. The point is that a girl
has to watch her dress at all times, re-
gardless of what it is. If there is anything
to that old adage that clothes make the
man, you can just triple it where a girl is
concerned"
Up until now Lynn had steered entirely
clear of the man problem, but as she dis-
missed Point No. 5, she warned me that
she was going to let me have it with both
barrels on the next two precepts of her
code. "Go ahead," I told her, "I've been
waiting for this."
"Point No. 6," she continued, "is — Make
Men Real Friends, not Just Sweethearts.
Now this is really something! It often re-
quires more tact than you can muster — and
then some. But it is so highly important
if you are really going to find that eventual
man who will become your steady boy-
friend and possibly your husband ! The
surest way to discover whether a man likes
you is to find out if he enjoys you as a
purely mental companion instead of just
someone to gad around with. If a man is
content merely to sit around talking to you
about his work, his hobbies or the fine
points of living, you know he is on the
way to becoming a good friend. And if
one evening leads to a series of such dates
you can feel that either you are a clever
girl or he is interested in something more
than your feminine wiles. The chances are
in favor of the latter.
"This calls for a girl to be mentally
alert, and my rule on this point embraces
the necessity of knowing what is going on
in the world, and if possible — why. It isn't
as difficult for a busy bachelor girl as you
might think, either. I find it more a pleas-
ure than a social necessity, for example,
to_ read the current best-sellers. And in
this respect, I'm probably more fortunate
than most working girls because I'm able
to sandwich my reading in between my
acting. When I'm not needed on the set
I spend a certain amount of time in my
dressing room reading, and I have found
it has become a pleasant habit.
"As for keeping up with world affairs —
that's a cinch. What with the publishing
business being boiled down practically to a
science, it is easy for a person to get the
grasp of world affairs by reading two or
three well-chosen weekly publications. I
set aside a certain amount of time each
week to catch up with the world in this
manner."
Lynn told me in advance that Point No.
7 embraces practically her entire code,
that, in fact, it is just about the most im-
portant one of the lot to any bachelor girl.
You can draw your own conclusions, but
tff Senq j!iai Chills f/ie Shfis
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SCREENLAND
79
Your vision of loveliness
comes true . . . because
Maiden Form created a
brassiere especially for
the needs of your bosom!
AT ALL LEADING STORES
"THERE IS A MA 1 0 EN FORM FOR EVERY TYPE OF FIGURE!"
it seemed that way to us, too. It is simply
this — Lead a Full and Productive Life that
Will Bring You Eventually to Marriage
with the Right Man. "I really don't have
to worry about this one," she went on, "if
I'm perking well on the first six. But I
throw it in just as a reminder and to be
frank with myself that the final aim of
every unmarried girl is to settle down in
marriage with the one man. But even if a
girl isn't thinking of marriage, a full and
productive life is essential to happiness. No
one wants to be a 'droop,' as the kids say,
and the best way to prevent this is to stay
occupied with life in general.
"Here again I have my own peculiar
problem. I always have to live down the
fact that I'm a movie actress when I meet
men, and believe me, it's no easy job. People
have a stand-offish attitude toward a girl
in my position. A lot of them have chips
on their shoulders, and when most of them
meet you they seem to be saying: 'Now
just try to be a plain human being. I dare
you.' "
The eighth and final point is mother
all-embracing one. "I'll really have to be
careful not to be a Pollyanna on this one,''
Lynn said, "but I don't think you will feel
that way about me if you recall that this
is just another one of my own personal
commandments. And besides, this is the
first time I ever told anyone about my eight
points and I'm sorta telling you under
coercion.
"But here comes No. 8 — Be Above All
Reproach in Your Private Living. Stand-
ards haven't changed from the Victorian,
Civil War or any other era. Moral values
are fixed things, and justification to your-
self, to your associates and to society in
general will forever bear the same stamp.
The girl who ignores conventions and other
demands made by society always hurts her-
self and often others. Girls with so-called
'double standards' miss real life, charming
and full as it can be, and when they are
finally left alone it is a long, hard row
back."
Having extracted this design for living
from her, point by point, I would like to
add my own opinion of Lynn to allay her
fears that anyone might think she is too
serious about life. Actually, my evening
with her was completely refreshing. As I
started out to say, you never can tell about
a peetty face, and it is really an experience
to find a girl in her position who has
thought out such a workable and effective
plan of meeting life.
And does it work? Well, Lynn is now
the most promising feminine star on the
20th Century-Fox lot. She came up the
hard way, experiencing many heartaches
and disappointments. She is also a favorite
with everyone at the studio, which means
she didn't step on people as she climbed
the slippery ladder of success.
But the most important proof that her
Eight Points carry weight is that she has
achieved the ultimate of a successful bache-
lor girl. Later this year Lynn will become
the bride of Sid Luft, the Douglas test
pilot, and that's why she is passing along
her ideas about living alone to other girls.
And already she is giving serious thought
to a sequel for her Eight Points. It will be
called — Bridal Code.
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They're No Softies!
Continued from page 35
sleeper any more than we could." He
yawned, stretching his arms. Then —
"Martha, where are you going?" But
Martha was already speeding down the aisle.
"It is Brenda Joyce, see?" she returned
triumphantly, waving an envelope. She
handed it to her husband to examine the
autograph she'd just procured.
Could it really be Brenda Joyce — or a
"poser" ? My eyes popped open. Film stars
travel in compartments — drawing rooms,
luxuriously insuring privacy from the pub-
lic! Really, are movie stars, with the rest
of us, reduced to sitting up all night on
day coaches? True, I was being initiated
in this "all-night-ordeal," myself, because
weekend travel was too heavy to secure a
last minute reservation. True, there are
stories about the movie stars encountering
and putting up with all sorts of inconven-
iences— now that we're at war. But I had
supposed those stories to be mainly the
mythical musings of press agents.
Suddenly I was on my feet and down the
aisle. The next minute Brenda and I were
exclaiming in unison : "What on earth are
you doing here?" A lady riveter, Brenda's
seat partner, sociably offered to take my
seat for awhile.
"I'm going up to spend the weekend with
Owen at Camp Roberts," Brenda said.
(Owen is Brenda's husband, Lt. Owen
Ward of the U. S. Army.) "I had a reser-
vation, but I didn't get down to the depot
to pick it up an hour before train time —
and when I did arrive it was sold.
"When I first stepped into this stuffy
car tonight, I thought I'd like to pass into a
coma — until the trip ends," Brenda laughed.
"But my seat partner made me ashamed
of the thought. She has saved up for months
to take this trip to see her husband at
camp. She won't go to sleep. Says she
wants to take advantage of every minute
of the trip."
"Ma'am! Can't you do something with
that baby," a disgruntled man grumbled to
the young mother with a two-year-old
asleep on her lap and a crying baby in a
basket.
"Here — " Brenda was on her feet and
across the aisle. Taking a ribbon bow from
her hair, she dived into her purse and
brought out a badly bent rattle. "I learned
this at the baby clinic," she told the sur-
prised mother. "You stretch the ribbon
across the top of the basket and let the
rattle dangle over the baby. It keeps baby
amused." The baby stopped crying to focus
its attention on the rattle. Soon it was
lulled to sleep.
"There!" Brenda returned triumphantly.
"I was taking Pamela Ann's rattle to show
Owen. She's four and one-half months now
— and getting strong. She had actually bent
it out of shape."
"I can just imagine some of our Holly-
wood glamor girls playing this role of
sitting up all night with fretting babies and
snoring passengers," I laughed.
"Heavens, everyone's doing it !" Brenda
returned. "Maybe not exactly what you and
I are doing at this moment — but we're all
in this war alike. And there isn't a girl
in Hollywood who isn't having her share of
inconveniences. Even the worst seem petty,
when you think of our boys at Guadalcanal.
"Gene Tierney had some amusing expe-
riences in Kansas when she visited Oleg in
camp," Brenda continued. "Gene lived in
the guest house in camp with the mothers
and wives also visiting. There was no pri-
vacy. They slept on rows of cots and they
took baths in a community shower house.
80
SCREENLAND
Gene said she washed out her clothes and
Oleg's in the community laundry for guests.
And while she was scrubbing away, a lady
said, 'You look a bit like Gene Tierney. I
hear she is visiting here somewhere.' Gene
said she felt so dreadful with perspiration
pouring down her forehead, her hands red
with suds and the powder melting off her
nose that she didn't have the heart to admit
who she was. She was Mrs. Cassini — and
let it go at that.
A sailor came down the aisle. "Miss
Joyce," he began.
"He helped me on the train with my
bags," Brenda explained.
"I would like to have you take my berth
— so you won't have to sit up all night,"
he continued. "But the Pullman conductor
says it is against regulations, that the next
seven cars are all Navy."
"Never you mind," Brenda smiled. "I'm
all right. Thank you.
"I'm afraid my hair-do attracts too much
attention," Brenda confided. "You see, I
wanted to be slightly luscious and gay and
glamorous. Like the ads : 'Look beautiful
for your soldier husband weekends.' Sitting
up all night protects my hair-do."
The lady riveter returned to her seat.
"This is my daughter," she said, offering
us a snapshot from her purse. "I think she
looks just like Brenda Joyce here. She's
sixteen. I think she'll get married rather
than try movies," the fond mother reflected.
"We live near a big bridge that is guarded
by soldiers. All of the girls in the neighbor-
hood have married one of 'em but my girl.
But she may yet," she added optimistically.
"Owen rented a little cottage for us
before the baby came, up near camp."
Brenda said. The lady riveter was all in-
terest. "All of the girls in the town are
employed at Camp Roberts. I did all of
my housework and cooking. 'Butch' — Owen
has always called me 'Punk' or 'Butch'
since we were juniors in high school —
'Butch,' he said, 'you're doing all right!
You're the kind of a wife a man can be
proud of, can depend on. All of this work
and bother, and no complaints.' That made
it doubly worthwhile for me," Brenda
smiled. "When we were married everyone
said that would end my publicity. But now
Owen laughs, says that he has actually
helped it! Not that he wants to, but every
story says, 'whose husband is Lt. Owen
Ward of Camp Roberts.' The officers in
camp tell me, 'We'd be disappointed if
Owen's screen credits weren't in your
stories.' Besides, Pamela Ann was the first
war baby in movie circles. That just
shows you — when anything is right, good
comes of it. Because everyone thought I
was messing up my career by marrying.
"Speaking of doing my housework,"
Brenda added, "one day a superior officer's
wife came calling. I was hanging out
diapers. She came around to the side of
the house and said, 'Young lady, will you
please inform Mrs. Ward that I am call-
ing,' she mistook me for the maid I didn't
and never did have !"
Brenda got off at Paso Robles. In the
early morning dawn we all saw the joy-
ous hugs and kisses she gave to Lt. Ward.
"Film stars aren't nearly so stuck-up as
you'd suppose, are they," the lady ahead
remarked as the train pulled on. "That
Brenda Joyce wasn't putting on an act
for us, either. She was natural and nice."
"How'd you suppose she'd be," her hus-
band said with slight annoyance. "After
all, movie stars are just people, same as
the rest of us."
Two weeks later I went out to Republic
Studios, to have lunch with Brenda. She
was playing the lead in "Thumbs Up," her
first picture since the baby's arrival.
Elsa Lanchester, who plays an air-craft
factory worker in London in the picture,
joined us. The two girls were wearing
regulation factory coveralls in dark blue.
"My trip back was a panic," Brenda
laughed, as we referred to our recent train
travels. "The train was late. Owen had to
report on duty. I had to wait alone in the
station. Twb boys came over to talk to me.
They were dismayed when I began putting
my hair up in pin-curls to save time. 'Some
girls don't care about glamor,' one said,
giving me the final brush-off. 'You should
see those movie dames in Hollywood.
They'd rather be caught dead than in
curlers !' "
"The war is doing fantastic things to
people," Elsa said. "Neither Charles nor I
drove a car before the war. But chauffeurs
and taxis are at a premium. So I took
driving lessons and I am now the family
chauffeur for the Laughtons.
"When gas rationing came in we had to
conserve further," Elsa related, her brown
eyes snapping merrily. "We decided on a
sensible and economical move — which al-
most ended in a catastrophe. Charles is
making 'Man From Down Under' at
M-G-M in Culver City — which is twenty
miles south. I am working in North Holly-
wood, twenty miles north. Our home is at
Santa Monica twenty miles west. I work
at the Turnabout Theater every night
which is between Hollvwood and Beverly
Hills. The only way to save gas and to
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81
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see each other was to have a central meet-
ing place. Charles took a room at the Gar-
den of Allah, a half-way place. There we
could both rest and bathe and change
clothes without so much driving. But what
happened? The news went out that Charles
had taken a room away from home. Divorce
rumors flew thick and fast — making the
rounds of the syndicates and gossips until
they finally wore themselves out. But they
were upsetting — for we've been married
fourteen years, and those were the first.
All because we were being patriotic!"
That the war is a great common leveler
is clearly demonstrated every day. There
is no favoritism, no special attention shown
screen darlings, nor do they expect it. Ac-
tually our most noted glamor girls, accus-
tomed to luxury and homage, are bucking
the hardships and taking the gaff of annoy-
ances, much better than a lot of us. They
are the ones you seldom hear complain.
Here's a letter from Constance Bennett,
the chic, elegant Constance, that brings
home the picture of today's predicaments
and how our glamor girls meet them.
Connie had taken her two tiny daughters
— Gyl, fifteen months, and Linda, five years
— to see Lt. Gilbert Roland at Officers'
Training School in Florida. "The baby is
growing so fast, I don't want Gilbert to miss
all of her baby cuteness," Constance said.
"Everyone said, don't travel with two
children. What a trip ! The well-brought-up
Roland children disgraced me all the way
across the country. When they weren't
screaming, Linda was making love to all
the soldiers. I couldn't get the usual reser-
vations. We had an upper berth and a lower
berth.
"The baby was screaming because she
didn't like her harness on all of the time.
But when I put her on the floor to play,
the train would come to anything but
gentle stops — and she'd bump her nose.
"Bed-time and more screaming— because
Gyl was pinned in. She loves her freedom.
As soon as I got her to sleep I heard a
large conversation going on outside between
my eldest and whoever happened to be
passing — and sometimes with herself. I
opened the curtain to find her head peeking
out from above — not between — the upper
berth curtain. She was standing straight
up, much to the consternation of sleeping
passengers.
"We arrived at Kansas City at 5 :35
A. M. Got into the station. No porters. So
I swung luggage on to the truck manned
by one red cap. When the train porter put
our stuff off he said, 'This is all one
party's.' And I heard the red cap say
faintly, 'Gosh aumighty.'
"12 hours in Kansas. Scrub in tub, naps,
etc. On to next train. No porters at hotel.
12 minutes to transfer children and bags
and all the rest. Got in Miami 7:00 P. M.
instead of 3 :00 that afternoon. Went to
grocery store and cooked dinner. Pops had
leased a small house. Pops paid us a visit.
45 minutes was all. He couldn't get off
until the following Saturday, and then only
four hours."
Annabella relates her — what some people
might call a bit fantastic second honeymoon
in Santa Barbara when Tyrone had his
first leave from boot training with the
Marines at San Diego. When gas rationing
was first instituted Ty bought a motorcycle
and both he and Annabella learned to
drive it. Perched on the back of it she and
Ty rode to Santa Baibara. Annabella wore
a leather coat and leather dungarees, car-
ried a tiny bag slung on her shoulder con-
taining a dress, a pair of shoes, lipstick
and compact. They were gone for three
days ! The maid at their hotel must have
been amazed to see the string of lingerie
and Ty's socks and undies — which Anna-
bella washed out every night and hung in
the bathroom on the towel rack.
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82
SCREENLAND
Hollywood Canteen
Celebrates
Continued from page 38
stars, players, writers, directors and secre-
taries are registered to work as hosts,
hostesses, busboys, kitchen crew, and so on.
It takes 300 volunteers to operate the
Canteen each night and the utmost democ-
racy prevails througout the working forces.
There are two shifts, one from 7 o'clock
until 9:30, the other from 9:30 until mid-
night, closing time.
The uniform of any branch of service
in the United Nations forces is an admis-
sion ticket to the Canteen. All those in
civilian dress are helpers or entertainers,
duly fingerprinted and registered.
Each night when the doors open at 7
o'clock, there is a crowd of several hun-
dred boys waiting to rush in and start the
fun. Everything is free — cigarettes, milk,
sandwiches and cake. And there's no limit,
they can have as much as they want. Two
name bands are on duty each night through
the efforts of the Musicians' Mutual Pro-
tective Association, Locals 47 and 767, and
conservatively estimated this means music
worth a million dollars a year. And how
the boys do appreciate these bands ! Jive
is the favorite and they turn thumbs down
on all slower rhythms.
The first question they ask is, "What
stars will be here tonight?" And they want
autographs, then more autographs. Fre-
quently, the Navy boys ask for a picture
of their favorite star for their ship.
They all get a big thrill when they
enter the Canteen and find Betty Grable,
Olivia de Havilland, Joan Leslie, Carole
Landis, Greer Garson, Deanna Durbin,
Anne Shirley, Belita — the skater who
dances divinely, and dozens of other stars
acting as hostesses, ready to talk and laugh
and dance with anyone who comes along.
It doesn't take the servicemen long to re-
spond to the warming spirit of informality.
Many amusing things can happen in an
evening. Hedy Lamarr is kept busy auto-
graphing, with a line-up that reaches the
door. A snappy sailor hands her his whi*:e
cap and asks that she sign her name on
the inside. Then, smacking it on his blond
head he exclaims. "See, Hedy Lamarr has
gone to my brain !" This brings a roar
from the crowd. Another boy, waiting in
line, finally reaches her and says, "I've
been checking and it takes nine seconds to
sign your name. Just hold my hand for
nine seconds !"
A grinning soldier rushes up to Irene
Dunne, saying, "Hello, Miss Dunne, how
are you?'' A quick look and Irene parries,
"I — I just can't quite place you." "Oh,
that's all right." he responds cheerily. "I'm
Chris. I painted your house when you
built it." "Chris!" exclaims Irene. "I've
looked high and low for you. I need you
desperately to redecorate my guest room."
"Okay," replies Chris. "Just wait until my
next furlough and I'll paint it for you."
Noticing an R.A.F. cadet staring at her
intently, Olivia de Havilland walks over
and asks if he's having a good time. "Oh
yes," he murmurs breathlessly, "just see-
ing you is what I want. I'm from the little
English town your mother came from.
My parents live in the house where she
once lived, and I was born there. We're
all your ardent fans." Of course, Olivia
took him in low for the remainder of the
evening, and the next night he was a
dinner guest at her home with other
British friends.
A boy comes in with a new gag. He
checks a gorgeous gardenia corsaee with
his cap and at the end of the evening,
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"Publishers need new songs! Submit one or more of
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presents the flowers to the girl whose dance
he most enjoyed.
As Maureen O'Hara enters the Canteen
a sailor rushes up excitedly. "I knew you'd
be here," he said. "You just had to be! I've
come 3000 miles to see you and I've taken
a lot of ribbing from the fellows because
I kept saying I knew I'd meet you. They're
coming over now to see what's happening."
As the group of skeptical buddies surged
toward them, Maureen turned to the sailor
with her sweetest smile, saying. "Shall we
dance? I've been waiting for this."
The stars dress simply, the idea being
to look like the girls the boys have left
at home. A husky marine keeps dancing
with Alexis Smith until she suggests he
meet some of the other girls. "Oh no," he
says, "I'd be scared stiff to dance with a
glamorous movie star. I like a regular
girl, like you."
After dancing with Fred Astaire all day
at the studio for their picture, "The Sky's
the Limit," Joan Leslie pulled herself to-
gether and went on to the Canteen to keep
her weekly record intact. Toward the last
of the evening her soldier partner stopped
suddenly, saying, "I thought all movie girls
could dance. But you certainly can't."
Driving to the Canteen, two servicemen
signaled Betty Grable for a ride. As she
took them in she asked if they were going
to the Canteen. "Not us," they answered.
"We aren't fooled. The real movie stars
don't go, they send their stand-ins." As
Betty let them out her scarf dropped from
her head and the light shone full on her
face. "Holy snakes !" they chorused. "It's
Betty Grable in person — on to the Can-
teen !"
The girls never trade on their fame and
if not recognized, they simply give their
first name. Bonita Granville says that at
every camp she visited on her recent tour,
boys rushed up and using her nickname,
greeted her with "Hello, Bun. Remember,
you danced with me at the Hollywood
Canteen? Gee, but we had a swell time."
Bonita added, "This always gives me a
thrill for it shows that our wonderful
Canteen is weaving a friendly thread
throughout our armies."
There was a touch of pathos the night
Anne Shirley was dancing with a self-
conscious soldier who told her he was
sailing the next day. He extravagantly
praised her acting, her beauty, and con-
fessed she was his favorite star. Then he
asked, "How is your sister Joan?" Anne
realized he had mistaken her for Olivia
de Havilland, who was not there that night.
She couldn't bear to tear down his illu-
sions, so decided not to tell him who she
was. Perhaps in some far-away camp a
lonely soldier dreams of a dance he had
with his idol, Olivia.
Marlene Dietrich efficiently does every-
thing from cutting cake, washing dishes,
serving at the snack bar, to doing her turn
in the evening shows. The well-known
singer, Walter Woolf King, is Master of
Ceremonies and arranges special programs
for two super-floor shows each night. The
Canteen is ooen Sunday afternoons from
two until eight, and there's usually a con-
cert, with John Charles Thomas, Nelson
Eddy, Jeanette MacDonald, and other top
singers when they are in town.
Eddie Cantor and George Jessel are
regular attractions. Frequently Eddie
brings his radio show over from NBC
studio. Charlie McCarthy hauls in Edgar
Bergen for one of their skits, and Kay
Kyser, Red Skelton, Rudy Vallee, Dinah
Shore, Betty Hutton Ginny Simms are
others who never forget the Canteen.
The mothers of the film stars take over
every Monday night, some seventy or
eighty of them, becoming hostesses, kitchen
crew apd serving at the snack bar. The
boys get a terrific bang out of talking
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84
SCREENLAND
Cover Girl tells i #/ I Ci
now I really do otop
Underarm Perspiration and Odor
with the mother of an idolized star. There's
Marie Brown, Tom's youthful mother,
beautiful Mrs. MacMurray, whom Fred
worships, and the mothers of Joan Craw-
ford, Jeanette MacDonald, Lou Costello,
Pat O'Brien, Frances Dee, Robert Sterling,
Claire Trevor, Marjorie Weaver and doz-
ens of others. The boys just naturally
gravitate toward merry Mrs. Annette Lake,
whose daughter is Ann Sothern, asking for
advice and pouring out their troubles. A
lad from Norway came in one night. He
liad escaped from the Nazis on a fishing
boat, reached England, then America, and
now was in Hollywood. When he discov-
ered that Mrs. Lake knew his native
language he was overjoyed, and clung to
her the rest of the evening.
The busboys form an impressive sig' t —
Fred MacMurray. Basil Rathbone, John
Loder, John Garfield, George Murphy,
Louis Calhern and Jean Gabin being
among the experts who wash dishes, carry
plates and cups, and sweep up. There's a
whole-hearted cooperation in ever}- branch
of the Canteen. They all carefully follow
the rules and policy set forth by the Board
of Directors. Everything runs smoothly.
It is estimated that 100,000 boys visit
the Canteen each month. Mrs. John Ford,
wife of the noted director, has charge of
the kitchen and snack bar, and she's always
on hand to see that the boys are well fed.
Here are a few illuminating items. Each
month they consume 4000 loaves of bread,
400 pounds of butter, 1500 pounds of coffee,
50,000 half pints of milk, 1000 pounds of
cheese and all the sandwich meat they can
get. On Friday nights there are also plates
of cheese sandwiches for the Catholic boys.
Then there's 30,000 gallons of fruit punch,
75,000 packages of cigarettes, 150,000
squares of cake, fresh each day. Many of
the boys ask for milk instead of coffee, and
the Navy always takes milk because when
they are at sea they have only canned milk.
It was during the early weeks of the
Canteen that Carmel Myers Blum, a fa-
vorite of the silent films, noticed three
lonely looking French soldiers and stepping
up to welcome them discovered they
didn't understand English. "My French was
rusty," Carmel told me. "So I called on
an interpreter and quickly found they were
desperately homesick. While trying to
cheer them up it occurred to me that prob-
ably their parents were worrying about
them, so I asked for the address of each
boy's mother. The next day I wrote each
a letter, just a short one, telling how I
met her son, how he looked, and as many
personal bits as I had gathered together.
In a very short time I actually received a
letter from each mother, pathetically grate-
ful. It was then I decided to make this
my special mission with the Canteen. I
go every Monday night and watch for
boys in the uniforms of our Allies. I ask
about their families, get the address of
mother or wife, and spend Tuesday writing
to each one. Only a few have failed to
send an appreciative reply. Too often, they
say — 'Please tell my son to write— it has
been so long.' Now I include this in my
visits with them. I urge that they send a
letter home right now, tonight, here from
the Canteen. Secretaries from the studios
are always on hand to take dictation and
help the boys get these messages ready for
the mail. The thousands of grateful letters
Ave receive makes us realize what an im-
portant contribution this is. We feel we
are helping to cement a link of under-
standing with mothers and sons throughout
the world."
So, amid enthusiasm and applause, and
with an immense sense of satisfaction, the
Canteen starts its second great year in
entertaining Uncle Sam's service men —
wholesome entertainment, that is a tribute
to Hollywood's fine spirit of hospitality.
(and save up to 50%)"
says a//uring PAT BOYD
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heartfelt advice: use Odorono Cream.
You'll be delighted, / know."
Winsome Pat Boyd
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85
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Deadline Darling
Continued from page 44
dramatics for the 'snap' — and flunked it!"
She was revolted because, although born
in Spokane, Washington, she had lived in
Hollywood since she was five so the
movies had no glamor for her. On the
contrary. She had seen too many stars
who were once tops doing extra work,
herded like patient cattle in casting offices,
making "touches" or starving. Nor did the
successful among them arouse her envy.
They seemed to spend most of their free
time in night clubs, she had observed. She
hated night clubs. They were, at any rate,
constantly on exhibition. Shy, she loathed
exhibitionism. They had to be nice to
people they didn't like. She didn't want to be
nice to people she didn't like. They had to
"stay dressed up" all the time. She didn't
want to stay dressed up all the time, or half
of it. She hadn't the faintest yen for huge
estates, servants, cars, mink coats, orchids,
diamonds. She thought it was all "phony"
and didn't want any part of it. With one
or two minor reservations she still feels
the same
She was apprehensive because she could
just imagine what "the folks" would say.
Particularly her young brother, Bob; more
particularly her grandmother, known in the
family, affectionately but also most respect-
fully, as "Ma Mere." Ma Mere is, accord-
ing to Suzanne, the "most priceless person
in the world." When her son, and Suzanne's
father, were killed in an automobile accident
some years ago, Ma Mere, a dermatologist
by profession, became the titular head of
the family and "supported the lot of us."
She sent young Bob to private schools, was
planning to put Suzanne through college
and medical school. Now seventy-eight and
almost totally blind, Ma Mere completely
ignores age and disability, goes to her office
every day of her life, has trained her fin-
gers to act as her eyes and, says her doting
granddaughter, "has a devastating sense of
humor and SUCH a temper ! When she
speaks, everyone jumps, believe me !" Ma
Mere, Suzanne feared, not without reason,
might well be derisive of anything so pif-
fling as "making pictures." She was.
Susanne was intrigued, but mildly, be-
cause "with nothing more important to do"
with her summer vacation, it might not be
a bad way to pick up some "easy money."
It might, also, be an amusing experience.
Thus, and for so indifferent a reason did
Miss Carnahan consent, graciously but
with tongue in cheek, to make the test.
Nothing came of it because Bobby was a
portly lad and Suzanne looked too young to
play his mother for which part the director,
suffering from a touch of sun, perhaps, had
tested her. But it was indirectly productive
in that it won her a summer scholarship to
Max Reinhardt's Hollywood Workshop.
Henry Blanke, a producer at Warner
Brothers, saw her play the lead in the
Workshop's presentation of "Holiday" and,
viewing her with the eyes of the Sol Lesser
scout, signed her to a two-year contract.
"When I went to Warners," said Susan,
"I knew just how Alice in Wonderland
must have felt when, against her better
judgment, she followed the White Rabbit
into the tunnel. I didn't know why I was
doing this fantastic thing. Curiosity, I sup-
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quit and enter 'pre-Med' as I had planned."
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86
S GREENLAND
enough, as beginnings have a way of doing.
The Warners sent their new contractee to
the Studio Dramatic School. Thev in-
structed her in make-up and, without her
knowledge since nobody bothered to consult
her, rechristened her Sharon O'Keefe.
When she heard her new name, she rejected
it on the grounds that it was "too fancy"
to be suitable to her. A list of fifty addi-
tional names was submitted to her and she
chose Susan Peters. The family still calls
her Suzanne.
During her first weeks at Warners she
was "up" for every good part in every "A"
production on the lot. She made a test for
"Our Town," another for "So Red The
Rose" among others. Nothing came of
them. Thereafter, she made tests for twenty
good parts that did not materialize. They
would tell her : "Your tests are beautiful.
You are a great actress, Peters. You are
the white hope of the lot" — then someone
else would get the plums while she was
assigned to bits in "Sante Fe Trail,"
"Sockeroo," "Scattergood Baines Pulls The
Strings," "Escape From Crime," etcetera.
The girl who wanted "stardom or noth-
ing" suffered miserably. She loathed her-
self for being a "time-wasting, thumb-
twiddling little fool."
Then she was tested for the role of
Gary Cooper's wife in "Sergeant York"
and hope rose again in her heart ("Which,
by this time," she said, "Resembled a
barometer gone wacky") for she was an-
nounced as definitely cast Her costumes
were fitted. Her wigs were made. The
night before she was to report on the set,
she was notified that she was out of the
cast.
"But why?"
"You would not be believable as Cooper's
wife, Peters, you are too young."
Joan Leslie, a flat sixteen, got the part —
Susan was twenty.
Just before her final option fell due, she
made a test for a part in "Kings Row."
The next she heard, Betty Field was doing
it. Then she was fired.
With the first two years of her self-
imposed probationary period written off as,
she figured despondently, a "dead loss,"
and with another year to go, Susan was
trying to make up her mind whether to
stick it out or take a defense job for the
duration when Director S. Sylvan Simon
resolved her problem for her. He had been
looking for a young girl with dramatic
ability to play Cora Edwards in M-G-M's
current "Tish." He saw a round dozen of
Susan's discarded tests and decided she
would do. She "did" so well that Mr.
Simon talked about her to producers and
other directors. Word of mouth does more
for you in Hollywood than paid adver-
tising.
It was while she was making "Tish"
that Susan met young Richard Quine. They
fell in love. "It is the only time I have
ever been in love, really," Susan told me,
gravely. "I thought I was, any number of
times before. My heart was pinned, habit-
ually and rather insecurely, on my sleeve.
In other words, I was susceptible. But this
time I didn't think, I knew. There is all
the difference."
One of the romances that could not, at
first, bloom in the open because young
Quine, although separated from his wife,
was awaiting his divorce, it was difficult
for candid Miss Peters to keep her happi-
ness a secret. Now that Richard is free,
the young people plan to be married in
November and once again Susan has set
herself a goal — "Happiness" ,and a dead-
line— "Forever after."
While Susan was making "Tish," Pro-
ducer Sidney Franklin and Director Mer-
vyn LeRoy were fine-combing the town
for a young actress to play Kitty in "Ran-
John Robert Powers
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SCREENLAND
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dom Harvest." They saw one of Susan's
tests — the one that didn't get her the part
in "Sergeant York," the irony of which de-
lights her — and promptly signed her.
Seldom has a newcomer to the screen
been handed such an important part in such
an important picture and been expected,
in addition, to hold her own against two
such formidable stars as Greer Garson
and Ronald Colman. It may also be the
first time that studio faith has been so
richly rewarded.
But even after her triumph in "Random
Harvest" and her studio's unbounded con-
fidence in her brilliant future — they con-
sider her a young and ornamental Helen
Hayes in type — which they have demon-
strated by giving her increasingly "fat"
assignments, "Assignment in Brittany,"
with Pierre Aumont, "Song of Russia,"
with Robert Taylor, and, recently, a brand-
new, seven-year gilt-edge contract, Miss
Peters remains undazzled and still slightly
skeptical of the movies as a safe, sane, and
satisfying future.
The attitude of her family is, no doubt,
partly responsible for Susan's unchanged
perspective as she approaches stardom.
When Susan was in Hollywood High, her
mother managed the apartment house in
Santa Monica in which they lived — and
live now. Susan used to help her mother
show apartments in her spare time. When
she was making "Random Harvest," she
continued to help her mother show apart-
ments and still does. In fact :
■ "My family is still laughing at me," said
rising-star Miss Peters. "My young brother,
now in the Army Air Corps, thinks my
being in the movies is a 'lot of bologney'
and doesn't like his friends to know about
it. My mother and grandmother were dis-
appointed in me in 'Random Harvest,'
thought I did well enough but could have
done better in 'Assignment in Brittany' and
'have hopes' of me in 'Song of Russia.' Se-
cretly, however, I think they are proud of
me, for even Ma Mere will admit, under
pressure and in spite of her disappointment
about my medical career, that she would
like me to stay in pictures — but only if I
am good. She means, really good."
Susan herself is of the same mind. "Not
having much wanted to be in pictures in
the first place," she said, "I must admit that
I am now a great ham, love to act, get a
thrill out of working before the cameras —
but only if I think I am doing it well. I
want to be an actress, you see, not a 'movie
star.' I am satisfied with the progress I've
made since I've been with M-G-M, I'd be
a fool to feel otherwise, but I will be con-
tent only so long as I continue to make
progress, and no longer. I will not stay in
pictures unless I am the BEST, I promise
you that."
Nor can feted and flattered Miss Peters
feel, even now, that there is anything glam-
orous about the hard work of making pic-
tures. Interesting? If you have a good story,
yes. Satisfying? When you witness a good
job well done, very. Glamorous? No.
Indeed, she still dislikes, intensely and out-
spokenly, most of the perquisites that go
with being a movie star. The flattery, for
example. Bone-honest, young Miss Peters
is sickened when people who were "chilly"
to her before she made "Random Harvest"
now fawn upon her as if she were a queen.
"It horrifies me," she said. "It is the one
thing that horrifies me more than anything
about this business — to realize that, with
the exception of the friends I had before
I made any success in pictures, I will
never know who my real friends are !"
Then there is the little matter of her
old bugaboo, having to stay "all dressed
up" all the time.
"Mother and I were marketing in Santa
Monica a few weeks ago," Susan related,
sadly. "Me in shorts, bobby socks, my hair
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88
SCREENLAND
in pig-tails as usual. I was busy at the
meat counter trying to make six red points
look like nine when mother whispered to
me, 'You know, dear, you are not going
to be able to go about dressed like this
much longer, people are staring at you.'
I felt quite ill. I like clothes. I like lots
of clothes. But I hate the things that go
with them, shoes, hats, accessories, the
'right' hair-do, that toozied-up feeling. I
hate perfumes and formals and jewelry
and girdles and high heels and I wouldn't
own a mink coat. If I did, I'd feel sinful!
"I used to feel that if you were a movie
star, you had to be rather phony. You
don't have to be anything of the sort, of
course, if you bear in mind that the back-
apping and the neon lights and the red
rpets and the 'orchids to you' are not
to you, personally, at all but to the pub-
licized player. I am, for example, enor-
mously amused by people who, largely
ware of me a year ago, now treat me
if I were marked 'Fragile & Breakable.'
I'll be climbing up the cat-walk on a sound
stage, let's say, and a dozen voices will
a.il, 'Don't DO that, Peters, you might
and break your neck !' Now, I'd been
climbing up and down and all around the
studio for months — it's the tomboy in me
—and no one had uttered a warning syl-
lable. What they really mean is, 'Don't do
that,. Peters, you might break your neck
and ruin the picture!'
"So I intend to keep myself, Suzanne
Carnahan, and my screen self, Susan
Peters, just what they are — strangers, one
to the other. As a matter of fact, they
wouldn't be congenial. For I, Suzanne, am
a prude, very narrow-minded, do not ap-
prove of drinking, think 'Wolves' are dis-
gusting and, worse (I went out with one
once, just ONCE), hideously boring. I am
also very nervous, very prone to the jitters
and die, simply die when I am asked for
my autograph." (Susan has, however,
nerves notwithstanding 80 flying hours to
her credit and hopes to get 800 in order
to qualify her for the Women's Division
of the Ferry Command, which doesn't quite
add). "I love to talk and when people ask
me intelligent questions, rather enjoy be-
ing interviewed. But when they pull an
'If you had your choice between Tarzan
and Superman, which would it be?' I feel
a homicidal mania coming on. I will prob-
ably be known as 'temperamental' by a
number of people in this business before
I am through because I can't stand any-
thing slow. When I go I want to get
there with the result that I can't rehearse,
I have to step onto the stage and do the
scene.
"And I have set myself another deadline.
Seven years from eight months ago, which
is the term of my contract, I will be re-
tired and living on the farm Richard
I plan to buy, not directly we are married,
but as soon as the war is over. Once re-
tired, I shall stay retired. I hope we wili
have children, quite a lot of children, and
cows and chickens and vegetables and cats
and flowers and dogs and peace of mind
and friends. I know everyone in pictures
has, at one time or another, said the same
thing and few, if any of them have done it.
But believe me," said Miss Carnahan, for
she was speaking, "I mean it!"
How many of these stars did YOU see on
their nation-wide Victory tour: Fred Astaire,
Lucille Ball, James Cagney, Olivia de Havil-
land, Judy Garland, Dick Powell, Kathryn
Grayson, Walter Pidgeon, Mickey Rooney,
Kay Kyser and his band? Perhaps you caught
them in one of the cities they visited. The
great tour with these Hollywood stars doing
their share to help sell more War Bonds for
the Third War Loan drive got started in
Washington, and wound up in Los Angeles
with a giant Bond rally on September 24th.
Embarrassing Wet Underarm
How to Control Them — Be Truly Fastidious
and Save Clothes, too!
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bring quick relief from all perspiration
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Don't wast* tim» with disappointing half-
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Will You let Me
PROVE I Can Moke
a New Man?
—CHARLES ATLAS
Do you want a powerful body of might and
muscle — broad, husky chest — biceps like iron —
arms and legs that never tire?
JUST 15 MINUTES A DAY
Just give me 15 minutes a day to prove
that I can make you a New Man. Put you
in magnificent physical condition which —r.y
wins the envy and respect of everyone.
1 myself was once a 97-pound weak-
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FREE BOOK
Oyer two million men have sent
for and read my book, "Ever
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It tells you exactly what "Dy-
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It is packed with pictures «r
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CHARLES ATLAS, t """ . JPK^i ' JHf Wm
Dept. 651 1, 115 East 23rd I - tSSSt Wt^m W
St., New York 10. N. Y. L— JPl Hi W
CHARLES"ATLAS7 Dept. 6511,
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I_want the proof that your system of "Dynamic Te'nuinn"
will help make a new man of me — give me a healthy, husky
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"Everlasting- Health and Strength."
Name
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Address
City State
□ Check here if under 16 for Booklet A.
SCREENLAND
89
Mister-you're getting paid in
DVNA/VIITE!
Iet's not kid ourselves about this.
_/ Our pay envelope today is dynamite.
If we handle it wrong, it can blow up in
our face . . . lengthen the war . . . and
maybe wreck our chances of having
happiness and security after the war.
The wrong way to handle it... and why
The wrong way is for us to be good-time
Charlies. To wink at prices that look
too steep . . . telling ourselves we can
afford to splurge.
We can't afford to — whether we're
business men, farmers, or workers. And
here's why:
Splurging will boost prices. First on
one thing, then all along the line.
Then, wages will have to go up to
meet higher prices. And higher wages
will push prices up some more . . . faster
and faster, like a runaway snowball.
The reason this can happen is that
there is more money in pay envelopes
today than there are things to buy with
it. This year, we Americans will have
45 billion dollars more income than there
are goods and services to buy at present
prices. 45 billion dollars extra money!
That's the dynamite!
The right way to handle it . . . and why
OurGovernment isdoing a lot of things to
keep the cost of living from snow-balling.
Rationing helps. Price ceilings help.
Wage-and-rent stabilization helps. High-
er taxes help. They're controls on those
dangerous excess dollars.
But the real control is in our hands.
Yours. Mine.
It won't be fun. It will mean sacrifice
and penny-pinching. But it's the only
way we can win this war . . . pay for it
. . . and keep America a going nation
afterwards.
And, after all, the sacrifice of tighten-
ing our belts and doing without is a
small sacrifice compared with giving
your life or your blood in battle!
Here's what You must do
Buy only what you absolutely need. And
this means absolutely. If you're tempted,
think what a front-line soldier finds he
can get along without.
Don't ask higher prices — for your own
labor, yourown services, or goods you sell.
Resist pressure to force YOUR prices up.
Buy rationed goods only by exchanging
stamps. Shun the Black Market as you
would the plague.
Don't pay a cent above ceiling prices.
Take a grin-and-bear-it altitude on taxes.
They must get heavier. But remember,
these taxes help pay for Victory.
Pay off your debts. Don't make new ones.
Getting yourself in the clear helps keep
your Country in the clear.
Start a savings account. Buy and keep up
adequate life insurance. This puts your
dollars where they'll do you good.
Buy more War Bonds. Not just a "per-
cent" that lets you feel patriotic, but
enough so it really pinches your pocket-
book.
If we do these things, we and our
Government won't have to fight a post-
war battle against collapsing prices and
paralyzed business. It's our pay envel-
ope. It's up to us.
KEEP PRICES DOWN !
Use it up • Wear it out
Make it do • Or do without
This advertisement, prepared by the War Advertising Council, is contributed
by this Magazine in co-operation with the Magazine Publishers of America.
90 SCREENLAND
FEINTED IN THE U. S. A. BY THE CUNEO PRESS, INC.
Copyright 1943, Lioceti & Mvess Tobacco Co.
1 3 191,3
no?
<
Richard tregaskis' "GUADALCANAL DIARY"
ORSON WELLES • JOAN FONTAINE in Charlotte Bronte's "JANE EYRE"
Franz Werf el's "THE SONG OF BERNADEHE" introducing JENNIFER JONES
'"' "V' *; ^Sfci' 'v-'-.' '!•■ • '■' ' ijv;'./ ••i''
BETTY GRABLE • JOE E.BROWN • MARTHA RAYE in "PIN-UP GIRL" in Technicolor
WENDELL WILLKIE'S epochal "ONE WORLD"
The sweeping powerful "WILSON"
the world applauds
a lovely smile!
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So smile, plain girl, smile! Not a hesi-
tant smile, timid and self-conscious— but
a warm, flashing smile that makes heads
turn, hearts beat faster. But remember, a
smile like that depends largely on firm,
healthy gums.
Don't ignore "pink tooth brush"!
If your tooth brush "shows pink," see
your dentist! He may tell you that your
gums have become sensitive because
they've been denied natural exercise by
today's soft foods. And, as so many den-
tists do, he may suggest "the helpful
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For Ipana not only cleans teeth but,
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She's sitting pretty — the girl with the
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3
Product of
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IPANA and MASSAGE
SCREENLAND
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Published In
this space
every month
The greatest
star of the
screen I
Whether or not you care about that
hick town called New York, those of you
who are show-minded will appreciate
the amazing demonstration of public
interest in Metro-Goldwyn-Mayer
Pictures that's taking place.
★ ★ ★ ★
The main stem, the
white way, the hard-
ened artery or whatever
you dub the crossroads
of the world boasts sev-
eral first run motion
picture theatres. And
with only a few excep-
tions each theatre is
playing an M-G-M
attraction.
★ ★ ★ ★
At the Astor— the de luxe long run
house — they're still playing M-G-M's
"Thousands Cheer" which has every-
thing that is anything. More stars than
there are in heaven.
★ ★ ★ ★
At the Radio City Music Hall, they're
playing "Lassie Come Home" — Eric
Knight's remarkable story filmed in
technicolor with a perfect cast that in-
cludes Roddy McDowall, Donald Crisp,
Dame May Whitty, Edmund Gwenn,
Nigel Bruce and Elsa Lanchester.
★ ★ ★ ★
At the Capitol— at the moment of going
to press — they're still talking about the
run of the gay and tuneful ' 'Du Barry Was
A Lady". At the Globe they're finishing
the nth weekof "Salute To The Marines"
At the State they've just ended "Swing
Shift Maisie" and at the Rialto,
"Hitler's Madman". At the Paramount
they're playing the Red Skelton-
Eleanor Powell-Jimmy Dorsey musical
comedy "I Dood It".
★ ★ ★
So you see it was a legitimate celebra-
tion they held, changing the name of
Broadway to M-G-M Way.
★ ★ ★ ★
With the attractionscoming, every Main
Street in America will go M-G-M —
which is the way they should go.
"Girl Crazy "is about to tread the boards
—or rather grace the screens — of all the
best theatres. We think you'll go for
this one also.
★ ★ ★ *
Mickey Rooney and Judy Garland do
their stuff in a way that is delicious, de-
lightful and de-lovely. They got rhythm.
★ ★ ★ ★
As for us—
we've always
been on the
M-G-M band-
wagon.
-lea
December, 1943
Paul Hunter, Publisher
Delight Evans, Editor
HOMER ROCKWELL, Executive Vice President
Elizabeth Wilson,
Western Representative
Marion Martone,
Assistant Editor
iiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiniiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiii
Frank J. Carroll,
Art Director
Anthony Ferrara,
Asst. Art Director
BiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiliiiiiiiiiiiimiiiiiiiiiiiiliiiH
f Jf{{P UP " " " """ 1 ' "
Vol. XLVIII, No. 2
EVERY STORY A FEATURE
The Editor's Page Delight Evans 19
Captain Gable, "Grim and Gay" ) ■_■ ... ~ . , , ( 22
\a/-Il d l. i_i • d -x • \ Hettie Grimstead \
With Bob Hope in Britain \ ) 23
The Case of the Missing Star. Maureen O'Hara. . .Eleanor Harris 24
Donald O'Connor and His Best Girl Elizabeth Wilson 26
Confessions of a Career Girl. Julie Bishop Maude Cheatham 28
Untold Stories of Frank Sinatra Liza 30
Mae West and the Man Shortage '. , : May Mann 33
Ration Your Love In Wartime, says Bonita Granville 34
Schedule for Tomorrow. Carole Landis Elizabeth B. Petersen 36
Get Hep to Van. Van Johnson Liza 39
Everybody's Gracie. Grade Fields Jack Holland 40
How to be Happy 'Tho Rationed Barbara Best 42
Squire Coburn of Hollywood. Charles Coburn. . . .John Franchey 44
FULL COLOR PORTRAITS:
Robert Taylor, whose final film for the duration is M-G-M's
"Song of Russia" 20
Mae West, who returns to the screen in the Columbia picture,
"Tropicana" 32
Olivia de Havilland and Sonny Tufts, appearing In RKO's "Govern-
ment Girl" 38
PICTURE PAGES: So Long Bob! (Barbara Stanwyck and Robert Taylor);
Ames to Please! (Ramsey Ames); Susan At The Shipyards (Susan Hay-
ward); "Battle Of The Sexes" (Bette Davis, Miriam Hopkins, Gig Young);
Glamor vs. Realism (Anne Baxter, Farley Granger); "Gabby" Hayes
Gets A Break (Gabby Hayes, John Wayne, Martha Scott); New Gal,
New Guy (Barbara Bel Geddes, Tony Devlin); Adrian Designs for
Deanna Durbin (Fashions).
DEPARTMENTS:
Hot from Hollywood 6
Streamlined Living. Johnny Mack Brown. .. Betty Boone 8
Your Guide to Current Films Selected by Delight Evans 10
Fans' Forum 12
A Permanent Rules the Waves Josephine Felts 16
Here's Hollywood
Candid photos by Jean Duval — Gossip by Weston East 56
Honor Page 59
Guide to Glamor 72
Cover Portrait of LARAINE DAY
Paul Hunter. President
Homer Rockwell, Executive Vice President and Advertising Manager
Lee Wagner. Circulation Manager
SCREENLAND. Published monthly by Hunter Publications. Inc.. at 205 E. 42nd Street. New v0rk. N. Y
Advertising Offices: 205 E. 42nd St., New York; 410 North Michigan Ave., Chicago; 427 •
Los Angeles, Calif. Manuscripts and drawings must be accompanied by return postage. The;
careful attention, but SCREENLAND assumes no responsibility for their safety. Yearly subscrlp
the United States, its dependencies, Cuba and Mexico; $2.50 in Canada; foreign $li.00. Chang
must reach us five weeks in advance of the next issue. Be sure to give both the old and new add
as second class matter, September 2m. Hi.'iO, at the Post Office, New York, N. Y., under the act of A
Additional entry at Chicago, Illinois. Copyright 1043 by Hunter Publications, Inc. Printed in
MEMBER AUDIT BUREAU OF CIRCULATIONS
SCREENLAND
m$ TRAPPING SECRETS of a
WiSHIIGM SECRETARY
V
The romantic adventures of a
Big-Shot's Girl Friday... and her
Nothing-But-Business Boss. ..in
the war-time town where a "date"
is scarcer than tenderloin steak!
Jo/it
HONEST
7
The hilarious
"hush-hush"
on how fo
beat rhe
manpower
shortage?
■ GOBRIMEM Gffil
AMD
ANNE SHIRLEY • JESS BARKER
R K O
RADIO
JAMES 0UNN<PAUL STEWART • A6HES M00REHEA0 • HAflltY DAVENPORT • UNA OCONNOR-SIG RUMAN
Produced, Directed and Screen Play by DUDLEY NICHOLS
From a Story by Adela Rogers St. John
Screen land
LOVELY HAIR WILL DO ITS PART
If your man is hard to capture,
And his eyes keep wand'ring round,
Here's a helpful "guide to glamour,"
(Lovely girls have found it sound)
Men lovehair that's bright and shining,
Dancing highlights catch their eyef
If your hair is dull and mousy
Sweet romance may pass you by.
Let Colorinse come to the rescue,
Use it after each shampoo,
Colorinse adds richer color,
Lustrous sheen and highlights, too.
Try Colorinse and you'll discover
Glamorous hair makes glances
linger,
You'll thank us for this "guide to
glamour"
As he slips his ring upon your finger
p.s.':
FOR YOUR NEXT PERMANENT, ASK FOR
NESTLE OPALESCENT CREME WAVE.
Inl0< and 25/ sizes
At beauty counters
everywhere.
Two of Hollywood's fop goa-
sters put "their heads together:
Brno Crosby and Bob Benehley,
at a Command Performance
broadcast to our servicemen.
TF YOU THINK there isn't a man
shortage in Hollywood, get a load of
this. Joel MeCrea was offered a con-
tract that would pay him nearly two
million dollars over a certain period of
years. And Joel turned it down! He
didn't need the money — most of which
he couldn't keep anyway. He wants to
do war work. And third, and so typical
of the McCrea honesty, he felt the
offer was being made because they were
desperate. So he wasn't even flattered!
TTE'D be the last one to admit it,
1 -1 but Errol Flynn is quite the senti-
mentalist down underneath that exterior
of bravado. He still has little to say
about his son Saen (pronounced Shawn)
but that doesn't mean he doesn't care.
Under the glass top of his dressing table
at home are various snapshots of Saen.
He's a handsome blond youngster, in-
heriting the best features of both his
famous father and mother.
KATHARINE HEPBURN is going to
play Jade, the Chinese heroine of
"Dragon Seed." Her makeup job is ter-
rific. Native Chinese may be a bit
startled when they hear her. But let's
not forget that the Austrian Paul Hen-
reid played the Irish curate in "Devo-
tion" (life of the Bronte sisters) and
got away with it.
from
HOLLYWOOD
Meef Mrs. Jack Carson! Pretty wife of the
comedian is the former Kaye St. Germaine
They are shown attending a recent premie'
SfUKENLAND
It all starts when Dick dis-
guises himself as a poor
guy to get true-to-life mate-
rial for his and Franchot's
Sudsy Suds radio program.
It's love at first bite
when he meets Mary
in her diner. She
takes him in as an
on-the-cuff boarder.
Her scrappy family is a riot — particularly
Pop Victor Moore's handy household in-
ventions including the disappearing
bologny and the spiral staircase eggs —
And the kid sister who
gets herself up as a
grown-up to go on
the make for Dick —
And every night Dick phones in a blow-
by-blow report of the family feuds — and a
kiss-by-kiss report of his romance with
Mary — and Franchot puts it on the air!
Tone falls in love with his unseen radio
heroine and puts on the dog — the wolf! —
to chisel in on his pal's romance, while
Dick still has to make like he's out of a job!
Dick even stages a phony
air raid alarm to keep
the folks from hearing
themselves on the air —
But when Pop joins the plot to broad-
cast Mary's big three-way love scene
— comes the pay-off, comes fireworks,
comes a hep-py comedy you'll roar at.
Paramount's
TRUE TO LIFE
J!
Starring
Mary MARTIN • Franchot TONE • Dick POWELL • Victor MOORE
with Mabel Paige • William Demarest • Directed by George Marshall
Hear these tunes by Hoogy Carmichael and Johnny Mercer • "The Old Music Master" • "Mister Pollyanna" • "There She Wat"
Screen Play by Don Hartman and Harry Tugend
Copyright paramount p'Ct\jres inc. imi
Screen land
When 30,000 Service Men crowd
into one place to see a
picture. . .that's
news! The
World's
largest
film
audience
saw HUMPHREY
BOGART in SAHARA
at Camp Campbell, Kentucky"
on the occasion of the first
anniversary of the 4th Armored
Corps. They cheered the
picture they helped make at
the California Desert Train-
ing Theatre of Operations.
SAHARA. . ..the sensational
story that
'can NOW be
told. . .and
told as
only the
great
star of
CASABLANCA
.HUMPHREY BOGART can tell it 1
The saga of a handful of cour-
ageous men who hastened the
present offensive in Italy
by their daring stand in the
desert before El Alamein.
Never has the camera caught
such true emotion, such
sweeping story, such mighty
adventure, such a star in
such action I
For the greatest screen thrill
of your life see SAHARA. . .
starring HUMPHREY BOGART I
LIVING
Rationing is a challenge to
Johnny Mack Brown and his
happy family. Here they share
their ingenious ways of
outwitting wartime shortages
OTHER film folk take a frightened
look at their depleted domestic
staffs and another at their spacious
homes and run to cover in some apart-
ment hotel in Hollywood, where some-
one else streamlines life.
But not the Johnny Mack Browns.
They go right on living in their big
English house, high above Beverly Hills.
It was built, they say, to last "forever."
They never intend to let themselves
grow old, so why should they climb
up on shelves to wait for the war to
end? There are five of them, they all
have strong hands and know how to use
them, and to them it's fun to discover
new ways to outwit shortages, whether
of help or supplies.
Since Mr. and Mrs. Brown are both
from the South, hospitality is their
At top, daughter Janie serves her father
soy bean sprout salad. Below, Lachlan and
Cynthia help Dad with the dinner dishes.
ASK AT YOUR FAVORITE THEATRE
FOR THIS COLUMBIA PICTURE
8
SCREENLAND
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SANITARY
F<
ans rorum
FIRST PRIZE LETTER
$10.00
Before the Oscars are awarded or de-
cided upon for this year's best perform-
ance, I should like to make a defense for
some of the actors who deserve them but
probably won't receive them. It is no
compliment to the theater-goer that
these actors are in need of defense. Nor
is it a compliment to the committee that
chooses the Academy Award winners. If
the committee did not commit what was
thought to be an error now and then, the
professional fault-finders would starve to
death. There is no excuse, however, for
their repeated and senseless selections of
actors and actresses who star in films
made in the latter part of the year while
all too often, stars have given superb
performances and been very close to the
award had the committee not forgotten
the picture made earlier in the year.
As an example: I'll wager that Cary
Grant will not be thought of for his
performance in "Mr. Lucky" when the
selection of best pictures is made. Yet
he has given a superb performance. But
because "Mr. Lucky" was released so
early in the year, time will dim the
vividness of his remarkable performance.
I wish that a "best" picture would be
selected every month or two from films
released at those times and also a selec-
tion of the best actors, etc. At the end
of the year, the selection would be nar-
rowed down and pictures released early
in the year would be given a better
chance for deserving praise and so would
the players.
Will you open a court of public opin-
ion and ask your readers if they agree
or disagree? Without- the movie-goers,
where would the stars be? Let the pub-
lic have a chance to voice their defenses
in favor of their favorites and let the
fans help choose "Who's Who for Oscar."
MARY TRAUTWEIN, Buffalo, N. Y.
SECOND PRIZE LETTER
$5.00
An Open Letter to Warner Brothers:
Congratulations on a wonderful pic-
ture, "This Is the Army." You have
already received acclaim from lots o"
Crooner Crosby Fans
vs.
Swooner Sinatra Fans
We stirred up the Bing Crosby fans
by publishing, in a recent issue, a letter
from a young lady from Baltimore who
said Frank Sinatra will top Crosby in
about a year. Bing's boosters ranted
and raved and said Bing is unbeatable,
but Sinatra's followers happily agreed.
It was only a nine-line letter that
started the big controversy that burst
our mailbags. We liked it too. We
always enjoy a good scrap. Why not
try your hand at writing a letter about
the movies and stars? You may win
one of the War Savings Stamps prizes
which will help buy another Bond so
you, too, can Back the Attack ! 'Monthly
awards for the best letters published :
$10.00, $5.00, and five $1.00 prizes, all
payable in War Savings Stamps. Clos-
ing date, 25th of each month.
Please address letters to Fans'
Forum, Screenland, 205 East 42nd
St., New York, N. Y.
fluential people all over the country, but
I would just like to add my humble
thanks for some really splendid enter-
tainment. Perhaps the reception of this
picture will convince you that a rousing
patriotic picture like it will go much
farther in arousing our fighting spirit
than will the very depressing propa-
ganda films which you set such store by.
Warners is known for its setting of styles
in motion pictures so please give us more
such movies as "This Is the Army" and
maybe some of the other studios will,
catch on that it's entertainment we
want and not pictures that remind us of
all the horror that is going on in the
world. We are alreadv too well aware >~>f
it. It would be difficult to single out all
connected with the picture which made
it a success just as the same team work
of all branches of our armed forces and
the civilians are going to make us vic-
torious in this conflict.
12
Screenland
FIVE PRIZE LETTERS
$1.00 Each
One of the most stimulating personali-
ties in films today is Lon McAllister.
Although Lon is new to most of the fans,
this fan I predicts that he is headed for
"Stardom" via rocket. If you saw the
picture, "Stage Door Canteen," you'll
remember him as the shy and never-
been-kissed California. A Navy salute to
Lon McAllister, who walked off with fly-
ing colors. It kinda gives every service-
man a feeling as if he were in his place.
I forgot my troubles and cares and was
deeply carried away by Lon's California.
I have seen the picture three times and
have enjoyed it more every time. A
Victory assignment to Lon's producer:
Another California part for Lon. In
Navy lingo, "He's on the ball." This fan
is rooting for him all the way, and I do
mean all the way.
VINCENT V. ZURICK, S 1/c, Norfolk, Va.
I love the movies, movie stars and
movie magazines, but I would like to file
a complaint against Anastasia Lutz, who,
in the September issue -of Screexlaxd,
praised Frank Sinatra. And well he may
be praised, but she went too far in prais-
ing him when she said that in a year or
so Sinatra would top Bing Crosby. He
could never compare with Crosby . . .
now, or in a year from now, or even five
or six years. In fact, as long as Bing is
able to sing and entertain us he will top
all other singers.
Frank Sinatra has charm and I must
admit a good voice, but he still cannot
compete with the King of Sing — Bing.
Crosby makes you swoon with utter en-
chantment whenever he opens his mouth
whether to talk or sing. Bing's style is
very different and natural.
JEANNE KINGSTON, Fort Erie, Ont.
Donald O'Connor, dear Fans' Forum,
is the greatest thing that's hit the oi'
town since the new power plant.
Of all the simply super movies we've
seen during the past six months (you
see, we work as usherettes in one of the
better local cinemas) , "Mr. Big" is the
first one ever to inspire us to write you.
Lt. Wa> - ; Morris, a U. S. Navy flyer,
er bit of night life at the
St b while on leave, with his
wi former Patsy O'Rourke.
^ ^ "There's Something About
a Soldi
ier A COLUMBIA PICTURE
SCREENLAND
13
Besides being able to live through six
wonderful afternoon and evening per-
formances, we've had a chance to hear
what American movie-goers think about
this strictly heaven-sent "jive kid."
Who's Mickey Rooney anyway? I'm
afraid the soda bar set have completely
forgotten about him in lieu of one Don
O'Connor, with his dancing that's solid
jivin', his out-of-this-world singing and
his delicious sense of humor.
Practically everyone stayed to see the
feature through twice, and the line-up—
oh, brother! When the audience finally,
but reluctantly, left they were all raving
about their new discovery. You've really
hit something this time, Hollywood —
so hang on to it!
MARY COSGROVE and MARY RANKIN,
Lansing, Mich.
It was the good fortune of those sta-
tioned here at Newport to be among the
first to see the very enjoyable picture.
"So Proudly We Hail." This is not a
letter on the picture, but rather on a
young man who I think stole the show.
I mean, of course, Yale's gift to Holly-
wood— Sonny Tufts. Tufts plays the
cocky young Marine to perfection. He
seemed to make the part real with all
the ease and poise of a veteran. I think
Sonny will do big things in Hollywood.
WILLIAM MANSFIELD, S2/c,
Newport, R. I.
I just got back from Dixie — the gay,
colorful Dixie of the 1840's. And even
if I am a Northerner, I've never had
such an enjoyable time. You see, I just
When Betty Hutton arrived in New York
with contingent of Hollywood stars for Third
War Bond Drive, she announced her intention
to marry Charles Martin, radio announcer.
saw Paramount's grand new musical,
"Dixie," and I can't find praises enough
for this refreshing picture with such a
swell story. Watching the minstrel
scenes, I could hardly keep from singing
right along with the players!
I came away thinking, "If only I had
lived in those days of the good old min-
strel shows, beautiful rustling gowns and
those colorful firemen. How I did enjoy
the fire scenes!
In "Dixie," Bing Crosby was at his
best— I think Frank Sinatra is pretty
good, but he can't touch Bing! And
Dottie! She did a fine job — I certainly
felt sorry for Millie, who had to lose the
boy. Billy De Wolfe is really going
places. I couldn't help liking him, even
if his cards weren't quite honest. Mar-
jorie Reynolds is a sweetheart! I won't
quickly forget her performance as Jean.
I don't know if "Dixie" will win an
Academy Award, but I just had to let
you know that I thought it was perfect.
And I'm sure I'm not alone when I say —
Hollywood, let's have more of these mu-
sical pictures of the colorful days— a
little removed from these troubled times.
ANN GUEST, Gordon, Wise.
HONORABLE MENTION
Concerning your article, "Mature Men
Better Lovers?", in the recent issue of
Screenland, I wish to say a few words.
I hearti.'y agree that Charles Boyer,
Humphrey Bogart and Paul Henreid
have a way with the ladies (indeed,
yes!) but they are not the only ones who
know how to handle the love scenes.
I'm sure I'm not the only one who
thinks the younger generation can put
over the "love stuff" on the screen.
Just think of Mickey Rooney, Jimmy
Stewart, Dana Andrews, Van Johnson!
And you mustn't forget the hold Frankie
Sinatra has over the feminine popula-
tion! They all have their share of charm.
So don't give us that "Love Begins
at 40" line — we know better!
MRS. MARCIA VESPI, Dolgeville, N. Y.
IiUSISTHU
We dedicate to tlie
NAVY NURSES CORPS
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0 STAY ON LONGER... S-M-0-0-T-H-E-R !
That "Irresistible something"
is IRRESISTIBLE PERFUME I0C
14
Screenland
SWEET ROSIE O'GRADY — 20th Century-Fox
If Betty Grable is not your pet pin-up girl
she will be after you see her in this filmusi-
cal which takes place in the 1880's and gives
Betty a chance to again wear costumes of a
gay, colorful period. They're exquisite in
Technicolor. It's about a showgirl, Rosie
0 'Grady (Betty), who goes to Europe, be-
comes engaged to a Duke and returns to
America as the snooty Miss Marlozve, but
is exposed as the former showgirl in the
Police Gazette by reporter Robert Young,
who later wins Rosie for himself. The pic-
ture rolls along at a merry pace. It's a typ-
ical frothy Grable film, but surely no one
objects to good escapist stuff these days.
Burlesque numbers permit eyefuls of the
shapely Grable limbs, but it's not risque.
DESTROYER — Columbia
Edward G. Robinson is cast as a World
War I Navy veteran whose fanatical love
for a new destroyer which he has helped
build and on which he wangles a post, gets
him in wrong w>th the crew, particularly
Glenn Ford, who succeeds him when he
makes a mistake on the shakedown cruise.
But Robinson, who gives his usual good
performance, becomes a hero when he saves
the ship after encounters with a Jap sub.
Glenn does a swell job as the bos'n's mate
who loves the salty old sailor's daughter
(Marguerite Chapman) and their love
scenes, with Glenn rushing her in sailor
style, are very funny — the type of cocky
stuff Glenn does so well. Film has suspense.
THE SKY'S THE LIMIT — RKO-Radio
A lively comedy romance in which Fred
Astaire plays an ex-Flying Tiger who, in-
cognito, starts out to have fun prior to
beginning a new assignment — ferrying
bomber; to Australia. He meets a girl pho-
tograph T m Leslie, falls for her, spends
his leav | ling her without revealing his
identity a; her to believe he's a slacker
and brii bout some hilarious compli-
cations, i e wins her in the end. Joan
dances nbers with Fred and proves
a charr ipable partner for Astaire.
Fred al a solo dance on top of a
drinking :'s light-hearted, entertaining
and sho e the Astaire fans happy.
Isn't /our man in a million
worth every cent you can save ?
YOUR man in a million is giving up
everything to help win this war! He's
said goodbye till it's over — to his home
and his job — his family and his friends —
to you, the girl of his heart.
And are you keeping faith? Are you
doing your part? Is any effort, any sacri-
fice, too great for your man who's doing
so much?
You know the answer! So begin today
to economize and skimp and save. And
put every penny you can lay aside into
United States War Bonds-!
War Bonds are, in a very real sense,
bonds between you and the one you love.
For, every bond you buy helps to speed
war production — helps to keep our ships
sailing and our tanks rolling — helps to
hurl more bombs and shells and bullets
upon the foe.
Every bond you buy is a milestone on
the road to Tokyo — another dent in the
shield of German resistance.
You only lend the money, you know.
You invest it with Uncle Sam for your
sailor and yourself, and your future hap-
piness and security together. And a more
prudent, safe and steady-going invest-
ment has never been offered in all history!
Take your rightful place in the war
effort — start buying War Bonds today!
Here's what War Bonds
do for You:
1 They provide the safest place in all the
world for your savings.
2 They are a written promise from the
United States of America to pay you back
every penny you put in.
3 They pay you back #4 for every 33 you
put in, at the end of ten years . . . accumulate
interest at the rate of 2.9 per cent.
4 The longer you hold them, the more
they're worth. But, remember, if you need
the money you may turn them in and get
your cash back at any time after 60 days.
5 They are never worth less than the money
you invested in them. They can't go down in
value. That's a promise from the financially
strongest institution in the world; the United
States of America.
SAVE YOUR MONEY THE SAFEST WAY— BUY U.S. WAR BONDS REGULARLY
Published in cooperation with the Drug, Cosmetic and Allied Industries by:
The Distributors of Kotex Sanitary Napkins and Kleenex Tissues
SCREENLAND
15
A good permanent
wave makes all sorts
of hair-dos possible
By
Josephine
Felts
Upper left, Rita Hayworth for
■formal attire suggests curls en
masse atop a smooth line.
Above and below, Leslie
Brooks to look sleek wears her
hair high, and to look winsome,
ong bob with cluster-curls.
Both actresses appearing in
Columbia's film, "Cover Girl."
Photographs courtesy of Frederic's Tru-eurl permanent wave.
A PERMANENT RULES YOUR
WAVES
H AIR up or down; hair slick or fluffy
— you may take your pick of hair
styles because there are no limita-
tions to them if your permanent is right.
The problem of straight, unruly hair that
you "just can't do a thing with" is past
history. For many years, the science of
permanent waving has been progressing
in such leaps and bounds that now there's
scarcely a head of hair that can't be
made lovely and manageable.
Probably very few girls can remember
the days when a permanent was an or-
deal which lasted for hours and hours,
16
and which left the hair standing on end
in tight coarse curlicues like a Fiji
Islander's. To those who can recall the
first costly long-lasting "waves," the
present day permanents are one of the
wonders of the age. In 1943-44, almost
every woman (from three to eighty) in
every walk of life, may take a quick
natural-looking permanent as a matter
of course. And the movie actresses, in
whose beauty paths we follow, are no
exceptions. For the variety of hair styles
which acting many different parts calls
for, their hair just must be easily ar-
SdtEENLAND
rangeable. Wigs or permanents are the
only answers to versatil s — and
wigs went out with the ho buggy
era!
Suppose you want to w lr hair
down for sports and up f« • occa-
sions, as Leslie Brooks, i mbia's
"Cover Girl," does. Or, suj )U just
like to change your hair-d< a long
{Please turn to pag
o
<7&
leaves hair so lustrous ...and yet so easy to manage!
%
<S">.
A MEMORY -MAKING HAIR-DO— to make
him carry in his heart a lovely pic-
ture of you — no matter where he may
go! But don't expect to get the same
unforgettable results unless your hair
itself has the shining smoothness
of this girl's hair! Before styling,
hers was washed with Special Drene.
Only Special Drene reveals up to 33% more lustre than soap,
yet leaves hair so easy to arrange, so alluringly smooth!
There's more enchantment for a man in lovely
shining hair, beautifully done, than in any
new hat or dress!
So guard the precious beauty of your hair —
don't let soap or soap shampoos rob it of its
glorious natural lustre!
Instead, use Special Drene! See the dra-
matic difference after your first shampoo . . .
how gloriously it reveals all #the lovely
sparkling highlights, all the natural color
brilliance of your hair!
And now that Special Drene contains a
wonderful hair conditioner, it leaves hair far
silkier, smoother and easier to arrange . . .
right after shampooing.
Easij omb into smooth, shining neat-
ness! u haven't tried Drene lately,
yon'll azed!
And remember . . . Special Drene gets rid of
all flaky dandruff the very first time you
use it.
So for more alluring hair, insist on Special
Drene with Hair Conditioner added. Or ask
your beauty shop to use it!
SoapJMm
Avoid this beauty handicap!
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•
That's why Special Drene
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SCREENLAND
17
Behold! he sees what no human eye has glimpsed
since the beginning of time
He might have stepped from the frame of
a Rembrandt painting, this bewigged figure
of a man so patiently making lenses and
squinting through them.
Night after night, like a child with a new
toy, Antony van Leeuwenhoek, seventeenth
century Dutch shopkeeper, hurried home to
place anything and everything under his
microscope: the brain of a fly, rain water, a
hair, pepper, a cow's eye, scrapings from
his teeth.
Then one day, behold ! he sees what no
human eye has glimpsed since the beginning
of time. Fantastic "little animals", thousands
of them to a pin-point, dart and squirm as
he gazes.
Not for an instant did he suspect any of
them as foes of mankind, as possible destroy/
18
ers of health and life. But the enemy had at
last been sighted. Man had taken his first
faltering step in the war on germs.
Nearly two hundred years were to pass
before the second step, a giant stride, was
taken by Pasteur. He devoted his life to
seeking out the microbes which he "believed
to be the cause of disease. In turn, his work
inspired Lister to use carbolic acid in com/
bating the almosunevitable gangrene which
then followed surgery.
Soon Lister's fame as "the father of anti/
septic surgery" spread across the Atlantic.
No wonder that when a new, non/caustic,
non/poisonous antiseptic and germicide was
discovered in St. Louis, its sponsors named
it Listerine, in his honor.
Today the shining bottle and amber color
SCREENLAND
of Listerine Antiseptic are as familiar to mil/
lions of people as the face of a long trusted
friend. In more than sixty years of service
in the fight on infection, it has day after
day proved deadly to germs but harmless to
tissue . . . well meriting its almost universal ci/
tation as "the safe antiseptic and germicide."
Lambert Pharmacal Co., St. Louis, Mo.
LISTERINE
ANTISEPTIC
in service more than sixty years
BECAUSE OF WARTIME restriction may
not always be able to get Listerine J ic in
your favorite size. Most drug cc will,
however, have it generally available size.
CAPTAIN
GABLE,
"GRIM
AND
GAY
MS.
New photos of Captain
Clark Gable as he looks
today, by U. S. Signal
Corps. Above, last studio
portrait made before he
went overseas, when he
was still a Lieutenant.
Exclusive! Our
British corre-
spondent gives
you a first-hand
report on the
former movie
idol now serv-
ing his country
in the Air Corps
OVERHEAD a great flying Fortress roared up. toward the
white-flecked sky as it set off from its English airfield
for a raid over Nazi territory. Clark Gable stood be-
side me watching it leave, his tall figure loose and shapeless
in his flying suit and yellow life preserver vest. The pale
morning sun caught the streaks of grey in his crisp dark hair,
reflecting again in his eyes as he shaded them with an oil-
stained hand.
"It's a grand job." he pronounced, "I'm proud to be help-
ing with it."
He said it with quiet sincerity that needed no emphasis, for
the long unpublicized trip that brought him across the
Atlantic was his own choice, just as he originally decided to
give up the second highest screen salary in America in order
to become Captain Gable of the U. S. Army Air Corps, gun-
nery instructor on a heavy bomber station and merely "one
of the boys" there.
Last summer General Luther Smith, who directs the Air
Corps Training, asked Clark if he felt he could undertake
a special assignment. It was believed that a film actually
taken on operations would teach battle tactics to trainees
far more effectively than lectures alone and lead to many
improvements in the difficult art of gunnery technique in the
air. Would Captain Gable like to help?
When Clark agreed, he was sent to England with two old
friends from Hollywood, Lieutenant A. J. Mclntyre who was
the cameraman for "Test Pilot" and Lieutenant George
Mahin, the script writer of "Boom Town" and now of this
new film which none of Clark's women fans will ever see. It
has more thrills packed into it than anything ever conceived
in a studio, for this is reality, the hard grim stuff of war in its
fiercest and bitterest phase.
Its stars are the pilots, the navigators, the gunners and the
radio operators — men who have come back from scores of
Fortress raids on Germany, sometimes (Please turn to vage 64 )
By Hettie Grimstead
Hope was a hit with of-
ficers and enlisted men
alike. These photos show
him in various informal
gatherings between
shows, always ready with
a grin and a good wise-
crack. The old gentle-
man in picture at far
left is Bob's 99-year-old
grandfather. Their re-
union came just a few
weeks before "Grand-
dad" passed on, happy
to have seen his fa-
mous grandson again.
SCIENTIFICALLY we squeezed and edged our way into the crowded
grey and silver reception-salon of Mayfair's most exclusive hotel, rich
with the scent of crimson roses and crowned with the Stars and
Stripes and the Union Jack draped together over the inlaid crystal bar.
There were U. S. Army officers in olive-drab and British ones in khaki and
the majority of the newspaper reporters and radio officials in London and
Frances Langford glittering and glamorous in black chiffon. There were
Charles Butterworth and Jack Pepper, and there was also a smiling man
in a grey flannel suit, balancing a glass of beer in one hand and conducting
an imaginary band with the other while he shot back quick-fire wisecracks
in answer to a hail of questions. Bob Hope had come home to his native
land and London was acclaiming him.
It was just like "Bob Hope's Half Hour" on a grand luxury scale. Flash-
lights popped and cameras clicked and soft music came from the band next
door and screen stars like Anna Neagle and Jessie Matthews and Bebe
Daniels walked up to greet the visitor. Instead of his regular stooges, Bob
had the men and women from Fleet Street — that's the quarter where we
print our national newspapers over here.
"How is it that you team so well with Bing Crosby, Bob?"
"I guess I just have the talent, lady. Of course Bing can sing a bit too."
"What have you got to say about your wife?"
"Any spies around here? No? Come closer, so's I can whisper and as many
folks as possible won't hear. . . . She's charming ." (Please turn to page 66 )
By
Eleanor
Harris
TneU
ase
of the
MISSING STA
. yanisne * .--r\,e r«w B . a
, <.. who vo e 4rom ?rice.
Strange and mysterious disappearing act
of beautiful Maureen O'Hara is explained!
ATTENTION, BUREAU OF MISSING PERSONS!
OUT HERE in HoDywood we have a case for you — the
Case of the Missing Star. We have one movie star
who only lives on celluloid, who only breathes on the
acreen. You could search and search throughout Hollywood
and you'd never find her — because she doesn't exist, save to
a charmed group of people, and she only exists for them nine
hours a day. They're the actors in her pictures, the tech-
nicians, the directors. They see her from nine in the morn-
ing until six at night — when she vanishes like a puff of smoke
into the air.
We're talking about Maureen O'Hara — whose case history
is this: She disappeared from everyday life a year and a
half ago, when she said some words that apparently have
as much magic power as the word "Abracadabra." She said,
*T, Maureen, take thee, Will . . ." and presto! Maureen
O'Hara had vanished into space, and Mrs. Will Price was
there in her stead.
Now, as we all know, the movie star Maureen O'Hara is
glamor afoot. She is tantalizingly beautiful, gorgeously made
up, flowingly gowned. Well, Bureau of Missing Persons,
you'll never find her around town. Instead you'll find Mrs.
WiD Price — the pretty, simply dressed wife of a young ex-
dialogue director, who is now a Lieutenant in the Marines.
Young Mrs. Price doesn't believe in glamor. She doesn't
believe in make-up, either, except for lipstick: or in fussy,
elegant clothes. Most of all, she doesn't believe in careers
for wives — or in letting Maureen O'Hara 's career interfere
in any way with the lives of Lieutenant and Mrs. Will Price.
Which explains the disappearing act of Maureen O'Hara
every evening at six — and the reappearance of young Mrs.
Price. (So transformed in looks that nobody recognizes her
as the movie star — making her free as the wind from auto-
graph hounds.)
But if you're at all doubtful about the Case of -the Missing
Star, don't just ask Hollywood. Ask a more quiet com-
munity— ask the people of the Marine Base at Quantico,
Virginia. They'll back us up. They know all about this case
— and to them it's still news, because they only found out
about it a few weeks ago.
What happened was this: Movie star Maureen O'Hara
went East to appear in oer°"ti at the opening of her picture,
'This Land is Mine." in Cincinnati, and while there
Miss O'Hara lost Mrs. 'rice's engagement ring — which
made Mrs. Price despi actress more than ever! After
that, movie star Ma O'Hara made some personal
appearances in New Yoi . But (Please turn to page 70)
Donald O'Connor
and his Best Girl
WW7 HAT KIND of girls do you like?"' I asked Donald
\jf O'Connor, who was vigorously digging into a
muscle-bound steak at the studio commissary.
"Females," answered young O'Connor promptly — and added,
"this steak is so tough I can't even cut the gravy."
Donald isn't at all critical of the opposite sex. He likes
girls, all girls. 'I think they are keen," he says. "I like girls
who play boogie woogie on the piano and do jive on the
dance floor. I like girls who are natural and don't try to be
cute when they're with a fellow. And I like girls who have
good appetites. Excuse me for a second," he said, taking a
final swig at his strawberry malted (the jukebox generation
can really pack away food) "my girl's in the other room
having lunch with friends. I gotta see she's getting every-
thing she wants. Back in a second."
Although he likes all girls, the one Donald
likes in particular is a pretty young thing
named Gwen Carter. He met Gwen at a party
last Christmas and they've been going steady
ever since. When the war is over they plan to
get married. Gwen is a Los Angeles girl, and
without any movie ambitions. She has brown
eyes and "reddish auburn hair" (quotes by
Donald) and "jitterbugs like mad." Donald
and Gwen and their crowd like to gather at
each others' homes on Saturday nights and
play records and dance — or else they gather at
the corner drugstore and put nickels in the
jukebox and sip malteds. They like Harry
James and Benny Goodman, but aren't too
keen about Frank Sinatra. He's too schmaltz
for the rug cutters. When Donald is working,
and he always is, Universal sees to that, Gwen
drives over to the studio to have lunch with
him several times a week. "Yes," continued
Donald, settling down again and burying the
remainder of his steak in catchup. "I like all
girls. But I like Gwen most of all."
Recently Donald and Peggy Ryan, another
of Universal's young stars, celebrated their
birthdays with a Saturday night dance at
(Please turn to page 60 )
Screen's new juvenile sensation, Donald O'Connor, gives out with
his best interview, poses for first time with his best girl, pretty Gwen
Carter (below), exclusively for SCREENLAND readers. Universal's
box-office demon is shown, top right on facing page, kissing his
Mom good night; hosting his gang which includes Peggy Ryan,
known to all fans of O'Connor films; in family group of his brother
and sister-in-law, his niece, Patsy O'Connor, also in pictures, and
his mother, Mrs. EfFie O'Connor. Next to girls, Don likes boogie
woogie and food — and he con fry an egg. Smart, but no smarty.
Confessions .< . career girl
WHAT'S IN A NAME? Let's ask Julie Bishop! For
Julie Bishop was given a studio contract the very next
day after coming into existence. Up to that time, she
had been Jacqueline Wells, plugging along at the movie game
in a flock of B's. and getting nowhere. The new name, and
the new personality it inspired, proved a bit of magic and
now Warner Brothers are rolling out the red carpet for their
new star.
Julie's break came immediately after signing her contract
when she was given the part of Humphrey Bogart's girl friend
in "Action in The North Atlantic." So pleased were studio
executives with her performance that they gave her star
rating and todav she's sharing honors with Errol Flvnn in
"To The Last Man."
It was between scenes of this exciting drama that Julie and
I were talking it over. "I'm definitely a career girl," began
Julie. "That's the reason the career must be worthwhile.
Jacqueline Wells seemed hopelessly typed in those lesser roles
and I was very unhappy, so I decided to stake my all on one
throw of the dice and change my name. That isn't easy to do.
For days I lived in a whirl of names, plain and fancy, with
every friend suggesting favorites. - It finally simmered down to
Jill Clifton, but I couldn't accept it. One morning as I entered
the casting director's office his secretary greeted me with,
'Hello, Julie.' I stopped, amazed! 'That's it,' I fairly shouted.
'Julie — why, I love it. And it fits!' Then right out of the air
came Bishop, and slid into place. Just like that, I was Julie
Bishop! Now it seems as if it had always been my name.
"From my earliest recollection 1 wanted to be a dancer,"
she went on. "At six I was enrolled as a pupil of Theodore
Kosloff in his famous Russian Ballet School. For seven years
I followed the strict regime of this training, with every
thought centered on becoming a great dancer. A couple of
times I appeared on the screen with the Kosloff Ballet, but
not once did I feel a desire to become an actress.
"Then I began to grow up, and one day I decided I didn't
like 'ballerina legs.' I determined to escape them, and too,
I wanted to live my own life without (Please turn to page 81 )
By
Maude
Cheatham
Change your name and
climb to fame! Well, it
worked in Julie Bishop's
case, anyway, and now
ex- Jacqueline Wells is Er-
rol Flynn's leading lady
Mr
M E 5
to Please!
Introducing an entrancing new-
comer named Ramsey Ames,
whose sultry charms and croon-
ing make strong men pun and
women weep in envy. No wonder
You'll see and hear Miss
Ames, ex-night club singer,
in Universale Orsen end John-
son extravaganza, "Crary
House." She's so promising
that she'll be featured next
in "Phantom Lady," Joan
Harrison's first production at
Universal. (Yes, the same
Joan Harrison who wrote so
many Hitchcock thrillers.)
FRANK SINATRA
30
New, intimate notes on a solid
sender, straight from Hollywood!
HOLLYWOOD has twice given the brush-off to Frank
Sinatra. Not that it was Frankie's fault. He crooned
as beautifully then as he does now. Nor for that matter
was it Hollywood's fault. Hollywood had no way of knowing
that the nice quiet little guy from New Jersey with the
appealing smile would turn out to be the singing idol of
millions. Just think — if a producer had been prescient enough
to get Frankie's autograph on a dotted line five years ago
when he was singing for cakes, why, he'd be so stinking rich
by now that Mr. Morgenthau would have to send out a fleet
of trucks to pick up his taxes.
Five years ago Frankie made his first trip to Hollywood as
vocalist with the Harry James orchestra. The band had been
signed for a long engagement at the Palomar Ballroom in Los
Angeles, and Frankie had been promised a steady $60 a week,
so he brought along his bride and his other suit. But when
they got to California the Palomar was a heap of smoldering
ashes. The contract was void, and so were the Sinatras.
Finally the band got a job at Victor Hugo's, formerly a smart
restaurant in Beverly Hills, now converted into Adrian's
fashionable dressmaking shop. But there was so much brass
to James's band, and so little room in the restaurant, that
when Frankie got up to sing he was practically blasted into
the customers' soups. The Victor Hugo closed abruptly.
Here she is again!
And here's the first
and only interview
she has given since
her return to films
Typically Mae Westian is
her new role in "Tropicana."
She sings, wears those pro-
vocative costumes, below,
spars in comedy scenes with
Victor Moore and William
Gaxton — see scene still.
MAE WEST
AND THE m
"T'VE BEEN gettin' a lot of letters
I from women these days. Women
askin' me my advice on how to hold
a man. 'There's only one way to hold a
man, honey,' I tell 'em. 'In your arms,
of course!' "
Mae West smiled with a provocative
roll of her gray-green eyes, under those
long black lashes. She shrugged her
shoulders — ever so slightly, but with
amusement.
"It seems today it's no longer may
the best man win, but the best woman.
.' understand there are somethin' like
' R 10 women in the United States
■ alone and don't like it. That's
' the statistics and knowledge
^atherin' for my 'Diamond Lil'
characterizations come in handy. As
Brigham Young, who'd married 27 wives,
said, 'Some men never marry from choice.
But there is not one woman in a milhon
who will not marry if she gets a chance.'
And gettin' the chance these days seems
to be the super problem.
"Now take Catherine the Great. Men
fell for her as fast as flies for honey.
I've been readin' up on my history. I
have just written a play, 'Catherine Was
Great,' that I'm doin' on Broadway as
soon as I finish this picture 'Tropicana.'
Catherine would have known just how
to handle the present man-power situa-
tion. She rose at four every mornin' and
tossed off five cups of coffee made from
(Please turn to page 68 )
34
ALL GIRLS my age have one central thought in mind!
War or no war, it is still the same. We want to get
married. We want a successful and happy marriage.
We want a husband we love. And a home and children. This
is very normal and as it should be.
But we must realize that we are living in difficult and
unusual times. And we must adjust ourselves to these chang-
ing times. We shouldn't hold on to something that doesn't
exist any more. Gone are the days of fun without a purpose,
of Saturday night dances, football games, racing to the beach
for picnic suppers, and lots of parties. All our boy friends
are in uniform now. They are flying planes, driving tanks,
carrying guns, and digging foxholes in some far-off country
that we never even heard of before. We girls, too, are in
uniform, of one kind or another. No longer is it smart for a
girl to sit at home and wait for her man to come back. Today
we have to get out and do things that will help bring our men
back. Our part in the war is almost as vital as theirs. We
are working for a common purpose, that of victory and a free
world where we can live the rest of our lives in peace and
safety. We are working hard and we are making an all-out effort
to help them. But there is one problem that I feel very strongly
is the sj>ecial duty of girls like myself. If we fail, so does
our country, and all that our boys are fighting for. We are
living today in a world of rationed food, rationed shoes, and
rationed gas. This is a condition that our government finds
necessary to preserve. For this same reason I think girls like
myself should ration their love during wartime.
We read in the papers about the younger generation — that's
girls and boys of our age — going wild. About gang wars, zoot
suits, stealing, drinking, destroying property, and gin mar-
riages. I have read some of these articles and ordinarily they
say that the primary cause is that the parents are working in
war plants and cannot stay home and keep a proper place
for their children. The breakdown in normal life, due to the
war, they say, is one of the most important causes of juvenile
delinquency. J. Edgar Hoover in a recent article said that
the mothers and fathers today seem to be willing to work
hard, not only for wages, but also in their spare time to do
what they can in voluntary aid to the war effort. But the
result is that the foundation of our American life, the home
and family, is being neglected and, in many cases, en '~T
forgotten.
It has been said many times that there are no bad cl
only bad parents. In many cases this is true. Where t
are greedy and want to earn more money than th ,-r
Frank, heart-to-heart advice from a starlet whose emotional problems are the same c ter\
dreamed of this is surely true. How-
ever, I do feel that this does not ex-
cuse the children. This problem of
juvenile delinquency is just as much
ours as our parents'. It is sabotage
to our country and we should bend
every effort to stop it, to help our parents
control the situation. No other place on
earth can you find the wonderful living
conditions that we American boys and
girls have. We have free schools, free
playgrounds, moderately priced enter-
tainments, and freedom from fear that
no other children on earth have. These
are our birthright and we are doing noth-
ing to conserve it if we consciously or
unconsciously violate it by being a part
of the fifth column. If our parents are
occupied and not able to keep the home
that we once had we should readjust our-
selves to these conditions to keep the
family as a whole. We should make the
readjustment with them. The fearless
honesty of the average American girl
should tell her that she is failing herself,
her family, and her country if she does
anything that will hold us back from
victory. Many girls say. "I am only one
person, I can't matter." We should learn
that we all matter, that upon girls like
us depends the future of our country.
We are the girls who are going to marry
those boys when they come back from
the war. W«* the girls who are going
to b lren. Some of our hus-
ban< > run this country after
this is up to us, "the girls
rn to page 76 )
rfher
n girl's today
r 3r
■ ]
CtiSQULE
f'Sr tomori V
At right, Carole cooperates in the Third War Loan
Drive and as a reward gets great big hug from
Owen Murphy, Jr., whose scowling countenance
coupled with the words, "What d'ya mean, you
ain't gonna buy no bonds!" brought him national
fame when he was only seven months old. On
facing page, Carole is greeted in Chicago by
Bos'n's Mate Higgins and pretty Spar Marydele
Stulting; entertained by the Coast Guard, hailed
as Queen of Copper in Michigan on a two-day '
rally. It was after this strenuous trip that Carole
was reunited with her husband, Capt. Thos. Wal-
lace, on his return to the U.S. from England on
his first furlough since their marriage last February.
THE&E WAS a time when Carole Landis used
to jot down her appointments in a small, deli-
cately bound' ostrich leather engagement book.
It was dyed her favorite dusty pink and it looked
just as glamorous and social as the dates it recorded.
Today the thick stenographer's note book lying
beside her telephone is hardly big enough to accom-
modate the entries scrawled on each page. It looks
like a railroad time table with every minute of the
day accounted for and one appointment following
the other with stop watch precision.
For she's a girl with a schedule, Carole Landis.
A schedule for tomorrow. Her eyes are turned to
that world promised us when the war is over, the
world she feels she has to earn by working for it
today.
The lighter she carries around with her has
something to do with that schedule, the lighter that
is just as efficient and down to work as her new
memo pad. For it's the kind of lighter flyers and
Navy men use, the kind that will hold its flame
against the wind. No one had to see the name
engraved on it to know that it had belonged to
her husband. Captain Thomas C. Wallace, formerly
of the Eagle Squadron and now with the U. S.
Eighth Air Force in England.
"If I do everything they ask me now," she told
me, "I feel I can turn down things with a clear
mind when Tommy comes home, so we can have
whatever time he'll be here together."
'■ It was to meet him that she came to New York
last June. She was so excited she could hardly
breathe as she showed his cable to the friends wait-
ing for her at the station. He was all packed and
ready to come. He should be there sometime about
the middle of the month.
"I can't wait to see him with a glass of milk in
his hand," she said. "There's very little of it in
England now, you know. And to give him eggs for
breakfast — and a steak, the thickest one I can find."
But June went by and the promised leave hadn't
come through; and then July went too, and August,
and still Captain Wallace's bag was packed and
waiting and Carole didn't say anything when those
bomber raids over Europe were mentioned for she
couldn't help but remember that of the Americans
volunteering for the original Eagle Squadron that
went to England before we were at war only four
are left, and Tommy is one of them. It helped
then, knowing she was in the fight too.
Then in the first week of September Captain
Wallace came home, (Please turn to page 62 )
Let's look in Carole Landis1 date book. All
those appointments you see are her dates
with Victory, her advance payments on
her share of the world of tomorrow
By Elizabeth B. Petersen
GET
andid close-
p you've been
sking for — of
hat brilliant
rtd brave new
ohnson boy
First portrait of Van
since the automobile ac-
cident which almost cost
him his life. Scar on his
orehead is symbol of
(he courage which pulled
him through. See him
n "A Guy Named Joe."
i
WELL, GIRLS, you might as well face it. Van Johnson,
that idol of American womanhood, was a Meglin
Kiddie. And as precocious as all get-out. "I was the
most obnoxious brat I've ever known," Van adds with a grin.
When he squeezed his little plump body into candy-striped
pants and a flashy coat, plopped a straw hat on his blond
curls at a rakish Chevalier angle, waved a diminutive cane
and sang "Dinah" in a choir-boy soprano, all the mothers in
the audier>'r : out in dovelike coos. But the fathers
wincer and went out for a quick beer.
The led Meglin Kiddies in Newport, Rhode
Island vas born and brought up, but it was the
same idea. Van's mother stuck him in dancing school — every
Thursday night at five o'clock — when he was seven going on
eight so he'd learn to coordinate better. He quickly became
a favorite of the lady instructors, and of the pretty little girls
in the class, need we add. And every few months when they
staged a Kiddie Revue, fifty cents for the best seats, Van had
a couple of good numbers.
"I can see myself now," says Van, "leaning on my cane and
giving out with 'If you were the only girl in the world' while
the little girls in fluffy pink dresses did Tiller girl routines
back of me. At the end of the act the audience would break
into hysterical applause. I strutted (Please turn to -page S6 )
40
She isn't young or beautiful, but she has more
men in love with her voice than are lured by
Lana Turner's looks. Meet Gracie Fields, folks!
GRACIE FIELDS is one of the most
famous names in theatrical his-
tory- To the English, she is prac-
tically an institution. To the boys in
the RAF, British Merchant Marine, and
in the English Army and Navy, she is
"Auntie Gracie." To many of the boys
here in our own camps, she is fast be-
coming a favorite. Her fame as a morale
builder has earned her the designation
of a military objective by Herr Goebbels
and Co.'s shriekingly hysterical propa-
ganda machine. Yet, in Hollywood
where she has lived for the past few
years, she is still not recognized when
she appears in public!
This strange situation is about to be
corrected. When 20th Century-Fox re-
leases "Holy Matrimony," in which
Gracie co-stars with Monty Woolley,
Gracie Fields will be known by all — but
definitely!
Gracie, despite the pictures you see
of her facial contortions, is a very at-
tractive woman. She is about five feet
six, with fine fair skin, and she possesses"
Great comedienne with the common touch:
Gracie, shown shopping in Southern Cali-
fornia's famous open-air market, bargains
with Lena Carfora over the delicatessen.
a mature sort of glamor. She is no
antique. As she blithely announces, "I'm
45. And me hair is blonde, but I touch
it up, I do!"
Gracie was particularly excited about
making "Holy Matrimony," her first
American film of any importance. Her
spot in "Stage Door Canteen" was an
impressive but brief one. "Holy Matri-
mony," then, is her first starring picture
since the days of her great successes as
England's best-loved and highest-paid
actress.
"I didn't like pictures much before,
I didn't," Gracie told me as we were
having lunch at the studio one day. "I
was always having to fall on me face or
go riding about on trick bicycles. I felt
like a bloomin' wreck all of the time, so
I stopped making faces at the camera.
But in 'Holy Matrimony,' it's different.
I don't fall on me be'ind once in this
film. I'm a real lady in this one." She
laughed and added, "In fact, I'm now
a 'drahmahtic' actress. I don't even
warble a note in the picture."
Most of Gracie's fans won't welcome
that bit of news. After all, her fame
has been largely built on her inimitable
vocalizing. There's nothing that so de-
lights her large public as to hear her
climb up on a high note, crack gleefully,
and come sliding down as she does in
such numbers as Walter, The Biggest
Aspidistra in the World, and He's
Dead But He Won't Lie Down. Yet,
Gracie can really sing when she wants
to. Her large public will insist that she
is tops when it comes to giving out
with a sentimental ballad. And when
she does one of her Sunday songs, as
she calls her religious numbers, few peo-
ple can hear her and not be truly moved.
Her rendition of The Lord's Prayer
in "Stage Door Canteen," as a matter
of fact, is considered one of the film's
real highlights.
Gracie has a large repertory of over
300 songs. During her six months on
the air over the Blue Network, she has
sung 177 songs. She likes radio, but her
one worry is: where are some new songs
to sing?
To go back to pictures, the only thing
she dislikes about picture making is all
the fuss made over her hair and her
make-up.
"Imagine me getting my hair fixed
up every day!" Gracie said as our con-
versation continued. "And always in the
same way. Why, I never leave my hair
in the same style more than two days
in a row. And as for the make-up!
Why, they're trying to make me look
like a glamor girl. But it's no use. I go
in the makeup room looking like never-
mind-what and I come out looking like
never-mind-what."
Hollywood has never been able to
change Gracie and no matter how suc-
(Please turn to page 77)
Facing page catches ear-
phone, entertaining :
mom and pop, with her
and in a scene from \*
Matrimony," with her cr •
:- at
the micro-
-•/ith her
y Banks,
, "Holy
Voolley.
Food fights for freedom, and Holly-
wood helps! Here, a famed studio
steward gives valuable advice to
Mrs. American Housewife on pre-
paring patriotic, palatable menus
By Barbara Best
FOR ALMOST ten years, a brisk and friendly gentleman
by the name of Nick Janios has been making 20th Cen-
tury-Fox stars and executives happy when hungry.
Managing a studio commissary like the famed Cafe de
Paris is no mean responsibility, what with some stars dieting
to lose weight and others trying to gam it. Accomplishing the
task- — and healthy nutrition at the same time — is hardly sim-
plified under the present wartime rations and scarcities. Espe-
cially when you serve luncheon daily to more than 4,000
people.
"Feeding people what they want is my business," Nick will
tell you philosophically. "The government says feed them
healthy; that's my business, too."
The genial maitre d'hotel is a recognized authority on the
culinary arts. He's been specializing in fine foods for more
than 40 years, having been associated with New York's Knick-
erbocker hotel and Hollywood's Brown Derby before being
coaxed away in 1937 to manage the busy studio commissary.
And Nick, whose chefmanship first attained fame in the
days when food was plentiful in quantity and quality, won't
admit that war shortages arouse an insurmountable problem
in devising nutritious and popular wartime menus.
"Something we can't get," he explains optimistically, "I
think up something else. Maybe they like it better. Nobody
complain."
Keeping studio workers happy — and healthy — is Nick's
watchword. The pleased palate of such stars as Alice Faye
and Don Ameche is his own private Oscar. And he'll go to
great lengths to serve sc meal that tickles every studio eater
from Darryl Zanuck himself to Zanuck's secretary.
Take a little thing like sour cream, for example. Not long
ago creameries stopped making it, due to shortages of help
and increases in other requirements. Nick needed sour cream
to improve available and nutritious foods such as fruits, vege-
table sauces, and giblet juices. It took some little persuasion,
but Nick secured the secret recipe from the dairy, and now
the Cafe de Paris makes its own sour cream.
As for the prime problem of balanced meals, you may ask
how Nick maintains his standards of variety, health, and
satisfaction — at the same time meeting the recommendations
of the government's Office of Defense Health and Welfare
services.
A look at the Cafe de Paris menu conveys the answer, for
a sample bill of fare includes every requirement of healthy,
well-planned nutrition. Some typical examples:
Grilled halibut steak
Baked filet of barracuda
Poached eggs Vienna with bacon
Duck croquette with wild rice
Cold Dutch luncheon
Constance Collier Salad bowl
Selection of entrees reveals one Janios secret, solution of
the meat shortage problem. Meat appears on the menu only
three times weekly, but Nick has (Please turn to page, 82)
As maitre d'hotel of 20th
Century-Fox's Cafe de Paris,
Hollywood's famous studio
commissary, Nick Janios has
the privilege, and problem,
of feeding such stars as
Betty Srable and Laird
Cregar (left). Nick is shown
above with his chief chef.
43
King of character actors
reveals here for the first
time how the Hardy Family
ushered him into pictures
—an exclusive interview!
Squire
COBURN
of Hollywood
\
V
if
IF* N.
MR. CHARLES COBURN has a
very tender feeling for the Hardy
Family. He wishes it long life,
long queues at the box office. He would
as leave miss a Hardy Family picture as
pass up an opportunity to do the rhumba
with Miss Carmen Miranda, of which di-
version (and damsel) he is passing fond.
He thinks Lewis Stone's Judge Hardy is
"splendid," Fay Holden's Ma Hardy "ex-
cellent," and Ann Rutherford's Polly
Benedict "charming." Regarding Mickey
Rooney's Andy Hardy, Mr. Cpburn
really goes to town.
"A vivid characterization — very vivid,"
says Mr. Coburn, clapping monocle to
eye, a gesture that has identified him as
British by millions of fans. (He is as
British as Rhett Butler. More anon.)
Reward for his hit performance in "The
More the Merrier" is stardom for Coburn in
Columbia's "My Kingdom for a Cook," in
which Marguerite Chapman plays the femme
lead (below). Rare photo at left shows
Coburn in first and only cheesecake pose.
/
"Superb. Sensational, even — if I may
borrow an adjective from Andy Hardy."
You have every right, gentle reader,
to wonder how come the Hardy clan
rates such extravagant praise from the
screen's matchless mummer, a pluperfect
player whose chores in "The More the
Merrier" are just about a cinch to get
him tapped for an Academy Award. And
you have every right, gentle reader, to
expect an answer. Which you are on the
verge of getting. Mr. Charles Coburn
has a tender feeling for the Hardy Fam-
ily because, in a way, it was the Hardy
Family that launched his picture career
which, to borrow a word from Andy
Hardy, is sensational.
For thirty years he had resisted the
siren call of Hollywood which, to one of
the shining adornments of the American
stage, can be pretty enticing. It was al-
most a routine. Come the first let-up in
the Coburn chores and the representa-
tives of every studio in Hollywood would
start beating the door down to make him
a proposition, to wit: provided, of course,
he passed the screen test, how would he
like to be signed to a nice li'l old five-year
contract at, say. $1000 a week for the
first year, $1250 a week the second year,
$1500 a week the third year.
At about which time Mr. Coburn
would interrupt with the query: "Doing
what?"
The Hollywood representative would
burst into a guffaw. " 'Doing what?'
That's a good one! Coburn — I mean Mr.
Coburn — you're a card. Ho-ho-ho-ho-ho!
What else would you do but act? Or do
you double on the tight wire? Ho-ho-ho-
)io-ho!" Eventually subsiding, he would
pick up where he left off. "Well, like I
was saying, we'd pay you all this lettuce,
and all you'd have to do would be to go
from film to film, all of them A's, mind
you — playing fat character parts."
" 'Character parts!' " Mr. Coburn
would exclaim. "How touching! 'Char-
acter parts,' indeed! If I know Holly-
wood's conception of character parts, Td
go from picture to picture playing stereo-
types. Let me run them off for you.
First, of course, there 'd be the sputter-
ing sire who doesn't understand his im-
pulsive, beautiful daughter. Next there
I Please turn to page 84)
Squire Coburn of Hollywood, below, with
Olivia de Havilland in "Princess O'Rourke."
Center, bearded for new role; and, right,
greeting Major Ted Tetzlaff whose last civil-
ian assignment was photographing Coburn
and Jean Arthur in "The More the Merrier."
AT THE
SHIPYARDS
tusan Hayward visits ship-
yard plant for the commis-
sioning of the S.S. Jack
London, the Liberty ship
named for the noted author
As co-star of Michael O'Shea in the
forthcoming film based on the author's
life, Susan Hayward inspected the Liberty
ship, S.S. Jack London, just prior to its
delivery by Marinship Corporation into
the merchant service. Our photos show
Susan illustrating what happens when a
girl applies for work in the shipyards:
she is interviewed (beiow), finger-printed
(right below), "mugged," opposite page,
and Susan receives her safety hat before
starting day's work as shipyard "pick-up
girl" to aid in reclaiming steel scrap.
See how lovely
DELTAH PEARLS*
flatter the natural
beauty of your
flesh tones!
Lustrous, iridescent,
creme-rosee ... so
like precious Orientals.
Necklaces and earrings
perfectly -matched.
4/m (Quthzeleui
Lovely 20th Century-Fox Star
in "HAPPY LAND"
*jimu/afed
Jim Allen of Marinship, above, can't help hold-
ing hands with Hollywood starlet Hayward as
he fingerprints her, but he is definitely camera-
shy. Susan merely posed for these pictures as
a defense worker; actually Miss Hayward is busy
working in Samuel Bronston's "Jack London" film.
Fireworks from the new Bette Davis
picture, "O Id Acquaintanc e," in
which she mixes with Miriam Hopkins,
makes with the romance with Gig Young
BATTLE
Scenes of terrific emotion between Hopkins and Davis
occur when Miriam, in a violent burst of jealousy
because she believes Bette is stealing her husband
(played by John Loder) turns on the other woman
and smashes their long friendship by repeating every-
thing vile she had ever thought of her. It sizzles!
J ho»gh sh„ . ^*
,ov* with ^. '"^Iv ■ '
•ae'» other.
49
Lovely Anne Baxter,
who can look as glam-
orous as the next girl,
shuns the pretty for
when she
plays a peasant in
Samuel Goldwyn's new
drama of gallant Rus-
sia, "The North Star"
Facing page shows Anna as
Marina, with Farlay Gran-
gar, Hollywood's youngest
romantic acting find — tha
youthful leads in tha stir-
ring Goldwyn drama by
Lillian Hellman. Photograph
by Margaret Bourke-White,
famous war photographer
and correspondent who cov-
ered the actual Russian
front at the period of the
picture. Closeupsshow other
actors in "The North Star,"
reading from top: Dean
Jagger, W a 1 1 e r Huston,
Walter Brennan, Eric Rob-
erts, young Granger, Erich
von Stroheim, and, extreme
right, Jane Withers in
her first dramatic role.
y
RKO Radio
Picture*
[JKn
GABBY HAYES GETS A BREAK
m
Good old stanc v of the Westerns,
George "Gabby" Hayes has his
biggest role \v "In OH Oklahoma."
with John Wayr and Martha Scott
They say that when "Gaoby" he* he was not
cast tor the next Roy Rogers sago opera, he
thought he was "through." lut Republic Pic-
tures had a surprise for the! - qrand rid char-
acter man: cast him in his best part, that of a
lovable old codger in the picture based on the
story, "War of the Wildcats," by Thomson Burtis.
52
IBB
m
Hollywood is on a frenzied
soared for now facos — and fig-
ures; and the latest finds of the
frantic talent scouts are these
two charming young people.
Miss Bel Geddes has just been
signed to a long-term contract
by United Artists producer
Hunt Stromberg. Her first
screen test makes her a leading
candidate for Pulitzer Prize role
of Evelyn in "Guest in the
House." See Barbara illustrat-
ing cheese-cake art, at right.
Tony Devlin, Long Beach, Cel.,
boy, is 6-footer, athletic, signed
by Edward Small Productions,
slated to appear in "The Raft."
J*!
- v
r
S&s
\ 3
Fashion news! The
great Adrian cre-
ates brilliant cos-
tumes for a great
star. How do you
like streamlined
Deanna Durbin?
« m
1 >
/J
Adrian
Designs
earn
I
Just to prove she doesn't take her new
clothes personality too seriously, Deanna
poses for us wearing not only three new
coiffures but her famous, endearing grin!
Universal has given her a lively script for her
new picture, "His Butler's Sister." Adrian
has designed the stunning costumes. Her
previous film, "Hers to Hold," rolled up
big box office grosses. No wonder the
delightful Durbin is happy these days.
Black jet on black wool, below. White
-
HERE'S HOLLYWOOD
56
FANE WYMAN gave a party for Frank Sinatra,
" and what a million dollar evening of enter-
tainment it was. Dinah Shore sang. So did Ann
Sot hern. George Murphy and Jack Carson did an
impromptu comedy routine they are going to do
at Army camps later on. Then Sinatra sang I've
Gat A Woman Crazy For Me. Every glamor girl
in the room sat frozen and well composed. But
make no mistake, they were thrilled! Frank really
has something in that voice. He's nice and modest
about it, too. All of which makes it rather pathetic
that those who are guiding his destinies apparently
encourage the frenzied demonstrations from the
slick chicks. After meeting Frankie, we can't be-
lieve he sincerely goes for it.
^V7"EP, we saw it happen ourselves so we know
it's true. Mickey Rooney blushed! He walked
or the set ORe day weariRg a tiny pair of shorts.
As a gag everyone started whistling at him the
way they do when a bathing beauty makes an
entrance. Mickey had to walk the full length of
the stage and he got redder by the moment. We
never thought we'd live to see the day.
JUST off-hand we'd say this was rather tactless
on Dennis Morgan's part. He asked Ann Sheri-
dan if she'd mind a friend of his visiting on the
set. Of course Annie didn't mind and said so.
But imagine her chagrin when she looked up and
saw her ex-husband Eddie Norris, standing back
of the camera. Did they speak? They did. "You
look much thinner," said our Annie.
[" ANA TURNER'S husband has been given an
honorable medical discharge from the Army.
Remember we told you how much trouble he was
having with his feet? It was impossible to cor-
rect them. So now the life of Lana is running once
again in a domestic routine. If you think she
was pretty before, you should see what mother-
hood has done for her.
A Sf DE from buying her weight in Victory
Bonds, Shirley Temple is making still further
effort to help the great cause. As a junior Red
Cross member and junior home nursing student,
Shirley is appearing in a skit at local women's
club meetings which dramatizes the services ren-
dered by. home nursing students. Imagine, young
Shirley is now at the hand-holding stage! For
taking a pulse, we mean. ~
IT OLL Y WOOD is all out for turkeyless holidays
and hopes other cities will follow suit. This
year every available bird belongs to those boys
who are fighting the war for us. With so many
farm hands doing their share at the front, there
is bound to be a turkey shortage. Bette Davis and
John Garfield started in July to line up Christmas
and New Year's dinners for the soldiers who
would go turkeyless, if it weren't for the Holly-
wood Canteen.
r> ARBARA STANWYCK has sold the big home.
Too much space and too many memories of
Robert Taylor. After Bob got to his headquarters
he discovered what Bar- (Please turn to page 58)
Gay group at top: Alice Faye, Frank Sinatra, Ginger
Rogers, Ed "Duffy's Tavern" Gardner, at recent Com-
mand Performance broadcast at CBS; center, Wally
Beery escorting Aurella Nawrocki and his cute daugh-
ter Carol Ann at Hollywood premiere of "For Whom
The Bell Tolls"; right, Annabella, Ty Power, and Mrs.
Darryl Zanuck registering comic concern over one
empty seat at Naval Aid Auxiliary's presentation of
the Brentwood Players in the heart of Hollywood.
OSSIP BY WESTON EAST
CANDIDS BY JEAN DUVAL
Good news, below: Abbott and Costello in
action again! Chubby Lou is getting better
fast, huddles with his partner over blueprints
of the hospital they will build at Palm Springs
for treatment of rheumatic fever, from which
Lou suffered six months' siege. Reading from
top right: Hollywood Canteen picnic brought
out Ginny Simms, Jean Gabin, Marlene
Dietrich, John Garfield; Mary Picltford and
husband Buddy Rogers and Basil Rathbone.
Ronald Reagan, now a Captain, and wife
Jane Wyman broadcast for Ronnie's brother,
Neil (at microphone). John Garfield and his
wife join J. Edward Bromberg at Mocambo's.
Glittering star group at left
above includes Dinah Shore
and her steady beau, Private
George Montgomery; Alexis
Smith and her fiance, Craig
Stevens; Joan Leslie and her
escort, Bob Hutton. Above,
friendly cheek-peck by Jimmy
Ritz makes pretty Ann Miller
giggle. Closeup at left shows
Kay Francis with noted author-
artist Ludwig Bemelmans.
Claudette Colbert, now playing
Shirley Temple's mother in
"Since You Went Away," is
shown, left, at Mocambo's with
producer Bill Goetz. That's Mrs.
Goetz, Claudette's best friend,
in background. At far left,
Mickey Rooney with newest
heart-throb, Helen Mueller, one
of the Columbia "Cover Girls"
from New York. She's as tall
as his ex-wife Ava Gardner.
bara had done for him. Every sock,
handerchief and piece of underwear had
his name attached on a neat label. Bar-
bara sewed them on herself. The rest of
Bob's civilian clothes have been put
away in storage. Barbara is living in a
small house in Beverly Hills. Like every
other wife, she watches by the window
for the mailman.
rPHEY were shooting a scene for "All
Baba and the 40 Thieves," where
Maria Monte/, (wearing a smile and a
few bits of gauze) was on a litter being
carried by Central Avenue "slaves." Be-
tween shots an interviewer was asking
Maria what part all this played in the
story. "Oh, this has nothing to do with
the actual plot." Maria assured her in-
quirer. "They're just shooting me in this
sequence for the sheer beauty of it!"
58
NOW that M-G-M has failed to exer-
cise its option on Phil Terry, every-
one is expecting him to follow Mrs.
Terry (Joan Crawford) over to Warner
Bros. This studio, by the way, is search-
ing for the right story to co-star Joan
and Errol Flynn. They feel the combina-
tion will be surefire at the box office.
Could be!
A CCORDING to Gracie Allen, Bing
Crosby is the richest actor in Holly-
wood. "He has five horses he hasn't
eaten yet," says Gracie.
1\J ICE as they are, no one. could ever
' ' accuse George Montgomery and
Dinah Shore of being the life of the
party. Dinah never touches anything
stronger than ginger ale. George only
drinks cokes. In their spare time they
go hunting and whisper sweet nothings
in the moonlight. It's romance, all right.
NOW that she's earned her overseas
campaign bars. Captain Martha
Raye hitchhikes just like any other
soldier. Recently she arrived at a party
given by Orry-Kelly and told an amus-
ing story. A civilian she thumbed a
ride with kept looking at her out of the
corner of his eye. Finally he said, "When
the war's over, you ought to get a job
in the movies. You look like Martha
Raye, only prettier. I'll bet you could
act rings around her, too!"
PIN-UP mother is what Betty Grable's
going to be when her baby is born
next summer. She couldn't be more
thrilled over the prospect of welcoming
the Harry James heir or heiress.
SCIilliI la
Little girl, big voice! Salute
to Kathryn Grayson, whose pi-
quant charm combined with a
surprising coloratura makes her
screen's new singing sensation
In its big all-star musical show,
"Thousands Cheer," M-G-M pre-
sents a fresh, provocative per-
sonality who looks like a love-
ly imp, and sings like an angei
In scenes with Jose Iturbi, himself a
new screen sensation (above), and with
popular Gene Kelly (top left), Kathryn
Grayson more than holds her own.
SCREENLAND
59
• v,
older and would ad lib or contribute a
funny bit of business to the act, his
mother, who controlled the family purse
strings, would pay him off in small dia-
mond rings. Which hi time, as Donald
got more and more laughs, became bigger
and bigger. He wears a goodly size spark-
ler today, mounted in a gold setting.
Donald's mother made him wear a
Buster Brown hair cut and pretty, cream-
colored suits in the act, and the kids in
the towns where the act played were
always calling Donald "sissy." One day
in a middle western city, Donald stepped
out into the theater alley for a breather
between shows — they often did five and
six a day — and met up with a most
obnoxious character. "Hey, Goldilocks,"
he sneered, "I betcha got lace on your
panties." Donald knew his mother would
pin his ears back if he got his suit mussed
before the next show, so he pretended he
hadn't heard anything. But the guy kept
heckling him, until finally Donald couldn't
stand it any longer. He pitched in and
beat him to a pulp. (His father had been
Chuck Connors, professional boxer for
years, so Donald came by his good fists
naturally.) Then he straightened his
collar and his diamond ring and marched
back to his dressing room. He grabbed
the scissors and cut off his hair. "That
was the zootiest haircut I ever had," he
says with a grin. "My poor mother took
one look at me and cried for days." After
that he was known from Chicago to San
rl
r. little guy in show
name is Donald
or. Donald is the
:'e's mother wanted
mother wanted to
he name his mother
ne his father liked,
onald likes; one of
nald Colman, and
ms being that a
. it was his lucky
ere's something to
rouper all save the
n years, and knows
;de. The O'Connor
i, fairs, tent shows,
Donald O'Connor "cuts a rug" with Judy
Garland at the double birthday party in honor
of Donald and Peggy Ryan, his screen danc-
ing partner, at the Barney Oldfield Club.
medicine shows, country clubs, and
vaudeville theaters from the Palace in
New York to the Orpheum in Los Angeles.
When he was thirteen months old he was
dancing the Black Bottom. When he was
five, dressed as a little girl, he was sing-
ing with a lisp, Keep Your Sunny Side
Up. His first picture offer came when
he was thirteen. He and two brothers
were appearing in a benefit performance
in Los Angeles when an assistant director
from Paramount spotted him. He was
signed to play the kid in "Sing, You
Sinners" with Bing Crosby and Fred
MacMurray, and was such a hit that
Paramount put him under contract. He
made eleven pictures. But the O'Con-
nors were restless, the act couldn't do
without Donald, so when they got book-
ings for big time theaters in the East,
D ollywood goodbye. But
so his brother Bill died, at
26 »roke up the act. Then
ca ir II, and the O'Connors
fo -s down to their last thin
dii >d, way out there in the
or; ooked pretty good now.
So i's agent wired him fare
to the Coast, Donald hopped the first
train. Universal promptly signed him on
the dotted line, and stuck him in a little
number called "What's Cookin'?"
What, it seemed, was cookin' was Don-
ald O'Connor. After four or five of these
inexpensive, juvenile musicals, the studio
discovered that most of the fan mail ar-
riving on the lot was for young O'Con-
nor. And most of the preview cards read,
"Give us more of Donald." Universal
was quick to take the hint. They believe
that audiences are the best talent scouts.
So they made Donald a star, and upped
the budget considerably oft "Mister Big."
Ready for release soon are "Top Man"
and "This Is the Life."
Despite the fact that Donald is a sea-
soned performer, he's still a typical eigh-
teen-year-old American boy. His pride
and joy is an old jalopy he constructed
with his own hands from two cast-off
models of Henry Ford's earlier engineer-
ing endeavors. Total cost to Donald was
$37, saved from the allowance of $20
weekly doled out to him by his mother.
He'd rather tinker with that jalopy than
eat, and that's really something. He likes
every kind of sport, and goes regularly
to the fights at the Olympic. He has been
working so hard the past few years he
hasn't been able to keep up with his golf,
but he likes to recall that in a tourna-
ment that Bing Crosby was in, in 1938,
he won 24 quarts of oil. When he isn't
working he goes to school at the studio
from 9 to 12. His easiest subject, he
says, is American literature; his hardest
is French — he's been taking it for a year
but can't seem to get beyond page 23.
Like most actors, he is very senti-
mental. He has a gold watch, belonging
to his father, that has been all over
America ten times. He has his first tuxedo
— the one he wore in the act when he
was four years old. His favorite picture
of himself was the one taken with Billy
Curtis, a midget. When he was a kid he
and Billy used to pal around together,
and Donald was tickled to death when
people thought he was a midget, too. He
and Billy used to dress alike — suits and
spats and silver-headed cane, and have a
wonderful time fooling folks. When he
got too big to be a "midget" he decided
he wanted to be a John Barrymore.
When he got a raise in salary several
months ago he bought a house for his
mother. He paid $5,000 cash. It's a
small place, has three bedrooms, and a
gadget-equipped kitchen. His own place
is above the garage in the back-yard.
He hasn't furnished it yet because he is
torn between the South Seas atmosphere
and something modernistic. When his
mother doesn't feel up to par Donald
pitches in and does the cooking. His
specialty dinner consists of creamed car-
rots and creamed peas, and a thick steak.
Everybody in Hollywood likes Donald.
He's such a friendly guy. No one has
ever called him a "smart aleck." That
makes him practically unique.
60
S GREENLAND
SHE'S LOVELY !
SHE USES POND'S !
Adorable Rosemarie Heaveys engagement
to Pvt. Lee E. Daly, Jr., unites two Baltimore
families dating back to colonial times
HER RING — has eight small diamonds
either side of the solitaire. It is an
heirloom diamond worn by Lee's
mother and grandmother.
ROSEMARIE HEAVEY HAS ENDEARING SOUTHERN CHARM ... a halo of
gold brown hair ... a complexion exquisitely soft and smooth. "I just
trust my face to Pond's Cold Cream," she says. You'll love this soft-smooth
beauty care with Pond's for your face, too.
HIS YEAR, the carefree days of Balti-
more's Cotillions seem very far away to Rose-
marie and her friends. "All my crowd are war
workers now," she says. "With our men in the
services we feel ive must do something, too."
She is training with American Airlines in
Washington to fit her for any job around the
airport that a girl can do. "I've never worked
harder, but I love it," she says.
"And am I grateful for my Pond's Cold Cream
when I come off my shift at 8:00 A.M. ! It's won-
derfully refreshing to smooth' that nice cool
cream over my tired, grimy face. It leaves my
skin with such a clean, soft feeling."
She "beauty creams" her face like this:
SHE SMOOTHS on Pond's snowy Cold Cream,
then briskly pats it over her face and throat to soften
and release dirt and make-up — then tissues off well.
SHE "RINSES1' with a second Pond's creaming
to help get her face extra clean and extra soft —
swirling cream-coated fingers around in little spirals
— over forehead, cheeks, nose, mouth. Tissues off.
Do this yourself — every night, every mornir.g
and for daytime clean-ups.
LEARNING TO BE
A HANGAR HELPER . . .
Rosemarie clears baggage
being loaded on a plane. She
will soon take over a man's
job at one of the big airfields.
OFFICIAL WAR MESSAGE— In
many areas women are needed
to fill men's places — in stores,
offices, restaurants, utilities,
aundries, community services.
Check Help Wanted ads — then
get advice from your U. S. Em-
ployment Service about jobs
a you can fill.
ITS NO ACCIDENT lovely engaged girls like
Rosemarie, beautiful society women like Mrs.
Victor du Pont III and Britain's Lady Doverdale
prefer this soft-smooth cream. Buy your jar of
Pond's Cold Cream today.
'ffoctay— TMiny more tewmen. -aJe CPcmdit
t/um any ofAer/ewe cream atany^rtc*
SCREENLAND
61
If you lead him by the heart ... if
you lead in the activities and drives
of today ... if your crowd happily
follows your lead . . . choose Varva's
'"Follow Me," the parfum that leads—
and lasts! Extract, $1 to $15
Extract, $1 to $15
Face Powder, six guest puffs, SI
Talc, 55<i; Sachet, $1 & $1.75
Bath Powder, $1
Bubble Foam, $1
(plus taxes)
V A R VA
THE FRAGRANCE THAT LEADS AND LASTS
19 Wen J8ih Street, New York 11, N.Y.
Schedule for Tomorrow
Continued from page 37
entirely unexpectedly as wartime home-
comings are apt to be. But Carole found
she couldn't keep that promise she had
made to herself. For the Third War
Loan Drive had begun, and Carole had
pledged herself to help. There was the
trailer she was making for the Treasury
Department, the speeches scheduled for
her. She didn't back out of any of the
appearances that had been planned for
her, except one or two when other stars,
remembering how Carole was always the
first to volunteer, substituted for her.
Everyone knows of the trip she made
with Martha Raye, Kay Francis and
Mitzi Mayfair to entertain our troops
overseas. They went to England, Ireland
and North Africa and by the time they
had made 150 personal appearances and
given 125 shows, they had travelled
some 50,000 miles by plane, truck and
jeep. Once the bomber they were trav-
elling on was attacked by ack-ack and
they gave performances so close to the
front line in Africa they had to spend
a lot of their time in shelters while the
Messerschmitts roared overhead. Yes,
every one knows of that trip and admires
the four courageous girls who made it.
But there aren't many people who
know about the other trips Carole makes,
trips that aren't exciting and adventur-
ous as that one overseas, rather hum-
.drum trips, trips in which nothing more
happens than that the air-cooling system
breaks down on a train or the water
cooler is out of order or the diner has
been taken off to accommodate an extra
day coach. She hasn't turned down one
of these uncomfortable trips, going to
places where the TJSO doesn't usually
reach, or to Bond rallies or any other
place the Government sends her.
Weekends that used to be spent rest-
ing or playing tennis or visiting are gone.
Carole spends those weekends going far
into the desert or down South to camps
so far away from a town that week-end
leaves for the boys mean only hanging
around quarters with nothing to do. She's
gone to the same camps four and five
and six times, changing her songs and
hoping only the boys wouldn't get sick
of her. (Aside to any of you boys listen-
ing in. It isn't a gag. The girl means it.)
We had lunch together a few days
after she came back from Michigan. It
was a fifteen hundred mile trip to the
copper country for the two-day rally un-
der Army, Navy, War Manpower and
War Production sponsorship, and its
double purpose was to celebrate the cen-
tennial of the discovery of copper in the
northern peninsula and to stiffen the
morale of the miners, so important to
our war effort.
She had a broadcast the evening she
left, with a repeat for the West Coast
scheduled at 12 o'clock, and her plane
for Chicago was leaving at one. Every
second counted getting out of the gold
lame evening dress she was wearing and
packing it in her bag, dressing in travel-
ling clothes and then, with a motorcycle
escort clearing the way, arriving at La
Guardia with two seconds to spare.
Two soldiers in the plane, sitting in
front of her, didn't recognize her. They
were going home on furlough and they
were in high spirits and very conscious
of the entrancing blonde girl behind
them. They began to sing, and Carole
who can never resist a chance to har-
monize hummed along with them. In
the middle of a song they faltered and
one of them turned asking if she knew
the words. She leaned over toward them
and sang in a low voice the song she had
sung at the Stage Door Canteen to
thunderous applause only a few evenings
before. When she finished the boy said,
"You have a real nice voice."
The plane arrived in Chicago at six in
the morning and Carole, to quote her-
self, was a pretty tired and bedraggled
- character. She wouldn't have wanted her
own mother to see her at that moment
and consoled herself with the thought
that at that hour there wouldn't be any
interviewers or cameramen to meet her.
But she was wrong. She was met by a
barrage of candid cameras, each of them
manned by an eager Reserve Coast Guard
man. There were hundreds of them an-
nouncing she was to have breakfast with
them as they took one shot after an-
other. Carole grinned at the Spars there
to meet her too, knowing only other
women would know how it felt to be
photographed at that moment. And it
was harder for her knowing the glamor
demanded at all times from a star.
So there was breakfast and an im-
promptu performance instead of the hour
and a half rest at a hotel. Gone was the
luxurious hot bath, the half hour's sleep,
the chance to freshen up. Gone were her
accommodations for the train to Wiscon-
sin too, which she was to have picked up
at the station, for by the time the boys
took her to the train the gates were al-
ready closing. Running frantically with
the Coast Guard Reserves clearing the
way she just managed to make the train.
When she got off at Green Bay to take
the hundred and fifty mile automobile
trip to Iron Mountain, Michigan, the
station was packed with people welcom-
ing her. After all, hadn't she been born
in Wisconsin, wasn't she their own par-
ticular star? Carole couldn't just say
hello and goodbye to people who had
waited for hours to welcome her. Even
though the train had been late and she
had to make the long trip in much less
time than had been planned she gave
one of those straight-off-the-shoulder
speeches of hers and it helped later to
know that Green Bay had oversubscribed
its quota of bond sales that afternoon.
There hadn't been a diner on the train
and Carole hadn't eaten since breakfast.
But there wasn't time to stop. One of
the State Troopers escorting her to the
Michigan line raced ahead on his motor-
cycle as they were approaching a town
and bought sandwiches and coffee at a
drugstore and Carole ate as the car sped
on. She had to get to that rally in
Houghton on time. The copper in that
section of Michigan is vitally important
because of its quality and not enough of
62
SCREENLAND
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it was being mined. Men have to go
over a mile in the ground to get to the
rich stores of ore and working conditions
are difficult. Miners were leaving for De-
troit and other defense centers, whose
output ironically enough partly depended
on the mining of that very copper they
were abandoning.
"We were awfully late," Carole said.
"The owner of the hotel had dinner wait-
ing for me knowing I had missed the one
that had been planned before the rally,
but there wasn't time to eat it. I just
had time to run a comb through my hair
and fix my face a little before I was
rushed over to the auditorium. Some-
thing happened to me when I saw all
those men sitting there waiting. They
had long, hard hours and they were des-
perately tired, but still they had waited.
Their wives and children had waited too,
because they had never seen a movie star
before. I'd have liked to sing for them,
maybe tell them things about Hollywood.
That's what they wanted, I know, but it
wasn't what I was there for. We were
in a war and we were all fighting it to-
gether."
So instead she talked to them of the
boys in Africa, some of them who might
have been their sons. She had seen those
boys and had talked to them and as she
spoke those listening men felt as if they
had been in Africa too, as if they had
seen and talked to those boys too.
"I think at first they were disap-
pointed," Carole said. "But after a while
f ' " they were interested. I told them
I r how hard their working condi-
t re, but I told them that our sol-
diers' working conditions were even
harder and that their day was never
over. Those boys never complained. The
food isn't so good at the front, supply
lines are difficult to maintain, and they
don't have beds to sleep in. Even army
cots seem like those marvelous ads for
mattresses to boys who spend night after
night in foxholes, when they have a
chance to sleep on them. And yet the
only gripes I ever heard were from
wounded boys, impatient to get back and
finish the fight.
"And I told them too that the first
thing those boys asked us was, 'how are
the folks back home, do they know
there's a war and are they behind us?'
We always said, 'of course,' but we
couldn't always believe it ourselves."
It was an honest speech, a down-to-
earth speech, and it struck home. Those
men forgot they had wanted to escape
from hard work and monotony for a lit-
tle while, that they had wanted a taste
of the excitement that is Hollywood and
that instead they had been brought
smack up against the reality of war.
But they knew the slender girl who had
talked to them so forcibly had a right to
talk the way she did, that she had earned
that right by her own unstinting efforts.
They stood in line to shake hands with
her afterwards, to promise as they filed
past her: "Next time you see those boys
tell 'em we're behind them all the way."
There was another trip and another
talk in Calumet and a military parade
the next afternoon in Hancock, before
the rally being held there that evening.
"I was to be hailed as the Queen of
Copper and they had made a crown for
me and asked if I wouldn't wear an
ermine coat. It was a terribly hot day
for that part of Michigan, over ninety,
as a matter of fact, and I'm afraid that
even if I had an ermine coat I would
have looked pretty silly. But I remem-
bered that gold lame dress and was
awfully glad circumstances had forced
me to take it along. For the little boys
and girls running along beside the float,
I wasn't Carole Landis at all, but all of
Hollywood, the Hollywood they had
never approached before, the Hollywood
that was all the mythical kingdoms of
their fairy tales, and now they were
actually seeing it."
The rally that night was over at ten
thirty and then there was the long trip
by automobile again. Even longer this
time because she couldn't possibly make
the train connection at Green Bay for
Chicago. She drove until five thirty in
the morning, stopping at an all-night
lunch wagon for a cheeseburger on the
way. Her plane was leaving at seven
fifteen and that meant the luxury of be-
ing able to stop at a hotel for a brief
rest before making it. It was only then
Carole realized she hadn't slept for thir-
ty-six hours.
But she wasn't tired. She couldn't
allow herself to be tired with all those
dates waiting for her in New York, the
dates that she has to keep in order to be
right with herself. For all those dates
jotted down in that stenographer's note
book of hers are Carole Landis' dates
with Victory, her advance payments on
her share of the world of tomorrow.
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Captain Gable, "Grim and Gay"
Continued from page 22
bruised and bleeding with their craft bat-
tered too. Clark is the narrator and he
appears in some of the actual flying
sequences. To gain the active experience
necessary, he went on a recent mission
but nothing will persuade him to describe
it. He does not consider it looms impor-
tant beside the many operations which
most of the other airmen on the station
have done.
"There was a lot of flak," he remarked,
"I'm told there always is. We were up
around 23,000 feet, I guess. The only
thing that bothered me was when I felt
hungry coming back and opened the
sandwich-box. Nothing in it — the other
boys had felt hungry first!"
Clark is pleased for you to meet his
crew, for he believes they should steal
the picture, not himself. These tough
young men grin unaffectedly as they
grasp your hand. Like the rest of the
Air Corps, they take Captain Gable on
his merit as a man, uninfluenced by the
fact that he was the movie idol of mil-
lions not so long ago. Fliers live for the
job and they do not make personal in-
quiries when a new captain of gunnery
comes to the airfield. "Has he got the
gen?" they ask, in the picturesque phrase
they have borrowed from the R.A.F.
Sure, this one knows all the technical
stuff and he's a good guy. O.K. then.
He's in the fight.
So it's a world away from Clark
Gable of the honeyed screen dialogue
and the romantic background to this tall
tough airman in the leather coat and the
heavy brown shoes, standing in the shad-
ow of his Fortress and talking about its
points. He clambers into the cockpit to
demonstrate the instruments, explains an
intricate detail of the machine-gun sight-
ing, grins at a passing sergeant who once
baled out when the ship was a complete
wreck and dropped 4000 feet before he
could open his parachute. This Gable is
serious and efficient, like well -tempered
steel, waiting to strike when the signal
shall be given.
He lives just like the rest of the air-
crews, in his own little section of a
wooden hut, with a narrow iron bed cov-
ered with Army blankets, a bare bureau
and the inevitable stove in the center
of the room. He eats with the other boys ■
at a long table in the mess, using the
hard-wearing blue and white Service
crockery and helping himself from the
generously heaped metal containers the
white-coated cooks carry in. Maybe it
reminds Clark of the days when he was
an aspiring extra, eating at the studio
cafeteria and reckoning out how much he
could afford to spend for lunch that
morning.
There are no towns near the airfield,
set apart amid the rolling green fields
and woods of an eastern county which
the Nazis have many times scarred with
their bombs. So Clark could not see a
movie even if he wanted to, for the local
theater is miles away and, always pro-
vided he could borrow one of the few
precious bicycles on the station, he still
couldn't make it in the short evening
break which is all an airman on service
is permitted while he is detailed for
duty.
Along with his friends from the crews,
Clark occasionally walks through the
winding dusty lanes to the little village
under the hill and has an evening glass
of beer at the inn, which he has learned
to call "the pub" in proper English fash-
ion. They drink in a small low-roofed
parlor, sitting on square old-fashioned
benches, with a tall oak grandfather's
clock solemnly ticking away the time in
the corner as it has done for more than
a hundred years. The sturdy red-faced
landlord beams at them paternally from
over the brass-railed bar and the scent
of the garden roses and the verbena
comes drifting to them through the open
casement. They talk about flying, ex-
clusively and whole-heartedly. Their
companions are the farmers and the
woodsmen who have lived all their lives
in this quiet corner of England, with
sometimes a couple of green-sweatered
Land Army girls, contentedly weary after
their long day's work on some neighbor-
ing farm.
Clark never talks with the girls in the
pub, as some of his fellow-fliers do. He
does not seem conscious that women
exist in the world of today, so utterly
engrossed is he in this arduous dangerous
job he has chosen for himself as his con-
tribution to the war effort. Many of the
Fortresses on the airfield have tenderly
reminiscent names painted on their
noses — there is "My Girl Jean" and
"Lovely Laura" and simply' "Gertie,"
with a snapshot of that pretty brunette,
back home in Pittsburgh, carefully fas-
tened in the cockpit. Clark's plane is
christened "Belly Gun," cold but appro-
priate for its fat body bristles with
machine-guns. When he does write his
brief air-mail letters to his friends back
home, Clark's news is bald and hardly
personal, the same for the women as the
men. There is no lovely screen star in
Hollywood who can truthfully boast that
Clark Gable sends her regular mail or
keeps her photograph beside his cot.
Making this new film for the officers
and men of the Air Corps means con-
Laraine Day and hubby Ray Hendricks at the
Palladium opening of Charlie Spivack's band.
(it
SCRK ENLAND
siderably more than acting and talking
for Captain Gable. He has to interro-
gate the combat crews for ideas about
equipment and clothing, listen to their
views on air strategy., take down notes
of their experiences when they return
from their missions, often in the cold
dark hours of the early morning. Some-
times he must travel to London to con-
sult with the senior staffs there, and only
then does he get a few hours of relaxa-
tion before returning to the job in hand.
One hot summer day Captain Clark
Gable did see a movie. "Casablanca," at
the Regal Theater. Then with a couple of
officer friends, he walked across Mayfair
to dinner at a restaurant which has be-
come exceedingly popular with U. S. per-
sonnel, probably because they like its
gracious panelled walls and soft green
carpets and courteous elderly waiters
rnd general atmosphere of quiet distinc-
tion. They had soup and roast pork,
with fried potatoes and cauliflower, and
then it was pointed out to them that
they had reached the five shilling limit
laid down under the food laws so they
had to do without dessert.
It is a strange life for a famous screen
star, so long accustomed to the brilliance
and the glamor and the luxury and the
wild adoring crowds. \et Clark seems
as cheerful and content as any man could
be, stimulated by the certain knowledge
he is playing his fine worthwhile part
during these breathless days of history.
Every morning he finds time to read
"Stars & Stripes," the U. S. Army news-
paper in England, so he knows some-
thing of what film folks are doing both
in London and at home. I talked to him
about Burgess Meredith and Gene Ray-
mond, both over here wearing khaki like
himself, and then we discussed "The
Shipbuilders." a new British movie in
which Clive Brook and Margot Grahame
are playing, and Clark laughed under-
standingly when I told him how Vivien
Leigh, posing in a classic white chiffon
gown for her portrait by famous Augus-
tus John, complained it made her feel
like Scarlett O'Hara as an angel!
When conversation passed to Laurence
Olivier, producing and directing "Henry
V," with all Shakespeare's peerless prose
so faithfully reproducing the Battle of
A-rincourt, Clark's eyes gleamed with a
sudden new light. "That's what I mean
to do after the war," he said. "It's the
man back of the cameras who makes the
film — I've learned that these last weeks."
So when Captain Clark Gable has fin-
ished his job and goes home to Holly-
wood, maybe he will take up an entirely
r^w role in the studio. That is only a
dim speculation at the moment for he
cannot spare the time or energy to dream
ahead when the demands of the present
are so vitally possessive. Tough and
vigorous, patient and determined. Gable
trday tvpifies everything that Winston
Churchill had in mind when he spoke of
the warrior who is "grim and gay," the
resolute fighting man who thinks of his
coimtry first and foremost.
Editor's Xote: As we go to press we
hear that Captain Gable has won the
5-Star Air Medal for "exceptionally
meritorious achievement while partici-
in five separate bomber combat
i" over enemv territory.
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With Bob in Britain
Continued from page 23
"You've got some children, haven't
you, Bob?"
"Girl and a boy. I've been so busy
these last months they haven't seen a
lot of me at home but I did get there for
a while just before I started out on this
Army tour. When I was leaving, I called
out: 'Good-bye, Linda. Good-bye, Tony.'
They called back: 'Good-bye, Bob
Hope. It's been nice to have seen you.'
Sort of making a personal appearance
in my own home, you know."
"So this is your favorite picture of
your kids, eh? The one you always carry
around in your pocket. They don't look
very much like you, Bob."
"What d'you mean? They're clean
and well-dressed, aren't they?"
"Do you see any great difference in
London now compared with the last time
you were here before the war?"
"I surely do," grins the irrepressible
fun-maker. "When you wanted some-
thing then, you just rang the bell for
the waiter and ordered it. Now you smile
at him until he feels like he'll come across
and you ask sweetly: 'Please have you
got any today and do you think I could
possibly have just a very, very little, if it
won't be too inconvenient?"
It was the merriest, gayest party Lon-
don has enjoyed for a long while past,
this welcome to Bob Hope and his fellow-
players come from New York by way of
Alaska and the Aleutians to entertain
the United Nations troops in Britain.
They made their journey by air, the last
long stage huddled uncomfortably in the
bomb-store of a giant Liberator, too cold
to even eat. "I didn't bring Orson Welles
with me but I certainly had his beard
along," Bob remarks feelingly.
It all lasted happily late into the eve-
ning— much longer than Major Currie of
the USO had intended it should — and
when Bob finally did leave, he found an
excited crowd of autograph fans swarm-
ing round his car so that the military
police had to clear the way for him. He
drove away leaning out of the window
and waving his hat at a pretty blonde,
"Because," he said, "she makes me feel
homesick for Dottie Lamour, only she's
a brunette!"
That is Bob Hope as London sees him
in public, the successful comedian who
was born in its pleasant suburb of
Eltham nearly forty years ago, one of
seven children in a modest old-fashioned
home. But there is another side to Bob's
character which he doesn't display to the
world and the reporters, when he puts
off his brilliant mantle of fun and foolery
and reveals the practical essentially effi-
cient man who is underneath, planning
and organizing his complex activities of
screen and stage and radio.
It's a different Bob who sits at a
flat-topped desk in his own hotel room,
looking through a sheaf of business pa-
pers air-mailed from America and talking
with the men who are arranging his pro-
grams for his British trip. Perhaps it's
the spectacles he puts on, or maybe it's
the new expression on his facet Looking
at Bob Hope when that face is creased
SCREENLANC
Kent Smith, in the role of a wounded Amer-
ican aviator, is supported by Anna Sten, who
plays his nurse, in his first attempts to walk
again in this scene from "The Girl from Len-
ingrad," a new United Artists production.
with contagious laughter, you usually fail
to see the shrewd capability in his dark
eyes or notice the definitely determined
line of his chin.
Despite all the calls on his time, Bob
reads the newspapers and magazines
thoroughly, so that he can properly
assess the topical value of his jokes and
gags. He asks pertinent questions about
the new British films in production, the
more keenly interested because he is con-
sidering situations for his next "B-oad"
picture which he will make with Bing
Crosby and Dorothy Lamour this win-
ter. "We'd like to call it 'The Road to
Tokyo'," he says. "Maybe we will be
able to, who knows?"
Bob eats carefully, sleeps seven hours
a night and does regular physical exer-
cises to keep himself fit while on this
highly strenuous show tour. It wasn't
exacting for him in London, when he en-
tertained the boys and girls in uniform
in the great Odeon Cinema in Leicester
Square nor even in one of the small
towns where U. S. soldiers literally
blocked up one narrow street in their
eagerness to enter the local theater for
Bob's show. But when it came to the
huge sprawling camps and airfields which
have sprung up in the heart of the coun-
tryside, keeping up to the itinerary calls
for real endurance and cheerfulness.
Bumping up rocky lanes in a jeep
while the rain pours down in typically
English torrents and then dressing in an
igloo-hut with five minutes to spare. Get-
ting a blessed hour's relaxation between
shows and still managing to ease off the
bed with a willing smile when somebody
wants him to pose for a snapshot with
the boys. Signing for all the doughboys
and Tommies and shy young ATS girls
who ask him. Spending his one free day
in five weeks of intensive work making
a screen short to be included in the news-
reels for. a war charity. Staying over-
night at the old mansion that was M
General Mark Clark's first headqu
in Europe, sleeping in the same narrow
cot and washing in an earthenware bowl
on the bureau because this ancient resi-
dence doesn't possess anything so modern
as a bathroom. Handing out candies and
cigarettes bought with his own money,
though he didn't tell the audiences that.
Dancing until midnight in the big hangar
at an R.A.F. station rather than disap-
point the blue-uniformed WAAFs, even
though his feet were already weary after
three full shows and some impromptu
fooling on the tarmac that day.
These are just a few of the highlights
of Bob's British visit, a splendid example
of generous willing service, a grand and
gallant trouper who is proud to help his
country and the men who are fighting
for it in the best way he knows. "I'm
genuine Lease-Lend," he explains with a
twinkle. "I'm going to ask Mr. Wallace
what he wants to do about me."
To Bob himself the most precious
hours of his stay in Britain must have
been those he spent with his family. His
old grandfather, ninety-nine-year-old Mr.
James Hope, lives in a little cottage in
the pretty Bedfordshire town of Hitchin,
tended by his daughter, Mrs. Simon,
Bob's own "Aunt Lucy" who got the
thrill of her life when she found herself
appearing by proxy in "The Road to
Morocco" with Bob. Bob went to visit
Granddad on his first day in Britain, sit-
ting down at the table in the parlor —
the same round mahogany he knew as a
boy and the same flower-patterned best
china service — to have tea and home-
raised tomatoes and home-baked cake
for which Aunt Lucy and Cousin Jean
had been saving their rations for weeks
past so that it would be just the same
kind of fruit mixture which Bob had en-
joyed twenty years ago. Old Mr. Hope
used to be a builder and the family in-
tended that Bob should take to the busi-
ness too. Granddad was sorely disap-
pointed when Bob decided he preferred
to go on the stage but he never raved
or ranted at the ambitious youngster so
the friendship between them always
stayed green and firm.
Bob brought lots of gifts for his rela-
tives. A stout walking-stick for Granddad
who finds it difficult to get around — he is
stone-deaf now but Bob's facial expres-
sions and his gestures still make him
chuckle and nod delightedly. Stockings
and a woolen coat and a handbag for
Aunt Lucy, who received them with
ecstasy and gave Bob a hug and kiss be-
cause, ^T've used all my clothing coupons,
you see." Gadgets for the household and
a box of gramophone records and an
album filled with photographs of him-
self, his wife and children at their home
in California. Bob didn't forget any of
those thoughtful little intimate things
which bind families together even when
oceans divide them. [Editor's Note: Mr.
James Hope has passed on since the
above account of Bob's visit.]
That quiet thoroughness is typical of
Bob Hope. He hides it under his spar-
kling quick-fire funning and his air of
noneh»'""',e, so that it isn't always ap-
parei ' i to his greatest admirers, but
it is . ere just the same. We like to
think >lves it is the inheritance of
his I | background because we are
too \ oud of Bob.
". . . keep your hands thrillingly
Smooth." A man loses interest in you if
your hands look uncared-for, feel grates -
rough. And why shouldn't you have nice
hands? You treat yourself to specialized,
practically professional hand care, right at
home — by just using Jergens Lotion regular-
ly. Too busy? Why — Jergens Lotion takes
no time; leaves no hampering sticky feeling.
"The stars use this hand care," says
Frances Gifford. Yes — 7 times as many of
the Hollywood Stars use Jergens Lotion as
any other hand care. Perhaps because 2
ingredients in Jergens are such perfect skin-
smoothers that many successful doctors
prescribe them. Help prevent roughness and
chapping. Use Jergens Lotion. Frances
Gifford uses Jergens.
J
ergens Lotion
for soft,
adorable Hands
S GREENLAND
(i7
Mae West and the Man Shortage
Continued from page 33
NO BELTS
NO PINS
NO PADS
NO ODOR
"Take my word for it, Tampax
can make a vast difference to
your comfort and your dispo-
sition during those vexing days of
the month" .... For Tampax
is worn internally, requiring no
belts, pins or pads and causing no odor
or chafing. And so one woman says to
another, "Take my word for it — and start
using Tampax."
No bulging or bunching beneath the
costume can come from Tampax, and the
user herself cannot feel it when in place.
Made of pure surgical cotton, it is very
compact to carry in purse and very handy
to change by means of patented individual
applicators. Your hands need not even
touch it. Tampax is particularly neat under
slacks and may be worn in tub or shower.
Tampax was perfected by a physician
and comes in 3 different absorbencies: Reg-
ular, Super, Junior. Ask at drug stores,
notion counters. Introductory box, 20^.
Economy package of 40 lasts 4 months,
average. Buy today! Tampax Incorporated,
Palmer, Mass.
3 Absorbencies
REGULAR
SUPER JUNIOR
Accepted for Adver-
tising by the Jour-
nal of the American
Medical Association
a whole pound of the stuff. There was a
dame who didn't believe in rationin' any-
thing— let alone men! She should never
have agreed with England's Dr. Joad.
He proposes since there aren't enough
men left to go around, that Great Britain
change their marriage laws — so men can
have a half dozen wives. Catherine
would never have taken a sixth share
in any husband. Once she insisted that
a young officer friend keep pace with
her coffee drinking, but after the third
cup the drip promptly fainted with a
heart attack. What a woman! What
stamina! What coffee!"
Mae was sitting in the wings of a the-
ater set at Columbia Studios. A Mae
who is full of surprises. She's discarded
her pads and her puffs and her bustle,
but none of her wisecracks, to play a
modern charmer in "Tropicana." In a
low lilting voice with a Brooklynese ac-
cent, Mae still gives with her jokes and
funpoking at the figure of Diamond Lil
and her philosophy on men.
"Now, these women who write to me
and want a few tips about men and
love," Mae continued in that lilting tone,
"they keep wonderin' since most of them
are workin' for the duration, what they
should do when the war stops. Should
they go right on supportin' themselves
— and the home? I tell 'em that I think
a woman may owe a man a good lovin'
— but not a livin'. If they want to hold
their men, they can think that over!
"If a gal figures her pay envelope will
attract a man's attention, it will be her
own fault if we enter on an era of spoiled
men. Ever since I discovered a man will
sue his wife for alimony I began to won-
der if chivalry was dead. But personally
I think it is only taking a siesta. Most
men are still gentlemen if a woman
makes 'em believe they are. They try
to live up to her expectations.
"Of course women, now that they have
stepped out of the home and into the
man's business world, are becoming used
to standin' up in street cars and carrying
their own packages — not to mention
buyin' their own theater tickets. It's got
so that if a man opens a door for a lady
to go through first, he's the doorman.
But that's all due to the manpower
shortage. Most likely the doorman will
be a woman."
Mae excused herself to play her next
scene. I walked down and sat at the
back of the set, right next to Mae's
stand-in, Edna Eckert. Miss Eckert is
blonde and a bit Mae Westish. She and
Mae used to go to dancing school in
Brooklyn. She's always worked for Mae.
"Miss West is the grandest girl in the
world. No one is as big-hearted and
thoughtful as she is," Miss Eckert said.
Mae, minus twenty pounds and her
bustle, came across the stage. Her dress
molded to her curves as naturally as
Mother Nature placed 'em, with a match-
ing hat a foot and a half tall if it was
an inch, perched atop her pale blonde
hair. Black-tipped ermine tails extrava-
gantly adorned the shoulders of her gown
and her hat and created a mammoth
muff. Her hair hung soft and long to
her shoulders in a loose roll, page boy
style. Some of her famous diamonds, a
bracelet, earrings completed the picture.
For two hours Mae spoke her lines
for "Tropicana" with Alan Dinehart —
typically Westian in flavor. Alan plays
a stage impresario, and the two were
seeing a Broadway show, in which he
hoped to induce Mae to star. He asked
her if she liked the musical numbers —
"Will you say yes?" he implored. With
just the right intonation that reveals a
reply within a reply, Mae said, "I always
say yes, to a good number."
"C'mon up and see me sometime," she
invited me later, backstage. "It's my
standard standing invitation."
So it was that I arrived at the Raven-
wood Apartments in the heart of Holly-
wood, which has been Mae's home since
her arrival in Hollywood. Some say Mae
owns them. Others report she is super-
stitious about the number "8" — which
is part of her residence. "I was born on
the eighth month of the year on the
17th. 1 and 7 make 8! I live in the
eighth suite and my telephone number
adds to eight. So does my car license
and my ration book. '8' is very lucky
for me, since I've always been very
lucky. There are eight keys in a piano
octave and an octave is perfect harmony
— so I figure '8' is my lucky number."
Mae's apartment is something like you
have never seen, not even in the movies.
It is completely her own idea. Every-
thing expresses her individuality —
blonde! Blonde femininity. The furni-
ture, the walls, the piano, all blonde.
Once, six years ago, the entire carpeting
was blonde-white. Whether Mae has
changed her mood, or visitors who "came
up to see her sometime" didn't shake
the dust from their feet properly before
setting foot on her white carpets — Mae
now has deep mulberry floor coverings.
In the living room two huge polar bear
skins with glass eyes stare at you. The
walls are mirrored and the furniture of
white satin and blonde chamois is Louis
Quinze. There's a statuette of Mae,
without her bustles. On the wall is an
etching in pretty much the same manner
— which is fetching, to say the least.
Handsome miniatures of Mae's father
and mother occupy an honored place on
the piano. Mae resembles her mother
who was a great beauty and belle of the
'90s. Her father was "dark 'n' hand-
some." Mae's mighty proud of Jack West
who was an Irish featherweight boxer.
Her mother was French. From the two
Mae gets a lusty love for life.
Mae was wearing a chic black chiffon
dinner dress, closely molded. And some
diamonds. Long before Carmen Miranda
dreamed of platform shoes, Mae was
wearing four and five inch heels. Her
own invention — and the reason for that
undulating walk which is slightly mad-
dening to the male population.
For two years now Mae West has been
"between pictures." Why? And what
68
SCREENLAND
has she been doing in the interim? What
is she going to do next? Ever since Mae
came to Hollywood to start a revival of
the Gay 90's with her plays of sex in
corsets — her "Diamond Lil," her "She
Done Him Wrong" — she's been a Holly-
wood institution. Like Eddie Cantor's
banjo eyes, Chaplin's mustache and cane,
Veronica Lake's peek-a-boo bang.
"A gal should have some surprises up
her sleeve," she said. I'm introducin' my
new figure in this picture. I was up to
135 pounds and now I'm down to 115.
I just eat half as much. No chocolates
which I love. But then the war had
somethin' there — to add to my will
power. I have sorta forgotten about
bread and potatoes. I eat to keep up
my strength for no man can be inter-
ested in a girl who doesn't have pep!
"Women have been livin' up to women's
ideas for a good many years. They
thought it was smart to discard their
curves and be skinny. But a skinny,
boney woman has never been any man's
idea of a real woman. Ask any man and
find out. I think women have got wise
to themselves now. I pioneered the re-
turn of curves — back when the boyish
figure was the style. But curves have
never been out of style with men."
Interested in the war effort, Mae has
given both time and money as well as
diamonds. In fact we talked about war
and Mae related: "Speaking of fronts,
the boys of the B.A.F. named their life-
saving jackets their 'Mae Wests.' I wrote
and thanked the boys and I told them,
I've been in 'Who's Who,' and I know
what's what, but it's the first time I've
ever made the dictionary.
"It's sorta nice to be flying with those
brave men. Each trip out, there I am
with them by proxy in the form of a
life-preserving jacket."
Mae was born in Brooklyn. She was
a child actress in vaudeville. In 1920
she was an established star on Broad-
way. A Brooklyn policeman saw Mae in
her high-collared diamond necklace in a
show. He said she was like an old sweetie
of his in the Bowery days, "Diamond
Lil." Mae's fertile brain went into action.
She asked the cop if he had any pictures
of Diamond Lil. Sure enough, he resur-
rected some from an old trunk. Diamond
Lil was the Lillian Russell type of
the '90's.
"I went home and told Mother I had
a new idea. We tried some padding and
I got myself dressed up like the tintypes.
I was 'Diamond Lil.' I wrote myself
some dialogue and tried it out at home.
Everyone laughed. The folks were amused
to revive the period of their youth. My
friends were amused to see a period they
had heard about and didn't know.
"I dressed the type and talked modern
and it did all right."
Mae has a way with men, no doubt.
She's got lots of theories — in fun. But
thinking them ov they're practical, too.
Mae's e always found long
lines c >eding the box office.
Now s man-shortage crisis,
are wri advice.
"Lo Id-fashioned love is
what he says, with a smile
that c us. "If you want to
hold your ere's no place like in
your i
Me _I never have
ABSENTEE HANDS!
My hands
are always
on the job.
Smooth and comfortable
because I protect 'em
against ground-in grime
with HINDS. A HONEY
of a lotion for busy hands \l!
Uncle Sam
needs more women
working. Apply:
V. S. Employment Service.
PHOTO AT RIGHT shows results of test.
Hand at left did not use Hinds lotion
before dipping into dirty oil. Grime and
grease still cling to it, even after soapy-
water washing. Hand at right used Hinds
before dipping into same oil. But see
how clean it washes up. Whiter-looking!
BEFORE WORK — smooth on Hinds hand
lotion to reduce risk of grime and irrita- AFTER WORK-and every wash-up-use
tion which may lead to ugly dermatitis Hinds again. Even one application
-"Absentee Hands"- if neglected. makes y°ur hands feel more comfort-
hinds hand cream in jars — quick - abIe> look smoother. Benefits skin! On
softening, too! 104, 39«. plus tax. sale at all toilet-goods counters.
at home
HINDS A HANDS
ScREENLAND
G9
SONJA HEME—
Star of 20th Century-Fox's WINTERTIME
takes time out to chat with Iter pet canary.
There's a New Star
in Hollywood Now!
It's a star among pets — a
bright little creature with
perky manners and a golden
voice. All Hollywood has
taken canaries to its heart —
and all America is following
its lead! Your home, too, will
be brighter, happier, with one
of these inexpensive, easily
cared forpets . And, remember,
4 out of 5 canary owners in
Hollywood use French's Bird
Seed (with Bird Bis-
cuit) to help keep
their pets healthy,
happy singers !
OWN A CANARY
The only Pet that Sings
GOOD NEWS FOR PET LOVERS!
French 's brand-new canary book is ready!
36 pages of information, superb color
illustrations, pictures of canaries raising
a family, and intimate photos of famous
Hollywood stars with their canaries.
Here's proof of the fun you're missing
if there isn't a canary in your home!
Mail the coupon below, |T?C rnrri
today, and get your copy. 1 1 J iKCC!
R. T. FRENCH COMPANY
2543 Mustard Street
Rochester, N. Y.
Kindly send me, without
charge, a copy of the new
French's canary book, "Keep
a Song in Your Home".
NAME
ADDRESS-
-STATE-
CITY
(Paste on penny postal card and mail)
The Case of the Missing Star
Continued from page 25
as soon as these glamorous chores were
finished, so was Maureen O'Hara. She
vanished again. In her place was Mrs.
Will Price, with no cosmetics on her fresh
skin, auburn hair brushed carelessly be-
hind her ears, and dressed in a simple
navy blue dress she'd just purchased.
Brisldy she packed Maureen O'Hara 's
luscious wardrobe into a trunk and
shipped it West, with a great sigh of relief.
Then she set foot on the train bound for
Quantico, the Marine base where her
husband was stationed. In her small bag
she carried three new wash dresses, two
nightgowns, a toothbrush and some un-
derthings; and in her purse she carried
a lipstick.
All the way down on the train (and
later in Quantico) , nobody asked for her
autograph and nobody gasped, "That's
Maureen O'Hara!" — because, as usual,
nobody recognized the pretty young
woman as anyone but what she is, a
Marine wife. At the station one person
was waiting expectantly — a young Ma-
rine with a round, happy face and
twinkling eyes. And of course he wasn't
asking for any autographs — he was just
eagerly waiting for his wife. They ran
into each other's arms like fifty more
couples in the station, and then they
climbed into a taxi and clung to each
other again.
Young Mrs. Price stayed for three
weeks. She lived with another Marine
wife, Mrs. James Daly — who was once
a stand-in for movie star Maureen
O'Hara, and whose husband had just left
Quantico for a far distant base. With
them was Wendy, Sue Daly's four-year-
old daughter. They shared Sue Daly's
big apartment, and they shared all the
slaving work that apartment demanded,
since they had no maid and no laundress.
They cooked, swept, washed dishes and
scoured floors — with the thermometer
stabbing 98 degrees. Every two hours
young Mrs. Price told young Mrs. Daly,
"Well, another dress just wilted!" — and,
being immaculately neat, she'd take it off
and douse it in a basin of suds.
And every time little Wendy said, "I
want to go to a movie!", or Sue Daly
said, "We need more toothpaste," or all
of them said, "We're completely out of
bread, eggs and milk," they would start
out on the blistering sidewalks and walk
to the market (one mile away) or to the
theater, drugstore, and Post Exchange
(three miles away) — the two Marine
wives, with Wendy hopping beside them.
On weekends they almost ran the three
miles to the Marine Base — because week-
ends Will Price got overnight leave; and
then the three adults would stroll back,
with Will and Mrs. Price swinging hands,
talking and calling to Wendy who would
take advantage of the lack of attention
and go adventuring in neighbors' gardens.
That was their life until Graduation
Day. Then young Mrs. Price had the
supreme thrill of a wartime wife — she
pinned Lieutenant's barsonjherhusband's
shoulders. And the next day she faced
the lowest point in the life of a wartime
wife — the knowledge that her husband's
duties were now such (and his future
location so uncertain) that he would
almost never be able to see her.
So that left Quantico empty and mean-
ingless, and the two Marine wives de-
cided to go back to California, where
Wendy and Sue Daly would live with
Mrs. Price for the duration. But for
twenty-four hours before they left, they
literally lived in aprons, with brooms
and mops sprouting from their hands and
the smell of disinfectants heavy in the
air — for, like all departing Marine wives,
they had to leave their apartment so
spick and span that it would pass strict
scrutiny by Marine inspectors. They
stood trembling in the midst of their
spotless seven rooms when the inspectors
came, flashing lights behind every radi-
ator and running fingers over window-
sills and mouldings. "Satisfactory," the
inspectors said then, and Sue and young
Mrs. Price ran to sign the papers that
released them from the apartment. And
then, exhausted, they finally were on the
train for California.
They stopped off, though, for three
cool and restful days in the small town
of Magnolia in Mississippi. This was to
see Mrs. Price's family-in-law — her only
family in all of America, because, of
course, she comes from Ireland. She
hadn't seen them in a year and a half,
since she'd married their son, and it was
wonderful now to sit in the gracious old
house with its comfortable rooms and
huge shade trees, after the heat and work
of Quantico. They talked of Will, and
young Mrs. Price walked with older Mrs.
Price in the camellia garden. But soon
they had to be off again. (Because, out
in California, that mysterious Maureen
O'Hara was wanted in a new picture.)
Just for a second, and from a distance,
young Mrs. Price's home in California
looked exactly the same to her as they
drove toward it up Stone Canyon Road
— a low white ranch house set into a
green hillside. But as the car pulled into
the driveway, Mrs. Price gave a horrified
cry. "Sue!" she shrieked. "Look at it —
it's only been closed two months — but
look at it!" Sue looked, and sighed with
her friend. Because the garden was
wildly overgrown and weedy, and the
house, once they were inside, was full of
settled dust and the smell of closed
rooms.
So the two Marine wives took off their
hats, sent Wendy into the back garden,
and set to work again — this time scour- I
ing a house to live in, not to leave.
Meanwhile, Mrs. Price made some tele-
phone calls — and soon her canary was I
delivered at the door. '"T rneck" I
is its name!) Then ; d with 1
WHEN YOU GIVE A CHRISTMAS WAR Bi NIOs fOU
GIVE FREEDOM — THE GREATEST Gl ALL
70
S C REENLAND
two dogs barking wildly to get out and
get back home — an Irish terrier named
Fion, and a - Great Dane by name of
Tripoli. After they'd been welcomed, the
canary hung in the living room window,
the larder stocked with food again, and
the house cleaned, Mrs. Price and Mrs.
Daly were all adjusted for the duration.
Around them lay the happy little house,
burnished and shining from the gay yel-
low kitchen to Mrs. Price's flowered
cretonne bedroom, with its huge four-
posted canopied bed. Everything was
just as it used to be; even the pale
yellow Haviland plates hanging on the
dining room wall had been washed, dried,
and hung back in place. Yes, everything
was just as it was — when Will Price
lived there, too.
Only then did the two Marine wives
relax. Young Mrs. Daly sprawled on the
sheepskin rug in the library, showing
Wendy pictures she'd found of the movie
star Maureen O'Hara. But young Mrs.
Price went quietly into her bedroom
(which used to be Mr. Price's room
too) , and shut the door. She went over
to the window seat and sat down among
her collection of dolls — her one point of
argument with her husband, who never
could see the reason for collecting sixty
dolls. She picked one up — a colored
Mammy doll — and held it against her
tightly, and began planning a murder. It
wasn't a new plan to her. She'd planned
it often before.
It was the murder of Maureen O'Hara,
that movie star, which will make things
even more difficult for the bewildered
Bureau of Missing Persons. You see,
some day Mrs. Will Price is going to
take that Maureen O'Hara and kill her
dead — so that she'll never exist again,
not even on the screen. In her place
there will only be Mrs. Will Price, Mr.
Will Price, and a half-dozen little Prices.
Because that's the way young Mrs. Price
pictures her future — a future in which
she runs a real home for the only thing
that really matters to her in the world,
which is Lieutenant Will Price.
But until that murder takes place, and
certainly until the war is over, young
Mrs. Price is going to be right where
she is now — in the house that her hus-
band bought for them both. She'll try to
live her life exactly as it was with him,
for his sake. She'll read a lot — mainly
murder mysteries! — and she'll listen to
classical records, and she'll see her friends
Veronica Lake and Gene Tierney, whose
husbands are also at war. And Father
Laharte, a priest whom she and Will met
one midnight running to a fire, and who's
been a best friend ever since.
Mainly, though, she'll be devoted to
that house which means so much to both
her and Will. Yes, young Mrs. Price
will keep it spotless clean, and she'll put
flowers in every room, and she'll work
like one possessed in the garden until its
trimness seems unchangeable — because
she believes firmly in keeping her house
exactly as it was when Will was there,
so she can write him about it. Or, better
yet, so he can see it for himself, if he
should unexpectedly walk through the
door one day and back to her again!
For your records, Bureau of Missing
Persons, that just about sums up the
Case of the Missing Star.
"What's happened to our Marriage?"
I . I met Stan when I went to work in a war plant. We fell in love, were married . . .
and at first had a beautiful life. Then suddenly ... a barrier between us! I, who counted
so on our precious hours together, was crazy with grief!
2. Then one night, we went out with Kay
and George, our closest friends. Later, Kay and
I were alone and she asked why I looked so
tragic. Anxious for sympathy, I told her my
troubles. "Sue, darling," she said when I finish-
ed."It's so simple. You know, a wife can often
lose her husband's love if she's neglectful
about . . . well, about . . . feminine hygiene . . ."
4. Now, Stan and I are more happily in love
than ever before! Kay was absolutely right
about Lysol. It is easy and economical to use
— and it works wonderfully!
3. "See here. Sue," she suggested. "Why
don't you try Lysol disinfectant? My doctor
recommends it for feminine hygiene . . . says
many modern wives use it." Then she told me
how this famous germicide cleanses thoroughly
. . . deodorizes, too. "And besides," she added,
"Lysol's so easy to use. Just follow directions
— it won't harm sensitive vaginal tissues."
|HH -T^H with your Doctor
f* mU He and efficient in
is not carbolic acid.
Effective — a powerful
germicide, active in presence of organic
matter (such as mucus, serum, etc.).
Spreading — Lysol solutions spread and
thus virtually search out germs in deep
crevices. Economical — small bottle makes
almost 4 gallons of solution for feminine
hygiene. Cleanly odor — disappears after
use. Lasting — Lysol keeps full strength,
no matter how often it is uncorked.
WP* For new FREE booklet (in plain wrapper) about Feminine Hygiene, send postcard or
letter for Booklet S.- 1243. Address : Lehn & Fink, 683 Fifth Ave., New York 22, N. Y.
i, BUY WAR BONDS AND STAMPS *
ScREENLAND
71
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GUIDE TO GLAMOR
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Before arranging her
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a last look to details
Hide-it for concealing blemishes.
a rose-petal finish for hours and hours at
a time. It gives fresh glow and simply will
not streak or cake. You can buy Tangee
Petal-Finish Face Powder in good shops
everywhere.
DARBARA GOULD'S new lipstick color
is aptly named, "Dramatic Red" — a
glowing, vibrant color that harmonizes well
with the rich, fall, fashion fabric shades.
This stick is creamy and soft in texture and
it acts as a pomade which keeps the lips
smooth and gleaming during the coldest
weather. With the usual procedure — apply
to dry lips, smooth, blot with tissue, moisten
a bit — and Dramatic Red is on to stay and
never smear.
(^sDO-RO-NO, a tried and true deodo-
^-^ rant and anti-perspirant, has solved
its wartime package problem for cream
deodorants by putting them up in all-glass
containers, capped also in glass, and fasten-
ing without the aid of screw threads. Label
strips pasted cleverly around the sides, keep
the tops and jars securely in one piece when
they're being shipped or carried. To open,
a user cuts around a perforation and finds
that because of an ingenious overhang the
two halves of the jars still fit firmly to-
gether on the bathroom shelf. The label
and the modern design on the caps identify
the jars by remaining the same as on the
pre-war metal tops. As always, the regular
two sizes of Odo-Ro-No, and the little
sample packages -are available at toiletries
counters everywhere.
Odo-Ro-No in a new wartime dress.
SCREENLAND
Tangee is a new Petal-Finish Powder.
A Permanent Rules
Your Waves
Continued from page 16
bob to a smooth up-do as Rita Hay-
worth does hers to suit the part she plays
in "Cover Girl.''* In the great majority
of instances excellent permanent waves
are the basis for the prettiness and
adaptability of good-looking coiffures.
And really, when you know the re-
quirements for a superior permanent,
there's little excuse for ever having an
inferior one. Don't let the texture of
your hair, the fact that it is gray, dyed
or bleached, or the conviction that you
have never had a satisfactory wave,
worry you. In the hands of the right
operator who has the right lotions and
equipment, and who knows how to pre-
pare, test, time, and wind, there are few
heads that won't wave beautifully.
And here, we give a word of caution.
Don't get a too cheap wave. Permar
nents that are recognized as good by the
best hairdressers are really moderately
priced. You may pay two or three dol-
lars more at a reputable salon than you
do at a bargain-rate place, but the re-
sults are well worth the difference.
Remember you have to carry around a
permanent every day until it grows out
or is cut off and, as you know, care-
lessly waved, hair is no beauty asset.
When you select your operator, do so
on the grounds that he's had much ex-
perience and that you have admired
other waves that he (or she) has given.
We are sure you will find that the top-
notch operator uses nothing but ma-
terials which have been tested and tried
until their names are known as standard
good equipment. His lotions will be mild
and gentle ones that don't contain any
elements which have harsh or frizzying
effects.
One manufacturer has a waving solu-
tion that eliminates long heating because
it has no metallic salts or ammonia. His
supplies will be individually packaged so
that only fresh clean pads will touch
your locks. His lotion will be fresh so
that no stale, and possibly weakened,
liquid will be applied. All in all, he will
take every initial precaution to accom-
plish the right wave. And this is your
first guarantee that your precious head
is in good hands.
Prior to your permanent, it's up to
you to see that your crowning glory is in
good condition. We hope that you have
not neglected your everyday hair care,
but if you have, a dependable operator
will refuse to wave it until it's ready.
And what are you going to do with
those precious curls, now that they are
yours? If you were wise, you planned
some coiffures before your wave and had
your hair shaped to comb into those
styles that suit you best. You also de-
cided whether your permanent would be
executed to give you large, medium, or
decidedly strong waves; loose wavy ends,
or tighter ringlets — whichever lend
themselves best to a most becoming hair-
do. However, at first, it's well to have
your li set according to one plan and
to try e it that way for at least
a week when your permanent is
set" ;i ened you can experiment.
LEADING A
A recent portrait of
CONSTANCE LUFT HUHN
by Maria de Kammerer
LIFE?
Discover Yankee's Satin-Finish Lipsticks!
— says Constance Luft Huhn, Head of the House of Tangee
Most of you are "racing the clock" these days . . . somehow finding time for
new wartime duties in addition to your regular activities. That is the big
reason, I'm sure, why so many women have welcomed our new LONG-LASTING
Tangee Satin-Finish Lipsticks.
For here are lipsticks that, once on, stay on! An exclusive SATIN-FINISH
brings your lips a satin-y smoothness that defies both time and weather.
Neither too moist nor too dry — but just right — your Tangee Lipstick will
actually seem to smooth itself on to your lips . . . holding its true and glow-
ing color for hours and hours.
If you have been longing for just such a lipstick, I urge you to ask for
"Tangee." And, for best results, wear your Tangee Satin-Finish Lipstick
together with the matching rouge and Tangee's UN-powdery Face Powder.
NEW
TANGEE MEDIUM-RED..
■warm, clear shade. Not too dark, not too
light just right.
TANGEE RED-RED . . ."Rarest, Loveliest Red of
Them All," harmonizes perfectly with all
fashion colors.
TANGEE THEATRICAL RED
Scarlet Lipstick Shade",
flattering.
."The Brilliant
. Is always most
TANGEE NATDRAL ..."Beauty for Duty"-
conservative make-up for women in uni-
form. Orange in the stick, it
changes to produceyourownmost '
becoming shade of blush rose.
beauty —glory of woman ...
LIBERTY — glory of nations . . .
Protect them both . . .
BUY WAR BONDS AND STAMPS
Tangee
SATIN-FINISH
ScREENLAND
73
DON'T TAKE ANY
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Until you read these facts!
ere Too ST
It doesn't pay to
dose yourself with
harsh, bad-tasting
laxatives ! A medi-
cine that's too strong can often leave
vou feeling worse than before!
. ***
» 3t--']^^^\ ^ And it's unwise
P* ~lsf to ta^e some'
thing that's too
mild to give
you the relief
you need ! A good laxative should be
gentle, yet should work thoroughly!
f/ledi0
I
-Try the-
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Ex-Lax gives you a thorough action. But
Ex-Lax is gentle, too! It works easily and
effectively at the same time! And remem-
ber, Ex-Lax tastes good — just like fine
chocolate ! It's as good for women and chil-
dren as it is for the men-folks. 10c and 25c.
IF YOU NEED A LAXATIVE
WHEN YOU HAVE A COLD —
Don't doseyoursel f with har«h, upset ting purgatives. Take
Ex -Lax! It's thoroughly effective, but kind and gentle.
As a precaution use only as directed
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Untold Stories of Frank Sinatra
Continued from page 31
West Coast was something else again!
When the 25-year-old crooner arrived in
Pasadena last August to sing, dance, and
act in RKO's "Higher and Higher" (and
this time he was not gotten for cakes,
you can be sure) he was met at the
station by thousands of slick chicks who
screamed hysterically at the sight of
their Frankie. A few nights later he sang
for the soldiers and sailors at the Holly-
wood Canteen. Following his first song
there was only a polite applause from
the armed forces, but after he had sung
five numbers he had won them over so
completely that the boys cheered lustily
and hoisted the fragile Frankie on their
shoulders and paraded him around the
Canteen. A few nights later he sang
with the Los Angeles Philharmonic in the
Hollywood Bowl (seems the snooty Bowl
was sinking into the red from too much
symphony and not enough swing) . When
Frankie pitched into "That Old Black
Magic" lots of the dowager music lovers
forgot to be disapproving, and ended up
by splitting their gloves in frantic ap-
plause. And still a few nights later
Frankie faced his most critical audience
— the Hollywood movie stars. It was at
a benefit for the Anne Lehr Hollywood
Guild Canteen, held on a Sunday night
at the swanky Mocambo, with tickets at
$25 a piece. Contrary to common belief,
movie stars are not the most big-hearted
people in the world when it comes to
their fellow entertainers, probably due
to a deep-rooted professional jealousy.
They've got the "All right, show me"
attitude. Frankie not only showed 'em
at the Mocambo that night, he also
sent them.
Personally, having been sent into a
complete Sinatrance ever since I heard
him sing Night and Day, I decided that
I wanted to know all about Sinatra. I
pulled up my bobby socks, figuratively,
and went prying.
Frankie's number one hobby is paint-
ing garden furniture. Not any old fur-
niture— he's a specialist on garden furni-
ture. His nice wife, Nancy, screams,
"Please, honey, no more garden furni-
ture"— but Frankie keeps on buying it
and sending it out to his home in Has-
brouck Heights, New Jersey. When he
paints he usually has rosy-cheeked four-
year-old Nancy Sandra perched on his
shoulders.
No one has ever seen Sinatra in a
hat. He just doesn't go for hats. He
likes his hair to have that slightly mussed
appearance. But when he goes home,
strangely enough, before he even takes
off his coat he puts on an old sea cap-
tain's cap, which he wears until it's time
to go to work again. He's had this old
cap so long he can't remember where he
first found it. His clothes are what we
used to call "collegiate," but what he
calls comfortable. He likes loud bow ties
and sleeveless cashmere sweaters. "This
is one of the first things I bought with
my new prosperity," he says with a boy-
ish grin, and shows you a small gold
cigarette lighter.
He is crazy about children. Wants to
have a family of six. His second child
will be born in the next few months.
When he is at home Nancy Sandra re-
fuses to go to sleep until Daddy has sung
her three songs. Nancy Sandra doesn't
care for lullabies — she insists upon the
three top tunes on the Hit Parade.
Frankie fancies himself a mechanical
genius. He is always repairing something
about the house, but somehow or other
it never works. Mrs. Sinatra keeps the
phone number of a good Jersey repair-
man handy.
He loves spaghetti with an unholy pas-
sion. He even eats it for breakfast. His
wife keeps a big dish of it in the frig-
idaire all the time because Frankie often
wakes up in the middle of the night and
yells for spaghetti. And that one, he
never gains an ounce. His second love is
a banana split. He has been known to
drive up and down streets for hours
looking for a drugstore that makes ba-
nana splits. When he finds a place he
likes he promptly has two of them, and
then recommends the place in glowing
details to all his friends who are on a
diet or don't like banana splits anyway.
But his friends have found a way to get
him out of his sulks (oh yes, the swooner-
crooner has his bad days, even as you
and I) . They say to him, "Frankie, I've
found a drugstore that has the best damn
banana splits," and immediately Frankie
perks up and takes an interest in life.
He is very devoted to the teen-age
youngsters who wait for him outside his
broadcasting stations and night clubs.
They're his fans, and he'll have nothing
said against them. He tackled a New
York cop once (Frankie is quick with
his fists) who pushed a little girl who
was trying to get his autograph. And
once as he was leaving a broadcast in
New York he noticed that a twelve-year-
old youngster got her hand caught in the
door in the excitement. He worried about
it for three blocks in the taxi, and finally
sent his companion back to the building
to find out about the little girl. She
wasn't badly hurt, and anyway it was
worth it. Because her idol invited her
to have ice cream with him and his
friends at the Astor. And there was the
time the three girls, sixteen and seven-
teen year olds, came all the way from
Brooklyn to hear Frankie sing in a Jersey
night club. Frankie had to make a mid-
night train for Chicago, but he couldn't
help but worry about those girls, espe-
cially when it started to pour down rain.
Finally he said to George Evans, his
press agent, "George, those girls will get
soaking wet trying to get back to Brook-
lyn at this time of night. They might
have pneumonia. You drive them home
in my car, and I'll take a taxi to the
station."
Frankie is very loyal to old friends,
and didn't proceed to drc n like
hotcakes, as is the custom, v 3 came
into fame and fortune. His Is who
are always with him are his n, also
named Frank Sinatra, and i Junior
for convenience, and a guy Hank
Sinecola, who used to help ] e hoist
71
SCREENLAND
bricks through brewery windows when
they were both kids in Hoboken. Junior
and Hank are two big, brawny guys and
could swing Frankie around like a yo-yo,
if they were of a mind to. but they wor-
ship him so they follow him around like
a couple of St. Bernards. When Frankie
became famous cousin Frank Sinatra
very gallantly offered to change his
name. "I don't want to embarrass you,
Frankie," he said, "after all, I'm only a
mug." Frankie was as mad as hell. He
snapped, "Listen you. if Frank Sinatra's
good enough for me it's good enough for
you. Shut up."
Frankie has two ambitions. One is to
have a big office with a big mahogany
desk with a lot of pushbuttons — like in
the movies. "I'd like to be an execu-
tive," he says, "and get things orga-
nized." His other ambition is to retire
when he's older and spend the rest of his
days sitting under a maple tree. (Not an
apple tree.) "There's a young maple tree
on my place in Jersey," he says. "Last
year the tree looked sick so I got a
formula from a friend of mine who knows
about trees and tied a white cloth around
the tree. I want that maple tree to grow
up because when I retire I want to sit
under it and relax." And after all the
trouping he's done the past five years
(you know how bands travel, buses at
two and three in the morning) you can
well understand this desire.
Names and society don't impress Mrs.
Sinatra's husband in the least. Xo one
can ever accuse Frankie of being a social
climber or a name-dropper. For example,
the night he sang in the Hollywood Bowl
he received a number of "command" in-
vitations from big shots in the Los An-
geles musical world, but he ignored them
all. Fifteen minutes after the concert he
and his friends could be found at a
nearby drive-in consuming quantities of
hamburgers and coffee. None of this social
lion business for Frankie. He's a hard
worker — one of the things you most ad-
mire about him — and has no time for
chitchat and little finger bending. "That
plushbottom stuff." he says with one of
his ear to ear smiles, "is definitely out."
According to his press agent Frankie
will return to New York when he has
finished "Higher and Higher" (which is
being directed by one of RKO's top
directors, Tim Whelan, and fill an en-
gagement in November in the Wedge-
wood Room at the Waldorf, where the
tariff is a bit steep for his slick chicks.
Also, he is supposed to sing at Carnegie
Hall this fall. (Gracie Allen will not
accompany him.) But according to the
studio Frankie will be right here in Hol-
lywood in November beginning his next
picture, called "Mr. Cinderella," the plot
of which sounds much like Frankie's life.
Hollywood has paid Frankie the high-
est tribute that Hollywood can pay:
"Frankie is a good fellow."
The Christmas Prese ~*
With A Future —
A War Bond!
Why
ETHEL MERMAN
recommends
ARRID
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15
^«^4^^The effects
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With Marchand's thrilling new "Make-Up"
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You don't need any special skill to achieve
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YOU HAVE DONEYOUR BIT
— NOW DO YOUR BEST!
50,000,000 Americans have boug ht
WAR BONDS
Your country urges you to put every cent
over your necessary living expenses into
WAR BONDS and STAMPS
Ration Your Love in Wartime, Says Bonita Granville
Continued from page 35
they left behind," to have progressed so
that we will be equal to the situation
we will have to confront.
I am a movie star. That sometimes
gives people the idea that movie stars
expect special privileges. This isn't true.
I am twenty years old and a working
girl. I live a normal life. All of my
friends have gone off to the service. I am
in the same boat with every other girl
my age. I have been lonely for my boy
friends. I miss them terribly and am
pleased that they miss me. But this isn't
going to help me if I sit at home and
moan about it, or if I go out and throw
myself at some boy because of some
fancied slight that I unconsciously lay
at the door of war. My duties are the
same as any other girl's. I have to work
out my problem myself. It depends en-
tirely upon me what the final outcome
of my life will be. I have had the advan-
tages that every American girl has had,
and if I violate them then I have failed,
and have no one to blame but myself.
I think if more girls would sit down
and talk to their mothers they would find
their war adjustment more easily. Our
mothers were just about our age when
the first world war was raging. They
went through the same longings, the
same emotional hysteria, the same feeling
of being left behind, the same feeling
that perhaps they would never find a
boy to love. They saw hasty war mar-
riages. They know which ones worked
out and which ones failed. They knew
girls who met boys and married them
two days later. They grew up just as
fast as we are doing today. They saw
the men come home to wives who were
complete strangers to" them. They saw
women with small babies in their arms
traveling on trains across the country.
We girls nowadays think that war con-
ditions are something new, something
that was created just for us. And yet
right in our own homes are our mothers
and aunts who have been through this
before, and can help us and guide us now.
I have met and I know the American
soldier. I have made camp tours, per-
sonal appearances, danced in canteens
and in USO centers. I have sat in Naval
Aide and Red Cross sewing rooms with
the mothers of American soldiers. I
have learned from the boys at the can-
teens, and from their mothers at the Red
Cross, that they don't like what a lot
of American girls are doing today. Amer-
ican men are more conventional than
American women. American men want
us to go to the canteens and dance with
them, they expect us to entertain them
in our homes, but they expect us to do
this in the way that will maintain con-
ventions they hold dear. If we violate
them we are violating the trust of our
friends, brothers and sweethearts. ■
Most of the boys in the canted r ant
to tell you about their homes, an
girls.' I have seen more pictures (
taken out of wallets and held for
look at. "That's my girl back
they say proudly, "she is busy doi
work just like you are." They are ,
that their girls are sweet and fine and
doing war work. One soldier said to me,
"Her mother works in a war plant, her
whole family works in war factories,
and she works in an office. But she comes
home every night and cooks dinner. Boy,
she is some cook!" You should have seen
the light in his eyes. Somehow I know
that that boy will come back to that girl
someday and they will be married.
War hysteria is sabotage. On the whole
the girl who hysterically looks at a boy
who is about to leave the country for a
fighting front and thinks she must marry
him, or not even bother about that, is
sabotaging her country, the boy and her-
self. Even the boy, frightened as he
might be at the prospect of leaving, does
everything he can to ward off the results
they get into. However, he is powerless,
he is only human after all, and the girl
is generally the one who invites it.
I may sound like a goody-goody and a
know-it-all, but these things are going
on around us all the time. It always has
been true, and still is, that nothing hap-
pens to a girl unless she invites it. There
are rare cases, but the ordinary em-
barrassing and unconventional things
that happen to a girl are brought on by
herself. It is the duty of all of us to do
the thinking for two in any unfortunate
situation that we have unthinkingly or
emotionally gotten ourselves into. We
have to be sympathetic, treat the boys
like heroes, which they are, and let them
know that we are doing everything we
can to make their lot easier and to help
speed their return. We must let them
know that we are trying to keep their
world as wonderful and as fine as they
want it to be. That is what they are
fighting for, and that is our duty to them.
Those boys you see wandering the
streets are lonely boys. You should,
through the auspices of the local USO
or war committee, have some of them to
your home for dinner. They come from
homes and they want to be invited to
homes. They don't want to meet you in
the park, or on the street. Canteens are
wonderful, and you should go to them.
It is a social life to replace what we had.
But still we must remember that the
boys want to see something that looks
like home. The American boy loves a
home. And we should give him the pleas-
ure of enjoying ours when he is in town
on leave. Lonesome boys can always be
found through the USO.
Many girls are not emotionally ad-
justed to these changing times, the girls
who have a feeling that they will never
marry if they don't now, right this
minute. The girls who want to marry a
soldier to escape from home, to get inde-
pendence. They don't stop to think that
they are ruining their lives in a heart-
breaking manner. Most of these girls
hardly know the boys, they don't know
hat their backgrounds are like, they
't know if they are suited at all. That
adage "Like marries like" still goes.
;t of the happy marriages of friends
line are the ones where the boys and
i have been raised in the same types
76
SCREENLAND
of environment. The unhappy ones have
always been when the two people were
as far apart in environment as the North
and South Poles. But I do think that
the most important part of this discus-
sion is that the unhappy soldier is not
a good soldier, and that there are many
boys sitting in the far corners of the
earth who wonder what kind of girl they
did marry, and if they will get along
when the war is over. Something in their
consciousness tells them that what they
did was wrong, and the worried soldier
is the careless soldier. So it is sabotage.
It is up to us, the future leaders of
our country, to ration our love very care-
fully in these times. It is our patriotic
duty.
Everybody's Gracie
Continued from page 40
cessful she may become in pictures here,
she will always be the same. Long ago,
her father told her, "Noo, remember,
Gracie — never get stuck oop." And she
never has.
The most genuine proof of all that
Gracie would never change came in 1941
when she returned to England to visit
her home town of Rochdale.
This visit was a real test. A good
many people in England were annoyed
at Gracie because when she married
Monty Banks, she came to America with
him to live. They felt that she had
given up her own people.
There were flags and bouquets when
she arrived. But there was still a cer-
tain amount of tension from the people
who gathered to meet her. When she
sang, There'll Always Be An England,
the applause was merely polite applause.
Undaunted, Gracie went on to the can-
teen of a local mill where she sang for
the workers. In the middle of one num-
ber— and with the audience still cool —
she found that the side zipper of her
dress was wide open. She stood there
under the lights for a while and tugged
at her dress, roaring with laughter.
Then she cried, "Ee, it's stuck. I say,
girls, isn't it a nuisance when your zip-
per gets a bit of stuff in it?" That
started it. A mill girl in the audience
yelled out, "She's not changed. She's
a one, isn't she?" From then on, she
had her people with her solidly, and
cries of "She's still our Gracie" punc-
tuated the air continually.
Gracie has been in Hollywood con-
stantly, except for short visits to Eng-
land, since 1939. Her home is here now.
Before she began her radio broadcasts
and her pictures, she was traveling across
the country and into Canada singing for
British War Relief concerts and enter-
taining boys here at the camps. Because
of the extensive amount of work she has
done along these lines, she has been
termed Britain's most famous Ambassa-
dor of Good Will.
Gracie used to have several homes,
but now her only one is in Santa Mon-
ica no- the sea which she loves so much.
H ie at Pcacehaven on the Chan-
p : in England has been turned
in orphanage which she supports.
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SCREENLAND
77
DOES ftnjf
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Cost but a trifle.
At Drug, Shoe,
Department Stores.
The place she had in Capri — no one
knows what has happened to that.
Gracie has open house every week-
end for the boys in the service. When-
ever any English boys of the RAF,
British Merchant Marine, and of the
English Navy get a leave, they head for
"Auntie Grade's" where they listen to
her sing, swim in her pool, play tennis
on her court, and eat plentifully of her
food. Recently, the American boys have
been running their Allies a close race
for these visits to the Fields home.
Often, Gracie writes letters home to the
boys' relatives.
Gracie was born in a family of ordi-
nary people and she has yet to forget
that she is one of the little people. She
first saw the light of day in Rochdale
in Lancashire on January 9, 1898. Her
family was considered fairly well off in
those days. Her father was an engineer
and earned $7 a week.
"Maybe we did have hard sledding,"
Gracie said. "But mother is sensitive
about our finances and she always likes
me to mention the fact that we weren't
begging in the streets."
Her mother used to do the laundry
for the theatrical artists around Roch-
dale. When the laundry was finished,
Gracie would take it back to the thea-
ters. During these visits to the theaters,
she would listen to the tunes and songs
being rehearsed backstage. When Gracie
got home, she would practise them. Soon
she was being heard all over Rochdale.
And usually in front of some theatrical
office in the hopes that an impresario
would hear her and ask her to sign a
contract. She was six at the time and
was the first of the four Fields young-
sters to start a career. (Her brother,
Tommy, is the only other one besides
Gracie who is still entertaining. And
he does the same thing as Gracie in
England today.)
Her first job was in a local movie
house where, as Gracie says, "I was an
echo backstage for another singer." Her
salary couldn't have been much for she
left this job to take another with a juve-
nile troupe, "Clara Coverdale's Dainty
Dots," for more money. This time she
got a shilling a week and keep — or
twenty-five cents. But Gracie hardly
ever collected her salary. It was a rule
that if any child misbehaved, she would
not get any money. Gracie did not al-
ways behave.
At fifteen, Gracie was still trying her
luck in the provinces — or "sticks." Then
her father decided she ought to come
home. His neighbors had been telling
him that "bein' an actress wasn't a bit
of a steady job." So Gracie came back
and got a job in Rochdale in a mill as
a cotton winder. But she kept right on
singing. Soon the workers were stopping
work to listen to her. Her audience
grew day by day. While she sang, other
girls would work her loom for her. This
was fine for her, but the company ob-
jected, and, as she says, "I was asked
for me resignation."
Her next real job was in vaudeville
where she did an act imitating popular
stars. At this time, she had visions of
being another Madame Patti, the Lily
Pons of her day. One night she was do-
ing a comic song and the audience
howled. Gracie was crushed, for she had
never considered herself a comic artist.
That was the beginning.
After this, she was on the stage in
pantomime in a show called "Dick Whit-
tington." This was in 1914. But her
first big break came when she was cast
in "Mr. Power of London." This was
supposed to be a modest little affair to
play only the provinces, but Gracie's
performance made the play a big success
and it was brought to London. From
then on, she was made. While she was
working in "Mr. Power of London," she
married the producer, Archie Pitt, but
was later divorced.
In 1925, she played in "By Request,"
a show that ran three years in London.
Then, in 1928, she received the first of
three command performances before the
King and Queen. At her last appearance
before Their Majesties in 1938, she was
awarded a rose colored badge and ribbon
signifying, "Commander of the Most
Excellent Order of the British Empire."
Shortly after this, she came to Amer-
ica to appear at the Palace. Because she
was told that people would never be
able to understand her Lancashire dia-
lect— or her songs — she was advised to
Americanize herself. The result was that
she flopped horribly.
"That was the last time I ever tried
being somebody but myself," she said
to me. "Of course, some still say it's
hard to understand me, but I don't see
it. Supposing I do put an 'haitch' where
an 'haitch' shouldn't be or leave one off
when it should be left on. It's still
English, isn't it?"
Back in England in 1931, Gracie made
her first film, "Sally in Our Alley." It
was such a 'hit that she continued to
make pictures. She also appeared in
plays and revues at the same time. By
now her salary was about $750,000 a
year, making her the highest paid enter-
tainer in the world. And she was, at the
same time, the most beloved figure in
the English entertainment world.
Her public really loved her. In 1939,
she became ill as the result of a serious
operation. For days crowds flocked to
the hospital to ask, "How's our Gracie?"
The crowds were so big that finally bul-
letins had to be posted several times
during the day to inform the people of
her condition. This had never been done
before except for the King. When she
was at last able to go to her window in
her room, she waved at the crowd still
standing outside through rain and fog
and cried out, " 'Ello now! I'm gettin'
better." The cheers were deafening.
At this time, Gracie was told she
couldn't work for a good many months.
Gracie paid no attention to her doctors,
and a few weeks later she was in France
entertaining the soldiers. Not many of
the English Army who were later to
see the horrors of Dunkirk will ever for-
get that Christmas Eve near the front
when Gracie sang and sang for them.
She stayed near them until about two
weeks before Dunkirk.
By the time you read this, Gracie
will be on her way doing more shows
for the boys in the service and
overseas. When she returns U tolly-
wood, it'll be another pictu ■ her
and Monty Woolley.
D-rSc hoi Is %
lino pads
78
ScRliENLAND
Streamlined Living
Continued from page 9
sprouts, she heats a small amount of
fat in a skillet, browns one sliced onion
to a golden brown, adds the sprouts,
according to the number to be served,
and a very small amount of water, and
cooks 10 to 15 minutes.
Or she may steam the sprouts from
7 to 10 minutes, then add them to the
browned onion and cook. Occasionally,
after steaming, she makes a casserole
dish of the sprouts by adding a tasty
sauce of molasses, Worcestershire sauce
end a pinch of ginger, and bakes them
in a slow oven.
Sprouts combined with tomatoes,
either canned or fresh, make a delicious
Creole dish. Proportions for this are:
1 tablespoon fat
12 tomatoes, quartered
2 bay leaves
1 cut up onion
3 cups soy bean sprouts
Salt and pepper
Garlic, if desired.
Mrs. Brown's favorite salad, evolved
after discovering that her family didn't
care for the raw sprouts, is Meatless
Chef Salad. She puts in whatever
vegetables and salad greens are avail-
able, but instead of adding slices of
rationed cheese and ham, she slips the
skins of the soy bean sprouts, steams
them ten minutes, and chills them
thoroughly before adding them to her
salad. "All the grand vitamin-C, ribo-
Barbara Hale, the
former Chicago
artists' model and
beauty contest
winner, became
the envy of all
the Swoonatra
fans when she was
chosen to appear
with Frank Sina-
tra in his first
starring motion
picture, "Higher
and H i g h e r."
flavin and niacin that children need are
in that salad," Mrs. Brown assured me.
Holidays are grand for entertaining,
but the Browns need no holiday excuse
to invite a few friends in, to roll up the
rugs and dance. Daytimes, they have
tennis parties; summer or winter, the
tennis courts are in use. In these stream-
lined days, they use the portable bar-
becue pit that can be rolled up into
the shelter of a patio that can be closed
in with canvas curtains.
Johnny Mack and the children fre-
quently do the mountains of dishes that
result, which may be one reason there
is less servant trouble at the Browns'
than anywhere else in Hollywood.
'"I suppose everyone is interested in
holiday food," commented Mrs. Brown.
'"Thanksgiving, Christmas and New
dear's dinners are such fun to plan!
It doesn't really matter that so-called
traditional items won't be on the menu.
If all the turkeys go to the armed
forces this year, that's as it should be.
There'll be no wailing from the Browns.
"We are great fried chicken eaters
here, and if they are obtainable we'll
have that, or perhaps wild duck, if
Johnny Mack happens to be on loca-
tion where there's good duck shooting.
We parboil the ducks for about an hour
and a half, then barbecue them for ten
minutes and they practically fall apart.
Then we'll have a ring of wild rice,
mushrooms, vegetables from our \ ictcry
garden canning, Johnny Mack's special
salad, fruitcake and ambrosia.
this new lotion
\ with LANOLIN did!
wr THE SKIN.
ampana trcai
You can distinguish the new Campana Cream Balm by its pure white
color and distinctive yellow and white carton. Sold by drug, department
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Campana Laboratories also produce the Original
CAMPANA BALM in the green and white package.
Screen la xd
79
. -<3
^1
Which Deodorant
wins your vote?
□ CREAM?
□ POWDER?
□ LIQUID?
For ordinary uses, you may prefer one
type of deodorant, your neighbor
another. But for one purpose — impor-
tant to you and to every woman —
there's no room for argument.
Use Powder for
Sanitary Napkins
For while creams and liquids are suit-
able for general use, a powder is best
for sanitary napkins. That's because
a powder has no moisture-resistant
base; doesn't retard napkin absorption.
Use Powder for
Sanitary Napkins
There's one powder created especially
for this purpose— QUEST* POWDER
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TO BE SET TO MUSIC
EMSm
Phonograph Records Made
VANDERBILT MUSIC STUDIOS
Dept. 8L, Box 112, Coney Island, N. Y,
BEAUTIFUL EYES CAN
MAKE YOU BEAUTIFUL!
Use Kurlene Eye Beauty Cream Daily!
Here's how to use Kurlene, rich, oily-base,
cream, to bring out the best in your eyes.
O SMOOTH ON BROWS
to add sheen and beauty
© APPLY TO LASHES
to make them darker, luxuriant-looking
0 ANOINT EYELIDS
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Long-lasting jar, $1.00 Tubes, lOd and 50^
At Toilet Goods Counters Everywhere
KURLASH OWNERS.'
Be thankful your Kurlash, the famous Eyelash Curler,
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KEEP BUYING WAR BONDS
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Lf KURLASH
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Rochester, New York
"Instead of Irish potatoes, we serve
sweet potatoes, not only because they
are more perishable and don't keep so
long as white ones, but because we like
them."
There is no scarcity of food in this
country, since the civilian population
here at home gets three-fourths of the
food produced in this country, but war-
time holidays are no days for gorging
or wasting that "weapon of war," FOOD.
"Raymond Hatton, who works with
Johnny Mack in the Johnny Mack
Brown Western series for Monogram,
told him of a wonderful chicken curry
that we intend to try soon. After a
series of what he calls 'ya-a-a' meals,
this makes a hot spicy contrast.
Chicken Curry
2 cups chicken meat, diced
2 cups stock
% cup celery diced
x/% cup raw potatoes diced
x/l cup peas
1 tablespoon green pepper, in shreds
1 small onion, sliced thin
1 teaspoon curry powder
1 tablespoon butter
}4 teaspoon salt
Brown the onion and the pepper in
the butter, add the stock, salt, celery,
and then the potatoes, simmer for fifteen
minutes. Finally add the peas and
chicken, stir the curry powder in a tea-
spoonful of the hot stock, and let sim-
mer for ten minutes. Stir as little as
possible.
Serve with hot boiled rice and India
chutney (Major Grey's chutney is best) .
To boil rice in East India fashion,
you wash one cupful of rice three times
in cold water, drain, and when dry
sprinkle a few grains at a time into
three quarts of bubbling, boiling, salted
water. Do not cover but boil rapidly
for fifteen minutes. Pour through a
colander and place in a heated dish.
This serves six persons.
"Pecan pie is a favorite holiday des-
sert. We make it of white Karo syrup,
brown sugar, pecans and butter. Johnny
Mack has the most wonderful fans,
always sending him something — for
years seven Zimmerman sisters used to
send him boxes of marvelous pecans."
In line with their vow to stay "for-
ever young," the Browns have lately
gone in for jitterbug lessons, which
they declare are the last word in fun.
Several of their closest friends are in
the same class, and often stop in at the
English house on the hill to practice
new steps.
"No matter how chilly or foggy it
may be outside, we're soon warm. I
like to serve a Southern drink — frozen
iced tea, or iced tea with a scoop of
sherbet in it. This is good with little tea
sandwiches."
The house the Johnny Mack Browns
built has plenty of space. They've shut
off part of the second floor for the
duration, and if the war lasts on and
on, and the already depleted staff dimin-
ishes, the cowboy star declares they
won't desert the house, but will close
off still more rooms and "huddle to-
gether" downstairs. Huddling is going to
be quite a feat, considering the size of
the rooms.
A message for you
. . . from 1953
{Today, John Jones is just an average
American, wrestling with all the doubts
and worries and problems that beset every
one of us right now. But let's skip ahead
10 years. Let's look at John Jones then —
and listen to him . . .)
* 'r>OMETiMES I feel so good it almost scares me.
^ "This house — I wouldn't swap a shingle
off its roof for any other house on earth. This
little valley, with the pond down in the hollow
at the back, is the spot I like best in all the
world.
"And they're mine. I own 'em. Nobody can
take 'em away from me.
"I've got a little money coming in; regu-
larly. Not much — but enough. And I tell you,
when you can go to bed every night with noth-
ing on your mind except the fun you're going
to have tomorrow— that's as near Heaven as
a man gets on this earth !
"It wasn't always so.
" Back in '43 — that was our second year of
war, when we were really getting into it — I
needed cash. Taxes were tough, and then Ellen
got sick. Like most everybody else, I was
buying War Bonds through the Payroll Plan —
and I figured on cashing some of them in. But
sick as she was, it was Ellen who talked me
out of it.
" 'Don't doit, John!' she said. 'Please don't!
For the first time in our lives, we're really sav-
ing money. It's wonderful to know that every
single payday we have more money put aside !
John, if we can only keep up this saving, think
what it can mean ! Maybe someday you won't
have to work. Maybe we can own a home. And
oh, how good it would feel to know that we
need never worry about money when we're old ! '
"Well, even after she got better, I stayed
away from the weekly poker game — quit drop-
ping a little cash at the hot spots now and then
— gave up some of the things a man feels he
has a right to. We made clothes do — cut out
fancy foods. We didn't have as much fun for a
while but we paid our taxes and the doctor
and — we didn't touch the War Bonds.
"We didn't touch the War Bonds then, or.
any other time. And I know this: The world
wouldn't be such a swell place today if we had! "
The Treasury Department acknowledges with >pre-
ciation the publication of this adver y
SCEKENLAND
80
SCREENLAND
Confessions of a Career Girl
Continued from page 28
the terrific sacrifices the ballet demands.
While I dreamed about this, it took
Janet Gaynor and Charles Farrell in
'Seventh Heaven' to push me into new
ambitions. I saw this picture eleven
times and gradually it came to me that
acting, not dancing, was to be my career.
Mother is always wonderful, she lets me
do my own deciding.
"Those years with the ballet — pan-
tomime, body control, rhythm, and per-
fection always the goal — were invaluable,
and I wouldn't have missed the experi-
ence. When I finally made the break to
become an actress, I had a hard struggle
trying to interest the studios. After a
few pictures and a lot of discourage-
ments, I joined the Pasadena Playhouse
to gain stage training. I appeared in
seven plays and even reached the
height of portraying Ophelia to Hardie
Albright's Hamlet.
"My first play was 'Lady Mary, Lim-
ited,' in which I had a small part. I was
so absorbed in this new career that I
didn't even ask about the Sunday per-
formances. Mother and I went over as
usual, I made up and was ready for my
call. Then suddenly, we realized it was
deathly quiet, that no one else was
around, and no show was scheduled. Be-
lieve me, we scampered out of that big
building like a couple of scared puppies'
"I came back to pictures and just when
my ambitions were burning at white heat
I bumped into another chapter in my
life that completely upset my plans. I
met Walter Brooks, who was here visit-
ing his mother, Mrs. Lionel Atwill. We
were introduced on the studio set and
wham! it was love at first sight. I battled
with the problem of career versus mar-
riage, then gave in and we were married."
Now, young Brooks is the grandson of
the very rich and very social Mrs. Stotes-
bury of Philadelphia, and the newlyweds
became part of a gay and dazzling life.
They had everything — unlimited wealth,
social prestige, a beautiful home, exten-
sive travels. It was like heady wine, and
Julie was swept into the excitement, be-
coming a de luxe play girl. But within
two years she wearied of the monotony.
Her career began pulling at her, she
wanted to act, to be part of the world
that is doing things. So the Brookses
returned to Hollywood and Julie resumed
her career, with the consent of the hus-
band. But this dual life didn't last. The
two young people made mountains out
of trivial things and a divorce was the
next step.
"We were too young, too emotional,
and of course, we had too little sense,"
explained Julie. "It was a beautiful in-
terlude in my life and I'll never regret
it. Walter and I are still good friends —
he's now flying for the Army.
"I was happy to be back in pictures
and hoped to set the world on fire with
my acting. Along came a Columbia con-
tract and the first thing I knew, I was
rushing through a lot of B films. At first
I didn't mind for I thought it would be
good training with the continual change
in roles, backgrounds, and stories. But
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POWD'H-BflSE
Buy. . . BONDS
CHESILLE ROBES
The demand for snug, tailored
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All of the popular colors offered
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BLUE RIDGE
Dalton
SCREENLAND
81
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SONG POEMS WANTED
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Free Examination. Send Your Poems To
j. chas. McNeil
A. B. MASTER OF MUSIC
510-V So. Alexandria Los Angeles, Calif.
Pins, rings and emblems. Over 300 de-WCj]
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Pins, 55c up. Write today for free catalog.
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For relief from " periodic junctional distress"
somehow, I always played the same type
of girl — sweet and so uninteresting.
"I was unhappy about it yet I didn't
step out and fight for what I wanted.
I had the idealistic notion that if I was
really good, someone would see me and
put me in better roles. Months went by
and nothing happened, so I started call-
ing on producers and telling them my
story. They were sympathetic, always
delighted with my enthusiasm and am-
bitions, but they could never see me in
anything but those same old parts. Jerry
Wald used to encourage me by saying,
'Just wait, your chance will come. Ann
Sheridan went through this same thing!'
"I read scripts of the new pictures and
many times saw parts I knew I could
play. I actually prayed for a test of
Cassie, in 'King's Row,' and was crazy
to play in 'The Constant Nymph,' but
no one even thought of me. Three dif-
ferent times I was on the verge of quit-
ting the whole thing.
"But when you have someone believ-
ing in you, you can't fail them. There's
my mother, her every heartbeat is for
my success. There's my friend and agent,
Henry Wilson, he never doubted that
we would win. No, I couldn't let them
down. I look back now and see that
these frustrations and disappointments
taught me emotional values."
Months passed. Julie decided to try
summer stock and get more stage train-
ing. She wanted to feel the instant ap-
praisal of audiences. So, she journeyed to
Wisconsin and joined the Peninsula Play-
ers of Door County, where she did eight
plays, which proved inspiring and grati-
fying. She gained new confidence, had a
clearer view of her problems, and on ar-
riving back in Hollywood came the bright
idea of changing her name.
"Now," said Julie happily, "I'm start-
ing a new career and each step is encour-
aging. I was terrified to play with
Humphrey Bogart because I knew he
was a practical joker and I was afraid
I couldn't take it. But he was wonder-
ful to me, jokes and all, and I learned
much about acting from him — he's a
real artist. Playing in 'To The Last Man'
with Errol Flynn is exciting. It's a story
of the Northwest Mounted Police.
"Several important films are lined up
for me and my future looks bright. I've
continued my ballet practicing for I hope
to combine dancing and acting in a pic-
ture some day. My big dream is to play
Marilyn Miller when they make a film
version of her life.
"No there's no romance." Julie gaily
shook her head in answering my ques-
tion. "I'm a career girl, as I told you,
and I never want to give it up. Yet —
down in my heart I know that a woman
can never be truly happy without love
and marriage. These are normal feminine
demands and you can't toss them aside.
So, someday, when everything is just
right, I hope to marry. I sincerely be-
lieve it is possible to successfully com-
bine a- career with marriage. Not sub-
merge it, mind you, for it is too impor-
tant for that. Men carry on careers with-
out disturbing the serenity of their do-
mestic life, so why can't a woman?"
How to Be Happy Though Rationed
Continued from page 43
found a variety of meat substitutes as
recommended by the government's nu-
trition program.
Before the war, the Cafe featured a
fancy selection of rare foreign dishes,
prepared by imported chefs for the ap-
preciative delight of studio gourmets.
The French chef, for example, was the
favorite of Betty Grable. He was always
prepared for Betty's order of Vichy-
soisse or Chateaubrian escargots bour-
geoine, but times have changed.
Patriotically — and palatably, Betty
now goes for the newest Janios specialty,
the Victory Plate, designed to make
former meat-eaters forget their troubles.
Here's Nick's recipe, including all the
nutritive elements:
Broiled turkey livers
Grilled sliced ripe tomatoes
Grilled avocado
Green asparagus tips
French-fried onion rings
Gratined egg plate
The Victory salad, which is something
else again, is Nick's answer to the needs
of a regular customer like Alice Faye.
While working on "The Gang's All
Here," Alice kept her weight down with
this salad of fresh greens, garnished with
sliced turkey and a special French dress-
ing made with mineral oil.
That mineral oil dressing, incidentally,
is a Janios headliner. Not only does it
restrict calories for dieting stars, but it
also cuts down on scarce fats and oils.
Try Nick's recipe on your next salad.
1 quart mineral oil
2 cups lemon juice
1 tablespoon Lea and Perrin sauce
1 tablespoon paprika powder
1 cup catsup
Salt and pepper to taste
It's not fattening, not rationed, and
"not bad!"
Mineral oil, Nick has found, is also an
excellent substitute for the fats used in
cooking vegetables. Nick's even devised
a non-fattening dessert, crisp doughnuts
cooked in the all-purpose mineral oil.
Laird Cregar, ordered to lose weight for
his starring role in "The Lodger,"
dropped 60 pounds on a special diet in
which all his foods were cooked in it.
Speaking of desserts, fancy and fatten-
ing concoctions have almost disappeared
from the Cafe menu. Occasionally Nick
offers pie or cake, but more frequently
it's fruit jello, sherbet, or this specialty:
FRESH PLUM CAKE
Lay out tart forms with coffee
cake dough. Split the plums length-
wise, remove the stones, and place
the halves flat side up, in rows.
Sprinkle with sugar and -cinnamon.
* A universal favorite and nutritious ap-
petizer is the Henry King cocktail,
82
ScREENLAND
named after the famed director who
has just completed "Song of Berna-
dette." Made with clam juice, catsup,
Worcestershire sauce, and horseradish,
the cocktail has undergone but one war-
time change. Now it's tomato juice
instead of catsup.
To take the subject back where it be-
longs, on the meat situation, Nick's sub-
stituted some tremendously popular en-
trees, rich in protein, vitamin content.
Nick felt mighty sad when he could no
longer serve beef stroganoff regularly to
Don Ameche, but made up for it with
some nutritive dishes dreamed up by the
Chinese chef. Now Don orders chicken
foo yung, shrimp chop suey, or chow
mein with boiled rice. A typical recipe is
for Chinese Green Pea Chop Suey:
3 cups diced chicken
4 onions
1 stalk celery
1 can (or fresh) waterchestnuts
1 can bamboo shoots
2 cups (when in shells) green peas
1 pint chicken broth
Season with soy sauce
Sonja Henie carries on in the typical
Norwegian fashion, preferring fish as her
entree. You wouldn't miss meat either
with a dish like this surrounded by fresh
vegetables. It's a special Janios recipe
for poached northern white-fish maison:
Poach fish in white wine for 5
minutes.
Cover with a creamed celery sauce.
Cook for 10 minutes, then serve
with boiled potatoes.
It has to be something good to satisfy
a hearty meat-eater like Dana Andrews,
and here's a special that gets Dana's vote
every time — Deviled grilled pigs' feet:
Boil pigs' feet till tender, remove
bones. Put meat in a shallow mold
till firm. Unmold and cut in 2-inch
squares 1 inch thick. Dip in mild
mustard. Roll in white bread
crumbs. Fry to golden brown in
mineral oil. Serve with sauerkraut.
Some stars, like Lynn Bari and Carole
Landis, like their luncheon concentrated
into one of Nick's big salad bowls, and
the obliging maitre d'hotel counters with
such favorites as these — served, of course,
with mineral oil dressing.
PANTRY SPECIAL SALAD
Garden greens, peeled tomato
filled with deviled egg, olive, filet
of anchovy, asparagus.
COOK'S SALAD
Watercress, romaine, chicory,
quartered tomato, stuffed celery
with roquefort cheese, diced avo-
cado, diced egg and cucumber.
Yes, Nick's knack of keeping the stars
happy and well-fed doesn't fade even in
wartime. New problems may arise with
new shortages, but he solves them.
Perhaps Nick gives a thought to the
fact that his careful planning is no small
contribution to winning this war. The
more he can conserve, the more food
there will be for the liberated countries
of Europe, including Greece. And the
more helpful suggestions he can offer by
way of tempting menus which are not
too costlj ' prepare, the more Mrs.
America usewife — including movie
stars — c; )rd to put into war bonds.
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Squire Coburn of Hollywood
Continued from page 45
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would be the picturesque Southern sena-
tor who doesn't know the war is over.
Then, to be sure, there would be the
quaint college professor, the hard-hearted,
skinflint lawyer, the philosophic tavern-
keeper, and, finally, Foxy Grandpa who
gets drunk in the last reel and does the
big apple or whatever the current craze
is among juveniles."
"You — you mean you — you're not in-
terested?" the flabbergasted Hollywood
representative would sputter.
"Not even remotely, sir! If the day
ever comes when I am offered a script I
like, I'll sign for the one picture. That
one picture will do me for a pretty long
time, I'm afraid." And that would be
that.
Until the fall of 1937, at any rate. He
had just completed his annual summer of
stock at the Mohawk Drama Festival —
a drama fete organized and directed by
Coburn and staged at Union College,
Schenectady — and barely checked into
his fabulous flat at the famed Players
Club when the telephone rang. Metro-
Goldwyn-Mayer was on the wire, and it
seems they had a proposition to make.
"A term contract?" Mr. Coburn want-
ed to know.
"It's a script this time, a script with a
part we'd like you to play. If you'll be so
kind as to read it over — "
Mr. Coburn said he'd be glad to read
it over. It was a little early in the season
and as yet he had made no plans. Metro-
Goldwyn-Mayer, tickled pink, promised
to send the script right over. It was an
opus called "A Family Affair." They
hoped he would like it.
The script arrived on schedule, was
read, and admired, mainly for the sim-
plicity of the story, the honesty of the
narrative, and the true-to-life quality of
the characters. Mr. Coburn lost no time
in telephoning M-G-M and reporting
that he would be honored to play the
role of Judge James Kincaid Hardy, pro-
vided, of course, he passed the screen
test.
Well, he took the test, was told "we'll
let you know," shrugged, forgot the whole
business, and was reminded of it dramat-
ically a fortnight later via a telegram
from Hollywood advising him that he had
passed the test with flying colors and that
his presence was earnestly desired on the
West Coast at once. The telegram went
on to say that the studio had been so
pleased with the results of the test that
it had decided to make a series of sequels
to "A Family Affair," in view of which it
was herewith notifying him that it would
have to exercise an option on his services
for five years, at the very least. Mr.
Coburn yawned, wired a terse reply read-
ing: "THANKS, NOTHING DOING,"
and cast about for more congenial chores,
after wondering aloud when, if ever,
Hollywood was going to grow up.
He was ankle-deep in plans to revive
"Master of the Revels," one of his old
smash successes, some six weeks later
when the postman rang twice and de-
posited an air mail special delivery
packet with a Hollywood postmark in his
hands. He opened it. Just as he thought,
it was a script, bound in a bright red
cover to which was attached a note read-
ing as follows:
Dear Mr. Coburn:
I have only today had the good fortune
to inspect the test you made for "A
Family Affair," a test so conspicuously
promising that I am rushing you this
script, "Of Human Hearts," in hopes that
you will find the character of Dr. Shingle
attractive enough to induce you to come
to Hollywood at least long enough to con-
tribute your presence to this one picture.
(Signed) Clarence Brown.
Perhaps it was the pretty red cover,
perhaps it was Director Clarence Brown's
nice note. At any rate, he read the script
immediately, liked it, was smitten with
the character of Dr. Shingle, and wired
Director Brown that it would be a pleas-
ure. Three weeks later he departed for
Hollywood to make one picture, inspect
Hollywood at close range, and hurry back
to his beloved Broadway.
He never came back to Broadway — at
least not as an actor. He turned in so
rousing a performance as the whiskey-
quaffing and humanity-loving medico,
Dr. Shingle, that he was swamped with
offers from every studio in town. They
showered him with scripts. He did three
more pictures before he came up for air:
"Lord Jeff," "Yellow Jack," and "Viva-
cious Lady." After that Hollywood
wouldn't let him go.
Six years have passed since the Hardy
Family transformed an eminent stage
star into an even more eminent picture
player, a player whose fee of $7500 a
week and a minimum guarantee of six
weeks is paid by studios not only without
quibbling but with a feeling of gratitude
at snagging Coburn at any price.
He still loves the stage, but he has
become mighty fond of Hollywood, a
little too fond to leave.
"At the close of the first day's shoot-
ing I was certain I was going to hate
the place," he tells you today, a fifty-
cent stogie jutting from the port side
of his mouth, the flame long since ex-
tinguished. "The very first day they
woke me up at 5:30 A.M. which was
the earliest I had been up since I had
been up that late. On the set, I was
taken in tow by two business-like young
ladies who put kinks in my hair with
curling irons, after which I waited all
day before being called to stand in a
crowd scene where villagers gathered to
watch a boat come in. When the 'rushes'
of the day's work were run and I could
barely recognize the top of my head, I
began counting the days until I was shed
of Hollywood. Now look at me, a con-
tented Hollywood squire ready to leap
to Hollywood's defense a* the mere rais-
ing of an eyebrow."
Squire Coburn of Holl is a tall,
portly, and distinguishec ig gentle-
84
SdtEENLAND
an whose alertness, agility, and vitality
belie his 6.5 years. In the realm of the
Viennese waltz he bows to nobody in
Hollywood, and the involutions of the
tango, rhumba, and samba are mere
child's play to him. Too busy to partici- i
pate in Hollywood night life, he does
make an occasional sortie and has him- |
self a grand time. True lovers of the
dance, observing Mr. Coburn's wonder-
ful rhythms and intricate steps, pause i
in their operations to look on admiringly
and often enviously. "
"Mr. Cobum is the kind of gentleman
that every girl is secretly in love with," j
says that charmer and sage, Maria
Montez. "One of these days he and I
are going to cut a rug together — a big
one." Maria adds with a twinkle.
In appearance the very stencil of a
prominent successful elderly professional
man, he dresses more like a boulevardier
than anything else. Even after six years,
haberdashery clerks continue to register
amazement when Mr. Coburn walks in j
and asks to be shown the sporty shirts
in the window.
"What size, Mr. Coburn:'" they in- j
quire.
'"You know my size," Mr. Coburn I
comes back wearily.
"Oh, it's for you!" And they do a
double-take.
A man of tremendous energy, he drives
hard at his work. After a day at the
studio, he will put in half the night at
his desk. There are scripts to go through,
countless books on the theater to keep j
up with, a prodigious amount of corre-
spondence to attend to, an autobiography j
to plug away at.
'"There'll be lots of time for sleeping
when I retire," he tells his man servant,
Lucas, a devoted Xegro, who sometimes
has to remind him that it's getting on to
three o'clock and time he was getting
to bed.
It's a long way from Hollywood, Cali-
fornia, to Savannah, Georgia, where be-
monocled Charles Coburn, who is so
often mistaken for an Englishman, had
his beginnings. Scion of a noted musical
family (his grandfather invented the
square violin and established the first mu-
sical conservatory in Georgia, his father
taught music and conducted a symphony
orchestra, his mother was a talented
singer, and his sister travelled as accom-
panist to Louise Homer, the opera star) ,
he was scheduled to become a noted
violinist, himself. By the time he was
twelve, his teacher was ready to make
book that Coburn pere's dreams for his
favorite son would never materialize due,
mainly, to a remarkable disinterest on
the part of the pupil for practising the
required four hours a day. The elder
Coburn, hearing the ominous rumbling,
made an investigation. His son and heir,
be discovered, was a hopeless addict of
bicycle racing, a craze that was beginning
to sweep the country back in the
early '90's.
There is no point in goading genius.
The head of the house merely looked on
and prayed. But not hard enough, ap-
parently.
Young Coburn, tall, lean, lithe, and
15, was loitering in front of the illustrious
Savannah Theater when the manager of
the theater came streaming out, a bit
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harried-looking. Spotting the young
bucko lolling around and admiring the
posters out in front, he approached him
with a request. Would the young man
be so kind as to hop on his bike (racing
model) , streak for the local printer's, and
return with some programs that should
have been delivered hours ago? Glad to
accommodate, young Coburn ran the
errand, delivered the programs to a grate-
ful manager, and was offered on the spot
the job of program boy. He took it.
Of such seeming trifles are careers
made. Program boy at 13, usher at 14,
ticket-taker at 16, and boss of the box
office at 18, he had barely turned 19
when he was appointed manager of the
celebrated theater, a job which brought
him up against the theater's great:
Richard Mansfield, Modjeska, Henry
Irving, Ada Rehan, Nat Goodwin and
the rest. Eight months of this and he
knew what he wanted. He wanted to
become an actor. Mind made up, he
packed a carpet bag and headed for New
York.
It wasn't easy getting started. Nobody
wanted a green actor fresh from Savannah
whose trademark was a rich Georgia
drawl. He did a trick at wrapping
bundles in a department store, at profes-
sional bicycle racing, ushering at a nickel-
odeon, sidewalk vending, and heaven
alone knows what all else.
The chances are 50-50 that the closest
Charles Coburn would ever have come
to the theater is the post of head usher
were it not for a telegram that arrived
during an all-time spiritual low. The tel-
egram was from a trouper he had be-
friended when he was manager of the
Savannah Theater. The telegram offered
him a job as press agent for an act in-
volving a pair of song-and-dance twins.
He snapped it up, hoping it would lead
to something else. It did.
He had dropped by the office of a
booking-agent pal of his when a man
with a blazing diamond stickpin collared
him.
"You're the type of actor I'm looking
for," he said, "flow would you like to
do a season of stock in St. Louis?"
around taking bows like, a little Musso-
lini. When I think about it today, how-
ever, I'm not so sure but what those
hysterics were due to wild, uncontrol-
lable laughter."
When Van went to high school his
father decided to take a hand in his
bringing up. So he dropped out of
dancing school and stopped taking violin
lessons. "But the ham was already
deeply planted in me," says Van. "I
slid through math and Latin and his-
tory by the skin of my teeth. But in
the dramatic department I was a shin-
ing light. I did a lot of song and dance
routines in blackface at minstrel shows
which were given in the Masonic halls
around Rhode Island, and in the sum-
mertime I sang at county fairs and
strawberry festivals given by the church.
"I wouldn't mind it at all," Coburn
said. They signed the papers on the spot.
His debut as an actor was a signal
success. The very next year he made his
first appearance in New York. The play
was a stinker, but Coburn stood out.
From then on out he was a marked man
in the theater.
He was doing a season of Shakespeare
when the troupe got stranded in upstate
New York. For want of something to
do, he began noticing his leading lady.
To his delight and amazement, he found
her beautiful, witty, gentle, inspiring,
talented, and understanding. Why didn't
he marry her? He did. The two formed
a partnership that was not dissolved
until her death thirty years later. She
played opposite him, shared his mana-
gerial duties after he turned producer,
and together with him conceived the idea
of the Mohawk Drama Festival already
mentioned.
With the new Mrs. Coburn he de-
scended on Broadway prepared to take
it over. He just about did. He produced
"The Yellow Jacket" with his last $5000
and made a miniature fortune. He re-
vived the classics and demonstrated that
people would pay money to see them. He
staged "The Better 'Ole," the favorite
war play of World War Number One
(after every other producer had passed
it up) and cleared a quarter of a million
with Mrs. Coburn in the role of Victoire,
the French cutie. For the next two dec-
ades they made annual coast-to-coast
tours appearing in scores of plays and
being acclaimed everywhere they went.
In 1937 came the Mohawk Drama Fes-
tival in which he appeared as producer-
director-actor, along with such players as
Beulah Bondi, Cornelia Otis Skinner,
Dennis King, Jean Muir, Sally Eilers,
and Nancy Coleman. He had just checked
into his fabulous flat at the Players Club
when the telephone rang. Metro-Gold-
wyn-Mayer was on the line. It seems
they had a wonderful script they wanted
him to read, a script called "A Family
Affair" and involving a certain Judge
Hardy.
But we've gone all over that.
My tender rendition of My Wild Irish
Rose was a cinch to bring me in all
the angel food cake and strawberry ice
cream I could possibly stuff."
Following his graduation from high
school Van worked for his father, a
well known realtor in Newport, as ste-
nographer and bookkeeper. After a year
of this he gathered up courage to tackle
Broadway. When he told his father
about his plans, Mr. Johnson, who con-
sidered the theater just a lot of fiddle-
faddle, sourly said, "You'll be back in
a week." That, of course, made -Van
more determined than ever to stick it
out. Father Johnson did not come across
with any dough. Van was strictly on
his own. He worked up a good hearty
dislike of Newport in those days be-
cause every time he announced enthusi-
Get Hep to Van
Continued from page 39
86
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astically to his school chums that he
intended going to New York and be-
coming an actor they would break into
loud guffaws, and scream derisively,
"You — an actor? Don't be silly. Hey,
Louise, come get a load of Van Barry-
more."
That hurt. It still does. "You'd be
surprised how many of them write me
letters now, and invariably their letters
start, 'Dear Van, I always knew you
had it in you to be an actor. . . .' "
In New York Van got his first job
at the Cherry Lane Theater, down in
Greenwich Village, where so many am-
bitious kids start— and often finish. (A
few weeks ago Van met Jennifer "Berna-
dette" Jones and her husband Robert
Walker, recently signed by Metro, at
a party in Hollywood, and they quickly
discovered that they had been working
at the Cherry Lane at the same time,
and living next door to each other in the
Village. ■ No one said, "It's a small
world.")
Van was supposed to get fifteen dol-
lars a week at the Cherry Lane. But
only one week of the seven he was there
did he get paid. He decided it was time
to go uptown. After haunting booking
offices for several months, and getting
thinner by the day, he finally signed up
with a dancing unit of ten boys and
girls and went on a tour of tank towns
in the East. "I got paid thirty bucks a
week. And for the first time in weeks
I ate regularly."
Back in New York — it was 1937 then
— he got a job in "New Faces," a young
folks' revue that ran nine months at the
Vanderbilt. Van was paid forty iron men
every week to make with the songs and
dances. It was his first "big money"
and he promptly bought himself a
snappy new outfit. Van has a weakness
for clothes. "I consider clothes an in-
vestment," he says in half apology.
When "New Faces" closed there fol-
lowed a period of no work. Then he got
a contract at the Boxy Theater to do
five shows a day with the Gae Foster
girls. While at the Roxy he met Buster
AVest and Lucille Page, and soon after-
ward, when West wanted a new straight
man, he signed Van for a year. It was
Van's best break. They played good
theaters and he was paid seventy-five
dollars a week. Van had the spot on him
while he sang, September in the Rain.
he learned to ad lib to keep up with
Buster, and he danced with Lucille. But
all good tilings come to an end. Lucille
decided to have a baby. And Van went
job hunting again.
It was the beginning of a long hot
summer, and booking offices didn't even
bother to stay open until noon. The best
thing Van could get was a nine-dollar-a-
week job at Swan's Lake in the Catskills,
and he signed up for the summer. If
you read, or saw on stage or screen,
Arthur Kober's "Having a Wonderful
Time" you know all about Swan's
Lake. Van got his room and board free,
and for the nine weekly smackers he had
to be the sports director in the daytime,
and master of ceremonies at nights when
they put on vaudeville acts. He also
produced, and sang, such goodies as
"The Mikado" and "Pinafore." When
the entertainment was over at night Van
Bright/
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was then supposed to wash the make-k.p
off and come out and dance with the
paying guests. When the camp closed,
after Labor Day, he returned to New
York, and soon joined up with a smart
vaudeville act called "Eight Men of
Manhattan." The act played the swank
Rainbow Room, and it was here that
Van met Mary Martin, the rage of New
York that year, who was bringing in
the after-theater crowd in droves with
her famous My Heart Belongs to
Daddy song. Mary was the first big-
time actress who encouraged Van. "You
ought to be in movies, honey," she told
him in her friendly Texas drawl. "I've
got to do something about you. You're
wasting your time in this act. I'm go-
ing to get you an agent." Mary def-
initely planted the picture bug in Van's
brain. He started going to the movies
every chance he had. He became an avid
movie fan. Clark Gable and Spencer
Tracy were his favorites.
While he was being sleek and chic at
the Rainbow Room, Van heard that
George Abbott was casting "Too Many
Girls." He made three efforts to get a
part in the show as a college boy, but
three times he was turned down as "not
the type." But finally he got the thank-
less and difficult job of understudy to
the male leads at forty dollars a week.
Van was very faithful about being on
hand every night, but the male leads
were frightfully healthy. One night he
felt simply awful. His head was split-
ting open and his throat felt as if it had
been hanging on a nail in the meat mar-
ket. Van called the stage manager at
the theater to tell him he wouldn't be
sitting around in the wings that night,
not that it mattered, he was sure. "Oh,
it's you, Johnson," said the stage man-
ager happily. "I've been looking for your
phone number. Dick Kollmar's sick.
Can't go on tonight. You're to take his
place." Van forgot all about his head
and throat and was in the theater in
nothing flat. From then on things start-
ed coming his way. Eddie Bracken left
for Hollywood and Van got his part.
Dick Kollmar (married to Dorothy Kill-
gallen) didn't want to go on the road,
so Van took the show on the road at
$1.50 a week. And bought some new
clothes. "Now," he thought, "I can get
a Broadway lead."
Next year he was in the chorus again.
Of a musical called "Pal Joey" that was
cleaning up at the box office. He started
as a hoofer in the back line, but grad-
ually, again, things started coming his
way. First he got a chance to sing the
reprise of Gene Kelly's song. Then he
had a chance to dance with June Havoc.
"You're too good for hoofing, big boy,"
announced Miss Havoc, and the next
thing Van knew lines were being tossed
his way. One night to his amazement
Bill Grady, Metro talent scout, appeared
at his dressing room door, and suggested
that he go to Hollywood and work for
Leo the Lion. But Van was having his
first taste of New York success, and it
tasted mighty good. "I'd rather get a
name on Broadway before I tackle
Hollywood," he informed Mr. Grady.
"Pal Joey" had a long sensational run,
and gradually talent scouts from all the
studios made their way around to the
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stage door. Gene Kelly signed, and so
did June Havoc, but Mr. Johnson was
being dreamy.
"Then the show closed," said Van
with a grimace, "and nobody wanted
me." He went back to Newport to visit
his father (his mother had remarried)
and suddenly became so frightened that
he might settle down to real estate that
when his agent telephoned him that
Warner Brothers had nibbled again, Van
took the fastest train to the Coast. "For
six weeks I sat at the hotel and waited
for the studio to call me. They sent my
checks over, but wanted no part of me.
Finally they put me in a picture that
I'd rather forget. When I got a look
at my puss I said to myself, 'What a
stupe I am to waste my time here. I'm
going back to New York and try again.'
It was okay with Warners. Well, I was
all packed to go when I ran into Lucille
Ball at Chasen's one night. I was tear-
ing into a steak and telling her all my
s when Bill Grady dropped by
"e. Tf you'd come to me in the
ace instead of being so, hard to
get you'd have been a star by now,' said
Bill consolingly. 'But come on out any-
way.' I had no intention of going — I
thought he was kidding — but Lucille
drove me out to the gate the next
morning, and pushed me through it."
Van's first appearance at Metro was
in a "Crime Doesn't Pay" short, and
they dyed his hair black, pasted on side-
burns and made him look like a Cuban.
Then they put him into a sequence in
"Somewhere I'll Find You" where he
had to do a scene with his idol, Clark
Gable, which nearly scared the daylights
out of him. In the trench sequence of
this picture he met Keenan Wynn, Ed
Wynn's son, who has since become his
best friend in Hollywood. Keenan and
his attractive young wife were with Van
the night of his almost fatal accident. In
"The War Against Mrs. Hadley" he was
given his first real part. Quickly fol-
lowed by "Pilot #5" and "The Human
Comedy" and two Dr. Gillespie pictures.
When Metro saw the fan mail piling
in, and further discovered that they had
a real honest-to-goodness actor under
contract they gave him the second male
lead in one of their most important pic-
tures of 1943, "A Guy Named Joe," star-
ring Irene Dunne and Spencer Tracy.
"A Guy Named Joe" had only been
in production a few weeks. Van — who
thinks Tracy is perfection itself and
likes nothing better than to be referred
to as "a second Spencer Tracy" — had
lured the studio into showing him and
the Wynns Spence's last picture, "Keeper
of the Flame," in one of the projection
rooms. They were leaving for the studio
around eight o'clock in Van's car. Van
made the boulevard stop a few blocks
from the studio, and was crossing the
intersection, when out of the dim-out,
like a bat out of hell, came a flivver
traveling at such speed that it tore into
the heavier car, spinning it completely
around and turning it ovqr. Keenan was
unhurt, but Mrs. Wynn's back was badly
wrenched. Both the windshield and the
top of the car had come into contact
with Var - poor head. Van remembers
lifting his hand to his head — "the blood
was pouring into my eyes blinding me,
and I could feel my brains hanging out
from the crack in my head. But even
at a time like that I was a ham. My
face, I kept muttering to myself, my
face is my living. If I can't make pic-
tures any more I don't want to live."
He spent forty-five minutes in the gut-
ter before the ambulance arrived, and
when it did it was a Black Maria that
took them to the police station.
In the meantime the studio had been
notified and Metro saw to it that Van
received the best of care. Van feels that
he owes his life to Dr. Wm. Branch.
"No one ever looked as beautiful to me
as Dr. Branch when I saw him at the
hospital. Suddenly I knew that my face
would be all right and some day I'd
make pictures again. And I guess I felt
the will to live when I saw Victor Flem-
ing bending over me, and heard him
whispering in my ear, 'Irene Dunne and
Spencer Tracy are waiting for you to
finish the picture, Van. They won't let
anyone else have your part."
When he was able to leave the hospi-
tal Van was moved to the Wynn home
in Brentwood where he is convalescing
in the California sunshine. His hair,
which was completely shaved, is growing
out again and will soon cover the deep
gash in the back of his head. His fore-
head has been neatly patched and in
time he has every reason to believe
the scars will disappear entirely. He's
raring to make pictures again. It wor-
ries him that the studio has had to hold
up production so long on "A Guy Named
Joe." But he's going to make up for it
by giving the best performance it's in
his power to give.
Van's far more interested these days
in that interrupted career than he is in
girls. He's done all right in the girl
department in the past — when he first
came to Hollywood he went with June
Havoc whom he had known in New
York. Then he went with Joan Craw-
ford before she became engaged to
Phillip Terry. And he went with Judy
Garland after she had separated from
Dave Rose. He saw quite a bit of Betty
Grable after she broke off with George
Raft, and before his accident. He's a
little cynical about marriage. Anyway,
the coast is clear, girls.
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ScREENLAND
89
AND SO THfc Y t
°o 9-5^ en INFLATION
AWt> IT ALONE CAN
FOLKS T° «WV
„ PttiCES GOING HIGHER
Seven things you should do:
1. Buy only
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3. Pay off old
4. Support
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6. Don't ask
7. Buy all the
what you
than ceiling
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Keep prices down... use it up, wear it out, make it do, or do without
This advertisement, prepared by the War Advertising Council, is contributed by this magazine in cooperation with the Magazine Publishers of Ameri'
PRINTED IN THE U. S. A. BY THE CUNEO PRESS
90
SCREENLAND
I
Evening in Paris gift sets to thrill her heart . . . and priced to suit every pocketbook . . . $1.00 to $15.00 {all prices plus tax)
Smart war co-eds choose their
nail shades
. ,v,p \««d-
erated Pro* ttFor e*«tem esf ^
.44, active
fast, stay* on
DIANA HAUCKE, Syracuse '44, toughens up for
her pre-med course, plus lab, First Aid and
Dhtv ^fenSe! SayS= "rU take Cut<~ OFF
DUTY- a s so smart and subtracts only 10«!
from my wartime college budget."
JEAN BROOKS, Hospital Aide and Junior at
Northwestern University, says: "I adore Cutex
ON DUTY. It's such a soft shade — perfect with
my uniform and pretty with campus clothes.
I save money on it, too, for War Stamps."
ANNEBURKHAR^v^of^^S
voted Sweetheart of Us tt][ choose
Cutex AUERT," f^^^ything I own."
flattering and goes witU ev
caii«» «r 8 *-utev c, ""teen f,.- 8
Save your
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More Women
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NORTHAM WARREN, NEW YC|
©C1B 611373
ORSON WELLES • JOAN FONTAINE in JANE EYRE EDWARD G. ROBINSON • LYNN BARI in TAMPICO
MERLE OBERON • GEORGE SANDERS • LAIRD CREGAR in THE LODGER
Three great DARRYL F. ZANUCK productions: THE PURPLE HEART • WILSON • WENDELL WILLKIE'S ONE WORLD
turn heads and hearts with a sparkling smile!
Smiles are brighter when gums are firmer. Guard against "pink tooth brush"— use fpana and massage.
YOU'RE WORKING on the home front
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Do you need beauty to win hearts? Not
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Few can claim real beauty. But they all
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So let your smile be bright— warm hearts
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you need bright, sparkling teeth. And re-
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Never ignore "pink tooth brush"!
If your tooth brush "shows pink," see your
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SCREENLAND
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GRAYSON KELLY ^ROONEY-^V GARLAND x BALL h SKELTON
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MARGARET /[ VIRGINIA i KAY BOB
O'BRIEN XO'BRIEN^KYSER^r CROSBY
also: Marilyn Maxwell, Donna Reed, June Allyson, Gloria DeHaven, Benny Carter, John Conte, Sara Haden, Don Loper, Maxine Barrat,
Ben Blue, Frances Rafferty, Mary Elliott, Frank Jenks, Frank Sully, Dick Simmons, Ben Lessy. Directed by GEORGE SIDNEY, Produced
by JOSEPH PASTERNAK. Original Screen Play by Paul Jarrico and Richard Collins. Based ort their story "Private Miss Jones"
4 S GREENLAND
Paul Hunter, Publisher
Delight Evans, Editor
HOMER ROCKWELL, Executive Vice President
Elizabeth Wilson,
Western Representative
Marion Martone,
Assistant Editor
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uiiiinniiiiiiiiiiiiiii imiiimiiiijliimmiiiiiiiiiiiiiiiiiiiiiiiin
Frank J. Carroll,
Art Director
Anthony Ferrara,
Asst. Art Director
niiuiiiiiiiniiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiniiiiiiiiiuiiiiiin
luiiiimiiiiiiiiiiiiiitiiiiiiiiyffuiiiiiiiiiiiiiuiiiiiiiiiiiiiiiiimii
/sEP/rm
January, 1944 Vol. XLVIII, No. 3
EVERY STORY A FEATURE
The Editor's Page Delight Evans
"A Soldier Must Have Love!" Says Ann Sothern. . to Jerry Asher
Blonde Blitzing for Bonds. Betty Hutton Liza
Bob Taylor's "Chin-Up Girl." Barbara Stanwyck. Elizabeth Wilson
Best Role! Jeffrey Lynn Lillian Blackstone
Team Work. Louise Allbritton and Robert Paige. .John R. Franchey
Girls! Frances Langford Tells What Servicemen
Think of You Dora Albert
How To Bring Up A Glamor Girl.
Marguerite Chapman Margaret Chapman
Diary of a New American. By Helmut Dantine 36
The Bride Grew Up. Martha O'Driscoll Maude Cheatham 38
Closeup of a Cowboy. John Wayne Liza
A Letter to My Son. By Edward Arnold
19
20
24
26
28
30
32
34
41
45
FULL COLOR PORTRAITS:
Frank Sinatra starring in RKO's "Higher And Higher" 23
Margaret O'Brien, who will next be seen in "Lost Angel," M-G-M 29
John Wayne, appearing in Republic's "In Old Oklahoma" 40
PICTURE PAGES: "Meet Mimi Forsythe"; "Making 'Madame Curie" "
(Greer Garson); "Maria and the New Menace" (Maria Montez and
Turhan Bey); "Roy Rogers' Girls"; "The Many Moods Of Toumanova"
(Tamara Toumanova); "Heavenly Bodies" (Hedy Lamarr, Barbara Mace,
Bunny Waters, Helen O'Hara, Dorothy Ford, Lucille Ball); "Fashions
That Sing" (Kathryn Grayson); "Look at Lynn!" (Lynn Bari, Francis
Lederer, Akim Tamiroff); "Leading the Pin-Up Parade" (Ann Corio,
Belita, Edward Norris); "Hail 'Gung Ho!' " (Scenes from the new film.)
DEPARTMENTS:
Hot from Hollywood 6
Streamlined Living. Julie Bishop, Faye Emerson,
Joyce Reynolds Betty Boone 8
Fans' Forum 10
Your Guide to Current Films Selected by Delight Evans 12
Honor Page 14
Ideas for Christmas Gifts 16
Here's Hollywood
Candid photos by Jean Duval — Gossip by Weston East 54
Natural Color Cover Portrait of HEDY LAMARR,
Starring In "The Heavenly Body" for M-G-M
Paul Hunter. President
Homer Rockwell, Executive Vice President ai.d Advertising Manager
Lee Wagner. Circulation Manager
SCRKENLAND. Published monthly by Hunter Publications, Inc.. at 205 E. 12ml Street. New Vork. N. V
Advertising Offices: 205 E. Iznd St.. New York. 410 North Michigan AylT. Chicago, ill.; 427 W. 5th St..
Los Angeles, Calif. Manuscripts and drawings must be accompanied >y' return postage. They will receive
careful attention, but SCREENLAN1) assumes no responsibility for tb^lr safety. Yearly subscriptions $2.00 in
the United States, its dependencies. Cuba and Mexico: $2.50 in Qniada: foreign $3.00. Changes qf address
must reach us five weeks in advance of the next issue. Be sure to g.ve both the old and new address. Entered
as second class matter. September 23. 19G0, at the Post Oitice. Now York. N. Y.. under the act of Match 3. 1379.
Additional entry at Chicago. Illinois. Copyright 1943 by Hunter Publications, Inc. Printed in the U. S. A.
MEMBER AUDIT BUREAU OF CIRCULATIONS
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k.60
On all the Broadways of America,
there's a milling to get into the most
extravagant extravaganza in years en-
titled "Thousands Cheer".
★ ★ ★ ★
It is "M-G-M 's Thousands Cheer" if
you please, for practically every big
name on the big roster of that big studio
is represented in the cast.
★ ★ * *
It is essentially a
love story that
revolves around
Kathryn Gray-
son and Gene
Kelly. But they
are the baton
wavers in a pa-
rade that brings
out the exact and thoroughly demon-
strated talents of —
★ ★ ★ ★
Mickey Rooney, Judy Garland, Red
Skelton, Eleanor Powell, Ann Sothern,
Lucille Ball, Virginia O'Brien, Frank
Morgan, Lena Home — Shall we go on?
★ ★ ★ ★
Oh very well — Marsha
Hunt, Marilyn Maxwell,
Donna Reed, Margaret
O'Brien, June Allyson,
Gloria DeHaven, John
Conte, Sara Haden — get-
ting winded?
★ ★ ★ ★
Well — Ben Blue, Frances
Rafferty, Mary Elliott,
Frank Jenks, Frank Sully, Dick
Simmons, Ben Lessy, Don Loper and
Maxine Barrat — whew!
★ ★ ★ ★
Plus three great name
bands — Kay Kyser
and Orchestra, Bob
Crosby and Orches-
tra, Benny Carter
and Band.
★ ★ ★ ★
And lest we forget,
the incomparable Jose
Iturbi not only plays
his immortal piano
but acts like a Lunt.
?Cf^ ★ ★ ★ ★
This remarkable three-
ringed show is photo-
graphed in Techni-
color, directed by
George Sidney and
produced by the vet-
eran Joseph Pasternak.
It is an original screen
play by Paul Jarrico
and Richard Collins
who dreamed up a
dream of a story about
Private Miss Jones.
★ ★ ★ ★
It has the true Army
flavor. That's why the
most important letters in
"Thousands Cheer" are
U.S.A.
★ ★ ★ ★
You'll be one of the
millions to cheer
M-G-M's Thou-
sands. We're in it
the very beginning we roar
SCREENLAND
5
They're no weak sisters, these
DeLong Bob Pins. Stronger, du-
rable spring . . . they last and last.
Stronger Grip
SHORT, but not for LONG. If the
Store is out of DeLong Bob Pins to-
day— try again next time you're in.
Shipments are received regularly by
Stores handling DeLong . . . but, re-
member, the quantities are restricted
as practically all metals are required
for war purposes.
from
HOLLYWOOD
Sgt. Carl Bell is congratu-
lated by' Lana Turner, Deanna
Dorbin and Marlene Dietrich
far being the 1,000,000th
serviceman to be entertained
at the Hollywood Canteen.
DETTY HUTTON is busy with more
than her engagement to Charlie
Martin, the radio producer, these days.
She's taking roping and riding lessons,
like mad, in preparation for her role in
"Incendiary Blonde." She'll play Texas
Guinan in the movie, and Tex spent her
early life on a ranch.
Left, Veronica Lake looks at Ed Gardner's
attempts to adopt her former over-the-eye
hair-do with scorn. Below, Charles Boyer,
Ronald Colman and Robert Young signing auto-
graph books which were presented to purchas-
ers of War Bonds sold on a recent radio show.
BOB PINS
HTHE Paulette Goddard - Lieut.
*- Burgess Meredith romance gets
more serious every moment. Pau-
lette receives two dozen red roses
from liim each week. Meredith is
stationed in London.
TF JOEL McCREA^S plans to
*- tour the South Pacific bases go
through, his wife, Frances Dee, will
do a New York show. She's always
wanted to, but hesitated to leave
home for so long. Now, however,
her children are away at school,
and if Joel leaves on his tour,
there will be nothing to stop Frances.
WILLIAM EYTHE seems to have
stepped into Tyrone Power's shoes
over at 20th Century-Fox. You'll be
seeing Bill in "Song of Bernadet te." He's
inherited Ty's stand-in and dressing
room. Also, his real life girl friend is
Anne Baxter, who was Ty's leading lady
in "Crash Dive."
SCRKENLAND
PRANK SINATRA'S fans are as loyal
*- to his family as they are to him. Mrs.
Sinatra has been receiving loads of fan
mail. As for his four-year-old daughter,
Nancy Sandra, Daddy's fans have been
lavish with gifts. The latest is a hand-
knit matching jacket and hat, which she
refuses to let out of her sight. The
Sinatras are expecting an addition to the
family in December.
aramount's Rhythm Rodeo is a Heap Hep Musical"
says
7ft£ltSSL
"It's straight from the heart of the Tech-
nicolor west and it's full of heap big
laughs, plenty hep squaws, and the songs
are really pow-wow boogie with a solid
beat . . . And the yummy
clothes that well-dressed
(G)LAMOUR girl wears
while she sings 'em! . . .
First she comes out in a
covered wagon — and on
her it really looks good —
and sings 'Whistling In
The Light* . . . Then in the 'Get Your
Man' number she wears this sequin get-
up in a deep shade of low-down blue
that's very neat for recreational moods or
going west. . . Next she sings 'Injun Gal
Heap Hep' in the feath-
ery creation shown to
the left, and exhibits
some very interesting
specimens of Indian
weaving . . . And for
canoeing, when the moon beats down on
her and Dick Powell singing 'You're
The Rainbow,' she wears a chiffon en-
semble with purse to match, creating
an unusual moonlight effect . . . Then
all of a sudden she's a
sultry 'Secretary To The
Sultan,' so you can im-
agine— it's a sheer black
number with that late
drrrape effect with veil to
match . . . Meanwhile,
you're having fun with
pistol packin' Cass Daley,
who is tall, dark and grue-
some and is going to be a
new comedy sensation . . .
And for the big finish Victor Moore,
the old darling, takes the whole cast
for a ride in this chuck-wagon race that
has enough thrills and action to give
your hair an upsweep!"
Directed by GEORGE MARSHALL
Screen Play by Walter DcLeon, Arthur Phillips and rfrt Arthur
Baud upon a Play by 'James Montgomery • Songs by Leo Robin,
Ralph Reinger, Jos. J. Liluy^ Harold Arlen, Johnny Mercer.
SCREENLAND
1
1944 i
The most 1
entrancing I
picture of
Three patriotic Hollywood star-
lets— Julie Bishop, Faye Emer-
son, Joyce Reynolds— join forces
to make marketing easier, holi-
days happier for servicemen
By Betty Boone
Three servicemen: Gunner's Mate 2nd Class
Lawrence Hewitt of the U. S. Navy, Pfc.
William White of the USMC, Cadet Glenn
Mercek of the U. S. Arm$ enjoy a holiday
dinner at Julie Bishop's, with Joyce Reynolds
and Faye Emerson. Photos at left, the "Three
Marketeers" shopping at the Farmers' Market.
WARNER BROTHERS' "Three
Marketeers" have holiday plans
that include entertaining service-
men as often as possible without rob-
bing the family of all their red ration
points.
The "Three Marketeers" are Julie
Bishop (featured with Errol Flynn in
"Northern Pursuit") , Faye Emerson (of
"Destination Tokyo") and Joyce Rey-
nolds (cute little sister in "The Constant
Nymph" and soon to star in "Janie") .
They got the title from their weekly ex-
peditions to the famous Farmers' Market
where they regularly shop for three
families.
They began their share-marketing en-
terprise because it saves gas to share-
the-ride, and have continued it because
it's so much more fun than shopping
alone. Besides, they swap ration points,
buy lugs of fruit or whole cheeses or
what-not, dividing whatever it is by
three, thus saving pennies to be invested
(Please turn to page 8h)
ScREENLAND
FACTS ABOUT
A VITAL
PROBLEM
every wife
should understand
Safe new way in feminine i
hygiene gives continuous^
action for hours!
• Your happiness— your very health
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Many women, who think they know,
depend on out-dated or dangerous in-
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mixtures ... or risk using over-strong
solutions of acids which can burn and
injure delicate tissues.
Today modern, well-informed women
everywhere have turned to Zonitors
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feminine hygiene. ... cim
Zonitors are damty, snow-white sup-
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ans rorum
10
FIRST PRIZE LETTER
$10.00
I have never before written a so-called
fan letter, but it's never too late to start,
especially since seeing "So Proudly We
Hail." I got the impression somehow that
it was just another war picture patterned
like all the others and only went to see it
at the request of a friend. I can truthfully
say I have never seen a picture that could
compare with it in any way. Every member
of the cast gave the film the best they had
and that also goes for Sonny Tufts and
George Reeves, both very talented newcom-
ers to the screen.
Until seeing this great picture I had
thought saving waste fats, tin cans, etc.,
was doing my share, along with buying a
Bond now and tden. I have bemoaned the
fact that there were no more nylons, bobby
pins and such, and have been busy planning
or buying new furniture when what I have
is still good. After seeing the hardships
those poor soldiers, marines, sailors, nurses
and all went through I came out of the
theater crying my heart out and feeling so
guilty and ashamed of myself I could hardly
look people in the face. Me, wanting nylons,
when those on Bataan didn't have enough to
eat ! Me, worrying about my hair-do and
facials when they didn't have time to comb
their hair or wash their faces !
So you see, "So Proudly We Hail" has
awakened me to the fact that we can't do
too much in the way of buying War Bonds
and Stamps and sacrificing by doing without
those things we thought we needed to keep
up our morale. From now on I'm giving up
this foolishness and waste of money and
buying more War Bonds and Stamps with
the money thus saved so this horrible war
will soon be over and our dear ones can
come home to us.
Thanks for giving us this wonderful pic-
turet Hollywood !
MRS. THOMAS H. PEAY, Mobile, Ala.
SECOND PRIZE LETTER
$5.00
Come inside a Post Movie with me !
You will have paid fifteen cents to get in.
You will find yourself in a large room,
jammed with soldiers, and stuffy. The seats
will be hard, wooden benches. And looking
about, you will see dozing heads, tired faces,
sprawled-out figures trying to rest and relax
and waiting impatiently for the movie to
begin.
As the building grows slowly dark you'll
SCREENLAND
First Letter Wins First Prize!
Perhaps you, too, like Mrs. Peay,
of Mobile, Alabama, have never before
written a fan letter, but as Mrs. Peay
says, it's never too late to start. Her
first attempt at writing a letter to
the Fans' Forum about her favorite
movie subject has won first prize. Your
letter may win a prize, too. Screen-
land awards monthly prizes of $10.00 ;
$5.00; and five prizes of $1.00 each, all
payable in War Savings Stamps. Clos-
ing date, 25th of month.
Please address letters to Fans'
Forum, Screenland, 205 East 42nd
St., New York, N. Y.
have a moment to think about the day's
work these young men have put in, hiking
and climbing, drilling, and marching, dig-
ging gun emplacements, shooting rifles that
pound against their shoulders, crawling on
their stomachs for hundreds of yards, racing
over an obstacle course, full equipment on
their backs, fighting for a breath of air.
You know why the boys look so tired, so
blue, so homesick.
The show begins. The theater comes to
life. A pretty girl on the screen brings a
good-natured theater-wide whistle. There's
sudden laughter. Jokes. A shapely leg on
the screen and the room fills with a swelling,
laughing wolf-cry.
The show is over. The boys, you'll think,
will be barely able to crawl back to barracks
and to bed. But — look at their faces !
They're alive now, whistling, humming,
joking. The tiredness is strangely wiped
away. They have forgotten the work of the
day ; they have, for the moment, forgotten
they are homesick. They are refreshed and
relaxed.
The Post Movie, it seems, has remarkable
curative properties.
PVT. WILL HERMAN, Fort Eustis, Va.
(Please turn to page 90)
SHOW!
ITS THE SEASON'S TOPS!
in LOVE! in LAUGHS!
in SONGS! m STARS!
Screen land
Hit after hit... and now Ameri
ca's Favorite Entertainer comes
to you in the topper of them
all! More and greater melodies
and thrills than ever! . . . It's
your first chance to greet Roy
and Trigger since their record-
breaking personal appearance
at the famed New York Madison
Square Garden rodeo!
Don't miss it!
^ou/t GUIDE
CURRENT FILMS
SELECTED BY
OLD ACQUAINTANCE — Warner Bros.
This new Bette Davis drama will cause plenty of talk !
Better catch it if you want to keep up with your movie-
going friends. It's a field day for the ladies, though the
men in the audience may well wonder at times what all
the shouting is about. The fascinating clash of female
temperaments (Miss Davis vs. Miriam Hopkins) is on
exhibition throughout, as two schoolgirl friends meet
again after one has become a literary sensation and the
other a pouty wife. The latter's jealousy leads to the
wreck of her own marriage and the ruin of her "best
friend'*" romance. Miss Davis as the noble femme is
fine and restrained, but Miss Hopkins over-acts. Dolores
Moran, knockout newcomer, lends a needed bright touch.
JANE EYRE— 20th Century-Fox
Picturesque period piece, a faithful film version of
Charlotte Bronte's brooding novel, is sheer escapist
melodrama. Accept it as such and you'll find it worth
your movie time and money. If in search of gay enter-
tainment, better skip it. Sombre and slow-paced, its
tragic mood is relieved only by some stunning perform-
ances : by Orson Welles, a brilliant if flamboyant
Rochester; by Joan Fontaine as the appealing heroine ;
and particularly by Peggy Ann Garner, who is both
touching and credible as the child Jane. Margaret
O'Brien is splendid, too, as Rochester's ward Adele.
ROY
R O G E^R S
KING OF THE COWBOYS
TRIGGER
SMARTEST HORSE IN THE MOVIES
'MAN FROM
MUSIC
MOUNTAIN
with BOB NOLAN AND THE SONS
OF THE PIONEERS and RUTH TERRY
PAUL KELLY • ANN GILLIS • GEORGE
CLEVELAND • PAT BRADY
y Hear Pay Sing: I'm Beginning to Core • Win*, Women, ^
' ond Song • Deeper ond Deeper . Song of the Bandit . £
^ After the Rain * Rotes on the Trail • King of the Z
Cowboy i— ond more.'
A REPUBLIC PICTURE
LASSIE COME HOME — M-G-M
This touching, beautiful film is based on Eric Knight's
famed novel about the love and devotion of a dog,
Lassie, for her young master, Joe (Roddy McDowall).
In Yorkshire, in the days of the dole, poverty forces the
boy's father to sell Lassie to a wealthy Duke who takes
the dog to Scotland. The boy is heartbroken, but the
faithful Lassie runs away and travels almost a thousand
miles to come home to Roddy. The brave dog's experi-
ences on the perilous journey home make up most of the
appealing, exciting tale. It's an ideal film for young
boys, but it is also excellent entertainment for all ages.
TRUE TO LIFE — Paramount
You'll laugh yourself silly at the wacky scenes in this
comedy about two radio writers (Franchot Tone and
Dick Powell). While seeking new material, Dick meets
a pretty waitress (Mary Martin), moves in with her
family, notes their dizzy doings and uses them on the
air. The family finds out about it and threatens to sue,
but calls it off because Mary loves Dick. Tone, a
wolfish chap, likes Mary, too, but bows out when he
sees they're really in love. The three are good, but Vic-
tor Moore, as the eccentric Pop Porter, is a riot in his
zany air raid scenes and with his screwy inventions.
PHANTOM OF THE OPERA— Universal
This new film version of the classic about the masked
madman who haunts the underground passages of the
Paris Opera House after his face is disfigured, is far
superior to its predecessor and has the advantage of
Technicolor embellishment. It's an exciting; tale with
mystery, suspense and comedy nicely blended with tune-
ful operatic interludes. Claude Rains is splendid as
the "Phantom" who terrorizes and murders those who
hinder his protegee's (Susanna Foster) success. Miss
Foster, as the girl soprano, and Nelson Eddy, as the
baritone who loves her, are in fine voice and give good
performances. Edgar Barrier is capable as Eddy's rival.
12
ScREENLAND
THE NORTH STAR — Goldwyn-RKO Radio
Here's a powerful screen drama of Rus-
sia's heroic resistance to the German in-,
vasion. The gripping tale tells about the
defenseless, peace-loving, happy residents of
a Ukranian village, who are first to feel the
ruthless Nazi hand ; how the death and de-
struction dealt them incite them to drive the
enemy from their land. The sequence in
which the worst Nazi atrocity is practiced —
drawing blood from children to be used for
transfusions for Nazi soldiers — will fill you
with horror. It has a poignant love story
woven through it, with Anne Baxter and
Farley Granger the principals. This is Gran-
ger's first screen appearance and he's splen-
did. Anne and all members of cast, includ-
ing Jane Withers, Ann Harding, Dana An-
drews, Walter Huston, von Stroheim, good.
GUADALCANAL DIARY — 20th Century-Fox
Hollywood is finally discovering that false
heroics are not only bad taste but bad box-
office. Here is the latest "big" war picture
to prove it — a sincere, straightforward adap-
tation of Richard Tregaski's realistic book
about the Marines at Guadalcanal. The only
"Hollywood touch" is William Bendix in a
return engagement of his famous "Wake
Island" role — but Bendix, as usual, is so
good there will be few objections to type
casting in this instance. For the rest, the
film is a stirring and legitimately dramatic
account of The Marine in action : The
Marine who may be a 17-year-old boy called
"Chicken," or a gallant chaplain, or a tough
character like Bendix — but all with the same
fighting heart. Richard Jaeckel, really 17, as
"Chicken," Preston Foster as chaplain, fine.
NORTHERN PURSUIT— Warners
Set against the background of snow-covered
Canadian territory, this exciting motion pic-
ture tells of the attempts of Nazi flyers,
landed by submarine, to bomb the Welland
Canal, and the heroics of a Northwest
Mountie to thwart the sabotage of the water-
way. Errol Flynn is fine as the handsome,
daring Mountie who befriends the Nazis to
learn who their contacts in Canada are. He's
suspected, but used as a guide and to help
assemble an enemy bomber. But a Mountie
always gets his man, so Flynn boards the
bomber before the take-off, kills the nasty
Nazis and parachutes to safey. Helmut Dan-
tine is again convincing as a Nazi leader.
Julie Bishop is good as the Mountie's girl.
MONOGRAM
proudly presents
with a great cast
JAMES ELLISON
FRICK & FRACK • WALTER CATLETT
LUCIEN LITTLEFIELD • MAURICE ST. CLAIR
/f/VD<?8/<? BANDS
Produced by SCOTT R. DUNLAP
Supervised by William D. Shapiro
Directed by Frank Woodruff
Original story by
Bradbury Foots & Scott R. Dunlop
Screenplay by
Peter Milne & Paul Gerard Smith
SCREENLAND
13
Lassie's real name is Pal, but that was
changed to fit his movie role. A sequel is
planned in which he will be called Laddie.
At left, with Roddy, who wanted to adopt him.
Above, scene shared with Dame May Whitty.
For the first time
this Page is dedi-
cated to a four-
footed star! The
beautiful collie of
that fine film, "Las-
sie Come Home," is
the acting sensa-
tion of the month,
sharing honors with
Roddy McDowall in
M-G-M's touching
screen version of
Eric Knight's story,
directed by Fred
Wilcox. It should
happen to a dog!
14
ScREENLAND
What many doctors think about
GERMS can make it troublesome
Research showed that antiseptic gargle used early, often and
regularly, may help head off a cold or lessen its severity
The time to get after a cold is when
it is just getting started. Intelligent
precautionary measures may avert a
great deal of trouble.
Outstanding medical opinion now
holds that a virus initiates many colds.
Then a potentially troublesome fam-
ily of germs, called the Secondary
Invaders, may stage a "mass inva-
sion" of throat tissues when body
resistance is lowered by fatigue, drafts,
wet or cold feet, or sudden changes
of temperature.
Attack Germs Bejore They Attack You
There is considerable evidence to
show that if this "mass invasion" can
be averted the course of a cold itself
may be checked.
That is why it is important, at the
very first symptom, to start gargling
with Listerine Antiseptic. This de-
lightful amber germicide reaches way
back on throat surfaces, to kill millions
of these Secondary Invaders.
That is why, we believe, tests made
over a period of twelve years showed
such remarkable results.
Fewer Co Ids & So re Tb roats, Tests Sbo wed
Think of it! Those test subjects who
gargled Listerine Antiseptic regularly
twice a day had fewer colds and fewer
sore throats than non-garglers. When
colds did develop they were generally
milder in character.
Surely, when you feel a cold com-
ing on, it's just plain common sense
to start gargling with Listerine Anti-
septic. Its test record makes it a dis-
tinctly worthwhile precaution.
Lambert Pharmacal Co., St. Louis, Mo.
Listerine Antiseptic
TRUSTWORTHY, RELIABLE, SAFE FOR MORE THAN 60 YEARS
Listerine Antiseptic reduced surface
germs as much as 96.7% in tests
Actual tests showed reductions of bacteria
on mouth and throat surfaces ranging up to
96.7% fifteen minutes after the Listerine
Antiseptic gargle, and up to 80% one hour
after the Listerine Antiseptic gargle.
Before
After
The threatening "Secondary Invaders"
which Listerine Antiseptic attacks
TOP ROW, left to right: Prteumococeus lype 111, Pneu-
mococcus Type IV, Streptococcus Vrridans. Friedland-
er's Bacillus. BOTTOM ROW, left to right: Streptococ-
cus Hemolyticus, Bacillus Influenzae. Micrococcus
Cafarrhalis. Staphylococcus Aureus.
You can see by their names that they're
nothing to fool with. Millions of them can
live on mouth and throat surfaces, waiting
until body resistance is lowered to strike.
You can realize the importance of the regu-
lar use of Lisrerine Antiseptic to try to keep
their numbers reduced.
BECAUSE OF WARTIME restrictions you
may not always be able to get Listerine
Antiseptic in your favorite size. Most
drug counters will, however, have it
generally available in some size.
fla"* n«no V m<"re *>°* With J
"•art, e,quf-s,-f • *"d p/e
"J sold b, ™ f -to.,
oath sef 5" * fare-
tWfc^l^^ and
,dQy pacfeoges
fiol
SCREENLAVD
CHARLES BOYER * BARBARA STANWYCK
★
So different— it
defies comparison. So
enthralling — it has no equal.
So powerful — only these
grea t Sta rs cou Id 1 lve its
matchless roles!
"FLESH AND FANTASY"
Without precedent. Beyond
compare. A drama of love . . .
..of terror
f volcanic
lotion . . .
ding with
terrifying
your own
y of Pour
L Lives . . .
lich could
Z23
GO
m
CD
3>
CO
BETTY FIELD * CHARLES WINNINGER
ScREENLAND
AN OPEN LETTER TO
ANN SHERIDAN
"TV EAR Miss Ex-Oomph :
Congratulations on making the jump from oomph
to art so gracefully.
It was fun to see you again, and a big surprise, too.
You know on your last visit to New York, four years
ago, you were still on the way up. It was natural to find
you gay and eager and nice. With your red hair and your
husky voice and your shapely chassis you lived up to your
title of Miss Oomph every inch. Certainly I never
dreamed — and you didn't, either — that one day you'd be
playing in heavy drama such as "Kings Row" and
"Edge Of Darkness," in parts concealing your oomph but
revealing all your ability as an actress. Right now I con-
sider you the most versatile actress on the screen — who
else can turn from sombre drama to "Shine On, Harvest
Moon" with such ease and assurance as Sheridan?
So I was surprised when I saw you again, to find the
same warmth and gaiety, the same unspoiled verve that
you had before you ever heard of Art with a big A. I've
seen it happen so often to swell gals, and boys, when
fame hits them in the teeth: the Big Star Act, so brittle,
so bored, and so boring. Well, I found that you're fed-up,
all right, but only with being a Pin-Up. Not that you
wouldn't wear your fingers to the bone autographing leg
art if it would make the servicemen any happier; but you
happen to believe that most of the boys enjoy a little
variety, hence your hilarious act that wows 'em at the
Canteen, with you the beautiful stooge for Dennis Morgan
and Jack Carson, who introduce you as "Ann Sothern"
and show you no reverence whatsoever. You're one star
who is prouder of her farm than her form; you boast
about your cow and your chickens and your collection of
Mexican records, but never about your fan mail. It's nice
to know you, Miss Fed-Up.
19
A
SOLDIER
MUST
HAVE
LOVE!"
With rare sympathy an<
understanding, the
famous Ma/s/e of the
movies speaks to other
soldiers' wives on the
subject uppermost in
their minds and hearts
Says
to Jerry Ash*r
THE QUICKEST way to lose a friend is to give him good
advice! A wise saying, this. One I've always remembered
and tried to observe. Unlike my girl friend Maisie, I think
it's dangerous business to mix into other people's lives and
problems.
When I married Robert Sterling, hundreds of letters poured
in from girls asking me if I thought they should marry their
boy-in-uniform, too. I read these letters carefully. In some I
recognized questions I had many times asked myself. I knew
only too well what was going on in the hearts and minds of
those girls. I was deeply sympathetic.
During filming of "Cry Havoc" at M-G-M, Bob visited Ann on
the set, joined by Joan Blondell. Top left, note Ann's sincerity
as she chats with soldier at Texas hospital. Upper right, strik-
ing closeup of the star of the all-woman drama, "Cry Havoc."
Every Hollywood star receives mail. But somehow I didn't
regard these as fan letters. I didn't feel they were sent to be
flattering — addressed to me simply because I happened to be
the movie star bride of the month. I recognized a certain feeling
of friendship, a bond that exists today between women whose
men are serving their country.
"A girl marries for companionship," (Please turn to page 64 )
21
MEET
i M»w. she"5
She's new ,
lovety.Y°ttWllke
Bridge of San Lu« ^e,a ^^/HenrY."
the somewhat sens
For fun and excitemen
follow Miss Betty Hutton
on her tempestuous tour
PjfopiA, BLITZING
THE Hollywood Bond Cavalcade, tired but happy in a job well done,
came back to Hollywood the other day after a 10,091-mile stretch
across the country. They were gone twenty-three days (without laun-
dry) and played to 7,000,000 people in fifteen cities from one coast to the
other. They sold $1,079,586,819 worth of bonds for the Third War Loan.
While a Navy band played California Here I Come, such Cavalcaders as
Fred Astaire, Lucille Bah, James Cagney, Judy Garland, Greer Garson,
Kathryn Grayson, Betty Hutton, Jose Iturbi, Kay Kyser, Harpo Marx.
Dick Powell and Mickey Rooney dragged their weary bodies off the red,
white and blue special, and said yes, they were glad to be home, but they
wouldn't have missed this tour for anything in the world. No, they
didn't want to parade down Hollywood and Vine. They just wanted to
CHIN-UP GIRL"
deadly time. You hear a car in the drive and for
a few brief seconds you live in the past. You start
for the stairs, and then it all comes back with sort
of a sickening thud. He's thousands of miles
away."
Barbara has a great many friends in Hollywood.
Just as Sergeant Brown's wife has friends in Kan-
sas City, and Lieutenant Jones' wife has loads of
friends in Birmingham. But during that period of
adjustment friends, though they have the kindest
intentions in the world, are more of a nuisance
. than a help. As Barbara says, "People can be too
good."
Friends think they should invite Tom's wife to
dinner or a movie or a party every night so she
won't feel neglected. "Just because old Tom's not
here now we don't want Laura to think we don't
want her any more," they say, dialing her number.
And then when Tom's wife, trying not to hurt
their feelings, says she had rather stay home really
n be a wet blanket at a party, they joyously
chirp, "Now, honey, youll just sit there all by
yourself and mope. Put on your glad rags, we're
coming right over to take you dancing."
"I simply don't want to go to dinners and par-
ties," said Barbara seriously. "Maybe I'm differ-
ent. But I don't think I am. Later on I'll want
to go out, perhaps, but right now I must adjust
myself to a new kind of life. I went to one party.
My friends kept assuring me that I was going into
a quick decline, so just to shut them up I went
out one night. Mary and Jack Benny picked me
up and we went to a party at Axnabclla and Ty
Powers' — Ty was home on his first leave. I have
been there many times with Bob. We've had won-
derful evenings there. But I had such a peculiar
feeling being there that night without Bob. When
no one was looking I sneaked out of a side door
and went home."
A few weeks after Bob left for Tcxaa Barbara
sold their big, expensive home in Beverly Hills,
and moved to a small compact house on the other
side of the bridle path. "After Bob left I just sat
upstairs in my bedroom and read until all hours
of the night. The rest of the house was in I'tter
darkness and looked as gloomy as a funeral. I
wouldn't even go down- (Please turn to page 68)
First pictures of Lieutenant (j.g.) Robert Taylor in
uniform. Bob has lost twenty pounds since he has
been at the air base, works hard and loves it. Far
left, facing page, Barbara and Bob, their favorite
closeup together. Next, scene from final Taylor
film for the duration, M-G-M's "Song of Russia,"
in which Susan Peters appears opposite Taylor,
He's known in Uncle Sam's
great cast as Lt. Ragnar G.
Lind, but film fans remem-
ber him as Jeffrey Lynn
Exclusive photos oV Sanifv aan„v, „. Petershurg, „
lorida.
BEST
ROLE!
He likes Army life but wants
to go back to pictures after
the war is over, to direct as
well as act. Meanwhile he
tells in this exclusive inter-
view "the tremendous good
the Army ^as done him."
By
Lillian
Blackstone
T^iut^fntyt^ec beSt;6,e °f his —that
Forces— i, ™ g"al CorPs ^vision, U. S. Army Air
Dollar Baby," "Undemounrl » >>Y ?T Moth.ers> "Million
motion pictuVea. ndergrOUml' Uw of the Tropics" and other
He's known in Uncle Sam's great cast as Lt. Ragnar G. Lind,
^T2lt^tt^ne T Wn ? AuburD' Ma-> b»t to
him as he p^eTthenHn VP"™^ l° those who ^gnhe
Lynn. P them m khakl and « shoes, he's still Jeffrey
istrative, intelligence De !l!l J " carrying on as admin-
finding time, alfhOUghPIittU ol ' ftnd a Wetic o^^r-and still
gn ntUe of it, (PZetwe turn to page 70)
TEAM
WORK
By John R. Frcmchey
The Allbritton-Paige team scored in
"Fired Wife," made further hit with
their public when they visited New
York, Chicago, and Philadelphia on per-
sonal appearance tour. Here they are in
informal as well as professional photos.
It's nice work if you can
get it, and Louise All-
brittonand Robert Paige
have got it. Meet these
gay new team-mates
ROBERT PAIGE thinks Louise All-
britton is a "big overgrown kid,"
Louise Allbritton thinks Robert
Paige is a "good-natured jerk," and the
motion picture critics, who ought to
know, think that Paige and Allbritton,
thanks to their turns in "Fired Wife,"
are slightly terrific, terrific enough, any-
way, to help fill the niche in goofy com-
edy occupied heretofore by the team of
Powell and Loy.
To observe this combination close up,
a combination you will be seeing again
soon in "Her Primitive Man," your re-
porter traipsed over to Manhattan's
Sherry-Netherland Hotel, paused some-
what hesitantly in front of Suite 14-F,
listened apprehensively, heard nothing,
shrugged, and rang the bell — very ten-
tatively.
A tall blonde lady with a warm smile
opened the door. "I'm Louise Allbrit-
ton," she said, her voice playing see-saw.
"Won't you come in?" The reporter ad-
vanced cautiously. "That's him behind
the book," Miss Allbritton said, point-
ing north northwest. "Please don't be
alarmed. The book is merely a prop. He
doesn't read."
A tall citizen in a smart gray pin-
striped suit disengaged himself and
ambled over. He shrugged, grinned. "Be-
ing interviewed is still enough of a nov-
elty to bring out the ham," he said.
"Only yesterday, it was an event of
major importance to receive so much as
a knee-pants reporter from a high school
paper. Frankly. I hope the novelty never
wears off."
Miss Allbritton thought it would be a
good idea if everybody sat down before
Mr. Paige got to feeling sorry for himself.
Dressed in black, her hair piled on top
of her head, Miss Allbritton made a fine
picture, reposing against a flowered love
seat. On the other side of the room, Mr.
Paige wasn't doing half bad himself,
stretched out in an arm chair, his long
legs propped on an ottoman.
For a while, there was an awkward
silence and then (Please turn to page 82)
m
Frances Langford Tells
What Servicemen Think of You
GROUP of American soldiers were talking animatedly
with some charming English girls. The English girls perked
"up under this attention. They were happy that the Yanks
apparently liked them.
Then suddenly a single American girl — a WAC — walked down
the street. She wasn't particularly beautiful. She didn't look
like a nifty from Earl Carroll's show and she most decidedly
wasn't a second Hedy Lamarr. Yet, as though a signal had
suddenly been given, the entire group of American boys im-
mediately deserted the English girls to flock around that single
American girl.
"It was an English girl who told me that story," Frances
Langford said. "She told it a bit ruefully. It goes to prove
that no matter where they go, American servicemen prefer
American girls. The American girls don't have to be pretty —
just the fact that they're from home gives the boys a thrill.
Girls from the United States are first in their hearts. The Amer-
ican boys say — I've heard them — 'Just give me a good old
American girl.'
"Although American servicemen admire British femininity,
I heard of only one boy marrying an English girl while I was
there. I've seen some awfully pretty English girls — I like them
very much — but the boys prefer American girls.
"Still, I do think that there are lots of things we girls could
learn from the British. They are so wonderfully polite for one
thing. We American girls are accustomed to getting whatever
we demand just by asking for it. So when we enter a res-
taurant, we say, 'Coffee, eggs, bread and butter — white toast,'
when we give our order. But the English girl wouldn't think
of asking for anything without prefacing it by the word 'please.'
I think that's rather charming; and I was so impressed by it
that while I was in England I did {Please turn to page 78)
Bob Hope and Frances Langford met
General Doolittle — see those smiles in
photo taken at Tunis Beach, at tar left.
Above, in front of the General's villa.
Bottom of page: just a section of crowd
of 19,000 soldiers who listened to Lang-
ford's songs in Sicily, after the men
had returned from triumph in Messina.
Scoop! Popular
pint - sized singing
star gives us her
first exclusive in-
terview since her
return from over-
seas with Bob Hope
Marguerite Chapman
til
Marguerite, left, with her mother d
father. Above, from the family
bum, with two of her four broth
By
Margaret
Chapman
HOW TO BRING UP
AT FIRST it always struck me as being funny when
people asked how it felt to be the mother of a glamor
girl. You see, none of us in the family could think of
Marguerite that way. Glamor seems so far removed from
the Chapman family! It was something the heroine of a fic-
tion story had, or a movie star, or a cover girl.
Why, yes of course, we'd think, Marguerite is a Powers
model and her picture is often on magazine covers but that
doesn't make her any different than she was when she was
working as a telephone operator. And afterwards, when she
went to Hollywood and we would see her on the screen, she
was still just Marguerite to us.
For how can a mother think of her daughter as a glamor
girl when she really hasn't changed at all from the neighbor-
hood tomboy who could stand on her head on a water hydrant
longer than* any of the boys, and who made the mothers of
other little girls feel rather smug about their own well-behaved
little daughters? No mother could have felt smug about Mar-
guerite. She was too full of surprises for that. Sometimes
when friends asked us what we would like her to be when
34
she grew up her father and I would take a long breath and
look at each other. "A young lady," we'd say.
We never thought of what any of our children's futures
were going to be. They belonged to the children themselves
and it wasn't our right to decide for them in advance. I've
seen too many parents break their own hearts and their sons'
and daughters', too, trying to make them something they
didn't want to be or couldn't be. Their father and I always
treated Marguerite and the boys as individuals from the time
they were babies and never felt we owned them just because
we had the good luck to be their parents.
The other day, a woman I know who has her mind set on
her little girl becoming an actress, asked me for what she
called my formula for bringing up Marguerite. Formula, I
thought, why it's nothing as scientific as that. It's more like
my grandmother's recipe for a cake, a handful of this and a
pinch of that, calling for your own judgment rather than
careful measurements. Every time I make that cake, I change
the things I use according to whatever happens to be in my
pantry at the time. Sometimes I use nuts and sometimes
other had no magic formula, but she did a good job of raising a tomboy to be a movie star
V
i
All four of Marguerite Chapman's brothers are in
Uncle Sam's service. Above, greeting brother Harold
of the Coast Guard. Above center, cherished baby
picture of the starlet; and at twelve, in a school show.
raisins, sometimes I have chocolate icing and
sometimes orange. Only the necessary fundamen-
tals remain the same.
That's the way it was with bringing up Mar-
guerite too. Whatever methods I used were those
the occasion called for. But of course there were
the fundamentals.
There was the house in Chatham, next door to
the church, the big rambling fifteen-room house
which had been the parsonage before the new one
was built. It had a chestnut tree in the front
yard and a chicken pen in the back, and there
was so much space both inside and out that all
the children of the neighborhood could play hide
and seek to their hearts' content. There were her
brothers to teach her that most wonderful of all
characteristics, a sense of fair play, and the spirit
of give and take. There was the dog called
Trixie. And the cat, Tabby, who was a kitten
when Marguerite was a baby. He was her favorite
playmate and she used to dress him up in doll
clothes and wheel him in her toy carriage. There
was always fun, and there were always certain
responsibilities, too.
When Marguerite had a party, she knew that
it was up to her, as the hostess, to get things
ready for her friends. When she wanted some-
thing she earned the money for it herself. She
was paid five cents a week for helping me in the
house but she had other ways of making money
too. She'd take care of children while their par-
ents were out and once she sold eight boxes of
candy bars to get a pair of roller-skates as a
premium.
One of our neighbors was quite disapproving
about it. "We always give our Peggy everything
she wants," she said. "Don't you think it em-
bitters Marguerite to have to work for those
same things?"
"No, I don't," I told her. "I think a self-made
person is much more understanding, and kinder
and more generous, than people who've always
had things made too easy for them." And Mar-
guerite herself told me not long ago that she was
glad she had always had {Please turn to page 76 )
"Here I am in free America. Here I have been given a new birthright. Here
I am allowed to do the work I love!" It's an inspiring story this brilliant young
actor tells here — of his experiences from concentration camp to Hollywood
EW AMERICAN
A N
IT WAS just a little over five years ago
— March 13, 1988, to be exact. Aus-
tria was invaded. In a split second
Vienna turned grey. Swastikas seemed
to ooze out of the very cracks in the
walls. German flags on every building.
German soldiers everywhere. German
feet marching — marching right into. the
very heart of a nation with hobnail
boots. Telephone wires cut. No more
waltzes — just blaring music.
Just a little over five years ago, I say.
Sometimes it seems like five thousand.
Here I am in America. Free America.
Here I have been given a new birthright.
Here I have been allowed to do the work
I love. Freedom — a blessed word in a
blessed country. In due time I too shall
be an American. A new American and a
grateful one.
As I look back over those eventful five
years — what memories bless and burn!
Starting with the invasion of Austria: a
beautiful, brilliant Sunday morning it
was. Of course there had been rumblings.
War rumors. Like all peace-loving peo-
ple, we said, "It couldn't happen to us."
Then it happened. A cloud over the sun.
Five hundred Nazi dive bombers all at
one time in the sky. Motorized Nazi
units belching through the streets. A
stricken people watching with horrified
eyes as the swastika went up over the
city hall. No one cried. No one shouted.
They just watched, and died a little in-
side.
At the time I was an officer of the Re-
serve Corps. My father was a govern-
{Please turn to page 72 )
imily-album pictures of Helmut, with hit
winger brother Walter. Above, in Austrian
ttlonal costume, when Helmut graduated from
ifh school at eighteen. Right, at five and at
wtn. Dentine is seen, center facing page, with
— "•—
A ND SO, they were married — Martha O'Driscoll and Lieu-
tenant Commander Richard D. Adams!
This high-lighted chapter in one of Hollywood's most
glamorous romances took place Saturday evening, September
18th, at seven-thirty, in the flower-bedecked Beverly Vista
Community Church in Beverly Hills. The Rev. Myron Nichols,
pastor of the North Hollywood Presbyterian Church, of which
Martha is a member, performed the ceremony. She was a radi-
ant bride. Her wedding gown, made by Vera West, stylist for
Universal, Martha's home studio, was of heavy white satin-
backed crepe, with a bodice of lovely Brussels lace. This had
been brought to her from Europe when she was a baby by a
friend of the family, for just this occasion. The long sleeves end
in ruffles of illusion, and the snug skirt flares into a short train.
A tiny Juliet cap of Brussels lace with a halo topped her honey-
colored curls, and she carried the rose-point lace handkerchief
that both her mother and grandmother carried at their wed-
dings.
Martha's grandfather gave her away; Frances Sanford, who
has been her stand-in for four years, was maid of honor; Bar-
bara Britton and Mrs. Anne O'Driscoll, wife of her older brother,
"I'll wait for her to grow up!" said Dick when Martha's
mother told him she was only thirteen. And wait he did.
Left above, first picture of the Adamses after their mar-
riage. Center, the first snapshot Dick ever gave Martha.
Above, holiday fun and Winter sports at Big Bear, in 1935. '
were bridesmaids, and her seven-year-old cousin, Judy Enlows,
was flower girl. The groom, who is tall, dark, and very hand-
some, was splendid in his Navy uniform, as were his best man
and ushers, officer friends from his aircraft carrier.
Following the reception held in the spacious parlors of the
church, the newlyweds slipped quietly away for a two weeks'
honeymoon at Carmel-by-the-Sea, the most romantic spot along
the entire Pacific Coast.
This was the wedding. But the story behind it holds all the
flavor of a lyric poem of young love.
They first met one evening in 1935, when Martha, her mother
and grandmother were invited to be guests of honor at a theater
party. Arriving at the playhouse, they were seated with three
other honor guests, Mrs. A. D. Adams, her daughter Martha,
from Embridge, Pa., and her son Richard, Annapolis graduate
of 1932, stationed at San Diego. It all proved very congenial
THE
More romantic them fic-
tion is the real-life love
story of beautiful, blonde
Martha O'Driscoll and
tall, dark, and handsome
Lt. Comdr. Richard Adams
By Maude Cheatham
and before the evening was over, young Richard was telling
Mrs. O'Driscoll that his mother and sister were returning home
the next day, and asking if he might call on Martha.
After several visits, the mother decided to tell him that while
Martha looked older, she was just thirteen. After the first sur-
prise, Dick gaily exclaimed, "So what? I'll wait for her to grow
up." And wait he did. There were visits whenever possible,
and always daily letters. These invariably in-
cluded comedy cartoons, sketches and amusing
poems, and became a regular feature in her life
during the intervening years. Also they did much
toward establishing a (Please turn to page 81 )
Martha's latest picture Is "Crazy House,"
with Olsen and Johnson. She will continue
her picture career, having just signed a new
contract with Universal, and for the dura-
tion will live with her mother and brother
Paul. See exclusive home pictures below.
39
crosEUP OF A
JOHN WAYNE, all 190 pounds of him, is back on his home
lot again. Ever so often John dashes out to Universal to
exchange fierce fisticuffs with Randy Scott, or over to
Paramount to fight Mr. DeMille's octopus with the baby blue
eyes, or down to RKO to make Western he-man love to cute
cracked-voice Jean Arthur. But sooner or later, and more
sooner than later, he always gets back to Republic — the studio
that happens to have a paper he signed on the dotted line.
In the picture he is making now, "The Fighting Seabees,"
John plays a lieutenant commander of the U. S. Navy who is
in charge of a construction gang in the South Pacific. This
branch of the service is called the Seabees. The picture is being
filmed at Camp Pendleton, one of Uncle Sam's largest Army
camps, on a stretch of beach located somewhere in the State
of California. Same beach where a few months ago the
Marines landed for Twentieth Century-Fox's "Guadalcanal
Diary." When "Guadalcanal Diary," the authentic story of
what happened at Guadalcanal, was previewed recently at an
out-of-town theater one of the preview cards, written in a mas-
culine hand, read, "A swell picture. But it
thing — Betty Grable." Twentieth was stuck wit!
only way they could get Betty Grable on Guadalc
a soldier's cot in a pin-up picture.
Republic's going to do better than that. They've signed
Susan Hayward, another favorite pin-up girl, to give a little
feminine allure, or shall we be vulgar and just say sex appeal,
to the gusty, lusty "Fighting Seabees." Although the picture
has been in production several weeks as we write this, the
studio hasn't yet figured out what to do about Susan and John
and the romance department. But they will.
John would like to keep on wearing his Navy uniform for
keeps. A few months ago he made an application at Washing-
ton for a naval commission in any branch of the service they
would take him. To date he hasn't heard.
John has been under contract to Republic since 1938, when
they signed him to play the lead in the Three Mesquiteers
series. The rumor is that Republic got a big bargain. John
was down on his luck at the time. He'd been dropped by Fox
in 1931 when "The Big Trail," his first picture, turned out to
be a big flop. He'd talked himself out of the Singin Sam
series of Westerns he was doing for Lone Star Productions.
(With customary frankness John had said, "I can't sing. Ji
you want a singing cowboy why don't you get a guy who can
sing?" They did—Gene Autry.) And the action melodrams
he had done for Monogram were (Please turn to page 89)
That young man of
. the Old West, John
\ Wayne, turns out to
|^ be as rugged and
casual as he screens
Presenting the screen's
First Lady, Greer Gar-
son, in her most distin-
guished role — the great
scientist, Marie Curie
First pictures of a mighty motion picture in the making. "Madame
Curie," adapted from Eve Curie's biography of her mother, is
directed by Mervyn LeRoy — shown above spraying "perspiration"
on Miss Garson's face for a closeup. In actually performing
laboratory experiments for the picture, the star worked up some
real perspiration, the director just adding the finishing touches.
Top, Miss Garson with Margaret O'Brien, who plays her daughter,
Irene Curie. Facing page, top left, LeRoy amuses his stars,,
Walter Pidgeon (bearded for role of Monsieur Curie) and Greer
between arduous scenes; and Miss Garson, in makeup as ageing
Madame Curie, scans script with M-G-M executive Howard Dieti.
43
mm
Turhan Bey, "the terrific
Turk," pursues gorgeous Mon-
tei in the new film, "AH
Baba and the Forty Thieves"
Montei plays a Bagdad
belle of the 13th century,
and Turhan Bey a desert
fighting man in Universal'*
new Technicolor fantasy. Be-
low, provocative scene which
Maria and Turhan share
with newcomer Ramsay
Ames. Left, action closeup
of the latest young man to
cause femme cinema pa-
trons to swoon in the aisles.
K
A
Letter
to My
Son
DEAR BILL:
I have been very conscious lately of the effect your part in
the war has had on mother, Jane and myself.
As you know, a great many planes pass over our house, test
pilots trying out newT ships for the various plane factories in
this area. In the old days, you'll recall, we took their passing
so much as a matter of course. We never bothered to run to
the window, or even to look up if we were out-of-doors. But
now that you are in the air service, life is different. Your dad
says, learnedly, '"That's a Mustang," while Mother argues vio-
lently, '"It can't be," giving technical reasons!
But of course we Arnolds who remain at home are not alone
in this preoccupation with the job of a son in the service. Such
little dramas as I have outlined above are repeated in millions
of American homes every day of every week. And as long as
they are repeated, America will continue to be great. For the
strength of the family tie has been one of the greatest assets of
our country.
I know in the many past months you have worked very
hard, and I am proud of the progress you have made. I know
when they assigned you to your present task of flying two-
motor planes on mission work to prepare you for the piloting
of four-motor ships and then on to becoming an instructor of
bomber pilots, it did not seem to set very well with you for the
reason, like all the other young men that are in your branch
of the service, your desire was to "go across" and do a little
more than instructing others to become flyers; but then on the
other hand, if a young man is competent enough to become
an instructor it is my belief that he is more valuable in training
say 500 others how to do it. than he would be just flying a
plane alone in a war zone. So don't worry about it. It has
always been my thought that in turning out a good trick dog,
the trainer must know more than the dog.
I have just returned after several weeks entertaining the
men in Army camps, naval bases and hospitals up and down
•the coast. It is truly hard to describe the reception the actor
gets while doing this work because (Please turn to page 88 )
From this personal
letter addressed to
Lieut. William Ed-
ward Arnold of the
U.S.A. Air Forces by
his father, Holly-
wood's finest char-
acter actor, you
will learn where the
character in this
family comes in!
45
1
Roy shows Twinkle around the place, points
with pride to his hobby, the pigeons. It's
a treat for Republic's newly signed kid star.
Twinkle Watts can sing, too. You'll meet
fhis most recent addition to the screen's
juvenile star roster in "Say Blades."
When Cheryl was just a baby she wouldn't go to
sleep until Pop sang to her with guitar ac-
companiment. She's still his most faithful fan.
Cheryl has a big collection of dolls, thanks to
her doting daddy, and shows them off to
little Miss Watts in the cheerful Rogers nursery.
47
$ 1
J
TL Q flan,, I//....
Still in her early twenties, gorgeous Tamara
Toumanova leaves a dazzling career in the
ballet for an unpredictable future in Holly-
wood. Her first picture will present her as
a Russian dancer of loday who, when lost
while entertaining at the front, wanders into
the hideaway of a guerrilla band and en-
slaves its leader with her beauty. Opposite
her is Gregory Peck, another newcomer
(shown at upper left on facing page). Fas-
cinating studies of Toumanova are by famed
RKO-Radio camera artist Ernest A. Bachrach.
oiunanova
49
comes i. true Prim- J aP-
*•'*"•»•. full 3klft W°fc^««wf*fc
52
Gossip by Weston East
Candids by Jean Duval
HERE'S
Dorothy Lamour,
attired in her cos-
tume for the role
of an ex-burlesque
queen in her new
Paramount film,
"Riding High."
AT HER fans' request, Carole Landis is going- blonde
''again. She dyed her hair back to its natural brunette
shade before she made her overseas tour, because she knew
there'd be no place to have it cared for while on tour. She
liked it au natnrel so much that she kept it that way when
she returned to Hollywood. But her fans apparently don't.
So by the time you read this, she'll be blonde again.
HANDY SCOTT had the thrill of his life while at the
^ Mocambo one night recently. A Navy lieutenant came
over to his table, tapped him on the shoulder, and inquired :
"Aren't you going to be in the picture they're making about
Torpedo Squadron Eight?" Randy admitted he was.
"Well," said the young man, "I'm Lieut. George Gay."
Gay was the sole survivor of Torpedo Squadron Eight.
He was in town for a few hours. The picture of his ex-
ploits will be called "A Wing and a Prayer."
I OU COSTELLO's pet hate is the vitamin shot he must
*— still take every day, although he is well on the road to
recovery from his long illness. The other day, while Phil
Regan and Joe DiMaggio were visiting him, he flatly re-
fused to let his doctor give him the shot. Phil and Joe tried
to persuade him. Finally Lou said he'd take the shot, if
they would have one, too. They did. Now it's a rule for
all guests. And it's a real tribute to Lou's popularity in
our town, that the guest list is as long as ever.
HENRY FONDA is now a lieutenant, j.g., in the Navy.
He'll be stationed in Quonset, R. I., during his three-
months' training course. His wife is moving East tc
be near him.
THE CUTEST foursome in town consists of Gail Russell
with Bill Edwards, and Diana Lynn with Dick Balkeny,
son of a sound technician at Paramount. Bill is the boy
Paramount hopes to turn into another Stirling Haydeu.
The girls are in "Our Hearts Were Young and Gay." and
the title certainly fits them. Bill gave Gail a gold ring for
her 19th birthday, and Dick presented one to Diana for
her 17th.
Left, Errol Flynn at Marcel La Maze with Mimi Forsythe,
attractive screen newcomer. Left below, the Franchot Tones
celebrating at Mocambo. This is Mrs. Tone's first glimpse of
night life since the birth of the Tone son and heir. Below, at
the same night spot, Lieut. John Carroll of the U. S. Army Air
Forces, waltzing with Karen Smith. John knows all the cuties.
HOLLYWOOD
THERE WAS an amusing incident at the Hollywood
' Canteen recently, when a soldier mistook Simone Simons
mother for her famous daughter. The two are such look-
alikes, that sometimes even their friends are confused. The
soldier came up to the mother, addressed her as Simone,
and asked her for a dance. She took pity on the lad, and
brought her "daughter over to dance with him.
KA ARLEXE DIETRICH'S costume for her role in
' " ' "Kismet" is really something. She plays an Arabian
girl. The trousers of the outfit are made of twenty pounds
of gold chain. But the top consists merely of one ounce
of moussclinc dc soic!
DUTCH JENKINS has his own ideas about what to give
^your lady love for her birthday. Nothing sentimental
about this five-year-old super-lad. He's strictly on the
practical side. After saving his pennies for months to buy
a birthday present for Joyce Lake. Florence Lake's little
daughter, he confided in his mother what the present was
to be. A pound of bacon, if you please !
A LL THE wiseacres who expected temperament from
' ' Tallulah Bankhead when she started work in "Life-
boat" are eating their words. The studio gang practically
worship her. and will tell you at the drop of a hat about
what a regular gal she is. The other day she was being
interviewed by a Xew York writer, when a group of RAF
pilots entered the studio dining room. They approached
hesitantly, to ask for autographs. Xot only did la Bank-
head interrupt her interview to give them the autographs,
but she insisted they sit down and chat with her.
JOAX CRAW FORD'S new dressing room on the War-
ner lot is done completely in cotton. Rug, drapes, lamp
shades, chair covers, everything. The color scheme is dusty
rose, cream, and blue-green. Joan starts her first picture
on her new contract very soon. It's to be "Never Goodbye."
Right, Roy Rogers and Ingrid Bergman were guest stars
on a recent radio show with Charlie McCarthy and his boss,
Edgar Bergen. Right below, June Home adjusting Jackie
Cooper's tie at a popular night spot. The Jon Halls (Frances
Langford) are happy to be together again. Frances has
just returned from overseas, where she entertained our boys.
The Hollywood Bond Cavalcade "bondstormars" line up for a parade in San
Francisco, final stop of fheir fifteen-city, 10,091-milei tour for the Third
War Loan. Grouped around the jeep are, left to right, Dorothy Merritt,
Betty Hutton, Greer Garson, Mickey Rooney, Judy Garland and Lucille Ball.
■yERONlCA LAKE'S allergy to the
' arrow weed in her movie makeup
has her studio worried. It gives her sneez-
ing spells. Her makeup man is working
out a whole new line of makeup for her,
which will eliminate the offending ingre-
dient.
DON'T mention "chicken" to Anna-
bella. Her Bond tour took her
through the South, and in the ten days
she was gone, she ate twenty chicken din-
ners. Each town, it seems, wanted to
treat her to its special dish — and each
town's special dish was chicken!
DONNA REED and her husband, Bill
Tuttle, have just celebrated one year
of married life. They've decided one year
in a three-room apartment, no matter
how attractive, is sufficient. So as of
now, they're in the market for a home in
San Fernando Valley. "With enough
grounds," stipulates Donna, "to remind
me of the farm I grew up in, in Idaho."
THE Herbert Marshalls ended up giv-
ing two dinner parties instead of one,
to celebrate the Ronald Colmans' fifth
wedding anniversary. It all happened
when they issued invitations to a formal
dinner party, and Ronnie and Benita
made a mistake on the date, and turned
up one week ahead of time. So did Ar-
thur Hornblow, one of the invited guests.
So the Marshalls obligingly gave them
an informal party right then and there —
as well as a repeat on the following week,
when the other guests arrived.
AT LONG last Marlene Dietrich has
arrived at M-G-M. She's signed on
a two-picture deal and couldn't be hap-
pier. Speaking of Dietrich, wonder if it's
true that she wasn't invited to the wed-
ding when her daughter married re-
cently? 'Tis rumored.
MICHELE MORGAN and Bill Mar-
shall continue to be Hollywood's
most romantic married couple. Now that
Bill is in New York with the Army Air
Corps show, Michele can't wait to join
him. Her commitment to Warners for
"Passage to Marseilles" will keep her in
town for awhile, however. In the mean-
time, Michele is the envy of all her girl
friends, whose "Joes" in the service
think they're doing fine when they man-
age to send one or two letters a week.
Michele gets two special delivery air mail
letters a day from Bill. In addition to
that she receives two telegrams each day;
one in the morning, telling her how Bill
spent the evening before, and one in the
evening, telling her what he did during
the day. That's not counting the two
telephone calls each week, either!
p INGER ROGERS took time off from
^* her picture. "Tender Comrade," to
spend Marine husband Jack Briggs' last
two days in this country with him.
But just before he was to leave for over-
seas, an order came through transferring
him to Quartermaster School for three
months.
Y^7"ITH the servant problem what it is,
* ' June Havoc is taking no chances on
losing her colored maid, Essie. She has
actually placed her under personal- con-
tract to herself. And no options. The
contract is for the duration of the war.
When June goes to New York for her
role in the stage show, "Mexican Hay-
ride," Essie will go with her.
Top right, James Cagney, Greer Gar-
son and Paul Henreid look over script
before going on at Minneapolis, where
the Hollywood Cavalcade's show dou-
bled that city's bond quota. Top left,
Betty Hutton and Mickey Rooney on
the "Bond Wagon" in Philadelphia,
first stop in the War Bond tour. Right,
Greer Garson and Kathryn Grayson
take time out from entertaining and
bond-selling to grab a snack at Sol-
dier Field, Chicago. Right below,
Jose Iturbi, famed concert pianist,
gives out with boogie-woogie in the
club car of the Cavalcade's special
train for the amusement of Judy Gar-
land and Harpo Marx. Left below, all
the Cavalcaders are homeward bound
and tired, but happy because of the
tour's success. They more than dou-
bled their quota of $500,000,000.
Left, baby Cheryl Christina Crane, photographed with
her famous screen star mother, Lana Turner. Above,
first scene from the new film, "Since You Went Away,"
colorful tale of the Hiltons, an American family of
today, in which Claudette Colbert (center) plays the
mother of Shirley Temple, as Brig, and Jennifer Jones,
in role of Jane. Below, Michael O'Shea and Susan
Hayward, as they appear in "Jack London," exciting
film story about the late, beloved author-adventurer.
WHEN Dorothy Lamour tossed her bridal bouquet
after her marriage to Capt. William Ross How-
ard III, a few months ago, the girl who caught it
was her stand-in, Earlene Heath. Dottie did a lot of
teasing anent the superstition that the one who catches
the bouquet will be the next bride. Earlene laughed
it off. But the other day she turned up on the "Rain-
bow Island" set wearing a wedding ring, and almost
as much surprised as Dottie. Seems she made up her
mind very suddenly to marry Robert Colomb, a real
estate man from Chicago.
THE sight of Charlie Chaplin drinking beer while
his bride, Oona O'Neill, sips milk, at the night
spots, continues to amuse Hollywood. The other eve-
ning Oona showed up at a party wearing a service pin
with a single star. When asked what it was for, Oona
answered seriously: "I've given a son to the Army."
The son is Charlie Chaplin, Jr., who is the same age
as his new stepmama!
MARGUERITE CHAPMAN is being very cute
in denying the rumor that she is about to marry
Marine Bill Lundigan. "I can't understand how they
could have us getting married," she says. "Why, I
haven't even asked him yet." Just the same, don't be
too surprised if they're married by the time you.
read this.
k
Lovely Miss Bari picks herself
the acting plum of the season:
the role of La Pericho/e, glamor-
ous South American actress, in
"The Bridge Of San Luis Rey"
SCREENLAND .
59
Ann Corio (facing
page) was a Pin-Up
Girl even before she
became a movie
star. Now new pic-
tures of her are more
in demand than ever.
Belita (right) will
win raves when ser-
vicemen see her in
"Lady, Let's Dance"
One of the world's greatest fig-
ure skaters, the beautiful Eng-
lish girl called Belita was
snatched from the ice shows by
Monogram Pictures. Her cool
blonde loveliness is on exhibi-
tion in "Lady, Let's Dance," in
which she is seen for the first
time as a ballet dancer as we
as a skater. James Ellison
appears opposite Belita.
Ann Corio's new film is
"The Sultan's Daughter,"
a fanciful romance in
which the former strip-
teaseuse has ample op-
portunity to establish
herself as a screen siren.
Left, in a tender inter-
lude with her leading
man, Edward Norris.
ScREENLAND
61
HAIL
GUNG
HO!
//
(Chinese motto mean-
ing "Work Together")
Walter Wanger's new
picture based on the
memorable raid by Lt.
Col. Carlson's Marine
Raiders on Makin
island has as technical
adviser none other
than Carlson himself
Hollywood's most distinguished technical director of all
time is Carlson of the Raiders, (above), winner of three
Navy Crosses and organizer and leader of the Second
Marine Raider Battalion. Wanger is filming a dramatic
story based on his exploits, with the valuable advice of
Lieut. Col. Carlson himself to insure its accuracy. Below,
Carlson inspects the equipment. Lower right, at the
megaphone describing action for a scene. At right, film's
heroine, Grace MacDonald, meets the real-life hero
Gunnery Sergeant Maghakian and other Marine raiders.
62
SCBEENLAND
Colorful Carlson is shown
at upper rigfit inspecting
location with director
foirtght and cameramen.
Lower right, discussing
scene with Randy Scott,
who plays the Marine raid-
er commander in Wanger's
"Gung Hoi" Never before
in Hollywood history has a
military personage of Carl-
son's calibre participated in
the making of a war movie.
The fictional framework of
the film coils for one of
those romantic triangles,
in this case enlisting the
talents of Noah Beery, Jr.,
Grace MacOonold, David
Bruce (bottom of the page).
Joan Blondell and Ann Sothern arriving on the set of M-G-M's "Cry Havoc," powerful
screen drama about the parr women civilian aides played in the defense of Bataan.
"A Soldier Must Have Love!" Says Ann Sothern
Continued from page 21
wrote one. "A girl marries because she
wants to share everything with the man
she loves. If I marry I will still be alone.
My life will be no different than it was
before. What would I be marrying for?"
"Why should I marry?" asked another.
"The full responsibility of our home
would be mine. There's no one to share
the upkeep, no one to help make deci-
sions, no one to even talk to. I'd still be
alone — only more so."
"I want children," a third confided.
"Marriage to a man in service I might
never see again, wouldn't be fair. If I
were lucky enough to have children, what
could I assure for tlieir future? But still
I love him. It is so confusing."
Had I honestly and sincerely felt I
could advise them, I think I would have
willingly. That / had found answers to
some of these questions, was not enough.
What was right for me did not neces-
sarily apply to them. Or to any one.
Their problems were far too serious and
personal to risk advising and maybe
proving wrong. Then something hap-
pened that set me to thinking strongly
about this situation.
I had an experience. I had an experi-
ence that proved far more than all the
advice in the world. I still would never
say — "do marry him or don't marry him.
That's up to the girl herself. Once I
made up my mind to marry, I never had
a further doubt. What I have learned
from soldiers — from thousands of soldiers
representing a cross-section of humanity
— might give a new perspective to girls
who wonder and worry.
Recently I went on a visiting tour of
camps and hospital bases in Texas, Utah,
Idaho, Oregon and Washington. For two
weeks I shook hands with boys who were
injured and ill. I talked to them. I
listened to them. Many times I walked
miles of corridors visiting soldiers— sol-
diers who were lying there thinking. I
could never begin to tell you everything
I saw and learned. I can only say it was
an experience I shall never, never forget.
I can see their faces now. I can hear
their voices — questioning, confiding.
What tremendous courage and spirit they
showed! Seldom did they talk about
themselves. They had no fear of the fu-
ture. Expressed no regret over the past.
Of one thing and one thing alone they
spoke. They spoke of home. It was like
a magic word. At the mention of a
sweetheart's name, a wife, or a mother,
their faces would light up. A boy at
Dugway, Utah, showed me his bookmark
— a picture of his girl and his dog.
Everywhere they read me bits and parts
of letters — all coming from home.
The more boys I met the more I came
to realize that the love of some person
back home was as precious as life itself.
Just the knowledge of that love was a
connecting link between their two worlds.
In Walla Walla, Washington, the realiza-
tion really swept over me that a soldier
must have love — a personal love beyond
the call of duty — a personal as well as
patriotic reason for saying to himself,
"This is what I'm fighting for."
In a hospital in Walla Walla, I visited
men whose feet had been frozen. Some
were amputation cases. In one bed was a
young man whose life was very dark.
Several weeks previous they had removed
his leg. The loss of that member wasn't
his greatest concern. He was thinking
about his girl — that girl back home. I
knew it would help him to talk. I en-
couraged him to tell his story.
They were engaged to be married.
Along came the war and the draft. She
wanted to be his wife before he marched
away. He felt it was unfair to tie her
down to a man whose future was so un-
certain. Six months later he realized his
great mistake. How wonderful it would
have been to visualize her back home — in
their home. How comforting it would
have been to know his dog, his books, his
fishing tackle were all being cared for by
one who belonged only to him. And so
they planned to marry on his first leave.
That first leave never came. Instead he
was shipped out.
"Now I don't know what to do," he
told me. "I must tell her about my leg.
As long as I don't tell her I know she is
there waiting for me. But that isn't fair
to her. If I tell her maybe it will change
everything. If she went out of my life
now I don't think I could take it."
He told me more about his girl. He
showed me her picture. Before he left he
promised that he would write and tell her
everything. If she was made of the right
stuff it would make no difference, of this
I was sure. Suddenly I realized — there I
was giving advice! It's all Maisie's fault
and I lay the full blame on her! I think
I kind of prayed that his girl wouldn't
stop loving that nice boy who needed her
love more than ever before. Recently I
had a letter from him. His girl was com-
ing on. They were going to be married.
On my trip I stopped off in Pecos,
(II
S (' R E E N Ij A N D
Texas, in the hopes of seeing Bob. Every-
one was hospitable — even at four in the
afternoon when it was 118 in the shade.
There were many wives there, living in
trailer camps, trying to find jobs — any-
thing to be near their husbands. Despite
overcrowded conditions and endless time
on their hands, there was no complaining.
We became acquainted and, of course,
being wives, we talked about the hus-
bands we loved.
Just like the others, I had little time to
be with Bob. During basic training a
soldier is allowed to see his wife or girl
friend once a week. From Saturday night
till Sunday night he can take leave. Once
a week a soldier is allowed to have a
visitor at the base to see a movie. After
the movie there's barely time at the PX
for a soft drink. With some ten thousand
present every second, there's nothing
very personal about the visit. Yet to a
soldier, it means everything.
Sometimes some of the girls came back
to the hotel with me. We sat around and
talked. I showed them how to make a
dirndl blouse they admired. Some of
them had never been away from home
before. There were a few sweethearts
who had saved their vacation money and
had come on in the hopes of seeing their
boy friends. In talking it over, invariably
they'd say: "I really shouldn't be here,
but it means so much to him." Most
touching of all was one wife who had
actually hitch-hiked to be with her hus-
band a few hours. She had left the chil-
dren with a neighbor and had to hitch-
hike right, back again.
"If anything should happen to Jack,
I'd hate to think that we hadn't had this
happiness together," she explained it sim-
ply. When I saw that look in her hus-
band's eyes as he kissed her goodbye, I
knew how much her love meant to him.
I could go on and on telling about
these people. Each is an individual case.
In one thing they all agreed. A soldier
must have love. While I still remain re-
luctant about advising others, I hope I
have been able to help them make up
their minds. I can't say too emphatically
how much our marriage has meant to
Bob and me. For example, Bob has our
wedding picture tacked up in his locker.
He calls it his "Be Happy" picture be-
cause it helps him to be happy if he's
blue or discouraged.
We had made all our plans for the
future before Bob went away. It gives
us a feeling of security to go right on
with those plans. When he comes back
we can continue. There won't be any
starting over again. We won't be two
people who have gone in separate direc-
tions, now trying to go in one.
Just knowing how much our marriage
means to Bob makes me feel like I'm
doing more of my share. You can't take
everything from a man at once — home,
dear ones, background. Something of
himself, for himself must be retained.
This is where a woman can and should
play a great part. She is symbolic of
everything that is near and dear to him.
Marriage at any time is a serious re-
sponsibility. We look at it idealistically.
But there may never be the ideal way
again — at least not for years to come.
One can't put one's self in a coma and
say, "I'll wake up when the war is over."
We must go right on. If it can't be the
way we'd like it to be, then it must be
the way it is. I had doubts. My ques-
tions remained unanswered the same as
those girls who wrote to me. When Bob
came home on sick leave, it suddenly all
became clear.
I made two mental lists. On one I
listed the advantages our marriage would
bring. I could go to Bob when my work
and conditions permitted. Precious few
as the free hours might be, we could
spend them together. If Bob were granted
a leave, our home was waiting in Holly-
wood. We both wanted children. Why
wait? Being in love neither of us could
be interested in anyone else. Though
separated, at least we would be sharing
our dreams.
On the second mental list were the dis-
advantages. My responsibilities would
remain the same. The constant com-
panionship would be missing and I'd still
be alone in the house. Every decision
would depend solely upon my own judg-
ment. So I reasoned with myself.
By not marrying and still loving Bob,
I wouldn't gain these things anyway.
Without our plans, our dreams and those
moments we occasionally spend together
— I'd even have less. And so we were
married.
As further proof, if further proof is
necessary, a soldier amusingly expressed
the feeling of his buddies right down to
a fine point. On my visiting tour of the
camps, I attended the premiere of "This
Is The Army" in Medford, Oregon. The
house was very quiet as Joan Leslie, on
the screen, pleaded with B-onald Reagan
to marry her. Ronnie, in uniform, was
trying to convince her that he didn't
think it was fair. Finally, a soldier in the
audience shouted disgustedly at the top
of his lungs: "What are you waiting for,
you dope! Why don't you marry the
girl?"
This same question might be applied
to the girls who can't quite make up
their minds. I am convinced that a sol-
dier— to be a good soldier — must have
love. But I'm not handing this out as
advice. If that's what you're looking for
— vou'Il have to ask Maisie.
Dick Powell, playing in "Meet The People" on an adjoin-
ing set, calls on his wife, Joan Blondell, and Ann Sothern.
Margaret Sullavan and Ann Sothern burn Army records just
before Japs reached Bataan in this scene from "Cry Havoc."
ScREENLAND
65
r
A Screen Starlet
Starts Another Day
Blonde Blitzing for Bonds
Continued from page 25
engaged. To Charles Martin, radio pro-
ducer. Charlie and I have known each
other casually for several years — he said
he first fell for me when he saw me in
'Two For The Show' six years ago, but he
was too shy then to come back stage and
meet me — but we didn't actually become
interested in each other until last sum-
mer, when I stopped over in New York
before going out on a camp tour. I did
a broadcast for him, and after the broad-
cast we went to the Stork and sat and
talked until the waiters stacked the
chairs on the tables. When I finished
the camp tour I came back by way of
New York, did another broadcast for
Charlie, and decided definitely that this
was it. By then our romance was hot
and heavy. When I returned to the
Coast he started calling me long dis-
tance and urging me to return to New
York, where his business keeps him
pretty well tied down. The Bond Caval-
cade had only one day arid night in New
York, worse luck. But I had dinner with
Charlie at the Stork Club, and he pro-
posed. I accepted, and said, let's keep
it a secret. But you know me with
secrets!" (Yes, I know Betty with
secrets. If you want any news to get
around in Hollywood first you tell the
A.P., then the U.P., and then B.H. You
get complete coverage.)
"I was really flying I was so happy,"
Betty continued. "An hour later I had
to make a personal appearance at the
bond rally at Madison Square Garden.
Do you know what I did?"
Twenty thousand people know what
she did. She sang Murder as only Betty
Hutton can sing it, and when the ap-
plause died down she said, "I'm so happy
tonight I'm bubbling over. I want to
tell you something. It's a big secret
but I have to tell you, I'm so happy. I'm
engaged to Charles Martin of your City."
Well, Betty had expected to leave the
Cavalcade after the San Antonio per-
formance, and fly back to Charlie in New
York. But it seems that while she was
in New Orleans she decided to eat all
the wonderful sea food she had heard of
all her life. Betty claims she got a little
bad sea food, but several pals on the
Cavalcade claim that it wasn't bad food
she got, but too much food. Anyway she
was laid low for a couple of days, missed
her connection, and came on back to
Hollywood. Charlie said he would find
a few days and fly to her on the Coast.
Then he had the new Gertrude Lawrence
show tossed his way. "It's turned into a
telephone romance," said Betty. "Charlie
thinks he can fly out in a few weeks. But
by that time I'll be in Nevada on loca-
tion with the 'Incendiary Blonde' com-
pany. If we ever get together it's going
to be a miracle to end miracles."
Detroit is Betty's home town. And you
can be sure the whole town turned out
to greet the local girl who made good.
Betty and her mother used to work
in the Chrysler factory there — Chrys-
ler manufactured automobiles in those
peacetime days — and it was in Detroit
that Betty got her "start." As soon as
she could slip away from the Bond Cav-
alcade she took a cab out to the apart-
ment on Goethe Street where she once
lived. Her aunt and uncle, Mr. and Mrs.
Dene, still live there. Her Uncle Bub
was just getting out of his car after work
on the night shift at Chrysler's when
Betty burst from the taxi amid wild
shrieks and waving arms. Heads poked
out of windows all along the block.
Awakened by her clock at six, Barbara Hale,
former Chicago artists' model and screen
newcomer, steals a few more minutes in bed.
In an hour, she is due at RKO studio, where
she is playing in "Higher and Higher,"
Frank Sinatra's film, but there's nothing to
get alarmed about — she'll make it! Barbara
even manages to squeeze in a chat with cop
on the beat on her way to the studio, below;
opposite page, having reached the studio,
receives instructions from director Tim Whe-
lan; in far corner, made up, dressed, and in
real glamor pose is ready for the cameraman.
Betty shouted to them, "Hello, every-
body! I used to live here. Gee, but I'm
glad to be home!" Aunt Lucille was can-
ning and jamming. "Boiled eggs with
tomato and onion sauce," said Betty,
smacking her lips, "just as good as it
was when I was a child."
Next stop was Foch Intermediate
School, across the street. "You prob-
ably don't remember me — " Betty said
politely to Miss Sarah Robinson, the
assistant principal, but she didn't get
any further. "Betty, darling," cried
Miss Robinson, taking her in her arms,
and then added with a sigh, "We might
as well dismiss school today and call it a
holiday." Betty then went to the room
of her favorite teacher, Miss Deborah
Jones, sat down at a desk with the 7-B's
and made faces at an arithmetic book.
"Children," said Miss Jones proudly,
66
SCREENLAND
"this is one of my pupils." Betty got
all choked up and told them what for-
tunate kids they were to have such an
understanding teacher as Miss Jones.
After that she sought out Mrs. Jeane
Sauer, who was her first dramatic teach-
er. Betty and Mrs. Sauer settled down
f,r a fine bit of reminiscing. "Do you
remember the time you nearly had to
drop me from the school play because
of my portrayal of Mae West saying
'Come up and see me sometime'?" shout-
ed Betty hysterically. "You were just
a little too realistic," laughed Mrs.
Sauer, "but I knew it would break your
heart if I didn't let you do the imper-
sonation, so I took a chance on losing
my job." "Remember how I padded my-
self with cotton," Betty continued, "and
how the cotton pads slipped during my
dance? That was my first appearance
in show business."
Betty spoke to the whole school over
the public address system, and when
Principal A. L. Miller introduced her,
she said, "He used to scold and lecture
me too, but don't take it too badly. He
really is a swell guy."
Back at her aunt's home she relaxed
in an old housecoat, consumed ham sand-
wiches, and talked to all the relatives
and neighbors who could crowd into the
apartment — until it was time to go to
the bond rally at the Olympia audi-
torium. Uncle Joe and Aunt Myrna (Mr.
and Mrs. Gaydos) were on the night
shift so they couldn't get to the rally
(Uncle Bub got his shift changed for
the night) so Betty obligingly did her
act for them. "I took Uncle Bub and
Aunt Lucille to the show," Betty con-
tinued, "and introduced them to Greer
Garson, Judy Garland, Jimmy Cagney,
Mickey Rooney and the rest of the
stars. They'll never be the same."
In Cleveland Betty visited the Eaton
Manufacturing Company — they manu-
He's fighting for you!
Buy a Christmas
War Bond for him.
facture parts for planes since Pearl Har-
bor. The company had gone over solid
during the first and second war loan
drives and they had chosen Betty, from
the entire Cavalcade, to help them put
over the Third War Loan drive one hun-
dred per cent. Betty was told by the
Cavalcade Committee that all she had
to do was have lunch with the workers,
and sing a song if they insisted. But
when she arrived at the plant Morgan
Fenley, the publicity director, casually
informed her, "We want you to ride in
a big red, white and blue float and at
the three different plants you're to make
your usual bond drive speech."
"My what?" said Betty in horror, "did
you say speech? I don't make bond drive
speeches. Why, I've never made a speech
in my life!"
"The committee said you would make
a speech," said Mr. Fenley weakly. "The
workers have been waiting an hour. This
is terrible. Can't you say something?"
"I felt sorry for him," said Betty with
a laugh. "He was dying. He aged ten
years in a few seconds. He was sweating
so hard his suit was wet. I guess he
thought I was one of those dumb bun-
nies from Hollywood he'd read about."
"Don't worry, brother," I said to him.
"I'll think of something when we get
there.
"You'd have thought he was deliver-
ing me to the guillotine the way he
looked when he led me up to the
first loudspeaker. I said, 'Ladies — and
wolves,' and the crowd loved it. I could
feel that they were with me. I told them
I felt at home at Eaton's because I had
once worked in a factory too. I told
them it was little people like us who
would win this war. I told them that if
we got behind this Third War Loan with
all we had that maybe there wouldn't
have to be another war loan. I really
pitched into it. I said a lot of things I'd
wanted to say in other cities, instead of
singing Murder. I ended up by saying
that I certainly intended doing my part,
and I knew they were going to do theirs.
It sounds kind of silly, I added, but if
anybody who buys a bond wants an
autographed picture of me, I'll be glad
to send it."
The applause was terrific. Mr. Fenley
became a new man. When he escorted
Betty to the second and third loud-
speakers he fairly beamed.
In New Orleans, where Betty was put-
ting away oysters and pompano as if
she never expected to get another meal,
she received a wire from Mr. Fenley. It
read, "Please send 4,000 autographed
pictures to the Eaton plant."
spent his first day at the studio visiting Lucille Ball on the set of "Meet the People."
Bob Taylor's "Chin-Up Girl"
Continued from page 27
stairs to the kitchen at night to make
myself a late cup of coffee — my one and
only vice. The big empty rooms got on
my nerves. I called Bob over long dis-
tance and told him I was selling this big
mausoleum of a house. He was very
much against it at first. But when I ex-
plained to him how tough it is for a
woman to run a house by herself these
days — I have to carry the entire financial
burden alone now — Bob was very sweet
and understanding. The new house has
a tiny yard, no pool, no tennis court, no
flower garden, no nothing. It's so small
I couldn't possibly rattle around in it.
Poor Bob will probably have claustro-
phobia when he sees it. He likes lots of
space."
Nothing will get a wife through an ad-
justment period quite so satisfactorily,
Barbara thinks, as good hard labor. If
you keep your mind and body both busy
you have no time for being unhappy. So
when Producer Billy Wilder called Bar-
bara on the phone and politely inquired,
"How would you like to play the meanest
woman who ever did murder on the
screen?" Barbara eagerly replied, "When
can I start — tomorrow?"
Of course when Barbara took time out
later to read the script of "Double In-
demnity," from the gory typewriter of
author James Cain, she experienced a
few squeamish moments. Instead of girl
gets boy, it was girl gets chair. In her
varied career from burlesque queen to
great lady to burlesque queen she had
never played a murderess. Maybe her
fans wouldn't like it? Maybe it was a
big mistake? Finally she asked herself,
"Am I an actress, or am I a mouse?"
She decided in favor of the former.
When production was postponed two
weeks she was greatly disappointed.
Then she hit upon the bright idea of
spending the extra time with Bob in
Texas. Just like all service wives. "I
didn't phone him," she said, "because I
wanted to surprise him. Barnesey checked
with a plane company (I couldn't get a
train reservation for thirty-five days)
and learned that it would take ten flying
hours to get to Dallas. Bob's base is
twelve miles out from Dallas. Ten hours!
It took three days and nights! I didn't
have a priority, of course, and I was
'bumped' at every airport. There were
twenty-one wives at the Tucson airport
waiting for a seat on a plane. What those
poor women went through was really
heart-breaking. I have great admiration
for these loyal wives who are willing to
suffer any kind of hardship just to be
with their husbands to the last possible
moment. There were never any porters,
and very rarely was there any food. The
heat was terrific. With one or more small
children to watch constantly, they never
had a chance to sleep. But what courage!
And what wonderful spirit. I'm a strong
girl, so I certainly didn't mind carrying
my bags, but when I had to go without
food and coffee at the El Paso airport
from eight in the morning until six at
night, I must admit my spirit was drag-
ging considerably. To give myself a lift
I put in a long distance call to Bob, and
told him I was on my way. 'What's hold-
ing you up?' he shouted. 'Just sixteen
ferry command pilots,' I shouted back.
"In the El Paso station I became
friendly with a young wife, with a two-
year-old youngster, who had been at the
airport for three days, she told me. She
had given up all the luxuries of a charm-
ing home in Richmond to be with her
husband at his hot desolate, camp the
last few weeks before he would be sent
overseas. We were both given seats on
the same plane that evening and I told
her I would mind the baby while she
took a nap — the first she'd had in days.
Well, I've never seen a baby with quite
so much energy. He made quick woik of
my snood, one by one he pulled the but-
tons off my blouse, and of course he did
what babies usually do, right in my lap.
"So imagine what I looked like vhen I
saw Taylor at the airport! I not only
looked terrible, but I felt exactly as if I
had been wrung through that old wringer.
But one look at Bob and I promptly for-
got all the inconveniences."
Bob stayed at the barracks the first
few weeks he was at the base, but he
does a lot of studying at night, so he took
a room at a hotel in Dallas. Barbara
stayed there with him, but saw him only
at night. He would have to leave at six
in the morning and didn't get back until
eight-thirty at night, just in time for
dinner before the dining room closed.
They're working the socks off .Bob out at
the air base, but he loves it. He's glad
he did all that rough stuff with horses
and guns and motorcycles. No one can
accuse him of being a softie. He has lost
twenty pounds since he arrived at the
base. He has shaved off his mustache,
.continues to wear a G.I. haircut, though
it isn't necessary. "Saves time," he says.
"I've got the best instructor in the
world — Red Meyers," Bob told Barbara.
"Red has seen combat in the Pacific and
is one of the Navy's greatest flyers. There
isn't anything he can't do with a plane."
When Bob completes his basic training
at Dallas. he doesn't know where his next
assignment will be. Naturally, Barbara is
keeping her fingers crossed, and in the
meantime doing a bang-up job of mur-
dering over at Paramount.
As the boys at the Army hospital in
Mississippi put it, Barbara Stanwyk is
the "Chin-Up Girl of 1944."
68
SCREENLAND
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Continued from page 28
for sailing in Tampa Bay, off the pier of
the St. Petersburg Yacht Club, and fish-
ing in the Gulf of Mexico.
From what we learned he's far from
being the "forgotten man." "Fan mail
still dribbles in when people find out
where I am," he says.
He is recognized on the streets — that
uniform, Jeffrey, just can't hide the calm
twinkle in your honest, blue eyes, the
steadiness of your friendly smile and his
morale, he assured us, is kept flying high
by the kindness of Tampa friends who
shower him with so much entertainment
(however limited it is, due to his brief
free time) that it often embarrasses him
to receive so much attention. Tampa, in
another good neighbor gesture, has re-
vived many of his pictures, and he's in
great demand, also, for participation in
War Bond drive rallies.
As an enlisted man, before he went to
Officer Candidates' School, Lynn did
much radio work and took part in spot
shows. He was the private, representing
the U. S. Army, in the Russian Relief
show at the Waldorf-Astoria Hotel, New
York City; he took part in the "Wings
for Norway" relief show in Boston; as-
sisted in Atlanta's premiere of "This Is
The Army," and even while we were in-
terviewing him he said, "Yes, sir," when
asked to participate in the Third War
Loan Drive rally in Tampa.
Since he joined the U. S. Army in Feb-
ruary, 1942, Lynn has developed a fine,
quiet, wholesome philosophy that you
can't help but feel as you talk with him.
It took him two months, he says, to
get adjusted mentally to Army life after
being inducted at Ft. MacArthur, Calif.
Having been your own boss for fifteen
years, as he was, he explained, it wasn't
easy to take orders. Although he didn't
show it outwardly, Lynn reacted inwardly
against Army regulations but now, after
nearly two years of the life, he realizes
FIRST SCENES
FROM
NEW FILMS
Here are first scenes from "Buffalo Bill," 20th
Century-Fox's new picture in which Buffalo Bill
presents the case of the American Indian
against other frontiersmen. Left, Joel McCrea,
who has title role, in a tender love scene with
Maureen O'Hara. Left below, lovely Maureen
made up as Buffalo Bill's ageing wife; below,
Linda Darnell as Dawn Starlight, the beautiful
Indian girl who loves Buffalo Bill [Bill Cody).
the tremendous amount of good the
Army has done him.
"It's taught me to make good use of
what time I have to myself, to learn to
know people better, to understand the
men under me."
He is platoon leader of fifty men and
not only has learned to know and sym-
pathize with them but to deal with their
parents who write letters to him.
He says Army life has taught him "to
snap into action faster." In confession
mood, he told us that back in picture
days he had often "lagged on the set."
"I took my time. I'd get the call to re-
port on the set but I'd still remain in my
dressing room, possibly reading a book."
But the book he reads now is "Army
Regulations" and when orders come to
"Do this" he does it. But pronto!
"There's no lagging in the Army — you
do it now," is his explanation.
In early Army days, Lt. Lynn, as an
enlisted man, was transferred from Ft.
MacArthur, Calif., to Missouri, where he
was in the training division of the photo-
graphic center. He trained as a combat
motion picture photographer, getting "a
swell knack of photography," and could
have continued as photograph co-ordi-
nator — a job he turned down because it
would have meant remaining in this coun-
try.
"I wanted combat duty," he said. "I
want to get overseas before Christmas."
Lynn next went to Officer Candidates'
School where, he says, with conviction,
70
SCREENLAND
"I spent the toughest three months of
my life." Both back and mind almost
broke under this experience, he claims,
but he emerged victorious — with the bar
of lieutenancy gleaming from collar and
cap.
Shortly after he was made an officer,
he went to his alma mater, Bates college,
Lewiston, Me., where he addressed the
chapel for forty-five minutes — thirty min-
utes longer than the time usually allotted.
"I ad libbed and the kids liked it, be-
cause it was keeping them out of class.
And that afternoon I was shocked to see
my entire speech published, word for
word, in the paper."
Lynn, commenting on the war, said he
never thought he'd be so interested in
Army matters. But he is. "It's much
like chess," is the way Jeffrey ex-
plains it.
It's not all easy going and some of his
best work has been done in the Florida
backwoods, on field maneuvers, where, in
helmet and fatigues, he carries on in the
thick of palmetto, pine and rattlesnakes.
These experiences have made him rugged,
giving him a clear, healthy tan and trim-
ming his weight to a neat 158 pounds
although, he says, "I lose and I gain, and
sometimes I am very lean."
Lt. Lynn, still single and, according to
him, "with no prospects for marriage,"
likes the Army but doesn't want to re-
main in it after the war is over. He
wants to go back to pictures, to direct as
well as act, although Hollywood, he
warns, may have something to say about
the business of directing.
He's immensely proud of his brother,
Arthur, who is training as an air cadet
"somewhere in the middle west" and an-
other brother, Eric, who is working in
the North American Aircraft Company
in Kansas City, Mo. He thinks his young-
est sister, Judith, is working there, too,
doing her bit toward aiding the war ef-
fort. There are two more brothers and
two more sisters, all married. His par-
ents live in Auburn, Mass., and his
father, Lynn says, is doing war work and
was one of the first electric welders.
Meanwhile, think of Lt. Jeffrey Lynn
as a very fine soldier, who works hard in
Army life and goes to the beach in his
few spare moments. He has learned to
shoot in his Army role and has made a
sharpshooter record of which he is proud;
he likes Army food — says he'd rather eat
in camp than outside, but "does admit
that the red grouper, caught by him and
cooked by a WAC, was the best he ever
tasted. And the book he thought he
wanted to write when he first enlisted
goes unwritten. "There have been too
many — I could never write a good one
like them," he apologizes.
Besides, he's too busy reading "Army
Regulations."
Eddie Ryan, George Offerman, James Cardwell, John Alvin and John Campbell are
the players who portray the Sullivan brothers in 20th Century-Fox's "The Sullivans,"
film about the five brothers who went down with their ship in the South Pacific.
SdlEENLAND
71
You're not seeing doub-
le, but you are getting
a double share of beauty
in this photograph of the
beautiful blonde Wilde
Twins whose next screen
appearance will be in
the new Hardy picture,
"Andy Hardy's Blonde
Trouble," which means
Mickey Rooney's girl
troubles will be doubled.
Lee is on her sister
Lynn's left. Now see if
you can tell whether it's
Lee or Lynn who is pic-
tured on opposite page.
Diary of a New American
Continued from page 37
ment official. Because I had been a
leader in anti-Hitler fraternities, the
Gestapo officers came to my home to get
me. At the first word of invasion I had
raced with other troopers in a truck to
guard the Chancellory. Thirty minutes
later we left in the same truck as prison-
ers with Nazi drivers and guards. What
were they going to do to us? Every man
was asking himself the same question.
My next three months were spent in a
concentration camp. I was one of many.
My experiences no better, no worse than
the rest. If only I had known how long
I was going to be there. How long — how
long — the words used to hammer through
my brain as I waited and waited. Fortu-
nately at that time, Nazi cruelty hadn't
quite reached the barbaric stage. We
were allowed to receive mail. Those let-
ters from my parents gave me sufficient
strength to see it through. "Have faith,
my son," wrote my mother again and
again. "Somewhere in this world we will
find freedom."
One day, just as suddenly as I had
been put in the concentration camp, I
was released. I was given my choice.
"Join up with the Nazis or get out." I
shall never forget the day I sailed for
America. December 8, 1938 — seventeen
days before Christmas. Peace on earth,
good will toward men! My mother ac-
companied me to the por£ of Hamburg.
The morning was damp and foggy. As
I stood there at the rail looking down
on my mother, I realized I was not only
saying goodbye to her — but to a whole
past life.
My mother was the bridge to a new
life. She represented the goodness, the
kindness, the graciousness of the past.
The things she had taught me were a
springboard to the future. "Where to" —
"where to" — the low mournful boat
whistle seemed to be saying. Then the
fog closed around my mother. Just a
hand, her hand waving through the mist
was the last picture I took with me as
the boat glided away from the pier.
On December 16, eight days later, I
arrived in New York. Eight days of
thinking, wondering, hoping. It was sort
of like dying. I didn't belong to either
world. More like in a world of my own.
Detached from one and not in the other
yet. But those eight days gave me suffi-
cient time to take account of myself. I
drew up a mental balance sheet of my
life. What had I actually accomplished?
What had I done — must I do? The first
thing, study English of course. I had
spoken English in London. I could write
and read it too. But in America it must
be perfect.
I was very hungry on the boat. Some-
where I had heard if you eat too much
you become seasick. There was an Amer-
ican girl on the boat. She had ribbons
in her hair and she combed it in a strange
manner. I wished I could speak to her
and ask her how she combed it. Ask her
if all American girls wore ribbons. It's
strange, isn't it, what inconsequential
thoughts creep in, when life is the most
serious? Then I saw the Statue of
Liberty and I forgot about the girl with
the ribbons. The new lady was much
more beautiful. A physical symbol of
all I had dreamed of — hazy while out on
the ocean, crystallized now.
When I saw that New York skyline,
my chest and my mind lifted. My small,
narrow European mind seemed to vanish.
In Europe your father went so far and
no farther. You were supposed to fol-
low in his footsteps. Looking at that
skyline, I felt like a little Napoleon. "It's
up to you," I whispered to myself. "You
know that any nation that can build
buildings like that will give you a break.
Even if you only have twenty-five cents
in your pocket, you can become a mil-
lionaire. It's up to you."
The personal collapse I had felt was
completely gone. The first sight of New-
York lived up to my expectations. It
was noisy, fast-moving, intimidating. But
I loved the challenge. There was no
hate in people's eyes. I went into my
first American drug store. I ate a whole
package of what I thought were lemon
drops. They turned out to be candy-
covered chewing gum. They didn't make
my stomach very happy. I took my first
ride in a subway. It seemed like some
kind of a game — a very rough game. But
people smiled when they played it.
A friend of my aunt's in California
looked me up. She was a very nice lady
— my first American friend. She showed
me the sights, the City Hall, the Empire
State Building. Then we went to a
movie. Abbott and Costello were the
stars. There was a Charlie McCarthy
short on the same bill. The American
sense of humor was not funny to me
then. People around me laughed and
screamed. "What's all the fuss about?"
I asked myself. Then someone in the
balcony dropped chewing gum in my
hair! My friend invited me to her home
for dinner. When she offered me a sec-
ond helping, I said, "No, thank you. I
am absolutely fed up." I remember how
she looked at me and laughed. It was
nice to be with people who laughed.
On Christmas day, December 25, 1938,
I arrived in Los Angeles. "Where is
the snow?" I asked the conductor. Now
I know why he chuckled. On the train
coming out I got an idea of the vastness
and resources of America. In Europe
you know a country from border to bor-
der. Here there are no borders. Here
you travel four days without crossing a
72
SdlEENLAND
boundary. In Europe the same trip
would have covered a dozen different
countries. Here there were no political
police, no inspectors. Here one hundred
and thirty million people live together in
one country — no supervision necessary. I
loved it already.
My aunt and uncle gave me a won-
derful Christmas — my first in America.
My first present was an electric shaver.
"What do you do with it?" I asked in
wonderment. In Europe we still shaved
with "knives." Later on when I lost an
eyebrow, I found out! I also received a
bank book with a ten dollar deposit to
my credit. "What a wonderful coun-
try," I cried out. "I have only been
here one day and the bank knows me
already!"
On New Year's Eve I drove down
Hollywood Boulevard for the first time.
My aunt's car kept backfiring all the
way. In Vienna it would have cost me
a five dollar fine for making so much
noise. Americans seemed to love it. Way
out in the residential district I saw a
wide sloping green lawn. I had always
wanted to walk on a lawn but in Europe
it is "verboten." Now I felt the lawn
under my feet. I made a resolution that
night. I hoped to fit into this new world.
I would try very hard to do whatever
was required of me.
I decided to try several things before
settling down to one. I didn't want to
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Anna Sten wearing costume for starring
role in new film "Three Russian Girls."
handicap myself before I had a chance
to look around. In Europe I had been
trained for the diplomatic service. My
uncle felt I should have a solid founda-
tion before entering business. So on
June 16, 1939, I enrolled in a business
course at UCLA. Going to college was
a short cut to learning American ways.
A degree of evaluation giving me credit
for my studies in Vienna made this all
possible.
For four months I rubbed elbows with
eight thousand American students. I
worked hard, learned a lot. At times I
was very bewildered. A national maga-
zine came to photograph college boys
putting white mice in their mouths. For
some reason never explained to me, we
had to let our beards grow for a week. At
dances they did something called "cut-
ting in." I thought they were trying to
pick a fight. I hadn't j et learned to take
care of myself as Americans did. If they
do "cutting in" on me, I told myself,
I'll use jiu-jitsu!
Along about this time I got to think-
ing about the Vienna Opera House, the
Burg Theater in Vienna. Perhaps be-
cause I already realized I did not want
to become a business man. I had always
liked acting but never dared mention it
to my father. I could no longer continue
with my diplomatic career. Surely my
father would approve if he knew. Sud-
denly his words came back to me.
"Never do anything in life unless you are
prepared for it." I had heard the Pasa-
dena Playhouse was the best. In Octo-
ber. 1939, I enrolled.
Things happened fast. I gave lessons
in French, German, tennis and fencing
to earn a living while trying to become
an actor. Until July, 1940, when I grad-
uated, I tried to learn all I could. When
I was assistant director of the Odets
play, "Rocket To The Moon," I seemed
to be floating on air. The leading lady
was a brilliant young actress named
Gwen Anderson. She was ambitious. She
had dreams. She seemed to understand
these same gnawing yearnings in me.
We had nothing, and yet when we dis-
covered we were in love it seemed like
we had the whole world.
Along about this time I got my first
job in the movies. The bit of a bell hop
in "Escape," with Norma Shearer, in-
troduced me to the heavenly smell of
movie makeup. I netted the huge sum
of one hundred and five dollars in three
days. More American magic! The night
of the preview I took Gwennie and all
my relations. Even in the concentration
camp I had never been as scared. My
part was cut out of the picture.
On May 6, 1941, we were married. I
felt like I had just become the president
of the United States. In Del Monte we
enrolled in a stock company where
Gwennie acted in plays I directed.
Ofttimes we were weary but never dis-
couraged. I knew Gwennie had great
talent. She had faith in me. We had
each other. It was a good life.
After Del Monte came a bit in "Inter-
national Squadron" for Warner Bros.
Gwennie was being tested at the various
studios. I realized that economic inde-
pendence was important if I wanted to
become a successful actor. So I became
a business man despite myself. With
the money received from the picture, I
made a down payment on a gas station.
For a year I managed to make about
forty dollars a week. When studios
called for an interview, I'd bang the door
shut, change my clothes on the way as I
raced over. Then I'd rush back and
climb into my overalls again.
There followed bits and small parts
in "The Navy Comes Through," "To Be
Or Not To Be," "The Pied Piper." At
Columbia they offered me seventy-five
dollars for half an hour's work dubbing
in Hitler's voice in "The Flyer Takes A
Wife." I felt by making it sound as
despicable as possible I was justified in
taking the job! All this time I kept hop-
ing I'd land in the theater. Gwennie
never stopped hoping she'd get a break
in the movies.
Here is where fate stepped in. On De-
cember 7, 1941, I was in the midst of
making "Mrs. Miniver." I felt it was a
good beginning, that I might probably
get other roles now. When it was re-
leased six months later, to my great sur-
prise I began to get contract offers. I
wasn't impressed with myself. I felt
I had just played the only bad guy in
a good picture. So the part probably
stuck out like a sore thumb. Gwennie
wanted to try her luck in New York.
Much as I would miss her, I knew it was
right that she should go. With our new
economic security it was now possible.
Two months later she landed the lead in
"Janie." The play is still going strong
on Broadway.
In August, 1942, I signed a contract
with Warner Bros. I signed here be-
cause they promised to let me direct as
well as act. There followed roles in
"Casablanca," "Edge Of Darkness,"
"Northern Pursuit" with Errol Flynn,
and now "Passage To Marseilles." Even
though I had to refuse, I think my big-
gest thrill came when Guthrie McClin-
tock offered me a role opposite Kath-
arine Cornell in "Three Sisters." The
offer came, incidentally, on the fifth an-
niversary of the Nazi invasion of
Austria!
The last five years have been rich with
fulfillment. The most important five
years of my life. And yet, even with all
the joy, there must be pain. You can
fight your life today and tomorrow — but
you can't fight destiny. Gwennie and I
are divorced! Something neither of us
ever dreamed could happen. With sor-
row and regret I say it. But you have
to accept fate as you accept wars. You
have to bow to fate.
It must not have been in the cards
that we should stay married. When
Gwennie went to New York, there was
no visible sign of success for either of
Us. We both succeeded at the same
time. There were always three thousand
Anna Sten and John Kent Smith, having successfully eluded the Nazis, pause to rest
in a hay-loft in this scene from "Three Russian Girls," released by United Artists.
74
SCREENLAND
Are You
in the Know?
Would you wear this number for
□ School
□ Dating
□ Ping Pong Parties
Know what's what to wear for when! But how
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Did this girl score
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You're up on your pins if you got this one!
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you stay fit. So don't let down on trying days.
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miles between us. Three thousand miles
of growing apart, perhaps when we
should have been growing together.
There will always be a mutual admira-
tion between us. I hope we shall work
together again some day. Gwennie has
had many offers to come to Hollywood.
She is a success on Broadway and prefers
to remain there.
Right now the future is not very clear
for any of us. When the war is over I
hope I can bring my family here and
repay them for their kindness to me.
The principles they instilled are the kind
that are good all over the world. After
"Mrs. Miniver" and "Edge Of Dark-
ness" many fans wrote and said my in-
terpretation of the fiendish Nazis in-
spired them to rush out and buy more
War Savings Stamps and Bonds. I am
thrilled that they hate me enough in
those roles, to want to buy more bonds.
I actually don't enjoy playing them.
Maybe it's because I'm not a good
enough actor to make them as treach-
erous as they really are.
And so I come to the end of my first
five years in America. I wish I could
express my gratitude. I wish I had
some simple philosophy to share — that
would enable everyone to enjoy this
wonderful feeling I have inside. But
there is no philosophy, except the beat
of a heart. I don't mean this egotis-
tically, but I never doubted that I would
succeed. If you want something badly
enough, you can get it — in America. All
one must do is concentrate one's ener-
gies and work toward it.
I remember what I felt when I first
saw that skyline of New York. "The
sky's the limit," a voice inside of me
seemed to say. "The stars above you
and the law within you are your only
boundaries."
Come to think of it, isn't that a good
motto for America?
Robert Walker, who made his spectacular
screen debut in "Bataan," plays Private Har-
grove in M-G-M's picturization of the
best-seller, "See Here Private Hargrove."
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SCREENLAND
75
Blonde Neila Hart, left, the
Columbia Pictures starlet
who makes her screen de-
but in "Cover Girl," is Bob
Sterling's sister. Picture be-
low shows Neila bending
over backwards to keep in
trim, but with her fresh
beauty and charm that's
one thing she won't have
to do to stay in pictures.
How To Bring Up A Glamor Girl
Continued from page 35
to earn things, that it made her realize
the value of things and appreciate them
more, that way.
But usually other women thought I
was too lenient. They used to say they
couldn't understand how I could manage
having them under my feet in the kitchen
when I was preparing meals, letting them
make candy or a cake, and they thought
my method of getting the floor polished
was far too frivolous. The children loved
to slide across the floor and one of the
boys, Harold, got the idea of tying waxed
rags to their feet when they played at
this, their favorite of all games. And
people who didn't know our method used
to marvel that floors could be kept in
such perfect condition in a house full of
children.
All of the children had their own
chores to do. Marguerite didn't get any
special privileges because she was the
only girl in the family, but she wasn't
penalized for it, either. I've never thought
it was right for a girl to have to help
with the cooking or housework or dishes
while her brothers sat around doing noth-
ing simply because they were boys and
boys weren't supposed to know about
such things. And they all took more in-
terest in their home because of it.
It's funny today to remember how
Marguerite and I used to argue about
furnishings. I've always loved antiques,
and whenever I knew an auction was
going to be held anywhere within a rea-
sonable distance I'd be one of the first
to get there. Marguerite would always
be so disapproving when I came home
with my treasures. "Oh, mother, why do
you have to buy all that junk!" she used
to say, and she'd look longingly in store
windows at whatever style of furniture
happened to be the fashion just then.
I thought of that the last time she was
in New York, when she saw an eigh-
teenth century inkwell in an antique
shop window and bought it for the home
she is going to have some day. She loves
antiques now. When she reads articles
telling of the streamlined, modern world
manufacturers are planning for after the
war, her eyes grow wistful. "I hope all
furniture isn't going to be modern," she
said once. "I'd want the sort of things
we had at home, old things, things that
have stories even if we don't know what
the stories are."
People are so amazed when they meet
Marguerite, expecting her to be the
languorous, fragile glamor girl her looks
would suggest. They're always so de-
lighted to discover that she plays tennis
and golf and even baseball, and that she
can box like a professional. It has helped
■her personally and helped her career that
she used to be a tomboy.
People like her, too, for the casual way
she takes herself. Maybe that's because
we always took her casually too. For
Marguerite was always strikingly pretty
even back in her old rough and tumble
days. It would have been so easy for
her to come to depend on that alone and
I think her brothers must have sensed
that when they used to tease her so
unmercifully.
No girl could have become a spoiled
beauty with those boys around. Treat
'em rough was their motto, and Mar-
guerite took it and came back for more.
There was the time when she was help-
ing Ed, who was always interested in
experiments, mix a solution — and it ex-
ploded, bringing part of the kitchen ceil-
ing down on her head. , Marguerite didn't
even cry; she knew if she did she'd never
get another chance to be Ed's right-hand
man. So she pitched right in and helped
them get that ceiling fixed before their
father came home. He was a perfec-
tionist, although after things were over
he was the one who loved to tell the
stories about their escapades.
Many's the time I've seen Marguerite
risk her neck to show the boys her faith
in them. She'd always be the first to
volunteer to try out a new car they'd
assembled from discarded parts they'd
buy from the junkman, and once I saw
her start out with them in a closed car
they were particularly proud of. It was
during one of those hard, fall rains and
the roof of the car was full of holes, but
Marguerite sat in the back seat under
an open umbrella, looking for all the
world as if she were in a limousine be-
hind a uniformed chauffeur.
Even then she loved to act and that
was one thing none of us teased her
76
Screen ii and
about, because we knew how much it
meant to her. I'll never forget the day
she came dashing home from school,
jumping the fence, she cleared it by two
feet, hurdling the front steps — and an-
nounced breathlessly she was going to
be an actress. Her father and the boys
winked at each other as much as to say,
well there you are, now at last our Mag-
gie realizes what a pretty girl she is and
is going vain on us. But Marguerite an-
nounced she was going to be the grand-
mother in the senior play, and she loved
every little grease-paint wrinkle painted
on her face and the pillow that turned
her tall slim figure into a pudgy old lady.
In those days her ambition was to
drive up the main street in a long black
car and wave to everyone, the town
celebrity. But she forgot all about that
when she came from Hollywood for her
father's birthday. Instead she helped me
just as she used to when she "was a child,
and when unexpected guests arrived just
before dinner it was Marguerite who
took the things off the table she'd just
set, put another leaf in it and then fixed
it all over again.
But I think the thing that has helped
Marguerite more than anything else is
her sense of security. She can cook and
she»can sew, she still makes many of her
clothes and she's almost as good a me-
chanic as her brothers. It's given her a
self-reliance that's more than made up
to me for any minor annoyances, such
as the time she ruined the first material
I bought her to make a dress, or the day
she used the last eggs in the house to
make a cake only to have it practically
explode in the oven because she put too
much baking powder in it.
For being able to take care of herself
has given her courage. If she hadn't had
that sense of security she would never
have given up her job as telephone
operator to become the hat designer
he wanted to be. And without it she
ouldn't have left that job either after
he discovered her employer was far
more interested in having her model the
hats than design them, to take a chance
on becoming a professional model.
Her sense of security has made her go
places in Hollywood, but it's her sense
of responsibility that makes her father
and me proud that she is our daughter,
just as proud as we are of our sons.
They're all in the armed forces. Fred,
the oldest, is an Army staff sergeant and
Edward is a chief radio officer in the
Navy. Harold is in the Coast Guard
and Alfred, the baby of the family, is
with the Seabees. For Marguerite hasn't
sat back and allowed her brothers to do
her fighting for her any more than she
used to do back in the old days in
Chatham. She doesn't believe she or
anyone else has a right to leisure with
a war going on and instead of vacations
between pictures she visits Army camps
and is active in canteen work. After her
latest picture, "Destroyer," she made a
tour of shipyards and Navy bases.
That's the reason when people ask if
I'm not terribly proud of having a movie
star for my daughter I always tell them,
"Of course I'm proud, but not half as
proud as I am that I have a daughter
who believes in making her own way in
everything."
Grace Moore
StaroUlae
MetropomanOpera
Company
4
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JH| 111
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SCREENLAND
77
^Cho's his pride? The girl who's first
of her crowd to marry . . . who leads the
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VA R VA
THE FRAGRANCE THAT LEADS AND LASTS
19 West ISth Street, New York 11, N.Y.
Girls! Frances Langford Tells What Servicemen Think of You
Continued from page 32
the same thing. I think we American
girls are wrong in ordering things to be
brought to us without saying 'please.'
"But whatever our faults may be, I've
got to admit that the American service-
men idolize American women. And so,
for that matter, do some of the English
boys. A number of the English boys told
me that they miss American girls with
their long, glamorous hair."
"But Frances," I said, "many of us
are wearing short Victory bobs now."
"I know it," said Frances. "But many
of the men overseas don't know it. They
haven't seen American women for so
long that they picture them always with
long hair, which they like much better.
"Because I've spent so much time
among men I've learned a great deal
about their likes and dislikes — things
that many women don't suspect. For
instance, most men prefer women to wear
their hair soft and hanging down. I like
to see upswept hair myself; I think it
looks smart; but not on the stage, and
not when you want to please men. Men
don't like too many curls. The more
natural your hair is — just so long as it's
neat — the better they like it.
"Men do seem to like blonde hair very
much. I was having so much trouble
with my hair, because the sun bleached
it, that I thought, during our last tour,
of letting my hair go dark.
" 'Don't you dare!' Bob Hope told me.
'You know gentlemen prefer blondes —
and particularly the men overseas, some
of whom haven't xseen a white woman
for more than a year.'
"That's why my hair is still blonde.
"As I said before, men also seem to
prefer women to wear their hair long.
"After I came back to America, I asked
Jon (Jon Hall, her husband) one night,
'Jon, would you mind if I cut my hair
short?' I figured it might be easier to
take care of if I did cut it. He gave me
a dirty look and said, 'I'd mind very
much!' "
Jon came into the rumpus room of the
Hall-Langford home just then. As a
matter of fact, the room really is a re-
flection of his personality, for in it are
all the treasures he brought back from
Tahiti, where he made his home when
he was a boy.
"Don't you approve of short hair in
women?" I asked Jon.
"I don't care what other women do,"
Jon said. "I just don't want Frances to
cut her hair."
Frances said, "I think that is the way
most men feel about their wives and
sweethearts. That is particularly true
since the war began. With so many men
and women in uniform, the men want to
see their women looking very feminine.
Most of the women in England wear
uniforms. The USO in England asked
me if I would wear a uniform, too. I
flatly refused. I knew the men wouldn't
like it.
"In England I wore short dresses,
mostly prints. There was one black crepe
dress with a light, frothy top, looking
almost like flesh. The men liked that
very much, and I wore it constantly to
please them. I almost wore the dress out.
"Men prefer girls to stay feminine.
That is even more true in wartime than
before. Before the war Jon didn't seem
to mind women wearing tailored suits,
and I often wore them. But now he
hates to see women wearing them. I quit
wearing them because Jonny doesn't
like them — and neither do other men.
"In England, I wore a lot of sweaters
and skirts. No matter what the Hays
office has to say about the sweater girl,
the men like her. During one show I
gave, I was wearing a dressmaker suit
with a sweater underneath the jacket.
Suddenly the men in the audience began
to shout, 'Take your coat off! Take your
coat off!' I think Bob Hope put them
up to it. Anyway, I took off my jacket,
and there I was — revealed as a sweater
girl. The men applauded loudly.
"In Africa it was so hot and there
were so many sandstorms it wasn't prac-
tical to wear a dress. I had to wear
slacks. But I wore just a bra top to
make my costume look more feminine.
One day in North Africa, when we were
rehearsing for a radio program, we got
word that General Eisenhower wanted
to see us at headquarters. There was no
time to change my costume, a pair of
blue slacks and a blue bra. At first I
felt a little bit embarrassed at the idea
of meeting the General in such clothes.
I worshipped him and would have liked
to dress up for the occasion, but there
was no time. I was thrilled when Gen-
eral Eisenhower said, 'You're the smart-
est person I've met here. You know how
to dress. In this kind of weather, that's
the only thing to wear.' "
Always, wherever she went, Frances
was given a glorious welcome because
she made the men think of home and
their own American wives and sweet-
hearts. One boy in Africa, talking to
Tony Romano, the guitar player, kept
staring at Frances, until she wondered
what was wrong with her. After they
left that group, Tony told her, "That
fellow said he couldn't keep his eyes off
you— that you are the image of his wife."
"The men overseas miss American girls
terribly. Clark Gable, whom I met in
England, said to me one day about eight
or nine weeks after we gave our first
show in England, 'The men still sit
around and talk and write about the
show. If they didn't have that to talk
about, they would talk about what hap-
pened to their pals in raids — and that
would depress them terribly. To see an
American girl meant more to them than
the actual show. They felt it was almost
like seeing their own family. They'd
heard your radio show in America and
seen you in pictures; you made them
think of home, and they loved that.
They felt as though they knew you
personally.' "
They did indeed. Whenever Ameri-
can servicemen met Frances, they loved
to reminisce about the things that had
happened to them in America. They felt
as if she was the girl next door — the girl
to whom they could confide about their
sweethearts back in America; to whom
78
SCREENLAND
Have you put War Bonds
on your Christmas list?
they could talk about Broadway or the
soda fountain in an American town where
they used to take their girls for a choco-
late sundae. They would even tell Fran-
ces about the songs to which they and
their girls used to listen, and beg her to
sing the same songs.
"Wherever I went, I found that the
men's thoughts were on their wives and
sweethearts and mothers. When the serv-
icemen asked me for autographs, they
nearly always said, 'May I have your
autograph, Frances? I'd like to send it
home to my wife' (or mother or sweet-
heart) . They were always thinking of
some way to make the folks at home a
little happier. You might think that they
would want the autographs for them-
selves. But they preferred to get them
for the people they loved. 'My wife will
be so thrilled when she hears I met you
personally,' they would tell me. 'We fell
in love with each other while listening to
one of your songs. Boy, will she get a
kick out of this autograph!'
"All their thoughts were for the people
at home. They didn't want the girls
they loved to worry about them. They
would cheerfully face any hardships
themselves. Their only worry was that
the people back home might worry about
them.
"In Bizerte, I lived in the hospital for
five days, and saw many men who were
wounded in battle being brought into the
hospital. I never heard a moan out of
any of them. But many of them gave
me the addresses of their wives and
sweethearts, and begged me to let them
know when I got home that they weren't
really seriously wounded. 'We could get
the doctor or nurse to write them a
letter,' they said, 'but our folks might
not believe them. But if they know that
you have really seen us and talked with
us and sung to us, they will believe you.' "
"The soldiers always wanted to know,
'What are the folks at home doing?' At
first it was quite a shock to me when I
discovered that men who were going on
nightly raids — who were risking their
lives every single night — were also spend-
ing more than half of their small salaries
on War Bonds. I thought with a sense
of shame of the civilians at home. I
learned that 75% of the Navy "Personnel
at one bombardment base at which we
appeared were regularly investing part
of their salary in War Bonds. And yet
they say only 10 per cent of the civilians
at home are.
"I was ashamed to tell the soldiers and
sailors that. I couldn't look them in the
face and say so. One thing they cer-
tainly expect of women — as well as of
men — is that they buy bonds. If people
knew what they were going through, you
wouldn't have to ask them to buy bonds.
I'm afraid I wouldn't dare go on a bond
tour now. I couldn't beg people to buy
bonds. If I got up before a group of
people now, I'm afraid I'd just bawl the
life out of them. Bob Hope feels the
same way as I do about this. Neither
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SCREENLAND
79
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"What about the little things you
learned about what men expect of Amer-
ican women?" I asked.
"Oh," laughed Frances, "I learned lots
about their likes and dislikes. For in-
stance, their favorite color is blue. When-
ever I wear a blue evening gown at one
of my broadcasts, the men in the troupe
tell me, 'You ought to wear that every
week.' For some reason, most men hate
green. I have to dress for men, because
I appear before so many of them. I had
one green dress which I wore on the
stage once. Bob Hope didn't comment
on it till I came out on the stage. Then
he said, in front of the audience, 'What's
the matter? Did gangrene set in?' I
never wore that dress again.
"I haven't worn hats for two years.
Most men prefer you not to wear hats.
They have said to me, 'You have pretty
hair. Let it show. Don't ruin it by put-
ting a hat on it/
"George Jean Nathan, the famous
critic, once said to me, 'Don't wear hats.
Let your hair show. Most girls ruin
themselves by wearing hats. Don't wear
long sleeves. Let your wrists show. Don't
cover your ears!' "
"What about other things besides
clothes? Did you find out anything else
men don't like?" I asked Frances.
"Yes," she said, "they hate a com-
plaining woman. I don't like them my-
self, so I can't blame the men for loath-
ing them. Never tell a man how unhappy
you are because the accommodations you
have are terrible, or the food is bad, or
the water is too hard. These days, men
expect women to take care of their own
troubles."
Frances certainly lived up to her own
advice. In Africa, she had to wash her
hair in buckets of cold water. Sometimes
the water was turned off at two in the
afternoon, so if she wanted to take a
bath, she had to turn on the water be-
fore two, and leave it in the tub. She
had no bed to sleep in, but slept in a
hospital stretcher in the tent under a
mosquito net. The net was covered with
bugs. Before she went to bed, she spent
hours killing the bugs inside the tent.
Yet she never complained. She didn't
even complain when the boys, who had
no bugle for reveille, held reveille by
setting off a big can of TNT, which
knocked her out of bed right outside of
the tent at 5:45 in the morning!
She just picked herself up, laughed,
and said to the boys, "So that was what
you meant by saying last night that you
couldn't hold reveille by bugle but you'd
have it just the same. Boys, you cer-
tainly had it!"
"There was a time," Frances told me,
'when men may have liked clinging vines.
Today they prefer women who are self-
reliant. Of course, a woman has to know
just when to put on an act. Once in a
while it's all right for a woman to act
helpless, so as to give a man a chance
to feel that he's the great, protecting
he-man. All men are egotistical, to a
certain extent. It's fine to make them
feel big and protective. But today, when
a, man can't always be with the woman
he loves, he wants to know that his wife
or sweetheart can take care of herself."
Frances knows whereof she speaks.
When the idea of Frances' going on over-
seas trips was first broached to Jon Hall,
he was frightened at the thought that
she might be risking her life. He couldn't
ask her not to go, for both of them are
intensely patriotic. Jon was turned down
by the Army; but he serves in the Coast
Guard Reserve, where his knowledge of
boats is of great help to Uncle Sam.
"Jon's job was much worse than mine,"
Frances said staunchly. "I had the ex-
citement of my trips and of something
interesting happening all the time. But
Jon had to wait, often without any news
of me, since I couldn't always cable or
write from war zones. Waiting was the
hardest part. I know it would be for me.
I couldn't stand what Jon has had to
go through."
And I happen to know that it was
tough on Jon. Jon himself has never
discussed the matter with anyone and
didn't even want Frances to know about
it, but during the period when Frances
was in Alaska, he became ill with stomach
ulcers. When she came back to the
United States, she discovered this. Per-
haps a physician would say that you
couldn't prove that the ulcers were due
to worry about Frances; but I personally
believe that was the reason Jon be-
came ill.
Frances has become known as the
Sweetheart of America's Fighting Fronts.
Being a typical American girl herself,
she reminds the men of the courage,
gallantry and beauty of the girls they
themselves love. "Gee, it's wonderful to
see an American girl again," they say, as
they look at Frances and shyly ask per-
mission to touch her hair. As they touch
her hair, they are thinking of you and
you and you, their sweethearts at home;
and longing for the day when they will
be sitting on your front porch, stroking
your hair and holding your hand.
Frances Langford and Stuart Boyd Crawford
have romantic leads in Universale "Never A
Dull Moment," which stars the Ritz Brothers.
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The Bride Grew Up
Continued from page 39
congenial outlook on life between them.
"They weren't love letters," explained
Martha. "I wasn't ready for romance, I
was all wrapped up in furthering my
career. I liked to have fun, and boys
were grand for skating, playing tennis
and dancing, but it ended right there.
Dick was in the Philippines for a long
time and in September, 1940, he wrote,
'My waiting period is nearly up and
when you see me the next time it won't
be platonic. That's over!'
"Then the war came. The first thing
I knew, Dick was in the far Pacific, chief
engineer of his ship, and in the thick of
things. War speeds up emotions and I
found myself thinking of him more and
more. And differently, When he returned
to San Diego early this spring, he wired
asking if mother and I could come down
to see him before he was shipped out
again. It was when I saw him this time
that I knew I was very much in love.
"Dick's formal proposal came on June
24th, during one of his brief furloughs,
and I couldn't have dreamed up a more
romantic setting. We had driven up the
winding roads to the top of one of the
highest peaks surrounding San Fernando
Valley and there, with the world at our
feet, and as near to the stars as we could
get, he asked me to marry him. He
laughingly told me he had merely been
biding his time since our first meeting,
had watched me grow up, and now that
I was twenty-one he was so pleased with
the finished product, he had come to
claim me. No, I had no doubts," added
Martha, dreamily. "I knew I loved him,
and there was no time for coquetry. You
see. he was the first boy I ever kissed,
and I had never had any other serious
romance.
"It is all so right. My family is de-
voted to him, and Mrs. Adams wrote me
saying, that while she had not seen me
since that night at the theater, she was
satisfied, for Dick was very particular!
She came on for the wedding and was
our house guest for several weeks. We
became close friends. I couldn't be happy
if mother and Mrs. Adams had not ap-
proved."
Martha's engagement ring is the minia-
ture of the Annapolis class ring worn by
its officers, and traditionally given to the
brides. Hers is of heavy gold with a mar-
quise diamond surrounded by sapphires.
On one side is the Navy crest, on the
other is the date of Dick's graduation
from the Academy.
While they've had many huddles as to
their future they can make no plans until
the war is over. But they can dream.
What they'd like best is, if Uncle Sam
no longer vitally needs Lieutenant Com-
mander Adams, that he can retire from
active service. He's qualified as an elec-
trical, mechanical and Diesel engineer.
He believes there will be vast opportuni-
ties, especially in the Diesel field. And
they both want to settle in California.
In the meantime, Martha will continue
living with her mother and brother Paul,
and go on with her career. Her latest
picture is "Crazy House," playing the
feminine lead with Olsen and Johnson, in
which she both sings and dances. She
hopes her fans will enjoy this change in
her characterizations.
So much has happened to Martha in
this eventful year. While her movie
career has taken on new brilliance, her
success is no over-night flash. She's had
this goal before her ever since that day
when she was eight, and stepped out as a
child fashion model in her home town of
Tulsa, Oklahoma. It has been a difficult
road at times, but deep in her heart she
was confident that when she was ready,
she would win. So, when she scored a hit
in Walter Wanger's "We've Never Been
Licked," and another in RKO's "The
Fallen Sparrow," she merely blinked hei
eyes a little faster as she signed a new
long-term contract with Universal.
"I managed to keep an outward calm,"
said Martha, "but I had to find a vent
for my galloping emotions. So I went out
and bought a house! Anyway, screen suc-
cess and a home have always been tied
up together in my ambitions. It's won-
derful to know you've earned enough
money before you are twenty-one — my
birthday was in March — to buy a home.
My mother is also my very best friend,
and is doubly dear. She wasn't well for a
long time, and we lived on a ranch in
Arizona until her health was restored.
I've always hoped to give her security,
and too, I wanted to provide a home of
our own for this happy family. I have
two brothers, one now in service, but the
fifteen-year-old one is with us.
"I love this sun-drenched San Fer-
nando Valley, surrounded by picturesque
mountains. I love the quiet, shady ave-
nues, and when I saw this white bunga-
low, with its 120 by 120-foot gardens, all
surrounded by a tall cypress hedge, I
knew it was the home I was looking for.
It was so absolutely perfect that I bought
it at once, and we moved right in.
"Now, my marriage completes this
wonderful cycle. Richard and I appre-
ciate the 'give and take' element that
means happiness, and we intend to hit a
harmonious unity in our life together.
We both have even dispositions, are not
temperamental, argumentative, or bossy,
and best of all, we have the same rioting
sense of humor that never fails. It strikes
the same level — we catch the same slant,
the same tempo in our fun. This is im-
portant, and I'm sure promotes con-
geniality. Too, we like all the same
things. We love music and books. We
ride and swim, play tennis and dance.
We like people but aren't dependent upon
them for our pleasure, and we can have
gorgeous times just by ourselves.
"Our careers differ," she added, wisely,
"but we are terrifically proud of the
other's triumphs, and we'll never inter-
fere, never intrude. When we can settle
down to normal life together, I'll be will-
ing to push aside making pictures. I'm
definitely domestic. I like to keep house
and cook, and I know how, too. Then,
we hope to have a family. So it will be
merely embarking on another career — a
richer, fuller one.
"Richard has utmost charm and intel-
ligence, stability and a warm, responsive
emotion. So," said Martha gaily, "behold
a happy, contented wife. Even if, for a
time, I must be a lonely Navy wife!"
SCREENLAND
81
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Team Work
Continued from page 31
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Miss Allbritton leaped into the breach.
"Will you have it straight or with impro-
visations?" she asked, real suddenlike.
"With soda, if you don't mind," the
reporter said, relieved.
Miss Allbritton laughed, a merry, ro-
bust laugh. "I meant our life history,"
Miss Allbritton said. "But I can take a
hint." She got up and began making
appropriate sounds over the telephone.
The reporter took that opportunity to
lean over and pop the question to young
Mr. Paige. "Are things always this quiet
with you two?" he asked, coming right
out.
Mr. Paige looked bewildered for a sec-
ond. Then he snorted. "I'm afraid you're
confusing our public and our private
lives," he said, amused. "To be sure, I
married Louise in 'Fired Wife' and I'd do
it again — I think — in 'Her Primitive
Man' and Lord knows how many times
after that. But that's as far as it goes."
"I get it," the psychic reporter said.
"You're already married."
"Happily married," Mr. Paige cor-
rected.
Miss Allbritton hove to with informa-
tion that reinforcements were on the way.
"A chicken sandwich for me?" Mr.
Paige inquired.
"Yes, and three chocolate eclairs for
me," Miss Allbritton said, jubilantly.
It seemed the proper moment to ask
how the two happened to be thrown to-
gether in a picture that sent their stock
zooming to a record high.
"I stooged for everyone else on the
lot," Mr. Paige said, "and I guess it was
inevitable that they have me stooge for
Louise."
"Isn't he a dear boy?" Miss Allbritton
said, grimacing. "It would probably be
nearer the truth to say that it was a
mere matter of expediency. Being five
feet eight and a half, I am hardly the
petite type. Bob, if you haven't already
noticed, is quite a hunk of man — six feet
one and a half, according to my lightning
measurer."
"Six feet two," Mr. Paige said.
a "And that's how it all happened?" the
Reporter said.
"Substantially," the two said. Where-
upon the conversation was promptly de-
toured to a discussion of favorite picture
stars.
"I am not able to resist Clark Gable,"
Miss Allbritton said.
"I'd go in a barrel to see Madeleine
Carroll," Mr. Paige said, not to be out-
done.
It became suddenly obvious that the
new comedy team of Paige and Allbrit-
ton was that rarity of rarities, a comedy
team that preferred talking about every-
thing else under the sun except the com-
edy team of Paige and Allbritton. A firm
hand was indicated. "Supposing you ex-
plain how it all happened, right from the
beginning, Miss Allbritton," the reporter
suggested. Miss Allbritton looked de-
pressed for a moment. The door bell rang.
It was room service with the reinforce-
ments. Miss Allbritton bounded up, saw
to her guests, and returned. Beaming be-
hind a chocolate eclair, she launched her
story.
Universal's Allbritton, it seems, is
Oklahoma-born, Texas-bred, and Califor-
nia-groomed. She was three weeks old
when her pappy, L. L. Allbritton, quit
Oklahoma City for Wichita Falls, Texas.
To hear her tell it, you certainly
couldn't guess from looking that she was
going to grow up into a movie star. At
seven she was a tough little article who
used to undo her chums' hair ribbons at
school and, on occasions, put tacks in
boys' chairs. At ten she was a prairie
Huck Finn. And at fourteen, when most
up-and-coming movie stars are already
some shakes in the town's drama circle^,
she was a triple-threat football player
with a broken nose, a sprained ankle, and
a dislocated shoulder — all of them hers —
to her credit.
She didn't much want to go to college,
but Allbritton pere, who had only gone
as far as the third grade himself and was
hipped on the subject of education, had
other views. They slugged it out and
came up with a compromise: after two
years of college she could quit if she
wanted to.
College she remembers for three rea-
sons. Item one: she fell in (and out of)
love for the first time. Item two: she
picked up an inferiority complex that she
hasn't shaken loose to this good day.
Item three: at the beginning of her soph-
omore year she was bitten by the drama
bug, so that, come June, she came home,
eased the body into a comfortable chair
in the living room, and announced she
was determined to become an actress.
"You're going to become what?" the
head of the Allbritton clan exploded.
"That's right, daddy, an actres s,"
Louise said, just as Gertrude Lawrence
must have said it years before.
"Either you're pulling my leg or you've
gone out of your mind, daughter," her
sire stormed.
"I'm not pulling your leg, daddy," his
pride and joy came back. Exit Allbritton
pere, fuming.
Well, come fall and she packed her
things and took off for California to
study acting under Gilmor Brown at the
celebrated Pasadena Playhouse, minus
the blessings of her father whose parting
shot was: "Let me know when you've
had enough, daughter, and I'll wire you
passage home."
She created no stir when she hit the
Playhouse for the first time. A dark
Adonis, like Louise hell-bent on becom-
ing somebody in the acting profession,
lost no time in offering her words of en-
couragement.
"You ought to become a sensation,
sweetie," he said disarmingly. When she
asked why, he looked grave for a while.
"Because there's so much of you to like,"
he said chuckling.
"He was referring to my 160 pounds,"
the Allbritton explains, "160 pounds
which, for several reasons, were not with
me for very long."
H-l
SCREENLAND
She had been at Pasadena only a few
months when she was given the Billie
Burke part in "Dinner At Eight," which
she executed creditably enough to win the
eye of Gilmor Brown who promptly took
her in hand and cast her as the scarlet
woman in "Comedy of Errors." She was
such a superb wanton, her svelte figure
draped with red satin and her hair piled
up on top of her head in Mae West
fashion, that the critics went to town
over her. A few weeks later she received
her first movie offer which she promptly
turned down. She turned down a half
dozen movie offers before she quit Pasa-
dena, fully convinced that she wasn't
glamorous and, hence, unsuited for pic-
tures.
She , tarried with the Playhouse for
three years, buffeting art on one hand
and an inexorable parental wrath on the
other. For her art she endured much,
even to the extent of making the ac-
quaintance of divers California loan
sharks and pawnbrokers with whom she
periodically hocked assorted jools and
trinkets while awaiting the mere-subsist-
ence stipend mailed her each month by
her daughter-doting but stage-loathing
sire, stipends accompanied by such em-
barrassing questions as: "Is the theater
worth it, honey?"
Apprenticeship over, she cast about for
a chance to display her wares for money,
found California cluttered with would-be
actresses and barren of live plays, and
wound up accepting Warners' glib prom-
ise to make her a star, provided, of
course, she passed the screen test, a ver-
itable major production that set the
studio back a cool five G's. She passed
the tests with flying colors, only to learn
that she was a "pretty big girl and we
already have a pretty big girl on the lot
by the name of Alexis Smith." She was
lolling around town and wondering how
long it would be before she would have
to toss in the sponge and wire her father
she was coming home when someone over
at Columbia offered her a part in a
Grade B-picture, two weeks' work at
$250 a week, which she snapped up.
After that, she put on a real campaign
to get into pictures. She got herself an
agent, a little guy with a heart of gold
and an indestructible larynx, and started
punching. For a while it was pretty
tough going. Five feet eight and a half
to start with, she had a passion for
French heels which made her look like
an Amazon, especially alongside of her
energetic little agent. They lost count of
how many brush-offs they received before
Louise got wise to herself, began wearing
low heels, and advised her agent to have
his built up. Not long afterward she
snagged the lead in an unassuming Uni-
versal epic by the name of "Danger In
The Pacific," did well by Universal and
herself, was put under contract, followed
through with creditable chores in "It
Comes Up Love," and was rewarded by
being clapped into an Abbott and Cos-
tello picture, "Who Done It?" She did
well enough in "Who Done It?" to be
given a real chance in "Pittsburgh,"
where she actually got an opportunity to
steal John Wayne from none other than
Marlene Dietrich. The critics raised such
a din over her performance that Uni-
versal decided to see whether she could
carry half of an entire A-picture by her-
self and gave her the part of the mad
Tig Callahan in "Fired Wife," with what
results you already know.
The theater may have stood sponsor
to the screen career of Louise Allbritton,
but Robert Paige doesn't owe it a darn
thing. With not so much as a single stage
play to his credit, he has wanted to be
in pictures (and done his darndest about
it) for most of his 31 years.
Born John Page at Indianapolis, the
son of a retired British naval officer, and
second cousin of the late Sir David
Beatty, hero of the battle of Jutland, he
had just settled on his life career, the
movies, when his family removed to
Hollywood in time for young John, who
will henceforth be called Robert, to enter
Hollywood High and to land a part in
a school operetta. For four years he
champed at the bit (except when he was
appearing in operettas) waiting to be
awarded a diploma. When it came, he
promptly renounced ' (and denounced)
college and began his assault on the
movies by dropping by Central Casting
and registering as an extra. When no call
came, he decided to do it the hard way
— via radio.
Hard way is right. He cast about for
a radio station that might want to hire
a crooner and eventually found one. It
was Station KGER, a miniature station
over at Long Beach. For his chanting he
was paid the munificent sum of 31 a day,
most of which went for carfare.
His uphill struggle to gain a foothold
in radio from which he could launch an
assault at the movies was both dismal
and disheartening. By comparison a snail
was a veritable rocket. By day he slaved
as a one-man variety show on unim-
portant small-waters and by night he j
dreamed of blasting a hole in pictures.
Periodically, he would visit the casting j
departments of the studios, smile engag- I
ingly at the receptionist, and inquire how j
about a test. Every six months or so one [
of the casting directors would break
down, test him, and reject him. The gen-
era] verdict was this: too young-looking
for a leading man and too old-looking
for a juvenile. Undaunted, he kept try-
ing. A Metro casting director, remem-
bering with what good grace he had re-
ceived the verdict of "No dice," called
him up one day and told him he could
pick up a fast sawbuck or two doing a
bit in the next Jean Harlow picture. "The
Blonde Bombshell." He leaped at the
chance, fairly swooned at the sight
of the immortal Harlow, and tossed a
wicked party in honor of his crashing the
films with the $50 he picked up. It was
fool's gold. He didn't make another buck
from the cinema until two years later
when he did another bit in "The Late
Christopher Bean," starring Marie
Dressier.
He had been in radio for five years
and was toiling as announcer and chief
production manager (at $50 a week) for
Station KMTR when a friend of his by
the name of Rosina Lawrence suggested
he try selling bonds. She even volunteered
a list of good prospects. He thought it
over and decided to give it a whirl.
As a bond salesman, he was a sensa-
tional hula dancer. He was making with
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83
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84
his song and dance about the beauty of
investing in some nice conservative bonds
in the direction of one Howard Lang,
actor's agent, when Mr. Lang signalled
for him to cease firing.
"You're a lousy bond salesman, Mr.
Paige," he said, "but I think you've got
definite prospects as an actor."
Paige did a double-take.
"I'm in dead earnest. To prove it, I'm
ready to go to work — right now."
Naturally, Paige gave him the go ahead
sign, but he kept his fingers crossed.
Maybe that did the trick. At any rate,
twenty-four hours later he was under
contract to Warners.
It is a little early to start feeling re
lieved about our Mr. Paige. Several dis-
tressing years were to pass before he was
out of the woods for fair. But getting
back to our story, Warners put a mus-
tache on our hero and gave him a singing
role in "Cain and Mabel." He was so
star-struck that he turned in a horrible
performance — so he says. It is a matter
of record that no one at Warners got
hysterical about his prospects. On top of
everything else, he was suddenly taken
ill, languished with the miseries for
almost a year, and recovered in time to
be notified by Warners that his services
were no longer required.
Once more he made the rounds of the
studios and came up, after running out
of money, with a contract over at Colum-
bia. For a year he galloped in horse
operas, cavorted awesomely in G-man
dramas, and leered in horror pictures. At
the end of the year the Columbia pooh-
bah in charge of renewing contracts sum-
moned him to his office, made a wry face,
complained of the surplus of young lead-
ing men, and suggested that Paige in-
clude Columbia out of his plans.
He was only out of work seven months
before the talent boys at Paramount got
interested in him, as a result of a piece
of Columbia film, and invited him to
come to work. He was doing well at
Paramount ("Women Without Men,"
"Dead On Arrival," etc.) , when a change
of regime put him on the skids. Just
before his contract was due to expire,
Paramount loaned him to Universal for
a single picture. When Paramount failed
to pick up his option, Universal stepped
in and he went over on downs.
Why kid you? Life at Universal wasn't
exactly a picnic. Being tall, handsome,
and engaging, he was an ideal general-
utility man, a fact which Universal never
— or almost never — lost sight of. For
three years he stooged it all over the
place, appeared in something like thirty
pictures, a half dozen with Grace Mc-
Donald, a couple with Gloria Jean, a
Durbin or two, a Baby Sandy, and what
have you. Curiously enough, it was his
very minor appearance in the Donald
O'Connor starring picture "Mister Big"
that paved the way for his stardom.
Studio maharajahs scanning the picture
just before its release were suddenly re-
minded that they had an interesting-
looking man on the lot and here was
Hollywood fairly denuded of interesting
men. They talked it over and teamed
him up with Miss Allbritton.
You know perfectly well what hap-
pened after that.
Streamlined Living
Continued from page 8
in more War Savings Stamps and Bonds.
Each girl is a member of a family of
three; larger amounts of produce spoil if
one family bought for itself. Besides,
seeing each other's lists gives each girl
new ideas. They swap recipes.
"I suppose natural-born cooks never
hesitate when marketing," said Julie.
"They look at an onion, an eggplant and
a loaf of raisin bread and a whole dinner
scheme dawns on them. But we do it
the hard way. We'll never bring home a
cooking prize.
"My father had retired before Pearl
Harbor, but he went at once into a war
plant for the duration, and my mother
keeps house since our maid began stick-
ing rivets in airplane wings. I merely
assemble food. But I'm learning some-
thing about that."
One of the things Julie has learned is
that food is a weapon of war. "There's
plenty of food in this country. If it hap-
pens that Uncle Sam is sending supplies
of certain items abroad to armed forces
or allies, we cheerfully buy something
else."
Faye, a young divorcee, maintains a
home for a three-year-old son and a maid.
She used to write out menus and let her
maid market, but has found it more eco-
nomical and much more fun to join the
Marketeers.
SCREENLAND
"We are pleasantly surprised at the
way rationing works out," she com-
mented. "As a rule, we have plenty of
points for meat and we're becoming in-
genious at figuring out specialties that
are delicious for meatless days.
"We plan to join forces during the
holidays and entertain servicemen to-
gether, as the Hollywood Canteen and
USO have suggested. And we shall pro-
vide the kind of meal they never have
in camp. It's only right that turkeys
should go to fighting forces. The boys
we invite will probably have had turkey
dinner in camp during the holidays and
will enjoy Julie's marvelous meat loaf,
Joyce's spaghetti and meat balls, or my
Juevos Rancheros.
"We hope to give a New Year's Eve
dinner with guests from the USO. We'll
give that at Julie's California farmhouse,
as she's closest to town and that saves
gas."
Meat loaf is Julie's sole cooking ac-
complishment and it's very good.
MEAT LOAF
2 lbs. chuck beef, ground
2 small peeled onions, minced
3 tbs. salt
1 tbs. dry mustard
' y± cup catsup
% cup ground suet
2 cups soft bread crumbs
2 eggs
2 tbs. bottled horseradish
4 tbs. minced green pepper
Never mind Vho done it- pitch in
and help get it down !
This is your uncle sam talking —
but I'm going to talk to you like a
DUTCH uncle, to keep all of us from
going broke.
Ever since the Axis hauled off and hit
us when we weren't looking, prices have
been nudging upwards. Not rising aw-
fully fast, but RISING.
Most folks, having an average share
of common sense, know rising prices are
BAD for them and BAD for the country.
So there's been a lot of finger pointing
and hollering for the OTHER FELLOW
to do something — QUICK.
The government's been yelled at,
too. "DOGGONNIT," folks have said,
"WHY doesn't the government keep
prices down?"
Well, the government's done a lot.
That's what price ceilings and wage con-
trols are for — to keep prices down. Ra-
tioning helps, too.
But let me tell you this — we're never
going to keep prices down just by lean-
ing on the government and yelling for
the OTHER FELLOW to mend his ways.
We've ALL got to help — EVERY
LAST ONE OF US.
Sit down for a minute and think things
over. Why are most people making more
money today? It's because of the SAME
cussed war that's killing and maiming
some of the finest young folks this coun-
try ever produced.
So if anyone uses his extra money to
buy things he's in no particular need of
... if he bids against his neighbor for
stuff that's hard to get and pushes prices
up . . . well, sir, he's a WAR PROFIT-
EER. That's an ugly name — but there's
just no other name for it.
Now, if I know Americans, we're not
going to do that kind of thing, once we've
got our FACTS straight.
All right, then. Here are the seven
rules we've got to follow as GOSPEL
from now until this war is over. Not some
of them — ALL of them. Not some of us
— ALL OF US, farmers, businessmen,
laborers, white-collar workers!
Buy only what you need. A patch on
your pants is a badge of honor these
days.
Keep your OWN prices DOWN. Don't
ask higher prices — for your own labor,
your own services, or goods you sell.
Resist all pressure to force YOUR
prices up!
Never pay a penny more than the ceil-
ing price for ANYTHING. Don't buy
rationed goods without giving up the
right amount of coupons.
Pay your taxes willingly, no matter how
stiff they get. This war's got to be paid
for and taxes are the cheapest way to do it.
Pay off your old debts. Don't make any
new ones.
Start a savings account and make regu-
lar deposits. Buy and keep up life in-
surance.
Buy War Bonds and hold on to them.
Buy them with dimes and dollars it
HURTS like blazes to do without.
Start making these sacrifices now —
keep them up for the duration — and this
country of ours will be sitting pretty
after the war . . . and so will you.
KEEP PRICES DOWN!
Use it up • Wear it
Make it do • Or do
out
without
This advertisement, prepared by the War Advertising Council, is contributed by this magazine in co-operation with the Magazine Publishers of America.
SCKEENLASD
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Name
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MONEY BACK GUARANTEE
Statement of the Ownership, Management, Cir-
culation, etc., required by the Acts of Congress of
August 24, 1912, and March 3, 1933, of
Screenland, published monthly at New York,
N. Y., for October 1, 1943. State of New York,
County of New York, ss. Before me, a Notary
Public in and for the State and county afore-
said, personally appeared John R. Heine, who,
having been duly sworn according to law, deposes
and says that he is the Business Manager of the
Screenland, and that the following is, tc the
best of his knowledge and belief, a true state-
ment of the ownership, management, etc., of the
aforesaid publication for the date shown in the
above caption, required by the Act of August 24,
1912, as amended by the Act of March 3, 1933,
embodied in section 537, Postal Laws and Regu-
lations, printed on the reverse of this form,
to wit: 1. That the names and addresses of the
publisher, editor, managing editor, and business
managers are: Publisher, Paul C. Hunter, 205
E. 42nd St., New York, N. Y.; Editor, Delight
Evans, 205 E. 42nd St., New York, N. Y.;
Managing Editor, None; Business Manager, John
R. Heine, 205 E. 42nd St., New York, N. Y.
2. That the owner is: Hunter Publications, Inc.,
205 E. 42nd St., New York, N. Y.; Paul
Hunter, 205 E. 42nd St., New York, N. Y.; John
F. Cuneo Company, 2242 Grove St., Chicago, III.
3. That the known bondholders, mortgagees, and
other security holders owning or holding 1 per
cent or more of total amount of bonds, mort-
gages, or other securities are: None. 4. That the
two paragraphs next above, giving the names of
the owners, stockholders, and security holders, if
any, contain not only the list of stockholders and
security holders as they appear upon the books
of the company but also, in cases where the stock-
holder or security holder appears upon the books
of the company as trustee or in any other fidu-
ciary relation, the name of the person or corpora-
tion for whom such trustee is acting, is given;
also that the said two paragraphs contain state-
ments embracing affiant's full knowledge and be-
lief as to the circumstances and conditions under
which stockholders and security holders who do
not appear upon the books of the company as
trustees, hold stock and securities in a capacity
other than that of a bona fide owner; and this
affiant has no reason to believe that any other
person, association, or corporation has any interest
direct or indirect in the said stock, bonds, or
other securities than as so stated by him. John R.
Heine, Business • Manager. Sworn to and sub-
scribed before me this 22nd day of September,
1943. Edith M. Garramone. (My commission
expires March 30, 1944.) Seal.
Mix all ingredients, turn into greased
loaf pan or casserole. Bake in hot oven at
400 degrees F. for one hour. This serves
six.
Faye's Juevos Rancheros belong with a
meatless meal wherein they appear with
fried Mexican beans, green salad, bread
twists, fruit, coffee and nuts. This is how
you prepare them:
JUEVOS RANCHEROS
Heat 2 tablespoons olive oil in a
large frying pan, add % cup finely
chopped onion and stir and cook until
onion is light brown; add 2 cups of
those tomatoes you canned from your
Victory garden, % teaspoon salt, 1
teaspoon chili powder, 1 cup French
mushroom pieces and stems, few
pieces of red peppers chopped; stir
and cook 3 minutes.
Have 6 unbeaten eggs in a cold
bowl. "When sauce is ready, slide
them into it, let cook until eggs are
set, lift out eggs onto squares of
buttered toast, place on hot platter,
pour sauce around and serve.
If they serve this, however, they in-
tend to use double the recipe.
Joyce Reynolds lives with her mother
and grandmother in an attractive triplex
near the University of California. They
own the apartment building and live in
one unit. Quite naturally, Joyce doesn't
cook. She arrives on shopping expedi-
tions with a market list made out by her
mother, but she is the shopper who
evolved the Marketeer's motto: Don't
be a food waster. The girls carry home
only as much as they can use of any-
thing, swapping some of this for some of
that. Vegetables and salads that should
be eaten before they lose their vitamins
are carefully divided.
Joyce is the girl with the recipe for
spaghetti and meat balls. Here it is:
SPAGHETTI
Put spaghetti in fast boiling salted
water and boil for 20 minutes; drain.
When water has drained out of spag-
hetti, put under cold water faucet
and let cold water run over it a
moment, washing out excess starch,
then turn back into pot with a lump
of butter and two cups of hot tomato
sauce and stir to thoroughly mix.
When very hot place on dish or plat-
ter, set meat balls on top, sprinkle
with Parmesan cheese and serve.
MEAT BALLS
Remove fat and bones from enough
cooked beef to make 3 cups after it
has been run through the fine knife
of a meat chopper; mix this with 1
cup bread crumbs, 2 egg yolks, 1 tea-
spoon minced parsley, 1 minced clove
garlic, salt, pepper.
Roll mixture into twelve balls, roll
balls in flour and fry a nice brown
in hot butter or cooking fat. Set on
spaghetti and cover with a cup of
tomato sauce, very hot.
There should be plenty of cranberries
this year, according to reports from the
food front, so cranberry relish — chopped
fresh cranberries and apples — or cran-
berry sauce will be served.
The green salad will contain items
from Julie's Victory garden (which still
flourishes in California's mild climate) ,
plus things from the Farmers' Market.
They like to combine as many greens as
possible — romaine, lettuce, celery, en-
dive, chicory and cress.
Dick Haymes. who is known as the "Juke Box King," tries out one of the new song num-
bers composed by Jimmy McHugh (seated) and Harold Adamson for Dick's first motion
picture. Opposite, Dick with his wife, the former Cococabana beauty, Joanne Marshal.
Screenland
ZVtt/l/RFUSSM
RI//N TH£ R/CTI/RB /
Bread twists are a Farmers' Market
specialty. Faye likes to serve fruit, cheese
and nuts at the end of a meal because
she thinks them good conversation start-
ers, as people have time to talk while
peeling fruit, spreading cheese on crackers
or busy cracking nuts.
In case red ration points run out be-
fore they can buy cheese, or they decide
to substitute a more "dessert-y" dish,
Joyce has another family recipe to sug-
gest which she is sure will appeal to a
hearty male appetite.
LANCASTER APPLE TART
Line the sides of a deep baking
dish with good pie paste.
Peel and core 8 even-sized tart
apples; place in saucepan, add water
to % their height, cover and cook till
tender, keep whole and be careful
not to break. Drain cooked apples
and set them upright in the lined
baking dish, fill core holes with
orange marmalade, sprinkle lightly
with granulated sugar and cover the
top of dish with lattice of pastry
strips.
Bake in quick oven to a nice brown
and serve hot.
The girls will give their guests the
choice of going dancing after dinner or
spending an evening at home, which may
include helping with the dishes, rolling
up the rugs and playing games. Per-
haps they'll play cards — one table of
bridge and one of gin rummy, changing
partners after each game. Perhaps they'll
have pen and pencil games, including
Guggenheim and Consequences. Or may-
be they'll go in for quiz games. Joyce
likes that variety of quiz in which each
member of the party draws up six ques-
tions, becoming master of ceremonies in
turn, and the highest score wins.
Julie's house is Early American. Some-
one gave her a big painting of deer
framed in blonde wood, and this started
Julie on a collection of china and pottery
animals, preferably so arranged that
something can be planted in them. A
procession of pottery burros bearing cac-
tus plants, rabbits trailing sprigs of
smilax or geraniums march along her
tables.
"I'm mad about flowers," she said,
"but once the gas furnace is turned on
in the Fall, flowers fade away too quickly.
I've started half a dozen sweet potato
vines in a dark closet and they are about
ready to decorate the mantel with fresh
greens."
The triplex where Joyce lives had a
so-called '"spare room" before Joyce be-
came an actress. Then she decided she
had to have a den where she could study
her lines without interruption. When the
war is over, she .will "do" this room after
a plan she's been secretly making — and
re-making! — ever since she left school,
but now Uncle Sam's patriotic niece,
Joyce, puts every extra penny into War
Bonds. So for the duration she did this:
Bed is her favorite color. One day she
happened to be in a Hollywood shop
when she saw a sale of colorful red-
checked tablecloths, and impulsively
bought a number of them with napkins
to match. She had curtains made of the
cloths and hung them at her den win-
dows, covered a studio couch with a red-
checked slip-cover, made pillow slips for
it of the same material, as well as chair-
backs for her Windsor chairs. From the
napkins she made mats for half a dozen
pictures. The pictures are a little dif-
ferent, because she chose them from her
collection of greeting and Christmas
cards.
Faye lives in a French Provincial house;
a delightful place recently done over by
one-time-picture-star William Haines, in
rag rugs and English chintz and lovely
old cottage pieces. The effect is charming.
One of Faye's own innovations is the
planting of herb gardens in her window
boxes. Mint, tarragon, chervil and pars-
ley grow in the more shady boxes: chives,
rosemary, sweet basil and dill in the
sunnier ones.
"I got the idea from the herbs at
Farmers' Market," laughed Faye. "I
started out just using mint with lamb,
and some of the rest in soups for flavor-
ing. But I've foimd that rosemary is
simply divine in spinach and carrots and
adds a fillip to lamb stew. Chop the
leaves as well as the seed of dill over
avocado or new potatoes and get a new
taste thrill, as they say on the radio.
Tan agon added to vinegar makes a really
distinguished salad dressing — oh yes, and
try chervil in omelets."
Use herbs sparingly, Faye warns. The
best way is to chop up small quantities
in sweet butter. Or add a little to butter
substitutes. Of course you don't do this
when you are putting herbs into vine-
gar! Most of us know about mint, but
did you ever try orange mint? It has
small round leaves, makes a pretty plant,
and is excellent for iced tea or mint
vinegar.
SCREEXLAND
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BUY MORE WAR BONDS
87
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28 WOODS BUILDING
CHICAGO, ILL.
A Letter to My Son
Continued from page 45
Richard Brothers
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they are all so glad to see us. I had a
few gags and stories that I threw at
them, and they all laughed as though
they had never heard them before. Even
if an actor or actress doesn't do a thing
but just make an appearance, they are
most happy to see them.
To return again to you and the air
service, I don't think I told you at the
time how proud I was that Colonel Earl
Robbins gave me the chance to address
your graduating class 43 D, at La Junta.
Your old dad has made a lot of speeches
on personal appearances, War Bond trips,
and before the various charity organiza-
tions with which he has been associated,
but never before have I been on the edge
of "stage fright." I had a grand patriotic
speech prepared. I was going to tell your
class what a great chance they had of
becoming heroes, but when those 167
men hied into the gymnasium to receive
their diplomas, commissions and wings,
every thought of flag-waving left me and
the only thought I had in mind was how
all their fathers felt about what their
sons were giving and doing.
Also because you are in the Air Corps,
one of the greatest thrills I experienced
in the past year was attending the pre-
sentation ceremonies of the D.S.C. to a
sergeant who was a member of the Doo-
little flight to Tokyo at Barksdale Field,
La. Unfortunately, I did not have the
courage to ask the sergeant any ques-
tions, but during the ceremony there was
an expression in that young fellow's face
I will never forget. I could read in his
eyes that he felt he had done his duty,
not only to his country, but to his fellow
men. I was again reminded of him when
I met the members of your graduating
class. All of you had the same expression
in your eyes and I know there is not one
of you who would not take the same
chance this young sergeant took if the
opportunity was offered.
Mother is very busy since she accepted
the Chairmanship of the Red Cross
Blood Donor Recruitment Theater Pro-
ject. These Red Cross workers go
to one theater a week in Los Angeles and
recruit potential blood donors. They
have been more than successful in their
efforts, averaging some 500 pints per
week for the last three weeks. Unless one
has made a careful study of the Blood
Bank and its activities, it would not
occur to them how important this project
is, not only in saving lives but helping to
bring this war to a successful conclusion.
I never realized what a fine organizer
mother was until she accepted this post,
and I am very proud of her.
Oh yes, I almost forgot to tell you, as
usual she couldn't overlook a chance to
put one over on the old man!
I was asked to sign up at Grauman's
Chinese Theater in Hollywood before the
newsreel cameras. The idea was to in-
duce theater-goers all over America to
sign up as blood donors in the theater
lobbies. Basil Rathbone, Esther Wil-
liams, Donna Reed, Frances Rafferty and
I passed along in line, signing the cards.
I didn't think your mother was within
miles. But as I bent down to sign my
cardT heard a low "Hello, dear" (which,
unfortunately, the newsreel mike didn't
pick up) . Your mother had slipped into
the place of the young lady at the sign-
ing table, in order to sign me up while
the cameras were grinding. But your
mother nearly cost News of the Day
some extra footage!
I most certainly agree with your feel-
ing that the traveling millions of Amer-
ican boys are doing for the Army and
Navy within the United States, not to
mention foreign service, is one of the
best things to come out of this war. You
say, "I feel that I know America much
better" . . . and that is on a basis of
work at flying fields in the West only —
Arizona, New Mexico, Texas, Colorado.
We are a big country, and to do away
with sectionalism there isn't anything
better than a stay by a Southern boy in
the North, or by a Californian in the
New England states. There's a lot to
brag about in these splendid and very
large United States of ours, besides the
particular little corner in which we were
born and raised.
As you know, I traveled to every state
in the Union as a stage actor. I felt I
knew the country and its people pretty
well. But I really didn't know them at
all. It took a war to scratch off the sur-
face and disclose the real America. In
the last eighteen months I have been to
Washington, D. C, on six occasions;
have sold bonds in Texas, Louisiana,
Tennessee, Illinois, Missouri, Iowa, Min-
nesota, Wisconsin and Canada, and have
made speeches at all hours of the day
and night. My most recent appearance
was made at a shipyard near Los Angeles
after four o'clock in the morning.
Perhaps the most typical of the way
Americans have been stirred occurred on
the first bond tour I made. Speaking
in front of a theater in Marshfield, Wis.,
which has a population of some 6,000 or
7,000, I received a call from the chair-
man of the bond drive in Pittsville. He
asked me if we would stop there. There
was no reason why we shouldn't, as it
was on the main road and only a few
miles away. On our arrival, I found a
little platform on the main street, with
a microphone and two Legionnaires on
each side bearing the American flag. The
entire population of 350 turned out to
welcome us. The chairman of the bond
drive handed me an envelope containing
$2,700 which represented the sale of War
Bonds for that week.
Greer Garson tells another incident
that interests me. A woman came up to
her in a small Southern town and handed
her a worn tobacco sack containing
$18.75 in nickels, dimes and quarters.
She told Miss Garson she had walked
miles over the hills to purchase her bond.
At one of our meetings shortly after we
returned to Hollywood, Bob Hope said,
"Boy, those crowds sure made it plain
that civilian America is behind the war,
and don't let anyone tell you different."
Yes, son, none of us need to be afraid
that the American people won't deliver
88
ScREENLAND
everything they should for the progress
of this war. It's been a thrill to me to
see how they've taken hold in every
state, and most particularly in our Na-
tional Capital where I have heard the
pros and cons of world problems dis-
cussed across the breakfast table of that
great American, Senator Tom Connally,
Chairman of the Senate Foreign Rela-
tions Committee. It has even been my
great privilege to meet our President and
to be one of those present at his birthday
luncheon. It is thrilling to watch the
vigor with which he tackles his incom-
parably difficult job.
When you are up with a student, when
you are thinking of those days when in-
structing days are over and you may be
sent over a target (we'll hope it's Tokyo)
remember that you are a unit of the
greatest country on earth. As I say, I've
seen all of America in peace times, but
I have never been so unutterably
proud of your country and mine as
during these last two years of concen-
trated struggle to keep right the victor
over might.
Mother and your sister Jane send a
heart full of love, and be assured our
thoughts and prayers are ever with you.
As always,
Your Dad.
Closeup of a Cowboy
Continued from page 40
good, but not sensational. But soon after
he signed with Republic, Walter Wanger
borrowed him to play the Ringo Kid in
"Stagecoach"— which picture, when pre-
viewed, overnight established John
Wayne as the hottest actor west of the
Sierras. Republic had hit the jackpot.
You can't write about John Wayne
without writing about John Ford. Di-
rector John Ford, now a lieutenant
commander in the Navy, is all the Amer-
ican heroes of fact and fiction wrapped
into one, as far as John Wayne is con-
cerned. John the actor worships John
the director as a man and as a friend.
He realizes that all he is, and all he owns,
his beautiful home in Bel Air, his 1000-
acre ranch near San Diego, he owes to
John Ford, who kept a promise — one of
the things rarely kept in Hollywood.
When John's family moved to Glendale
(John was born in Winterset, Iowa, un-
der the name of Marion Michael Morri-
son, on May 26, 1908) John enrolled in
USC and spent his summer vacations
working as prop man in the nearby
studios. He met John Ford while work-
ing as a prop man on one of his pic-
tures at Fox. Ford got him his first act-
ing job at the studio (in Raoul Walsh's
"The Big Trail") , and when that turned
out to be such a miserable failure Ford
consoled him by saying, "Don't worry,
Johnny. One of these days I am going
to find a story that will make you a
star." He did. In 1939 he signed with
Walter Wanger to direct "Stagecoach,"
a story which he owned. And the deal
called for a practically unknown actor,
name of John Wayne, to play the lead.
Wanger wanted a "big name" but Ford
was adamant. Producers have learned
better than to argue with Ford. Within
two hours, the night of the preview in
West wood Village, John Wayne changed
from a two-bit actor to a popular Holly-
wood star. Republic quickly snatched
him out of the Three Mesquiteers series
and began starring him in their big-
budget specials — of which "The Fighting
Seabees" is the latest.
Ford claims that Johnny hasn't
changed since the time he first met him
as a prop man in 1929. He has improved
tremendously as an actor, of course, but
his philosophy and manners are still the
same. He still hates sham and pretense
and everything that smacks of being
phony. He's a pretty phlegmatic guy,
usually, but let him catch someone being
dishonest or disloyal and he can fly into
a mighty six-foot-four rage that bodes
no good for the offender. He's loyal to
a fault himself.
John's a man's man. His great love is
hunting, and several times a year he and
Ray Milland, Johnny Weissmuller, Fred
MacMurray and Ward Bond go to Mex-
ico on a "big game" hunt. The rest of
the time he has to content himself with
duck shooting and fighting. His idea of
a lot of fun is barbecuing steaks under
a desert moon and listening to Harry
Carey, or some other old-timer, tell tall
tales about the Old West. When he's
working on a picture he spends most of
his leisure time at the Hollywood Ath-
letic Club playing "Hearts" with the
boys. John Ford taught him to play
"Hearts" years ago, and the game has
become a passion with him. He'll have
no truck with gin-rummy. That's a sissy
game.
In 1933 John married Josephine Saenz,
daughter of the Cuban Consul of Los
Angeles. "We got married and started
having babies," says John with a grin,
"and we've been doing the same thing
ever since." The Waynes now have four
children: Michael, Toni, Patrick and
Melinda, ages 8, 6, 4, 2. John is terribly
proud of his offspring, and has already
enrolled them in USC. Michael he takes
on short hunting trips with him, and the
lad is proving a chip off the old block.
A few months ago, much to the sur-
prise and dismay of the Waynes' many
friends, John and Josie officially sepa-
rated. John suddenly moved into a
Hollywood hotel. There was consider-
able side-taking, as there always is in
such cases. Josie 's friends said that John
was just a big lug who always wanted
to sit around home in his cowboy boots
and never take his pretty wife any place.
And John's friends said that Josie was
society-conscious and wanted to dress
John up like Mrs. Astor's horse and drag
him around to all the right places.
"John," they said, "is just a simple prop
man at heart and will never be anything
else."
But both Josie's and John's friends
agreed on one thing — those two ought
to forgive and forget and start all over
again. Even people who don't know
them are sort of hoping for a recon-
ciliation.
50
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89
Frances Rafferty, currently appearing in "Broadway Rhythm" for M-G-M, shows one
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Fans' Forum
Continued from page 10
FIVE PRIZE LETTERS
$1.00 Each
In a recent issue, Betty Brown, of North
Carolina, disapproves of Helmut Dantine's
super-duper Nazi roles. Miss Brown feels
that he should be glamorized and that, my
d:ar Editor, is where the public is likely to
lose another up-and-coming star like Mr.
Dantine. Humphrey Bogart hit stardom like
a tornado by his rude, murderous roles, and
I'm quite sure our readers would not like
to see him glamorized.
Mr. Dantine has portrayed a Nazi as he
really is and that has given his movie fans
a greater urge for patriotism in our own
homeland) and the sterner he grew in "Edge
Of Darkness," the more I thrilled to his
bhj' d-curdling performance. I would like
very much to see Mr. Dantine in more and
more nasty Nazi roles, the Nazier the bet-
ter! No, I'm not a Nazi myself, but why
soften up an actor like Helmut Dantine and
have America lose hatred for a rat named
Schickelgruber ? I saw people leaving the
performance of "Edge Of Darkness" with
hard, disturbing looks in their eyes. Why?
Well, simply because their hate for the Nazi
supermen had grown stronger since Helmut
portrayed Nazis as they really are.
ROCHELLE BOVA, New Haven, Conn.
My husband and I think there is hardly
a finer voice in the movies than Deanna
Durbin's. It is clear and sweet and true. We
have followed her rise with the greatest in-
terest. And yet we have been very much
disappointed in two of her recent movies —
"The Amazing Mrs. Holliday" and "Hers
to Hold." Her voice is still beautiful, yet
Hollywood seems bent on changing her per-
sonality.
Deanna Durbin has always seemed gra-
cious, even as a little girl, and has a sweet
and winning way about her. There is a
gentle look about her eyes, a charming soft-
ness. With all these lovely qualities, why
does Hollywood try to make a glamor girl
out of her, dressing her in black sequin
dresses, etc., making all her clothes just too
smart, giving her sophisticated roles? It
just doesn't suit her personality.
Let's have Deanna the way she used to be.
It isn't necessary for every screen star to
have scintillating glamor. Let's not make
her conform to type, but make a great star
out of her by letting her exert her own par-
ticular charm and individuality.
MRS. B. FRANKLIN BOAN,
Newport News, Va.
I have been a moviegoer for years and
this is the first time I have ever written a
letter about a movie star — Robert Walker,
the gum-chewing sailor in "Bataan." After
that show he was the most-talked-about
actor in the picture. My daughter raved
about him before she even saw him and I
thought she was being rather silly, but now
I know that she was telling the truth. He is
the most talented actor in Hollywood. He
completely stole the picture and I'm not the
only one who thinks so. Many others share
my opinion. I've never cried in a picture in
my life, but when Robert Walker was dic-
tating that letter to his mother my heart
poured out for him. Give him many more
good roles. Everyone is waiting to see him
again and again.
MRS. JULIA STONER, Omaha, Nebr.
Hats off to Bette Davis and Nelson Eddy !
Why? Well, I'm referring to their un-
selfishness in accepting small parts in their
most recent films. Miss Davis in "Watch
On The Rhine" and Mr. Eddy in "Phantom
Of The Opera." Both are the stars and only
box-office draw in these two pictures and
yet both had smaller parts than lesser play-
ers in the cast. As the stars of the pictures
they could have demanded bigger parts
through re-write jobs in their favor.
Miss Davis is definitely Warner Brothers'
first lady and her every whim would be
satisfied. Mr. Eddy is a freelance player and
after many other offers chose "Phantom Of
The Opera" as his first film on his own. He
didn't have to make it nor did he have to
sign the contract until his part was enlarged.
Why did they do this ? Because the sound-
ness of the plot, the greatness of the film,
and the ultimate success of the picture was
more important to them than any opportu-
nities they might have demanded to show-
off. Both went out of their way to help the
others in the cast steal scenes from them
because the other characters were more im-
portant to the story than their own.
I repeat, "Hats off to Bette Davis and
Nelson Eddy!"
JO MOTTOLA, Hempstead, N. Y.
If you asked, "Wasn't Virginia O'Brien
wonderful in 'DuBarry Was A Lady'?"
very few moviegoers would know whom you
were talking about. If you had added, "the
beautiful girl with the 'dead-pan' face," prac-
tically everybody would have known whom
you meant. The public hasn't forgotten the
captivating way she sang Boy, Did I Get
Stinking At The Club Savoy in "Panama
Hattie" and Salomey in "DuBarry." Yet she
has never had much publicity. Is it because
her producers want to keep her expression-
less countenance "dead" and so do not give
out her life story?
It is written that Boris Karloff is really
a kind man, that Edward G. Robinson likes
children, and that Ida Lupino is not really
a tough woman. Therefore, I doubt if Vir-
ginia O'Brien leads a dead life. We, the
people, would like to hear something
about it.
CAROL YOUNG, Salem, Ore.
HONORABLE MENTION
I belong to that group of females who
prefer the not-too-handsome, rugged hero,
and for a long, long time have been under
the delusion that Robert Taylor was not
that type.
Last night, my young son coaxed me into
seeing "Bataan." I left the theater a changed
woman. Whatever made me think he wasn't
a big, strong he-man ? My face is red. I am
ashamed of myself !
NAN C. MANSFIELD, San Francisco, Calif.
90
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MADAME CURIE
Directed by MERVYN LeROY Produced by SIDNEY FRANKLIN
Presented byM.G.M.
With a brilliant supporting cast, Henry Travers, Robert Walker, Dame May Whitty, Elsa Basserman, Van Johnson,
Albert Basserman, C. Aubrey Smith, Victor Francen, Reginald Owen, Margaret O'Brien . Screen Play by Paul Osborn
and Paul H. Rameau. Based on the book, "Madame Curie" by Eve Curie. A METRO -GOLDWYN- MAYER PICTURE
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Art Director
Anthony Ferrara,
Asst. Art Director
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February, 1944 Vol. XLVIII, No
EVERY STORY A FEATURE
The Editor's Page Delight Evans 19
Quiz Kid Crashes Hollywood Maude Cheatham 22
Canteen Romance Margaret E. Sangster 26
Deanna At The Crossroads. Deanna Durbin Barbara Flanley 30
Ryan Gets the Girl! Robert Ryan Liza 33
Why Joel McCrea Is Quitting Films for Duration .... Dora Albert 34
Intimates Notes of a Wartime Wife by Lucille Ball
As told to S. R. Mook 36
Joseph Cotten Turns to Romance May Mann 38
A Gentleman Named Smith. Kent Smith Barbara Berch 41
Lady Korda: "A Good Joe!" Merle Oberon Elizabeth Wilson 42
Winged Victory Jessyca Russell 44
Roy Rogers Meets His Fans Elizabeth B. Petersen 48
FULL COLOR PORTRAITS:
Ginger Rogers and Ray Milland in a scene from Paramount's
"Lady In The Dark" 23
Robert Ryan, appearing in "Tender Comrade" for RKO-Radio. . . 32
Ida Lupino, starring in Warner's forthcoming "Devotion" and
"In Our Time" 40
PICTURE PAGES: Photo Preview of "Gaslight" with Ingrid Bergman
and Charles Boyer; "How Not To Be Glamorous" (Claudette Colbert);
Beauty And "The Bridge" (Lynn Bari); Twin Trouble (Mickey Rooney and
Wilde Twins); Pretty Please! (William Powell and Hedy Lamarr);
Crooner At Home (Dick Haymes); "First Lady" Fashions (Greer
Garson).
DEPARTMENTS:
Your Guide to Current Films Selected by Delight Evans 6
Fans' Forum 10
Hot from Hollywood 14
Be Your Age. Beauty Josephine Felts.. 16
Here's Hollywood.
Candid photos by Jean Duval — Gossip by Weston East 56
Guide to Glamor 80
Natural Color Cover Portrait of ALEXIS SMITH, who will next be seen
in Warners' "The Adventures Of Mark Twain," opposite Frederic March
Paul Hunter, President
Homer Rockwell, Executive Vice President and Advertising Manager
Lee Wagner, Circulation Manager
SCREENLAND. Published monthly by Hurtter Publications, Inc., at 205 E. 42nd Street, New York, N. Y.
Advertising Offices: 205 E. 42nd .St., New York, 410 North Michigan Ave., Chicago, 111.; 427 W. 5th St.,
Los Angeles, Calif. Manuscripts and drawings must be accompanied by return postage. They will receive
careful attention, but SCREENLAND assumes no responsibility for their safety. Yearly subscriptions $2.00 in
the United States, its dependencies. Cuba and Mexico; $2.50 in Canada; foreign $3.00. Changes of address
must reach us five weeks in advance of the next issue. Be sure to give both the old and new address. Entered
as second class matter, September 23, 1930, at the Post Office, New York, N. Y., under the act of March 3, 1879.
Additional entry at Chicago, Illinois. Copyright 1944 by Hunter Publications, Inc. Printed in the U. S. A.
MEMBER AUDIT BUREAU OF CIRCULATIONS
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Published in
this spaca
every month
We're talking about "Madame Curie",
one of the finer efforts in the annals of
motion picture progress.
★ ★ ★ ★
This adventurous romance of the woman
whose love and devotion endowed us
with the magic of radium is in for a run
at the famed Radio City Music Hall.
★ ★ * ★
Our office wag wishes to edit this copy
to read "Radium" City Music Hall.
★ ★ ★ ★
As a matter of fact Metro-Goldwyn-
Mayer— your favorite film company we
take it — has a few pictures in the bag
which are really going to cause ohs and
ahs, pull in the awards, and all that
sort of thing.
★ ★ ★ ★
"A Guy Named Joe", "The White
Cliffs", "Madame Curie". Three worthy
successors to "Mrs. Miniver" and
"Random Harvest".
★ ★ ★ ★
As a matter of course, Greer Garson ia
"Madame Curie". Greer and Walter
Pidgeon are the stars.
★ ★ ★ ★
Directed by Mervyn LeRoy and pro-
duced by Sidney Franklin, the "Random
Harvest" duo, "Madame Curie" can be
described in a word of one syllable —
★ ★ ★ ★
Its cast, typical of M-G-M, includes ten
name9 additional to Greer Garson and
Walter Pidgeon— names that could
grace any theatre marquee and mean
something.-* ★ ★ ★
They are Henry Travers, Albert Basser-
man, Robert Walker, C. Aubrey Smith,
Dame May Whitty, Victor Francen,
Elsa Basserman, Reginald Owen, Van
Johnson and Margaret O'Brien.
★ ★ ★ ★
Incidentally the mention
of Margaret O'Brien AjF
makes- us think of an- '"
other fine M-G-M film
"The Lost Angel" which
you must not miss. W
★ ★ ★ ★
But first comes "Madame Curie" with
our favorite screen couple in a screen
play by Paul Osborn and Paul H.
Rameau based on the book by EveCurie.
★ ★ ★ ★
Produced with love and attention to
detail, with settings that are superbly
artistic, a camera that
understands, and a
story that will keep
you enthralled, "Ma-
dame Curie" is a real
event in the theatre.
★ ★ ★ ★
It is an event that you
must usher in £^
S C REENLAND
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tyou*, GUIDE
CURRENT FILMS
SELECTED BY
CRY HAVOC — M-G-M
Nurses fight a losing battle with death on the expend-
able post at Bataan. Bordering on the melodramatic
are the performances of Margaret Sullavan, as the
Army nurse suffering from malignant malaria, and the
nine girls who volunteer their services, including Ann
Sothern, Joan Blondell, Ella Raines, Frances Gifford,
Diana Lewis, Heather Angel, and Dorothy Morris.
There's a romance between Margaret Sullavan and
Lieutenant Holt, who is never seen in this all-femme
cast. Dorothy Morris' strong scene in which she goes
mentally berserk is capably handled. Joan Blondell's
pseudo strip-tease during a highly tense moment is well
done. A stronger plot and less dialogue would have
made this a great picture, but nevertheless it is a worthy
account of brave and courageous women in the war.
JACK LONDON — United Artists
There's no hint in the opening sequence that this pic-
ture carries a prophecy of war with Japan. What
would the world be today if we had listened to Jack
London on his return from reporting the Russo-
Japanese War ? We wonder ! Based on Charmian
London's book about her husband, the film is a good
study of the man, his ideals and courage, his career and
lusty adventures. Michael O'Shea gives a sincere per-
formance in the title role, a welcome change from his
screen debut in "Lady of Burlesque." Touching his life
at long intervals is his romance with Charmian Kit-
tredge who patterns her life after one of his heroines,
understanding his crusading spirit. Susan Hayward
plays this role charmingly. Osa Massen, Virginia Mayo,
Regis Toomey, Ralph Morgan, are fine in brief parts.
THE CROSS OF LORRAINE — M-G-M
Brutality — the subtle cruelty of denying food to prison-
ers in a concentration camp to the more gruesome
tortures of sudden kicks by clumsy Nazi boots — is car-
ried out with a heavy hand in this picture. The story
concerns a group of French soldiers who are interned
after the Franco-German armistice. Jean Pierre
Aumont, as a former lawyer who keeps men's hopes
alive, gives a splendid performance. Gene Kelly, sub-
jected to extreme tortures of solitary confinement,
plays his role with fine restraint. Hume Cronyn, as a
traitor, is so sincere that you will hate him as much
as you hate the Nazi Lieut. (Peter Lorre). Sir Cedric
Hardwicke, Joseph Calleia and Richard Whorf give
equally good performances. If you are inclined to shirk
your war work, this picture will send you full speed ahead.
GOVERNMENT GIRL — RKO-Radio
This is another one of those comedies about life in
wartime Washington. It tells of the experiences of a
secretary in the War Construction Board and a young
industrial genius brought to the capital to speed up
production of bomber planes. He steps up production
and exceeds his quota, but also steps on somebody's toes
when he cuts through red tape and is hailed before a
Senate investigating committee. Sonny Tufts, the new
screen sensation who made a hit in "So Proudly We
Hail," does a nice job as the shy wonder boy, and, al-
though she overplays it a bit, we enjoyed Olivia de
Havilland's performance as the secretary who shows
him the ropes and testifies for him before they realize
it's love. It's light, it's bright, it's entertaining, and it's
fun. Cast also has Anne Shirley and James Dunn.
(More Reviews on Page 8)
6
SCREENLAND
Give us -that
Bid smile
(fs p3sh tn a flash. So she
makes hfm an asstsfanf
ii)ho really loves
his assortments
^/ouil grh exit loud when
Claudetfe sp'Hs ifie .secrets of
a candfd camera career ^Trl/
She$ai/s she* too
busq for romance
fhaj'sdfzzi|...birr
And the things ^
that develop Tn Jwf
her darkroom
U)hen +his immovable force
meets -this irresistible bodq
And under ^e bed of +he
East- River- make this
first hT/a nous roar of 1944
^ Wei mi
flashes her
bulbs at-
UJhat-aman
Mac KAurratj
Claudette Colbert '^Q
Fred MacMurray
in
It's
Paramount
Again!
with
Ilka Chase Richard Haydrr
A MITCHELL
LEISEN
PRODUCTION
Directed by
MITCHELL LEISEN
Screen Play by Claude Binyon
Adaptation by Warren Duff
"And a Big
P.S. -H
ave you seen 'Riding High'? And watch for 'Lady In The Dark' and 'The Miracle Of Morgan's Creek'!'
SCREENLAND
It's always August
underneath your arms!
1
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odor with MUM every day!
Sure is cold outdoors!
You're all bundled up in warm woolen
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chances of offending with underarm odor are
even greater than in the summertime!
Because even if you don't see or feel
any moisture, odor can form. And it will
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In his arms . . . you'll be safe and serene. Even
after hours of dancing, Mum prevents under-
arm odor. So give yourself some real peace of
mind. Try Mum. You'll like it.
THE DESERT SONG — Warners
Dennis Morgan fans will sigh, if not swoon
outright, when they see the handsome fellow
cavorting in the dual role of American cafe
singer in Morocco and masked leader of the
Riffs. It's fortunate that Morgan's fine
voice and rugged physique dominate most
of the action, that the songs are as tuneful
as ever, and the color photography mag-
nificent. For the scripters have had to con-
tend with political problems, and as a
result, this version of "The Desert Song"
fails to come off as a romantic musical en-
tertainment. Irene Manning, as a French
charmer, is lovely to look at and listen to,
but somewhat too aloof and dignified for
the role. Faye Emerson is far more im-
pressive in a small part. Watch this beauty !
HIS BUTLER'S SISTER — Universal
Another Cinderella story for Deanna Dur-
bi.i, expressly designed for her huge follow-
ing. As the kid sister of Pat O'Brien, lazy
butler lording it over a New York com-
poser's handsome penthouse, Deanna poses
as a maid in order to attract the boss' atten-
tion to her really lovely voice. Pat's comical
confusion as pretty sis disrupts his luxurious
routine and gradually subjugates the house-
hold is fun to watch, and when you add
Akim Tamiroff and Alan Mowbray as rival
butlers out to impress the new maid, you
have hilarious comedy, played to the hilt.
The climax comes at the butlers' ball, one
of Manhattan's pre-war social events, with
Deanna's voice and charm captivating the
composer, amiably played by Franchot Tone.
WOMEN IN BON DAG E — Monogram
The facts brought out in this picture won't
be new to you if you have read your news-
papers and magazine articles of Nazi treat-
ment of women. But the story will impress
them deeper in your mind. Gail Patrick
brings a humanness to her role as the
officer's wife who returns to Germany to
find the new order in full swing. Sharply
contrasted to this character is the militant
Frau Director which Gertrude Michael
plays. Nancy Kelly does well as the girl
who is not permitted to marry jthe man she
loves because of faulty eyesight. Anne
Nagel and Tala Birell play menacing Nazis.
It will never happen here. This picture
shows how lucky we are.
8
SCREENLAND
MOVIE GOSSIP
A T LONG last, Fred MacMurray and
Paramount are parting company. He
has signed a new deal with 20th. The
rumored salary figure is colossal — to put
it mildly. Fred has certainly done well
for himself. From a saxophone player in
a band, and not a very good one, to
rating as one of the richest actors in
Hollywood today.
TPO PUT it mildly, Mrs. Temple wasn't
very pleased over that "has been"
title applied to Shirley in a national
magazine. Though it may not be true,
Shirley Temple looks as if she hasn't
grown any since last year. She seems
unusually small for her age. Certainly
she is unusually beautiful and charming.
TT'S A NEW contract, a new salary,
and a new dressing room for Margo
at RKO. Her work in "Behind The Ris-
ing Sun" is the reason. Incidentally, every
letter that Eddie Albert sends back to
Hollywood, Margo receives. He's some-
where overseas.
PERSONAL to Katina Paxinou: Bette
*- Davis would like to meet you. She
thinks you have one of the most inter-
esting faces and are one of the best
actresses in Hollywood today. We
thought you'd like to know.
]V/| A.RLENE DIETRICH in the make-
-L»J- up chair is a little experience
M-G-M won't be forgetting in a hurry.
Every morning the star had to have a
complete body makeup job, for that
dance she does in "Kismet." Outside of
a few stray bits of gauze here and there,
and some miscellaneous gold chains, the
rest of the costume consisted mostly of
Dietrich in the flesh.
Helene Reynolds and Lady Hardwicke give
generously their services and clothing to Greek
War Relief. Junior Chairman Daphne Skouras
(center) is all smiles while she lists items.
A sweater worth $5.00 or less costs 12,000
"drachmas," $80.00 in English money, in Nazi-
occupied Greece. At that rate, who wouldn't be
willing to give? Not me, nor, we dare say, YOU.
r^lrv its
Directed by1
DELMER DAVES
Produced by
JERRY WALD
v i
Screen Ploy by Delmer Daves ond Albert Mallz • From on Original Story by Sieve Fisher ' .(Music by Franz Wovnan
SCREENLAND 9
Cover Girl
(AC
Music by JEROME KERN
Lyrics by IRA GERSHWIN
«rltn
I EE BOWMAN - PHIL SILVERS - JINX FALKENBURG
and
THE COVER GIRLS
is or ameiica's most beautiful women
Soil Plir bf Hifilll Vin Upp ■ Piodaced ij Arthur Stimuli
Directed by CHARLES VIOOR
A COLUMBIA PICTURE
F<
ans rorum
FIRST PRIZE WINNER
$10.00
I never realized the true worth and value
of musical pictures until I was confined to-
the station hospital here at camp. Up to that
time, I must admit, I could see little value in
any such celluloid offerings. I had always
sought out the mystery type picture or the
frothy little Noel Coward domestic drama.
Since spending some weeks in the dreari-
ness of the hospital, however, I have become
truly appreciative of musicals. The Red
Cross has provided many of these, lately,
for the benefit of patients. The tuneful mel-
odies, gay dances and pretty girls certainly
make for light moments and a more cheerful
morale not only for myself, but for others
in the same circumstances.
So I say, a salute to the producers of mu-
sicals and let's have lots more of them!
PVT. MAX HABER, Camp Hood, Tex.
SECOND PRIZE WINNER
$5.00
It's the little things that count! A great
many war films that are supposed to depict
army life and training are dismal failures in
the minds of the soldier audience, simply be-
cause directors have not been paying enough
attention to small technicalities. I have heard
an audience of service men break into roars
of laughter in the middle of a dramatic
scene because the hero gave a command in
an unmilitary-like manner.
Perhaps Hollywood technicians do not
know, or are not interested enough in accu-
rate portrayal to find out, that: an enlisted
man does not address an officer in the first
person, but always uses the third, as "If the
Lieutenant remembers . . ." ; buck privates
do not crash officers' dances ; all soldiers
are not jitterbugs, ready to break into a few
steps of the New Yorker at the slightest
provocation ; the battlefield is not always a
circus ring of blood-and-thunder action —
there are maddening hours of eternal wait-
ing ; all top sergeants are not bull-necked,
loud-voiced idiots who delight in torturing
dazed rookies ; soldiers do not get into bat-
tle royals with sailors and marines, in fact,
I have seen a lot of them who are very good
friends.
With close attention paid to these all-im-
portant details, war pictures will again be-
come realistic and entertaining to the huge
soldier audience of America !
CPL. DARRELL ROBERTS,
Camp Santa Anita, Calif.
Say What You Think!
That is the American way of life.
May it never be "Think What You
Say!" as it is in countries suffering
under the heel of the aggressor. Fans'
Forum welcomes you to write what you
think about stars and movies. Monthly
awards for the best letters published:
$10.00, $5.00 and five $1.00 prizes, all
payable in War Savings Stamps. Clos-
ing date, 25th of each month.
Please address letters to Fans' Forum,
Screenland, 205 East 42nd St., New
York 17, N. Y.
FIVE PRIZE LETTERS
$1.00 Each
I was really thrilled recently when I saw
the picture, "Johnny Come Lately," starring
James Cagney and introducing Grace
George. What a pleasant surprise was
Grace George — and how she did steal the
show ! Her portrayal of the aging lady of
the "gay nineties" was a joy to behold. I sat
enthralled by her acting and was really dis-
appointed when the picture ended. Such
delicacy, charm and pathos is rarely seen.
With Grace George, it just seems natural.
Cagney didn't do so badly, himself, as
Johnny Come Lately.
Give us more and more of Marjorie Main
in evening clothes and feathers. That one
delicate kick of her train was worth the
price of admission.
Character actors like this remarkable
woman, Lionel Barrymore in his inimitable
roles, sour-puss Ned Sparks, Victor Moore's
funny drawl, H. B. Warner's superb por-
trayal of the Lama in "The Lost Horizon"
will live on forever. It is good, indeed, to
see some of the honors going to those of
older vintage — like wine, you know.
Give us more of these fine actors !
JOSEPHENE KAMPS, Froid, Mont.
10
Screenland
D
The Comedy Sensations
of "My Sister Eileen"
together again
and funnier
than ever!
AT
RUSSELL AHERNE
IRVING CUMMIN6S
(Malik
i WILLARD PARKER
What a "Find"! .. .Sensation of the Year!
SCREEN PLAY BY THERESE LEWIS AND BARRY TRIVERS...A COLUMBIA, PICTURE
SCREENLAND
11
1
in a sweetheart of a picture.
You'll be raving with the re-
viewers who are saying "light
and frothy... happy entertain-
ment." (Film & Radio Discus-
sion Guide) "Suspense,
heart-throbs and laughs.
Mary Lee is climbing the
ladder to stardom." (Charm)
GEORGE
Jackie Morin * Ln
Patrick • Bennii Bart
litt • Marcia Mae Jones
HEAR
MARY
SING!
Blow, Gabriel. Blew!
I'm Always Chasint
Rainbows— II Had To
ll Tm — and more!
republic picture
I've always thought of a comedian as
someone to make you laugh. Now I think
of him as a human being. This thought came
to me while I was listening to the Abbott
and Costello program tonight, November 4.
I thought they were at their best, and
laughed my head off, until — at the end of
the broadcast Mr. Abbott announced the
death of Lou Costello's child who was to be
a year old very soon. Lou Costello had re-
ceived the news just before the broadcast.
No words can express how I felt. Tonight
he had brought joy into my heart, while his
was breaking with grief. He proved two
things. First, he is a fine showman, and
second, how human he is, something we for-
get too often about the comedian to whom
we owe so much.
I wish there was some way we could thank
Lou Costello. Perhaps the best we can do is
to tell him how much that gesture meant to
all of us, and how it has endeared him in
the American public's hearts. God bless you,
Lou Costello.
ADELE HOYT, Mount Vernon, N. Y.
To me Alice Faye is tops ! Not only does
she have a voice.Jbut beauty also. When she
sings, it's out of this world. You can have
your Sinatras and Dinah Shores. I'll take
Alice Faye any day. She really puts her
heart and soul into a song. I have been
reading in current movie magazines that she
might quit the movies. If she does, she will
break my heart, for I have been a fan of
hers ever since her first picture. That has
been a long time now. I know others will
miss her too. So please, Alice, stay with the
movies.
ANNE BESULMAN, McKees Rocks, Pa.
Open Letter to Frank Sinatra
Not very many people noticed you when
you sang with Tommy Dorsey's orchestra,
but some did and, like myself, knew that
someday you would be a great singing sen-
sation. Then, all of a sudden overnight you
rose to stardom and became the idol of
millions.
You ask reporters please not to compare
you with Crosby. Well, how could they,
anyway? Sure, Crosby is still great, but
his style is different from yours. In fact,
so different that it's like comparing earth
to water.
People and magazines everywhere are
now asking, 'What will Hollywood do to
Frank Sinatra? Will it ruin him?" Of
course, Hollywood won't kill your career.
After your picture "Higher And Higher"
(and that's just what you're doing, climbing
higher and higher!) comes out, you'll be
twice as much in demand. All the people
who now can't decide whether they like you
or not, will definitely have it clear in their
minds just how wonderful you are.
Many psychiatrists are asking the ques-
tion : "Why do women go into hysterics over
Sinatra?" Well, if someone asked me the
question, I'd say, "The main thing is his
voice. Frank Sinatra has his own style
which just 'sends you!'" The way he lets
his voice drop dreamily at the end of his
song. The other reasons are his personality
and his looks. They just go with his voice,
somehow.
Please keep up the good work which you
have so successfully started. For many
people who feel blue and unhappy, you are
the person who brings cheer and happiness
to them. We're all rooting for you !
MARJORY COLT, Dalton, Mass.
Give me strength ! I've had just about
all I can stand. I just saw "Mr. Big" and
I'm boiling. Now don't get me wrong. I
thought it was a lot of fun, strictly in the
groove and the kind of a picture America
needs today. But what have they done to
Gloria Jean? Her clothes ! Her hair ! Her
personality! Instead of being a teen-aged
kid she looks and acts old enough to be
Methuselah's mother. Her dresses look as
though they were meant for Jane Eyre and
her hair-do must date back to the Victorian
Era. In every picture I've seen, she's been
the same colorless character, absolutely
without initiative or personality. If it weren't
for her wonderful voice, one would forget
she was in the picture after leaving the
theater.
Listen, Hollywood ! She's got loads of
looks, charm and appealing personality, but
you've hidden it all under that superficial
mask of "Hollywood ingenuity." Wake up!
Dress her like every teen-aged girl in Amer-
ica dresses. Give her a big, sloppy sweater,
a luscious pleated skirt and a pair of dirty
saddle shoes. Cut off those flowing tresses
and give her a soft, fluffy feather bob. Kill
that shrinking violet personality and let her
give out with pep and charm. Then, Holly-
wood, stand back and watch the change.
She'd be an inspiration ! Over night she'd
be the American high school boys' heart
throb and the sweetheart of Mr. and Mrs.
America.
Wake up, Hollywood ! The kid's a gold
mine !
CHARLOTTE BISKNER, Green Bay, Wise.
HONORABLE MENTION
For an all-time new-high in comedy, I
suggest teaming the bombastic, beauteous
Betty Hutton with the hilarious, happy-go-
lucky Joan Davis. With the males chasing
Betty, and Joan chasing the males, the side-
splitting possibilities for tuch a picture are
innumerable. For some time now, while
watching the luscious Betty Hutton on the
screen, I unconsciously think of Joan Davis,
and vice versa. I only wish I were capable
of putting into print the screamingly funny
scenes that race across my mind whenever
I think of those two darlings of comedy.
They both have a naturalness, ease and
grace that is utterly lacking in most come-
diennes. They could easily be the first
female "Abbott and Costello." And to com-
plete this mad scramble we might add a dash
of Charlie Ruggles, a master in the art of
subtle silliness. The result would be nothing
less than terrific.
I wonder if this idea of mine will ever
see celluloid?
SHIRLEY LANGE, Toledo, O.
A word with Humphrey Bogart, please.
In "Action In The North Atlantic" you
were grand, as usual, Bogie. But as a prac-
tising dentist I found myself puzzled and
intrigued by that toothache you had. First
it was on the right side of your jaw. Then,
in another scene, it had switched to the
left. You should make up your mind, or
you will have the wrong molar pulled !
Here's a professional tip. When in doubt
about the offending tusk, just rap it with
any small steel instrument. The tooth that
jumps like a bucking bronco is it.
You're welcome — don't mention it !
D. W. DAVIES, Vancouver, Can.
12
Because Freedom isn't rationed, the price is high; but in
all the world there's no better buy. Invest in War Bonds!
SCREENLAND
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The Common Cold
More than one great physician calls the Common
Cold our biggest health problem. It affects 95c/'c of
our population, with children under 10 the most
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annually: and causes more absenteeism in war in-
dustry than all other things combined.
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Screen land
Above is Streptococcus Viridans, oneof the many
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WHAT do we know of this recurrent in-
fection that dogs us from childhood
through old age, exacting staggering tolls in
money, health and time? Not a great deal . . .
but more than we used to.
Late research has led many of the foremost
medical men to concede the following the-
ories about it:
1. That some kind of virus, unseen, prob-
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2 . That anything that lon ers body resist-
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temperature change, fatigue, encourages the
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cold's complications and much of its misery.
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13
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from
HOLLYWOOD
Susan Peters, in white
satin and tulle, is the
pretty new bride of
Seaman Richard
Quine, formerly of
Hollywood, now serv-
ing with the United
States Coast Guard.
WHAT has happened to Charles
Boyer? Though his studio denies it
vigorously, a co-worker on the "Gas-
light" set says he is "difficult." Accord-
ing to our informant (who has been do-
ing scenes with him) Charles has barred
all visitors from the set — with no excep-
tions. He won't give out interviews to
the press and when he isn't before the
camera, he shuts himself away from the
rest of the company in his dressing room.
Maybe it's war nerves. For a long time
the famous Frenchman has brooded over
the plight of his beloved France.
Best of friends and worst of enemies, Jack
Benny and Fred Allen brush up their gags
before Command Performance Christmas show.
WITH "The Song Of Bernadette" yet
to be released, you can imagine the
studio's anguish when Jennifer Jones an-
nounced her separation from Robert
Walker. Wonder if Jennifer's mother's
quiet visit to Hollywood was an attempt
to effect a reconciliation? To date there
has been no mention of a divorce.
HOLLYWOOD and Elyse Knox may
not be seeing John Fayne for some
time to come. Now that he's complet-
ing his flying training, John hopes to be
a pilot with the Air Transport Command.
What's more, he's eager to get going.
BOB YOUNG is beginning to feel aw-
fully uneasy in the presence of Eddie
Cantor. Bob's wife just presented him
with a third daughter and nary a son in
sight. Optimist that he is, says Bob
philosophically: "Oh well, better luck
next time."
JVjlCKEY ROONEY sounded like a
seal in a fish cannery, when his
mother gave him a new ring. It features
his initials in diamonds and rubies. Is
Mickey proud!
14
SCREENLAND
she's
America's newest,
truest Heroine . . .
THE "CHIN UP" GIRL
Here is a memorable drama of today's unbeat-
able brand of courage and love! The brave and
human and truly great story of the FURLOUGH
WIVES and sweethearts who wait and wish . . .
and work for the men who live in their hearts!
GINGER ROGERS
More loved, more lovable, more lovely than ever, in
"J&nder Comrade
B~ i ROBERT RYAN RUTH HUSSEY ls|
Patricia COLLINGE • Mady CHRISTIANS • Kim HUNTER • Jane DARWELL • Richard MARTIN "SW"
Produced by David Hempstead • Directed by Edward Dmytryk • Siory and Screenploy by Dalion Trumbo \^
From 1 7 to 70 you
can be lovely!
Top, formal coiffure, the swirl pompadour with
the back either high or low on neckline, selected
for Rosalind Russell, soon to be seen in Columbia's
"What A Woman." Below, informal hair-dress
with ends rolled smoothly under on forehead
and neckline, choice of Lana Turner, in M-G-M's
forthcoming picture "Marriage Is A Private Affair."
N YOUR collection of screen favorites,
aren't there actresses of assorted ages
who all have lots of appeal for you?
Don't most of you have a pet young
starlet whom you think is just tops?
Don't you also claim as a special love a
glamorous headliner who may have been
big brother's heart-throb ten years ago?
And, don't you always admire some won-
derful star who's had fans galore for a
long, long time?
Of course you do! And it certainly
gives all us girls a great big lift to realize
that attractiveness isn't measured by age
any more and that years needn't lessen
loveliness or popularity. From the stars
we discover that every age has its own
special charm, and, if we're smart, we'll
learn early the movie beauty secrets for
our twenties, our forties, etcetera.
Perhaps the most important tip-off on
these perennial good looks is: be honest
with yourself about your age. Naturally,
the number of your birthdays isn't any-
one's business but your own, but if you
(Please turn to page 89)
16
SCREENLAND
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Screen la xd
17
Here is greatness . . .
wonder . . . majesty
... a motion picture no
human words can
describe . . . but which
'\ every human heart can
k feel . . . and share.
tog htj
Duval
Bette Davis, with member
of Shore Patrol, keeping
situation well in hand at
Hollywood Canteen's memo-
rable first anniversary party.
AN OPEN LETTER TO BETTE DAVIS
"pvEAR BETTE :
*S You may never forgive me for writing you this letter
but I'll have to take that chance. I think it needs to be
written, and because I have known you such a long time,
almost since your start in pictures, I am taking the liberty
of old friendship to say something to you.
I want you to know how much the motion picture in-
dustry owes you for your gallantry in carrying on, in the
face of great grief, because you were needed so much. The
Hollywood Canteen's first anniversary was an occasion,
and as such called for a very special sort of celebration.
As the leading lady of the Canteen, as its guardian angel
and hardest worker, you could not be spared — and so you
came through. These pictures of the gala birthday party
show the strain you were under — but they also show your
indomitable spirit, your shining courage. I think they are
the finest pictures ever made of you, and I want everybody
to see them.
Bette is shown, below, with Patricia Morison, left; with John Garfield and
Leopold Stokowski; right, at mike with Bob Hope and Canteen birthday cake.
1
IMENTS
FREE
"Go away, my child, and forget what has happened in this
house," is the advice of Halliwell Hobbes to Ingrid Bergman
who appears in the prologue as a twelve-year-old child.
Bergman and Boyer return to the house of mystery as husband
and wife. It's a dramatic moment flooded with memories of
the past, mingled with the excitement of the present.
"An old letter — written the day before she dfed." Ingrid
Bergman's discovery of her aunt's letter among old musical
scores brings her pleasure, to Charles Boyer — disaster?
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Ci»Y
ONE OF A SERIES OF ADVERTISEMENTS PREPARED AND SPONSORED BY EASTMAN KODAK COMPANY, ROCHESTER, N. Y.
Joel Kupperman, 7 - year - old
mathematical wizard of radio
"Quiz Kids," makes movie debul
By Maude Cheatham
He's alt boy, this baby genius! Here are first shots
of Joel in Hollywood: exploring Universal lot, left;
closeup; meeting Donald O'Connor, with whom Joel
appears in "The Third Glory"; and, bottom of
page, he poses with his Dad, Mom, and Sis.
THE most interesting thing about Joel Kupperman, the 7-year-old
mathematical wizard of the "Quiz Kids," is that he's just a boy
— all boy!
He jumps over tables, crawls under chairs, bangs doors, plays leap-
frog over ash stands, displays insatiable curiosity about everything
he sees and proceeds to investigate, pronto. And his knees and shins
are covered with scars from falls and bumps. After a sharp contact
with the asphalt pavement he picks himself up, brushes off the dust,
and carries on. No whimpering, no seeking sympathy. He's a hand-
some, sturdy youngster, 4 feet, 2 inches tall, with dark, flashing eyes
that seem to see all things. He has poise and confidence but he's
never smarty, nor are there wisecracks. Mr. and Mrs. Kupperman
have managed to keep their son unspoiled, and seemingly unaware
that he is unusual.
Joel's arrival in Hollywood to make a picture sent Universal studios
into a series of dithers. Accompanied by his father and mother, and
sister Harriet, age nine, he was met at the Pasadena station with the
usual pomp, including a sprinkling of studio executives, representa-
tives from the publicity department and photographers, who were on
hand to roll out the red carpet. But before they could swing into
action, the acrobatic whirlwind was already examining a freight car
on the next track. Then, as he was about (Please turn to page 68 )
CRASHES HOLLYWOOD
NGER ROGERS AND RAY MILLAND
IN "LADY IN THE DARK"
Moss Hart's famous stage hit becomes a glam-
orous Paramount movie, with co-stars Rogers
and Milland giving brilliant performances.
She risked a
kingdom for this
one kin!
i
only once— in a lifetime
"PERICHOLE". . . singer in the
streets, power behind the throne, all
woman, all wonderful . . . From Thornton Wilder' s
Pulitzer Prize-winning novel . . . this immortal
screen thrill. Don't miss it!
dom and
ruled him!
The Marquesa
understood and
loathed her —
because she, too,
was a woman!
Benedict Bogeatis Presents
The Bridge of
Son Luis 1?ety '
Starring W
Lynn Bari • Akim Tamiroff • Francis Lederer
«itt Narimova • Louis Calhern • Blanche Yurka • Donald Woods
Directed ky ROWLAND V.LEE • Screenplay by HOWARD ESTABRQOK
From THORNTON WILDER'S Pulitzer Prize-winning Novel
A ROWLAND V. LEE Production • Released thru UNITED ARTISTS
To heck with glamor,
when the world Is beg-
ging for belly laughs!
So the elegant Miss
Colbert lets herself get
all dirtied up for her
best comedy role, in
which she plays a lady
photographer in love
with a sandhog (Fred
MacMurray). Paramount
director Mitch Leisen
(above and left) had
the time of his life with
the scenes showing
Claudette caught in a
flooded tunnel. But to
even things up, he di-
rected plenty of scenes
showing the star as her
soignee, -fastidious self.
Chic and charming Claudette
Colbert gets a mud bath in
"No Time for Love" and likes it!
HE STOOD in a corner at the canteen — looking too
big for his uniform. Often it was the other way
around, often the uniform looked too big for the
soldier! There was something about the way his hands
emerged from the khaki-colored sleeves that made one
conscious of his wrists — heavy wrists geared to plowing
and chopping down trees and that sort of thing. Geared,
perhaps, to plowing through a battlefield and chopping
down enemy resistance. His feet in their heavy shoes
looked worried, more worried than his face, which merely
showed embarrassment. He was thinking, "How did I
happen to come here, anyway? The other fellows are all
such hot dancers and the hostesses are all so beautiful.
I — I'm like a fish out of water. Wish I could make a
getaway."
The hostesses were supremely beautiful — most of them
were beautiful because it was their business to be that
way. Screen stars for the major part, and radio stars
and visiting stage stars. Women who usually smiled for
thousands and who were now dividing their smiles into
small intimate groups. Somebody on the tiny platform
was running scales on a piano — there was going to be
a song presently and then a specialty dance and then
the general dancing would start again. And the boy stood
in the corner and wished that the lights would go down
just a trifle so that he could fumble for his tie and jerk it
into a tighter bow — a tighter bow so that he'd look slick
and tidy.
She came toward him across the thronged room. Her
skirt was taffeta and it swished about her knees as she
walked — some said that her knees were insured for a
fabulous amount! Her hair was a dusky cloud about her
shoulders — it flirted with the gardenias that she wore
on her left shoulder — the gardenias tied with a knot of
silver ribbon. She came straight toward the boy and he
recognized her and gulped and felt a tide of color sweep-
ing up from his chin to the line of his sandy hair.
"Gosh," he thought, "gosh, she's heading this way and
she's got her eye on me ... If I've seen her in one picture
I've seen her in a hundred, and she's got her eye on me. I
wonder if she's going to speak to (Please turn to page 28)
the
"Hi, soldier!" she said. "This isn't the time or
place to look lost and lonely. How about a dance?
The boy gulped. "Every Saturday night back home I'd
sit through two shows when your pictures played. Don't
laugh at me, but you've always been tops as far as
I was concerned. But I'm not a hot dancer. Maybe
you better ask one of the other fellows." "I didn't
come here to dance with hot dancers," she said.
"I came to dance with heroes in the making."
Just another soldier visiting the canteen,
dancing with his favorite movie star. But
he left with memories that made him a
hero, in the real-life feature called destiny
By Margaret E. Songster
Something new! Poignant fiction illustrated by
Anne Baxter and William Eythe, stars of 20th
Century-Fox's production, "The Eve Of St. Mark"
AH at once she was unpinning the gardenias that she wore on her
shoulder, not very far from her heart. "Shall I pin them on you,
soldier, or would you rather keep them in your pocket?" Posed by
Anne Baxter and William Eythe to illustrate Margaret E. Sangster's
tender story of a Hollywood canteen interlude and its aftermath.
J/
i
V
She was standing on tip
toe, kissing him lightly
on the chin. And then
she was gone, with
never a backward glance.
But the gardenias she
had given him went
along to a distant battle
front where they served
as an inspiration to
deathless courage. Back
in Hollywood, a movie
star realized that being
glamorous was more of
a job than a privilege.
me, and if she does I wonder if I'll recognize her voice. I've
heard it plenty but I wonder if I'll recognize it?"
She was coming closer. He could hear the swish of the
taffeta now and it became mixed, in a funny medley, with his
pulsebeats. And then her voice sounded and it was almost
exactly as it had sounded from the screen — low and husky
and oddly confidential.
"Hi, soldier," said the voice, "you look sort of lost and
lonely! But this isn't the time or the place to look lost and
lonely."
The boy gulped again. "I'm not lost nor yet — lonely," he
said, trying to explain, "it's just — well, I'm like a fish out of
water . . . Having you near me, for instance, is part of the
whole setup. What I mean is, nothing's real."
Dusky hair, a rustling taffeta skirt, gardenias on a shoul-
der. She smiled at him and the small intimate group smile
became more than intimate.
"Then you know who I am?" she said, and the boy told
her — "Sure, I know. Every Saturday night when you were
28
Exclusive photos by 20th Century-Fox posed for
Scree XL and by Anne Baxter and William Eythe of
"The Eve Of St. Mark."
at the Bijou I'd go to town early and — sometimes I'd sit
through two shows. Don't laugh at me — don't think I'm
corny — but you've always been tops as far as I was con-
cerned."
Head a trifle on one side— just a trifle. Eyes suddenly meas-
uring. "So you went to town — and sat through two shows,"
she nodded. "Farmer, perhaps? Before this?"
"Yeah, and after this," said the boy. "This is just a
happen-so, this war stuff. When it's fixed over there — " he
hesitated. "Ever been on a farm?"
The star dimpled. "You asked me a question," she said, "a
direct question! You're coming on, soldier! Not quite so
lonely now, eh? Not quite so lost?"
The boy thought, "She's a little bit of a thing. I could put
my two hands around her waist and the pinkies would meet
and the thumbs." He thought, "I bet I could lift her with
one hand." He said. "Talking warms a guy up."
The scales that were being run on the piano had become a
theme — a quartette was crooning. She moved closer to the
soldier, so close that he could feel her arm touching his — her
arm vibrant through the paper-thin taffeta.
"To answer your question," she said, "I was on a farm
once — it was a publicity gag. I wore overalls and pitched
hay and fed baby pigs. I was cute."
"I bet you were cute," said the boy. He thought, "Nights
after I've sat through two of her shows I've laid awake won-
dering what it would be like to touch her and now I am
touching her . . . Lots of nights I've wondered how her eyes
would look close up — if the lashes were honest-to-goodness.
And now I've seen 'em — close up . . . And they are."
The quartette was crooning a last bar. There was applause
— loud applause — like thunder in August, when it might ruin
a crop, and the boy clapped too, with his wrists looking
heavy and over authentic. And then the dance music started
and all at once her hand was on his wrist. Slim fingers, like
satin threads on his wrist.
"How about it," asked the low husky voice, "this isn't a
rhumba or a samba or any of the {Please turn to 'page 72)
29
DEANNA
30
WITH the devastating abruptness of block busters two
explosions have occurred in the heretofore placid life
of Deanna Durbin.
The first is a complete change of screen characterizations.
The second is a total readjustment of her private life as a
result of her divorce from her childhood sweetheart, her only
suitor, Lt. (j.g.) Vaughn Paul, U.S.N.R.
By the time this reaches print, Deanna Durbin will be
22 years old. She very definitely has become an adult in
both her lives — the screen life which millions know so "well,
and her private life, which she has had the foresight and good
sense to keep to herself.
The result of her growth to womanhood has been the
abandonment of the tenderly sweet parts in "Three Smart
Girls" and "One Hundred Men And A Girl." Her latest
Universal starring picture, "His Butler's Sister," marks a cine-
matic turning point. She is seen with Pat O'Brien and
Franchot Tone, Pat playing her - brother and Tone a com-
poser who has lost his muse and who falls in love with her.
She, her voice and her encouragement get Tone back "in the
groove" and, of course, there is the suggestion that some
day they'll marry. It's light, filled with laughter, colorful —
and it is Indian Summer for Deanna's childhood.
In her next picture she becomes very definitely a woman.
The production is based on "Christmas Holiday," a Somerset
Maugham novel. The story opens, as adapted for the motion
picture, with Deanna singing in a torrid New Orleans night
Remarkable career of Deanna Durbin it traced in photos above.
Reading up from right: with her discoverer, Eddie Cantor; her
first director, Henry Koster; her mother, on the set; studying
script; and celebrating her fifteenth birthday. Below, Durbin's
first great hit. "Three Smart Girls." JH^ht, facing page, her
latest: "His Butler's Sister," with Pat O'Brien and Franchot Tone.
_ 3t. A soldier comes into the place and
they meet. She tells the story of her life 'with
cinemactor Gene Kelly, including her mar-
riage to him and his subsequent murder of
a man during a robbery, his conviction and
sentence to life imprisonment. The story
ends with Deanna thanking the soldier for
being so nice to her as she sends him on
his way.
In the picture, she is married on the screen
or the first time. She sings far less than in
any previous picture. "Christmas Hobday"
is a gripping, powerful drama. In it, Deanna
is called upon to act — really act, for the
first time. (Please turn to page 65 )
With a complete
change of screen
characterizations,
and the total re-
adjustment of her
private life, Deanna
Durbin says good-
bye to girlhood. In
her new roles, in
her new life, she has
become a woman
By
Barbara
Flantey
The candid camera caught four
phases of Deanna's romance
with Vaughn Paul, her first-and
only suitor (left). Today,
Deanna and Vaughn are sep-
arated, sad ending to Holly-
wood's sweetest love story.
JUST when I thought I'd scream if I met another actor I
met another actor. Name of Robert Ryan. I didn't scream.
Robert is a perfectly swell person with a grand sense of
humor, who knows more about writing than most people who
interview him. He's good looking, too, in a rugged Fred Mac-
Murray sort of way. He's six feet three, weighs 194 pounds,
has black hair and brown eyes, and easy, casual manners. In
his first five pictures (all made at RKO where he is under
contract) he was never allowed within whistling distance of
the heroine. He usually got bumped off early. But in his next
picture, "Tender Comrade," he gets the girl — Ginger Rogers.
Why RKO has never let him get the girl before I'm sure
I don't know. RKO doesn't know, either. Any girl in her
right mind would go for him hook, line, and sinker. Joan
Leslie in "The Sky's The Limit" (he played Fred Astaire's
buddy who made him dance Little Egypt on the canteen
table) was definitely not in her right mind. /
But from now on the studio* will see to it that there is
plenty of girl-getting for Massa Robert. RKO has signed him
on a "duration contract." Which means that as soon as the
war is over — he becomes Private Ryan complete with G.I.
haircut any day now — he'll take up where he left off. He left
off in Ginger Rogers' arms. Which is a good place to take up.
People are always telling Bob that he doesn't look like an
actor. He doesn't know whether to be flattered or riot. He
was brought to Hollywood by Pare Lorentz to play in "Name,
, Age and Occupation," (now shelved) at the end of a six
months' search for an actor who didn't look like an actor.
Only a few nights before, he told me, he had had dinner at
Romanoffs with a group of Marine officers from the San
Diego base. When it was time to go home, the Major, who
had sat next to him all evening, turned to him and inquired,
"What business are you in, Mr. Ryan?" (Couldn't happen to
many actors, or am I being catty!)
"When I told him I was an actor, he looked perplexed/' said
Bob. "People are always looking perplexed. Maybe it's due
to my unreasonable indifference as to how I look — a little
something that has annoyed my mother for thirty-four years."
Maybe it's because Bob didn't make up his mind to become
an actor until he was twenty-eight. '"That's supposed to be
ancient to start acting," he says with a grin. But Bob feels
that when an adult becomes an actor, when he throws his
whole heart, soul and body into it, when he makes personal
sacrifices and endures all kinds of hardships, in the long run
he turns out to be a better actor (Please turn to page 83)
RYAN GETS THE GIRL I
is first five films for
0 Robert Ryan was
r allowed within whis-
distance of the hero-
But in his new pic-,
"Tender Comrade,1
gets the girl — Ginger
gers. Above, scenes
n the romantic film.
r
WHY JOEL McCREA IS
"Buffalo Bill" may well be Joel's final film
for the duration. Pictures at right, and
below, show him in new role, with Mau-
reen O'Hara playing opposite (far right).
Above, studio hairdresser on "Buffalo
Bill" location gives finishing touches to
wiq Joel must wear for the title role.
Hollywood wonted to sign him up for seven solid years! Read here,
34
QUITTING
FILMS
FOR
JURATION I
By
Dora Albert
V* %
THE scene was the Wild West in the
days of Buffalo Bill. Before us
stretched a peaceful valley, with a
stream lazily meandering through. At
least, to superficial eyes, the valley would
look peaceful. Actually, in "Buffalo Bill,"
it will be a scene of carnage and destruc-
tion, for the picture contains more thrills
and action than the old dime novels.
A tall, blond young man in a buckskin
suit strode across the stream. Because he
was wearing a goatee, you might have
had some difficulty in recognizing him as
Joel McCrea, if it weren't for the out-
rageous twinkle in liis eyes. Buffalo Bill,
I'll bet. never had a twinkle like that.
While I watched, Buffalo Bill put his
arm gently around an Indian girl, and
carried her across the stream. This was
just a rehearsal; but from all sides came
exclamations of envy and amusement.
"It's lovely work, Joel, if you can get it!"
"You mean they pay you for doing that?
You ought to be paying them, Joel."
The Indian girl smiled, and I took an-
other look at her. Linda Darnell, of
course, under all that Indian makeup.
Only one girl in pictures has that smile.
"Try it again, Joel," the director called.
"I want to see which variation is the
best."
So Joel got into the stream again, and
once more placed his arm around Linda's
slender waist. Again, when the scene was
finished, came those catcalls. "Isn't that
a lovely variation?"
"/ know a wonderful variation," one
of the cameramen laughed. "Why not
have Linda carry Joel across the stream?
That would be really different." .
When I went to see Joel in his dressing
room, after -the scene had been shot, the
memory of those- friendly jeers still rang
in my ears. For they really expressed
Hollywood's attitude, underneath all the
kidding. Joel should be having a won-
derful time. He certainly should want to
continue to make pictures like this one.
Yet only a short time ago newspapers
had startled Hollywood with the report,
"Joel McCrea to retire from pictures for
the duration!" Ever since, there had been
a good deal of speculation as to why Joel
was leaving pictures. Some newspapers
said it was because he wanted to devote
all his time to work for the Department
of Agriculture. One newspaper reported
that Joel was going to do work for the
"rehabilitation" of wounded men. A silly
report, on the face of it. One got a pic-
ture of Joel playing the amateur psy-
chologist or physician. Knowing Joel, I
knew there was something twisted about
that report.
The best-informed Hollywood column-
ists had all made their own guesses as to
why Joel, at the height of his fame, was
quitting pictures. The men on the set
were not entirely kidding when they said,
"Such lovely work. Joel." Thinking of
all the love scenes Joel has played oppo-
site such glamor girls as Linda, Jean
Arthur, Barbara Stanwyck and others,
they might well have asked, "Why are
you quitting, Joel?"
Obviously Joel wasn't quitting because
he was no longer wanted in Hollywood.
He is at the height of his fame and suc-
cess. Hollywood, never more desperate
for leading men than now, is eager for
any personable actor, but exceptionally
anxious to keep Joel under contract.
"The More the Merrier" wowed people
at the box office; and the producers know
that when Joel is in a picture, the merry
(Please turn to page78)
exclusively, why McCrea is turning down commercial picture offers
35
A gorgeous blonde
star in Hollywood is
no different than a
million other war wives
who have had to re-
arrange their lives.
For the first time Lu-
cille Ball tells how she
is living for today—
for all the todays until
her husband comes
marching home again
f:
Intimate Notes
of a Wartime Wife
As told to S. R. Mock
j
D'
'^^suc<
ESI'S gone!"
Two little words fraught with as much significance
to me as Hitler's surrender would mean to the world
in general.
"Miss Ball," I said to myself, "you may as well face it.
There'll be some changes made — and I don't only mean in the
weather. You've been hearing all your life how a split second
can effect a person's destiny. My dear, you may as
well understand that a couple of well put words, pre-
ferably monosyllables so there can be no doubt of their
meaning, can have an equally devastating effect. Your
little world is tottering and you had better start brac-
ing the foundations — but quick. Desi's gone and, for
the duration, you're going to be a war widow. Get
busy, chum. Let's have no moaning at the bar. What
are you going to do?"
I have never cared for pointless conversations and,
as there seemed to be nothing more to be said, I ended
my chat with myself, but my mind was still ticking
sixty to the minute. I remembered there are a couple
of million other wives in this country who have had
to rearrange their lives. Most of them have done it
successfully and graciously. Others — well, I mustn't
let myself think of them. Trying to fight the unavoidable is
like Don Quixote tilting at windmills.
I remembered reading one of 0. 0. Mclntyre's columns.
He had met Billie Burke at a party. Before her marriage to
Flo Ziegfeld, Miss Burke had been one of the biggest stars in
the New York theater. When her manager was drowned in
the sinking of the Titanic, Ziegfeld (Please turn to page 81>
JOSEPH COTTEN TURNS
TO ROMANCE
When Joe Cot-
ten first came
to Hollywood
he played a
character who
spent most of
his time in a
gray wig and a
wheel chair.
Now the bold,
blond, and
handsome guy
comes into his
own in ro-
mantic roles
By
May Mann
He wowed 'em on Broad
way as Katie Hepburn's
romantic leading man in
"The Philadelphia Story"
— so Hollywood promptly
cast him in aging roles. It
toot "Hers to Hold." the
Deanna Durbin picture
(see love scene with star
at lower left) to make
him a movie sensation.
See him next opposite
Claudette Colbert (cen-
ter below) in "Since You
Went Away," in which he
also shares honors with
Shirley Temple and Jen-
nifer Jones (lower right,
facing page). Mrs. Cotten
is seen with Joe and his
best friend, Orson Welles,
in Stork Club candid.
JOE COTTEN is 38, tall, blond and as arresting a male as
ever eyed a camera. But his first movie detoured him
from the romance pattern Broadway had originally set.
He was terrific with Katharine Hepburn in "The Philadelphia
Story" on Broadway. Then he came to Hollywood and played
a character that spent most of its movie footage in a gray wig
and a wheel chair. Next came a similar aging character, so it
was no wonder that movie-going femmes were knocked for a
loop when the bold, handsome and young Joe Cotten came
into his own, minus any 'disguises or old age appliances, in the
Durbin opus, "Hers To Hold." Every producer in Hollywood
leaped at Joe's contract to find a few weeks when he could
work for them.
So it was that I found myself sitting sleepily through Joe's
radio broadcast rehearsal one Friday evening at 11:30 p.m.
Joe is making two pictures simultaneously. At Metro-
Goldwyn-Mayer he is the love of Ingrid Bergman's life in
"Gaslight." fie is also playing Tony, the yoling Naval officer,
in David O. Selznick's "Since You Went Away." The spare
moments between he is engaged with his radio broadcast.
Just try keeping up with a young man so much in demand.
I did.
I took one of my precious No. 9 gas coupons and drove out
to Joe's house in the Pacific Palisades. I remember two years
ago when Joe was more of a gentleman of leisure and I'd
spent some lovely afternoons at the Cottens'. Numerous cars
kept pulling up the drive. Tourists' buses, too. They'd stop
right out front and the passengers would gape at the house.
Joe opened the window. "Listen," he said. "They think
Douglas Fairbanks, Jr., fives here." And sure enough, the
guide in the tourist bus megaphoned loudly and at great
length: "Ladies and gentlemen! The house and the spacious
grounds you see before you belong to that popular Hollywood
actor, Douglas Fairbanks, Jr.!" At that time, Joe Cotten
could have walked right out in front and no one would have
paid the slightest bit of attention to him. But how times have
changed!
As I said, I arrived at Joe's house to discover that M-G-M
had detained him. In fact, he was jumping off a high building
that afternoon for the benefit of Miss Bergman. And just
when he was preparing to leave for home — and dinner, the
Selznick studios called him for an added scene. So the oblig-
ing Mr. Cotten gallantly stepped into the middle of a
cinematic fracas between Claudette Colbert and Jennifer
Jones, emerging from it in a slightly battered condition.
Joe managed to leave the studio in time to make his 7:30
radio rehearsal at CBS. He telephoned he would be tied up
there until 11:30 pjn. And now you can understand why he
sometimes looks ' back upon his "wheel chair days" with a
little longing.
At midnight Joe was still rehearsing. It was 12:30 before
the radio director said, "You can break it up now. But be
sure and be here at eight in the morning — and nine on Sunday
for dress preview of the broadcast."
"I'm sorry," Joe apologized, breezing over fresh and fit as
though he hadn't been up since six that morning and on a
merry-go-round of activity ever since. "I just haven't had a
minute off for the last three months."
"That's what you get for rejuvenating your screen self and
turning to romantic roles," I said as we walked to Columbia
Square. The janitor was sweeping up, but we sat down for a
few moments by the plate glass windows and watched the
crowds emerging from the Earl Carroll Theater across the
street. Gay crowds of people who'd had a carefree evening of
pleasure and fun.
"It's been over a month since I've had a night off to go out
to dinner and dance," Joe smiled. "Making two pictures at
once — " he explained.
"That's what you get for being a good actor — and a roman-
tic one," I pointed out. -
"That's just the way I want it," Joe said. "It's great."
In spite of the charm and magnetic personality of Joseph
Cotten, it was past midnight, and I was discovering that I
couldn't keep my eyes open. "Sorry," I apologized. "It isn't
the company. Just the hours. I was up at seven this morning."
Joe suggested that we continue the next day on the set . at
Metro. As I drove home in the misty moonlight of a Cali-
fornia winter night, I couldn't help remembering that only
four Joe-Cotten-pictures back, he hadn't been so rushed and
so busy. And now here he was, the brightest male star of the
year — and still trying to be as cooperative as ever. But a
man whose time belonged to this studio or that one, right
down to the split second.
I didn't get out to Metro, for Joe called the next day to
say the cast of "Since You Went Away" was giving a party
on the set at Selznick's in the late afternoon. Would I like to
come out for the fun? "Claudette Colbert, Jennifer Jones,
Shirley Temple — they'll all be there," he added by way of a
build-up, in case Joseph Cotten himself wasn't sufficient
attraction.
At the party we sat nibbling at a delicious buffet dinner.
We were seated at a small table under a big oak .tree in the
garden of the Hilton house on the set. And it ivas fun, with
no one enjoying it more than the hard-working Mr. Cotten.
Whatever Joe's good fortune now, he can only feel that it is
a just attempt on the part of fate (Please turn to -page 70 )
HSlfliHflHHHHHHB9HHHHHHHHMHHHMMflflH
By
Barbara
Berch
With Anna Sten in
"Three Russian Girls,"
Kent Smith shows the
striking talents which
made him one of Broad-
way's best leading men,
opposite Katharine
Cornell, Jane Cowl, and
other great stage stars.
A
GENTLEMAN
NAMED
SMITH
He says he's "bad copy," this good actor named
Kent Smith. But you will find his story one of
the most interesting to come out of Hollywood
KENT SMITH is the kind of big, roomy, easy-going fel-
low known to the trade as "bad copy." Sure, he's like-
able, he's dependable, he's great company — but, first of
all, they tell you, there's his name. Smith. It's good and
square — but it's nothing provocative like Flynn or Ladd or
Bogart. Then, he's never made any daring escapes from the
Gestapo, nor shipped off on a cattle boat to see the world. Nor
does his love life make women sigh vicariously over the utter
misery of it all. No, Mr. Smith is a prince of a chap, but how
can you glamorize a guy who's a Son of the Revolution, who
went to Harvard and married a nice girl, and is now living
happily ever after?
Well, we're here to tell you it's easy. Because Smith is so
darn normal he's refreshing. He wears gingham-checked
shirts, for instance, and rides a
bike to work. He likes vanilla
ice-cream, and can tell just as
many corny jokes as the rest
of us. He smacks his lips over
the Petty Girl, and plays tennis
(Please turn to page 62)
Closeup of this Smith gentle-
man with Miss Sten from
United Artists' film of the
heroic Russians of Leningrad.
41
She's a Lady in more ways
than one, is dainty Merle
Oberon. They call her "a
good Joe," and in studio lingo
you can't do better than that
OUT on the Twentieth Century-Fox
lot, where for years big stars have
thrown temperamental outbursts,
and .temperamental outbursts have
thrown big stars, the hired help are moon-
ing over a Dame, or rather a Lady (I al-
ways get my titles confused) , name of
Merle Oberon. When they talk about
Merle they get so starry-eyed you'd think
it was Merle, instead of Bemadette, who
got sainted over on stage nine recently.
They call her "a good Joe," and in studio
lingo you can't do better than that.
Well now, you say, press agents are
paid to say nice things about their stars.
Even when the star is George Sanders.
But there's a difference, believe me. I
have heard press agents prattle for a long
time, and you don't have to be particu-
larly bright to- be able to tell when it's
from hunger and when it's from sincerity.
Merle had never made a picture at
Twentieth Century - Fox before "The
Lodger." The hired help were consider-
ably wary of her. After all she is a top-
drawer Glamor Girl, and the publicity
department hasn't been too happy at
times with visiting Glamor. A producer's
wife herself, she calls the Boss "Darryl"
and the Boss's wife "Virginia." And
that's not good. Besides, hoity - toity
"Lady Korda" stories had been well cir-
culated — we who live surrounded by
smudge-pots aren't exactly angels, you
know. The studio folk were prepared for
the worst.
They couldn't have been more sur-
prised even if Garbo had walked in and
said, "I want to give out interviews on
the New Garbo." In Merle they found
the answer to a press agent's prayer. A
friendly, intelligent, cooperative star.
"I wish she was on this lot all the
time," said one member of the publicity
department, who has had more than her
Here is Merle in costume for her
new 20th Century-Fox film, "The
Lodger," in which she plays the pro-
vocative role of a dance-hall girl —
quite a departure for Lady Korda!
Facing page shows exclusive candid
photos of Merle's lively dance.- Be-
low, she receives a tribute from
wardrobe woman Louise Knapp on
behalf of the entire company.
share of headaches this past year. Another member said, "Merle
is the most completely cooperative actress I've ever worked
with. When I suggested stories and picture layouts to her,
never once did she say, 'I don't think it's dignified.' What a
relief that was — after two months with an actress who con-
stantly screamed in my ear. 'Is it dignified? If it isn't digni-
fied I won't do it.' "
One of the hairdressers on the set likes to tell about the day
Merle admired her new7 permanent. "You can buy on« for a
dollar from the Broadway. Miss Oberon," I said to her flip-
like. And what do you think she said to me? "Thank you,
I'm going to get one right away." And she did. I never met
a star before who didn't think her hair was priceless and her
body sacred. (She muttered something about Sacred Cows
she had known, but I won't go into that here. Not that it
wasn't interesting.) ,
Eddie Jones, the property man on "The Lodger" set, gets
all choked-voice when he talks about Merle. (When his eld-
est, visiting the set with Papa one day, pronounced Lady
Korda. "Oh boy. some dish!" Eddie was horrified, but not
Merle.) Seems -that his wife was quite ill during thjp making
of the picture and one day when he thought he wouldn't be
needed he slipped away to telephone her. And, of course, he
had hardly left the set before one of the assistant directors
noticed that the highly polished floor needed mopping before
the next "take" of the dance number. There was much uproar
— but only for a few seconds. Merle in her five-inch ruffled
skirts and spangles, her fish-net (Please turn to page 76 )
43
WINGED
'/crow
Moss Hart's great Army Air Forces show,
"Winged Victory," in which soldier-actors from
the Hollywood talent roster appear, adds an-
other page to that grand American tradition
which puts aside personal glory in a united
effort and vividly brings out the true spirit of
what a real "Winged Victory" can mean to us all!
By Jessyca Russell
NOT only I, but any movie magazine writer walking into
a rehearsal of Moss Hart's Army Air Forces show,
"Winged Victory," could easily have received the same
impression — that of being on a giant movie set in Hollywood,
into which every major picture studio had poured the best of
its male talent — although no make-believe could erase the
very real Army discipline that was also present and the MP
inspection before being permitted to enter the theater.
Therefore, I'm going to ask you to let your imagination run
away with me, and to forget that "Winged Victory" has since
become a polished production that is now enjoying a success-
ful New York run. Instead, let us go back to a day of re-
hearsal, and meet the various familiar names and faces that
are now in uniform, which were once part of the movie world.
But first let us remember this — that none of these boys were
taken from a fighting post; all of them had been in Special
Service offices, assisting with entertainment units, as they got
their basic training, and each of them — unlike the cast of
"This Is The Army" — was a professional actor before enter-
ing the service. In fact, the entire cast had to pass not one,
but many professional try-outs before being selected, as two
lieutenants, in charge of preliminary casting, went all over the
country to every Army Air Forces post and tried out some
6,000 soldier-actor candidates before 500 were sent on to New
York for additional eliminations. From these, 300 were finally
chosen, so you can see that our ex-movie friends are part of
the finest acting line-up Uncle Sam could get.
There must be something going on there first, because Moss
Hart, the writer-director of "Winged Victory," who's too busy
"Winged Victory" wins ac-
claim for Cpl. Mark Daniels
and Phyllis Avery, top; Pvt.
Barry Nelson and Pfc. Ed-
mund O'Brien, next; Pvt.
Don Taylor, above, between
Pvt. Barry Nelson and Pvt.
Walter Reed; the Mauch
twins, Pvts. Bill and Bob,
right; and Sgt. George
Reeves of "So Proudly We
Hail" (seen second from
left in group at far right).
Facing page shows Moss
Hart directing some of the
300 soldier-actors (and Miss
Avery again) for their big
scenes in "Winqed Victory."
44
! t
SI
A5:
#9
if
^// Photos,
Army Air Forces
to more than smile a "hello" at us, is kidding with Edmund
O'Brien, as Ed warms up for his rehearsal by giving imita-
tions of old-fashioned barroom characters. Movie-goers re-
membering him in the role of a dashing young juvenile
opposite Deanna Durbin in "The Young Mrs. Holliday,"
won't recognize the once-slender Mr. O'Brien, who apparently
goes in heavily for the Army build-up (around the waist-line
as well as in morale) , because along with a GI haircut he's
added fifteen pounds, plus a Brooklyn accent that even
Dodger fans won't detect as phony for his part in the play.
Eddie's well-liked by his fellow Army-ites, since any brief re-
hearsal let-up finds Mrs. O'Brien's little boy demonstrating
the latest gag from Variety, which they all read faithfully.
In the scene which finally unwinds, one of the fellows says,
"Here come Pinky and the others. Hey, Pinky, we're over
here!"
Here's where Pinky should come in, but he doesn't. Ite-
hearsal stops for a moment, until a call downstairs brings a
long-legged, reddish-haired figure flying in leaps and bounds
onto the stage. Looking roguishly at Moss Hart, Pinky, now
recognizable as new bet Don Taylor of the movies, leans
over and says, "Say, Mr. Hart — what are you gonna do if some-
thing really happens to me and we haven't got an under-
study?"
The boss chuckles and says, "Then I'll have to play your
part myself!"
And Don, with an attempt at the last word, jeers, "Yah!
You and a complete overhauling job!"
It's early in the morning — just ten o'clock — and military
formation is just over. Ordinarily, the boys drill for an hour
afterwards, but that's been temporarily waived in favor of
whipping the show more quickly into shape. And notice the
boys who are handling the electric lights, scenery, etc. — they
were all first-class men in that trade before entering the Army,
so you can be sure it's high-grade efficiency that's going into
every part of this production.
Over there, with a drawing board on his knee, is Corporal
Harry Horner, who did those wonderful scenic designs for the
movies of "Our Town," "Stage Door Canteen" and "Little
Foxes." What you don't know about him, though, is that he
originated the revolving stage technique used for Gertrude
Lawrence's show "Lady In The Dark" (which Ginger Rogers
just finished playing in for Paramount) , and is using a similar
system here, because that's the oidy way to accommodate an
approximate cast of 300 soldiers and 60 actresses at one time,
in a production of 19 scenes and two acts, without a great
many curtain falls. Standing alongside of him is Sergeant
Howard Shoup, formerly of Warners and Metro, who's design-
ing the costumes for the play.
Now that the rehearsal is about to start, the stage has been
cleared of all but a half-dozen per- (Please turn to page 8b;
45
Carbon copies!
Which is Lyn and
which is Lee? The
comely Wilde sis-
ters add delight-
ful confusion to
romantic compli-
cations of Mick-
ey's new comedy.
Right, pin - up
ctoseup of twins.
TWIN TROUBLE
No wonder Mickey Rooj.eyjs
seeing double w.th the W.We
Twins on his troll in Andy
Hordy's Blonde Trouble
You can't fool kids! They know the people who love them. That's why
Roy Rogers is their idol. He hasn't forgotten the boy he used to be
By Elizabeth B. Petersen
THEY weren't used to treats, those
kids jamming Madison Square Gar-
den that Monday afternoon. They
weren't like the children who had at-
tended the other rodeo performances —
children who were excited, of course, but
who took it all more or less in their stride
because they were always taken to things
children ought to see: Saturday matinees
at the movies, the circus when it came to
town, hockey games, ice shows, any place
they wanted to go.
There weren't any mothers and fathers
or adoring aunts and uncles there with
them. Instead there were social workers
and trained nurses and teachers, one to
.every five or ten children depending on
the need for them. Some had come by
subway and some by buses and some in
ambulances^' for these were New York's
under-privileged children, these were New
York's orphaned and crippled and blind
and poor children who sat there so ex-
pectantly in those tiers and tiers of seats,
waiting for Roy Rogers and Trigger.
Shouts went up as "The Sons of the
Pioneers" entertained before the show
opened. They cheered as the parade
opened the show, as the cowboys and
cowgirls rode by on spirited horses, as
the clowns capered over the arena. Howls
of excitement greeted the names of the
wild horses as the bronco busting began,
names they were familiar with in the
funnies, Barnacle Bill and Dick Tracy
and Superman and all those other char-
acters they loved, horses that lived up to
their names as they reared and plunged
Roy Rogers remembers when he was a
small boy on the Ohio farm, who didn't
often have enough money to go to
movies to see his idol, Tom Mix. Today
Roy entertains kids every chance he
gets. Facing page shows him doing his
stuff for boys and girls in hospitals,
an orphanage, and special children's
matinee at Madison Square - Garden.
and kicked trying to dislodge their
riders.
"Atta boy, Superman!" The cry
rose from thousands of throats.
"You show him, Superman!"
In one of the front rows a group
of children sat together, a small
Chinese girl, a little colored boy and
girl, an animated youngster of
Italian lineage, an eager redhead
who couldn't have been anything
but Irish. In the back rows sat the
blind, as eager as any of the others,
with their teachers' rapid descrip-
tions, the snorting of the horses, the
yipp-ees of the cowboys making it as
vivid to them as it was to the others.
And the children wearing braces or
with crutches leaning against their
seats were starry - eyed as they
watched the exciting action, at the
men leaping on" horses or being
thrown. For a little while they were
running and leaping and riding wild
broncos too.
There were screams of delight as
the clown with the big white horse
took the center of the ring, the horse
that was as much of a clown as his
master, falling over and then rearing
again, prancing and pawing the tan-
bark, the horse that had once been
under-privileged too. For it was
mechanically lame, that horse that
seemed able to do anything. The
clown had bought him from a ped-
dler for twenty dollars because his
days of usefulness seemed over and
then had painstakingly trained him.
It would have been an inspiration to
those among the children who were
crippled to know about that horse
and to realize how intelligence can
triumph over physical handicaps.
Ever since the show started there
had been that shouting and laughter.
Now there was suddenly silence as
the arena was cleared and a spot-
fight picked up one of the entrances
from back-stage. Then the cry rose:
"Roy Rogers! Roy Rogers! Roy
Rogers!"
This was what they had been
waiting for. All the rest had been
jfust marking time. For now it was evi-
dent how thousands of children's voices
really sound. Those other times, why,
they were almost like whispers compared
to the thunder of that cheer. Roy Rog-
ers' fans were giving him an ovation that
would have made even Frank Sinatra
blink his eyes in amazement.
It was different from any other fan
worship. There wasn't the hysteria of
Sinatra fans swooning before their idol,
there wasn't the awe glamor girls and
boys are held in. It was like a little girl
or boy greeting a big brother or favorite
uncle, mixed with the hero worship of a
superior being and magnified by all those
thousands of voices greeting Roy.
And it was as big a moment for Roy
(Please turn to page 60)
48
3=^
Settled down in his first real home since he hit the
high road to fame, young Haymes and his pretty
wife, the former Joanne Marshal, model and night-
club lovely, pose for their first home pictures. Oleic
has already decided he prefers Hollywood's saner
working hours and outdoor life. He brought along
his fine collection of records, both classical and
swing; he plays a good piano, enjoys his modest
(rented) home. Twentieth Century-Fox have some
big things in store for their new singing boy.
53
Exclusive photos by
Willinger, M-G-M
On this page, Miss Garson
wears lounging pajamas of
heavy crepe — the narrow trou-
sers deep purple, the fitted
tunic pale lavender, with an
uneven row of self-covered
buttons down the front.
Starring sequins, at right, on
facing page. Greer's short
evening dress of dark brown
crepe embroidered in bronze
sequins shows off the star's
beautiful red hair. This gown,
from Salts-Fifth Avenue.
Also from Salts-Fifth Avenue,
royal blue dressmaker suit with
overblouse striped in pink, blue
and black, right below. Far
right, gown of non-priority lace
in navy blue, with sculptured
sleeves and low neckline.
Greer Garson, star of
"Madame Curie."
dramatizes hew styles
1
SB
Mm
Gay gathering at the
Mocambo, left, In-
cludes Bill Lundigan,
now in Uncle Sam's
big show; best girl
Marguerite Chap-
man; Victor Mature,
Anne Shirley, Vir-
ginia Field. Far left,
George Tobias, Janet
Blair, Rosalind Rus-
sell and Brian Aherne
at first anniversary
of Screen Guild.
TF THERE'S one thing Bette Davis
*■ won't tolerate, it's pity. She'd never
let you know it, but she's really one of
the loneliest girls in Hollywood. A pic-
ture of the late Arthur Farnsworth sits
right on her dressing table, at home and
in her portable on the set. During un-
guarded moments, Bette's eyes automat-
ically seek out that picture. The one at
the studio is autographed, "To Bess, with
all my love." It's that love she is no
longer able to give in return that is caus-
ing Bette's darkest moments. May the
sun shine soon again.
QUCH baby talk going on in Holly-
^ wood these days! Ann Sothern and
her Lieutenant-husband, Robert Sterling,
have the welcome mat out, hoping the
stork will see it. Eleanor Powell and
Glenn Ford have selected a name already
— in case "it" happens. Dorothy Lamour
is hoping, too. Who said the war hasn't
changed things?
QOME WHERE overseas there's a big
^ surprise in store for our deserving
boys. Humphrey and Mayo Bogart are
on their way over with a TJSO unit. A
wonderfully amusing act they've cooked
up too! Just before they left, Bob Hope
sent them a list of things to take along
and things they wouldn't need. And Bob
should know.
1VTOW Hollywood knows why Maureen
^ O'Hara broke dates at the last min-
ute and behaved in such a mysterious
fashion. Maureen and her husband, Will
Price, are expecting the stork next spring.
Yes, they are slightly hysterical with
happiness.
pESAR ROMERO is paying Holly-
^ wood a visit, probably his last for a
long time to come. He expects to be
given a new and important assignment.
While here, "Butch" ushered at his Coast
Guard pal, Richard Quine's wedding to
Susan Peters. Hollywood hasn't been the
same since Uncle Sam took up 20th's
option on Cesar. May he be back with
us soon. Yes, Virginia Bruce hopes so
too!
HPHE George Murphys were hoping and
-■- praying for a little daughter. Young
Dennis Michael Murphy wanted a baby
sister. So the little lady received a royal
reception. For the first week after she
came home from the hospital, Mrs.
Murphy saw all her friends. Each in turn
always asked Dennis how he liked his
little sister. One night when he came
home from the studio, George found his
son looking troubled. When he asked why
the scowl, Dennis replied, "Everyone
keeps asking me how I like my new
sister. Why don't they ask her how she
likes me!"
ACTUALLY, that sarong Dorothy
Lamour wears in "Rainbow Island"
requires nine stitches to keep it where
it should be kept. That old one about a
stitch in time saves nine really applies in
this case.
BOB HOPE was telling Bing Crosby
about his new contract with Para-
mount. "They must like me," said Bob.
"But there's one thing that bothers me.
I notice the producer's pats on the back
are getting lower and lower!"
REMEMBER Gordon Jones, who
played the "wreck" in "My Sister
Eileen?" He's now a Captain, some-
where in Persia. When Jack Benny went
overseas recently, Gordon was assigned
to handle Jack's company. They had
never met in Hollywood. Gordon, who
was starving for news from home, really
had a field day. He writes back that
Benny gave shows in sand storms and
under the most gruelling conditions. To
quote Gordon, "The boys will never for-
get Jack Benny. He made them laugh
and he never stopped trying. To us he
is the greatest guy in Hollywood."
FEELING gay and adventurous, Alexis
Smith, looking like anything but a
Seen around Hollywood: Janie Wyman, Lt. Ronald Reagan Bob Hope and Cary Grant, awaiting their turn to entertain at Hollywood Canteen.
Carole Landis and Roddy McDowall greeting Commander Anthony Kimmins of the Royal Navy at National War Fund Drive held in Hollywood Bowl.
movie star, consulted a fortune teller.
For fully half an hour the woman dealt
the cards. Finally, in a serious and tri-
umphant tone, she said, "I can see a
wonderful career ahead. \ou will make
an excellent — gym teacher!"
SO QUIET were the proceeding's, the
Robert Cummings' divorce almost es-
caped the papers. Hollywood has never
known Bob very well. But it has always
been the impression that Bob and his
Jane Withers' informal party for servicemen
is event of the week for Hollywood's younger
set. Top left, Jane serves a soda to Joan
Leslie. Left, hostess gets dunked by guest
Pvt. Joe E. Brown, Jr., in Jane's own swim-
ming pool. Above, Joan jumps in. Top
right, Marcy McSuire, Peggy Ryan, and
hepcat Withers listen to Leonard Sues.
Right, barbecued spareribs and corn — yum!
Below, cute clown, Peggy Ryan, cuts up.
Vivian were ideally happy with their
unspotlighted existence. Bob, like Pat
Knowles, is devoting all his time to in-
structing Army Air Force cadets at the
Mira Loma Flight Academy. He isn't
allowing his personal unhappiness to in-
terfere with fche good work he is doing
for his country.
I AIRD CREGAR is on his last thirty
pounds and then he'll be ready for
that operation. He's already dropped
eighty pounds, so this gives you an idea
of what a big boy he really was. On the
other hand, Gary Cooper can't gain a
pound. Cary Grant drinks cream when
he can get cream, to do it. Life, she is
very peculiar!
TDA LUPINO has driven a car for
A twelve years and never been given a
traffic ticket. She got her first one re-
cently — for jaywalking on Hollywood
Boulevard!
HILDA'S RING—
the diamond is set in a
hand-wrought design
on a slim gold band
SHE'S
ENGAGED !
SHE'S
JLOVELY!
ALL KINDS OF WAR JOBS are waiting to be
filled — in transportation, stores, war plants,
restaurants. Check Help Wanted ads — then con-
sult your local U. S. Employment Service
-DORABLY PRETTY,
Hilda Holder is another charming
Pond's engaged girl, the daughter of
Mr. and Mrs. S. C. Holder of one of
North Carolina's first families . . .
"Dick enlisted two months before Pearl
Harbor — I wanted to be doing something
necessary, too," Hilda says, "so I found
my job helping to build planes.
"I get up at 4:00 A.M., and don't get
back home until 4:00 P.M. It seemed out-
landish at first, but now I like it. I do have
to watch out for my complexion, though.
"I give my face a good Pond's creaming
after work every day so I'm certain-sure
there's no greasy dirt clogging up my pores.
Lots of the girls keep a big jar of Pond's at
the plant. I guess they love it the way I do."
Hilda beauty cleans her face with Pond's
like this: She smooths Pond's Cold Cream
over her face and throat and pats briskly
to soften and release dirt and make-up.
Tissues off. She "rinses''' with more Pond's,
swirling her white-coated fingers around in
little spirals. Tissues off again. Her face
feels "perfectly lovely" she says, "so extra
clean, so nice to touch."
Yes — it's no accident engaged girls like
Hilda, exquisite society leaders like Gloria
Vanderbilt De Cicco, and Britain's Lady
Grenfell delight in this soft-smooth cream.
Ask for a big, luxurious jar of Pond's Cold
Cream today. Use it every night, every morn-
ing— for daytime clean-ups, too!
SHE
USES
POND'S !
HILDA'S EXQUISITE COMPLEXION has that
appealing baby-clear look every girl wants. "Pond's
Cold Cream is the only beauty care I use," she
says. "I keep a big jar in my locker at the plant
• — and a big jar at home."
ASK FOR A LUXURIOUS BIG JAR! It's
more patriotic to buy large sizes, saves glass
and manpower. (You may see different color
"war caps" on Pond's jars now — but Pond's
Cold Cream is the same lovely quality!)
TODAY— MANY MORE WOMEN USE POND'S THAN ANY OTHER FACE CREAM AT ANY PRICE
ScREENLAND 59
Roy Rogers Meets His Pals
Lucia
Carroll
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Continued from page 48
as it was for the kids. Ever since he
came East he had been waiting for this
performance, talking about it as if it
were he who was going to get the thrill,
not the kids. For he's as eager about his
fans as they are about him.
Before lunch that day he had stopped
at his hotel desk for his mail, and a
goodly pile it was too. There was a tele-
gram that had elated him saying his
pigeons had won the Los Angeles Con-
course, the biggest prize of the year.
There was a letter from his four-year-old
daughter Cheryl Darlene telling how
baby sister Linda Lou insisted upon tear-
ing up all the drawings she was making
for daddy and that even grandpa and
grandma couldn't stop her and how she
missed him and mommy, But Roy didn't
show any more interest in that telegram
or letter than he did in those sent by
children he had never seen, letters cov-
ered with finger marks and some written
in childish scrawls that would have been
practically undecipherable to anyone
else. But not to Roy. He knows his
kids. You felt that as he chuckled over
the letters and read passages aloud.
"Doggone!" he cried when he opened
that telegram, for Roy's pigeons are his
joy and he's awfully proud of the ones
he's trained for the U. S. Armed Forces.
And — "Doggone, that Linda Lou," he
grinned as he read Cheryl's unintention-
ally amusing letter. "She's a caution,
that one is!" And that same "doggone"
and delighted chuckle accompanied the
extracts from the other letters revealing
an impartiality that showed how he felt
about all children, not just his own.
He was the same way about those kids
in the Garden. It was almost as though
all those thousands of children were his
own two little girls and they were just
a little group together. It was almost
uncanny the way he made it seem that
he wasn't in the center of the stage at
all and the kids weren't up there in the
audience, but they were all together in a
small intimate circle. He reduced even
the gigantic proportions of Madison
Square to a children's playroom.
Trigger seemed to know it was special
too, and gave a performance that left
them all breathless. For Trigger is a
ham, no doubt about that, so susceptible
to applause that he sneaks bows long be-
fore he's supposed to. You'd never know
today that Trigger was a sickly colt
when Roy got him, picking him because
he looked as if he needed a mighty lot of
attention if he was ever to grow up.
A golden palomino, with eyelashes a
glamor girl would envy, Trigger looks
after the prima donna department of the
Rogers family. His beautiful tooled
leather trappings, inlaid with beaten sil-
ver, are equivalent in horsey circles to
gowns by Adrian and Irene in well-
dressed star circles, and unlike most
stars he hasn't one stand-in, but three:
"Pavements are hard on horses' hoofs
when they're not used to 'em," Roy ex-
plains. "So I use the other horses in
street parades or for rehearsing before a
scene is shot. Sometimes I've used them
in pictures if Trigger is feeling poorly."
Trigger knew he had a good audience
that day. His lips curved back over his
teeth in a grin as the children counted
with him as he did his adding and sub-
tracting stunt. And when he and his
master acted out the scene where Roy,
supposedly wounded by outlaws' bullets,
falls dying to the ground, he almost for-
got to kneel in his heady appreciation
of the children's gasps.
When Roy sang, the children sang with
him, their voices lifting most enthusi-
astically of all for Pistol Packin' Mama.
And again there was that closeness be-
tween them and Roy as he shifted his
tempo so they could join in more easily.
For Roy knows what hero worship
means to a kid. He had a bad case of it
himself when he was a youngster and
Tom Mix was his idol. He knows what
it means too, not to have the fun other
kids have, for many and many were the
times Roy knew a Tom Mix picture was
playing in the town thirteen miles away
and he couldn't get to go.
For the Rogers family didn't have
money. They lived on a small farm near
Duck's Run, Ohio, a farm that couldn't
possibly support the family, so Roy's
father worked in the shoe factory in
Portsmouth, thirteen miles away. He
came home only weekends and most of
the chores around the farm fell to Roy
since he was the only "man" on the
place. His three sisters helped his mother
around the house and took care of the
chickens and milking but the real burden
fell on him. His day of ploughing and
harrowing and haying began at four in.
the morning, and he didn't own a pair of
shoes until he was almost grown.
"It didn't hurt me none," he grins to-
day. "The bottoms of my feet were like
elephant hide and they sure got tough-
ened up, but when people talk about
tired or hurting feet I just don't know
what they mean."
When Roy was thirteen he had his big-
gest thrill when his father was able to
buy a retired race horse. The horse was
too old for the track but for all that he
was far ahead of the farm horses in the
community, and Roy riding him won all
the kid's races in the neighborhood.
He'd learned to ride before that on the
mule that did the hauling about the
place and Roy '11 never forget that night
his brother-in-law was away and his
mother woke him up and he had to ride
the mule four miles to the nearest tele-
phone to call the doctor and tell him his
oldest sister's baby was about to arrive
any minute. Roy was only twelve then.
Roy knows today that going without
things has helped him, that it was those
family sing-songs, when they had to en-
tertain themselves if they wanted fun
and they sang the songs especially dear
to people who live outside of cities — the
pioneer songs and the songs of the plains,
Home on the Range and the Stephen
Foster melodies — that developed his
voice and gave him that feeling for
American folk songs which is responsible
for his career today.
00
SCREENLAND
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SCREENLAND
61
ANN RUTHERFORD
20 th Century-Fox Star Appearing in
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Get a Canary today ! Learn to
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JTD ff f Every lover of pels will want
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For when Roy sang at parties after he
grew up, accompanying himself on the
discarded guitar someone had thrown
away, the guitar he had restrung and
fixed up himself, he discovered people
liked the way he sang and wondered if
maybe he couldn't help the family more
by going into the entertainment field
than working with his dad in the shoe
factory.
He teamed up with Bob Nolan and
Tim Spencer and they started the now
famous cowboy band known as the Sons
of the Pioneers, which grew until it had
four more members. Things didn't pros-
per too well with the boys, their earn-
ings for singing in small towns and over
local radio stations didn't add up to
much when it was divided among the
seven of them. Sometimes all it gave
them was enough for a pack of cigarettes
apiece and they went hungry more times
than any of them want to remember.
One trip in particular had been so un-
successful that they talked about split-
ting up. It was Roy, and the hand of
fate must have pointed his decision, who
talked them into going on to their next
spot, Roswell, New Mexico.
When they lined up before the mike
in the small radio station, they were so
hungry that talk of food took the place
of their usual ad libbing, and a girl
named Arleene Wilkins who had heard
Roy sing her favorite song, The Swiss
Yodeler, the evening before telephoned
in and said she'd make him a lemon pie
if he'd sing it again that evening.
Roy did and the girl and her mother
were parked outside the studio waiting
when the broadcast was over and gave
him not one lemon pie but two. Roy
never forgot that pie or the girl either,
and two years later she came to Los
Angeles to marry him.
Most young couples have their ups and
downs but in the case of the young
Rogerses it was all downs. Arleene, too
proud to let her family, who had thought
she was too young to marry anyway,
know how tough things were for them
wrote enthusiastic letters home telling
about Roy's triumphs while she cooked,
if she was lucky, the hamburgers the
Sons of the Pioneers had pooled their
earnings to buy. It was share and share
alike in those days, and afterwards after
Roy became famous it's still share and
share alike. That's the kind of guy that
Rogers is. For his contracts stipulate
that the Sons of the Pioneers appear in
his Republic pictures and his other ap-
pearances.
For Roy doesn't forget things easily;
maybe that's the heritage of his Indian
grandmother. He hasn't forgotten that
little boy he used to be, the small boy
who either had to work or didn't have
the money any time a Tom Mix picture
or the circus or any other exciting event
was taking place in town. Just as he
hasn't forgotten the children growing up
today who don't have the fun others
more fortunate do.
That's why, whatever town Roy Rog-
ers happens to be in, he asks first off
where the hospital and orphan asylum
are and goes to them to give perform-
ances. He doesn't forget reformatories
either, figuring the line between a boy's
or girl's being good or bad can some-
times be drawn as finely as the line be-
tween opportunity and lack of it.
No one asks Roy to go to these places.
He always volunteers. Even in New
York, crowded as his days were with
afternoon and evening performances,
with studio conferences and interviews
and radio and bond drive appearances,
that special children's matinee at the
Garden wasn't enough for him. He and
Trigger and the Sons of the Pioneers
made special appearances in the chil-
dren's section of Bellevue Hospital and
at the New York Infirmary for Women
and Children and gave the same per-
formances they did at the Garden.
For Roy loves kids. He understands
them.
"Shut off that spot and turn on the
house lights!" he shouted when he began
his act. "I want to see all those boys
and girls up there!"
And don't think the kids didn't love
the idea that Roy wanted to see them
every bit as much as they wanted to see
him! Then afterwards with the close of
the show Roy and Trigger rode around
the arena, shaking hands with every kid
who could crowd close enough and even
those who couldn't were shaking their
own hands, pretending it was real with
some of them grinning from ear to ear
and others almost crying in their excite-
ment.
Arleene Rogers, sitting in one of the
boxes, brushed her hand across her own
eyes. "You can't fool kids," she said.
"Not at more than you can an animal.
They know the people who love them."
A Gentleman Named Smith
Continued from page 41
on hot Sunday mornings. He digs his
own garden because his wife insists, and
he's shy with strangers.
But soon as you have him nicely set-
tled in the Great American Rut, he turns
right around and gives out with acting
magic in a string of specials like "For-
ever And A Day," "Hitler's Children,"
"This Land Is Mine," "The Cat People,"
and "Three Russian Girls" — which goes
to show that you can't take these Smith
characters literally. Some of them turn
out to be governors and novelists, cough
drop manufacturers — and actors!
This particular Smith came out of New
York City and the legitimate theater to
slip quietly into Hollywood, whip right
out with five terrific credits in less than
a year, and find his contract shared by
several worthy concerns, notably RKO
and Hunt Stromberg Productions, both
of whom clasp their hands together
tidily and purr whenever they think of
their boy. Both studios have mighty
plans for him — but they're going slowly.
Remember, you can't rush things with a
Smith.
Probably the only unorthodox thing
02
ScREENLAND
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63
I
Make-up
created by the men
who make up the
Hollywood Stars
HOUSE OF
ALEXIS SMITH in
"ADVENTURES OF
MARK TWAIN"
A Warner Bros. Picture
One of the many beauty aids offered by the
House of Westmore is a perfect foundation cream.
It gives you a lovely, attractive, natural beauty
. . . goes on smoothly, and really stays on. It effec-
tively hides tiny lines and blemishes . . . does not
dry the skin because it contains lanolin . . . never
gives you a "masked" feeling or appearance.
The Westmores — Perc, Wally and Bud — not only
make-up the Hollywood stars, but have actually
created the make-up with which they do it. And it
is that very make-up you get when you buy House
of Westmore's lipstick, rouge, face-powder and
foundation cream. You can get House of Westmore
Make-up at toilet goods counters everywhere.
In 25 and 50 cent
sizes — regardless
of price, you can-
not buy better.
WESTMORE
MAKE-UP
Perc Westmore,
Director of Make-up
Warner Bros. Studios,
Hollywood
Kent ever did in his life was to decide
flatly, and irrevocably, to become an
actor. Up to that time he had been
busy being a model youth, going to pro-
gressive boys' schools, studying suffi-
ciently to pass averagely — if not bril-
liantly— going to dancing school, joining
secret fraternities, attending Phillips
Exeter prep school, then winding up at
Harvard. He tells you that he worked
for a lobster fisherman up in Maine one
summer, mending nets, hauling in the
fish, sorting, and scrubbing the boats —
"but that still doesn't make me sensa-
tional copy, does it?"
Comes now the unconventional part of
the Smith saga, where Kent starts read-
ing O'Neill and Chekhov, staying up
nights discussing the masters, and meet-
ing up with Jimmy Stewart and Henry
Fonda, Margaret Sullavan, Bretaigne
Windust, and Joshua Logan — all of
whom were kids his age still going to
school — but with an eye to the future.
To the theater. To Broadway.
That was the summer Kent forgot he
could still go up to Maine and make a
little money as an assistant lobster fish-
erman. He forgot, because Jimmy and
Hank and Maggy and Josh, and the rest
of the stage-struck youngsters around
Cambridge, were heading for Cape Cod
and a summer full of devotion to the
dramatic muse. They were going to start
their own stock company — and, of
course, revolutionize the entire theat-
rical profession.
Kent spent most of his time that
summer nailing up stage boards and
keeping the lights working around Miss
Sullavan 's interesting face. "And all of
us — the men, I mean — wound up with
welts ,on our chests after hard days of
nailing thick rope pulleys. I may have
a scar or two left — " and if we didn't
stop this quiet young Smith, he'd be
showing his scars right in the middle of
the commissary, at the busiest time of
the day! No, he never does anything un-
conventional. Oh no!
Two summers at Falmouth and the
Cambridge cookies headed for Broad-
way, in mobs. Hank and Maggie got
married and scouted producers' offices
together, while Jimmy and Josh and Bret
pounded it out in singles. Point was,
they all attacked Times Square with
plenty of starch and demanded that the
producers give them jobs. All of them,
that is, but Kent Smith — who thought
he'd enjoy playing golf over in Long
Island a lot more than wearing out good
shoe leather on West 44th Street.
His friends shook their heads over
him, said, "That Smith will never get
anywhere — imagine playing golf in Octo-
ber!"— and saw him eventually ending
up a shoe salesman or a stock broker
while they, the industrious ones, reaped
all the good notices in the New York
Times.
Kent wants to tell you, about now,
that he wasn't just playing golf all this
time — he was playing golf with a theat-
rical agent! And making himself so
downright likeable that the agent fixed
him up with an introduction to David
Belasco. "After all the golfing we'd done,
the least he could do was bring me to
the best," adds Kent, lifting his eye-
brows, mock dandy-fashion. "David
Belasco, no less." And Belasco came
through with a job for him, too — the role
of Jesus Christ, in a play starring Clark
Gable. Need we add that Stewart and
Fonda and Fonda and Logan sat out the
winter, jobless, wondering how lazy, golf-
playing Kent Smith got that way.
That was the first time Kent played
the figure of Christ on the stage, fie was
to play it three times more during a
period of ten years until — finally — in the
play "Jeremiah," Metro-Goldwyn-Mayer
was to look around at this tall, well-cut
chap, this-what's-his-name?-oh-yes-Smith
fellow, and bring him out to Hollywood.
Kent knew it would come some day. So
did Hollywood. But there was no rush
about it. Neither side was in any hurry.
By the time Kent made Culver City his
chums from Cambridge were already cel-
ebrated— and Jimmy Stewart even had
an Academy Award thrown in for his
trouble. But Kent doesn't work that
way. He needed a lot of Broadway first,
he needed what acting opposite Kath-
arine Cornell could give him, he needed
what starring in a Maxwell Anderson
original could offer, he needed playing
leading man to Jane Cowl and Peggy
Wood in "Old Acquaintance" — and then
it was that Hollywood stepped in. And
only then did Kent think he was ready.
Once in Hollywood, Kent did a beau-
tiful six-months sitting-out job. He man-
aged to get to the beach once or twice
a week, get in quite a bit of golf, start
a Victory garden, and go bicycling all
over town — because the studio didn't
give him anything else to do. "Oh, once
or twice they'd call me in for a test,"
Kent says, "but everybody was so easy-
going and casual that we never got
around to getting me into a picture."
Then RKO thought they'd like to own
him for a while, and bought out the
M-G-M interests. Which meant only
that Kent changed his business ad-
dress— and kept right on swimming dur-
ing office hours. RKO, you see, wasn't
rushing either. Until they needed a solid-
looking, clean-cut American for a series
of government training films and re-
membered their boy, Smith. "Come to
work," they said, "you go into uniform
in the morning."
That went on for more months — until
one of the alert producers cast a nar-
rowed eye and set him up for a little
dilly to be called "The Cat People." "A
part," Kent explains, "where I marry a
lovely girl and never get to kiss her be-
cause she's afraid she'll turn into a cat!"
He mumbled "Is it art?" all through
the shooting — but when the notices
came in and people began to pass him
on the street hissing "kit-kit-kit-kit,"
Kent Smith knew he was in. Strange
fame — but fame, nonetheless.
"Ha-ha, you never even got to kiss
her," the kids on his block call as Kent
comes cycling home these days. And he
puffs up with pride — "I'm a movie
actor. I am being recognized."
He's Fighting for You. Buy a WAR BOND for Him.
64
Screen land
MEDIOL AUTHORITIES
KNOW IK OS IS
SUPERIOR-
mm morris
Scientifically proved less irritating
to the nose and throat
,THEN SMOKERS CHANGED TO PHIUP ^MOKBIS
™TrY CASE OF IRRITATION OF NOSE OR
5Kw« to smok.ng-etther CLEARED
™ompu:telv, or def.n,tely .mproved,
Tha, ia from the finding! »i
tor. in clinical test, »f men and women 8moker8
Sported in an aothori.a.ive -ed-cal ,onrna|
Solid proof that «h finer-.a8«.ng ogarette
U,s Mating to the no8c and throat.
Deanna at the Crossroads
Continued from page 31
A year ago, Deanne couldn't have
done the role. Today, she can. That's
because she has become a woman. From
here on out, she will discard the early
themes and the early plots, just as girls
discard the dresses of adolescence and
boys put on long trousers. Like all grow-
ing people, she has passed an age, and
she never will be able'to go back to it —
nor will those who have since 1935 cher-
ished her in such roles ever see her in
them again.
At the same time, the romance with
Vaughn Paul is over, and so is the mar-
riage. Deanna, who does things coolly
and calmly and deliberately in real life —
she always makes sure of her ground
before she takes a step, and then never
retreats after it is taken — issued the fol-
lowing statement:
"It is with deep regret that Mr. Paul
and I have found it impossible to con-
tinue our marriage. As a result I am
taking legal steps to have the marriage
terminated.
''Our marriage was embarked upon
with all the sincerity and hopes that
should go with marriage, but circum-
stances that neither of us has been able
to solve now make it imperative to part
to assure our individual welfare and
happiness."
That statement is indicative of the
real Deanna Durbin. Written by anyone
else, it would mean very little. Coming
from her, it tells the complete truth.
The most significant line is "Our mar-
riage was embarked upon with all the
sincerity and hopes that go with mar-
riage." Certainly, Deanna gave her heart
and her soul to it. She did from the very
beginning.
It is safe to say that Deanna, when
she married Vaughn Paul April 18, 1941,
at the Methodist Episcopal Church on
Wilshire Boulevard, Los Angeles, entered
into the covenant with all the fineness,
the sincerity, and the roseate dreams
that any young girl could have. Her
attitude was a beautiful thing, but it was
unfortunate.
The Hollywood grapevine has been
loaded with gossip ever since the filing of
the divorce. Today, as this is written,
all of the cheap little stories have died
aborning. They just didn't get any-
where. Talk of another love, talk of sep-
arate interests, and a hundred and one
other choice morsels didn't get any-
where, simply because they weren't true.
The fact is simply that Deanna was
"in love with love." Look around you
carefully and you will see countless ex-
amples of that phrase and what it can
lead to. Some women, falling in love
with a person of opposite sex at a very
early age, never having dates with any-
one else, never knowing anyone else, can
achieve a lasting marriage — but such
women are in the minority.
Deanna's one and only mistake was
that she was romantic, in love, sincere,
and that she knew only one man. She
went into life's store with a blindfold
on, loosened it only to see one piece of
merchandise, and said: "I'll take that."
It is natural, considering the careful,
almost cloistered upbringing which she
had — her parents had never paid any
attention to motion pictures, never
sought to get Deanna into them, and
her discovery by an agent was close to a
miracle — that Deanna should have a
fine, genuine idea about marriage and
what it meant. At the same time, think-
ing of her as a child star doing little
but make motion pictures, it is easy to
understand that she thought that real
life was just as lovely and gay and hon-
est as the plots of the pictures in which
she appeared.
She never really knew any man other
than Vaughn Paul — except her father.
She was 13 when her fame spread
through the Manchester district of Los
Angeles — a fame based on her beautiful
voice, heard almost exclusively in church,
and in neighborhood festivals. When
she first was placed under contract, after
Agent Jack Sherrill had found her. she
was to play Madame Schumann-Heink
as a girl. Metro-Goldwyn-Mayer gave
her a six month contract, and she was
dropped when the great diva became ill
and the picture was cancelled.
Universal signed her. and she attended
school in the famous Little Bed School-
SCREENLAND
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house at Universal, always carefully
chaperoned by her parents and by her
sister, Edith, a schoolteacher, who had
financed her voice instruction. Univer-
sal decided to make "Three Smart
Girls," and Nan Grey, who subsequently
married Jockey Westrope and retired
from pictures, and Barbara Read were
chosen as the other two girls. Henry
Koster, the director, was told he could
have a kid named Durbin for number
three. He met the girl, said: "I can't
use her. She's afraid of her own shadow.
She's afraid of the microphone. She's
afraid of people. She's afraid of me."
But Deanna's voice "got" him. He
took her into his home, played games
with her, made her like him. Mrs.
Koster baked her cookies. After a week
of this, they got Deanna in front of a
microphone, and she did a very credit-
able job — in that she made the picture.
Jump over a few pictures and a few
years to 1938. Deanna was then 16, and
she had just finished her fourth picture,
"That Certain Age." A young man of
23, Vaughn Paul, son of Universal's
then executive producer, and himself a
second assistant director, was invited to
swim, with the rest of the crew, in the
Durbin pool in the Los Feliz district.
After the party was over, Deanna said
to Vaughn: "Maybe you'd like to come
back on Labor Day and swim alone."
He accepted the invitation. That was
Deanna's first date. A series followed.
At no time did Deanna ever look at an-
other young man. From that time on,
it was Deanna and Paul. The romance
lasted for two and a half years, and
culminated that April evening in 1941
in marriage.
From the time of the wedding until
the divorce, Deanna made absolutely no
comments of any kind at the studio
about her domestic life. Hollywood,
which is soft beneath a varnished patina,
sighed happily, folded its hands in its
lap and said: "At last, we have a per-
fect marriage."
Vaughn had worked his way up to an
associate producership when he married
Deanna. They built a lovely home in
Brentwood, and the couple moved in.
The Durbins, with the loss of their
daughter, moved to a smaller . place,
selling the Los Feliz home.
Then, with the entry of the United
States into the World War, Vaughn felt
he should do his part. He secured a
commission in the Navy.
After the marriage, Vaughn and
Deanna were seen considerably at night
clubs. Deanna, it must be remembered,
had led a very cloistered life. She had
reached ninth grade, had been attending
junior high school, when she had at-
tracted the attention of Sherrill. From
that time on, she was either acting, or
attending school, or both. Marriage gave
her her first chance to see the outside
world — a fabulous place she read about
in newspaper columns and trade papers.
Then, as our war effort got under way,
they were seen less frequently. They
were settling down to the routine of mar-
ried life. Besides, a great deal of
Deanna's own time was devoted to war
work — an Army camp tour, radio broad-
casts, the Hollywood Canteen.
One of the rumors which ran rife just
after the announcement by Deanna was
that a diversity of interests might have
been the reason for the end of the idyll.
Nothing could be further from the truth.
While Vaughn had received his commis-
sion in the Navy and was on active duty,
he was stationed at Los Angeles, and
there was no separation of any kind —
that type of separation which leads peo-
ple to say that because a man and a
wife are apart, new interests are inclined
to develop. So that one didn't hold
water, either.
Deanna, today, won't talk. She has
nothing more or less to say about her
marriage than she ever did. The real
Deanna today is so much like the screen
Deanna that it is impossible for her-
closest friends, or the millions who know
her as she appears in motion pictures,
to imagine her making any comment of
any kind.
Nor have her parents anything to
say. They are Canadians of the upper-
middle-class stratum, who know how to
raise children and who understand the
worth-while things in life. They'd passed
that philosophy on to their daughter,
who is inherently a lady. And, after all,
there's nothing to tell. It's all in that
statement, general as it may seem.
They have never pushed Deanna.
Knowing Mr. and Mrs. James Durbin,
you can't imagine either of them exploit-
ing Deanna in any way. They let her
elder sister, who is also Deanna's closest
friend, choose her own life and her life
work. They let Deanna do the same
thing. Their policy has been strictly
"hands off" as long as Deanna played ac-
cording to their principles and ethics.
So the chapters are closed — the do-
mestic chapter and the career chapter.
In short, Deanna has grown up, she's
going ahead to do grown-up parts. She's
grown up, and she's found that real life
isn't at all like the movies, that there
are unhappiness and tears and disap-
pointments which she has to face as she
grows older.
Today, Deanna will talk about her
career and nothing else. "I've things to
do and places to go, and I'm going to do
and go," she says. "I didn't like to work
in pictures at first, because I was sort
of afraid of them. Today I'm not afraid.
I like to act, and I feel I can act.
"I realize that ahead of me lie new
and different parts, designed to fit me as
I am today and as I will be tomorrow. I
have learned one distinct lesson. You
can't turn back, you can't re-capture
things that have gone, and so there's
nothing left to do but to go ahead."
66
SCREENLAND
Are You
in the Know?
Are these Lindy Hoppers doing -
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SCREENLAND
67
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Quiz Kid Crashes Hollywood
Continued from page 22
to be caught by a swarm of people, he
glimpsed a high picket fence and before
you could say "Universal!" he was shin-
ning up a tree to see what was behind
the fence. To his delight it was a dog,
which completely absorbed him while the
cameramen waited in vain to do their
stunts. By this time the reception com-
mittee was completely disorganized.
Joel is not picture-conscious. He has
seen but four films in his short life,
"Bambi," a newsreel, and two Abbott
and Costello comedies, and the only stars
he was at all interested in seeing were
Bud Abbott and Lou Costello. However,
he quickly added one more favorite to
his list, for the minute he saw 18-year-
old Donald O'Connor he took an impul-
sive shine to him, following him around
and hanging on his every word. This was
lucky, for young O'Connor and Peggy
Ryan were the youthful stars in "The
Third Glory" in which Joel appeared,
and all his scenes were with Don.
He doesn't like being fussed over. He
has his own technique for eluding people
which he uses with firm politeness — he
just smiles sweetly and disappears. This
doesn't seem to offend. On the contrary,
it adds to his charm. And he has great
charm.
After the Pasadena episode, the studio
decided Joel should visit the sets, meet
the cast and director, and so become
familiar with the new environment be-
fore he started his own scenes. This
proved to be another "jumping bean"
session, and hectic for all concerned. The
boy paid no attention to the camera or
what was happening before it, but raced
madly about the big stage exploring every
corner. He climbed the narrow stairways
to the cat-walks high above the sets,
crawled behind scenery, and never once
heard the director's call for "Quiet,
please!" which is law on a set. After
several takes had been ruined, it was the
general opinion that Joel had better be
sent home for the remainder of the day.
Despite all the fears, the day he made
his appearance before the camera he went
through two and a quarter pages of script
dialogue without missing a word. But
Director Charles Lamont didn't print
that take for two reasons. The first was
because Joel, having been told to shake
his head at Donald at a certain point,
did it too vigorously — and too long. The
second reason was that toward the end
of the scene the youngster started to ex-
amine a mosquito bite on his knee, while
still rattling off his dialogue.
They tried it all over and this time
Donald muffed a line. "That makes us
even, doesn't it?" asked Joel.
O'Connor, a bit embarrassed, nodded
his head, saying, "Let's pick up the cues
a little faster, Joel, and perhaps the scene
will play better." Joel gravely consid-
ered. "Maybe," he answered slowly, "we
both better think about what we are
saying, too."
The third try was perfect — the scene
ran a minute and forty-five seconds. Joel
had taken his baptism of celluloid with
flying colors.
Asked if he liked making pictures, he
replied, "It's all right, I guess. All you
have to do is learn some words and say
them while they take your picture."
Donald took him around to visit the
various sets, and coming on Orson Welles
doing his "Magic Wonder" act for "Three
Cheers For The Boys," Joel surprised
this grown-up genius by passing him up
but concentrating on the white rabbits
and guinea-pigs. (Probably because they
multiply!) As the boy walked away,
Orson observed, "He's as sincere and un-
spoiled as Albert Einstein."
Marlene Dietrich, fond of children, did
her best to interest Joel but with slim
results. Coming to the rescue, Mrs. Kup-
perman said, "This is Miss Dietrich, Joel,
and she's your father's favorite." Care-
fully appraising the beauteous Marlene,
Joel shook his head, saying, "No, Mother,
You are father's favorite!"
He's very good at minding but I no-
ticed that his mother usually spoke the
third time before getting full results. With
each she used a different tone and the
third demand held a warning note that
couldn't be ignored by her son. As in
many households, his father's firm word
gets instant reaction, and there's an ex-
ceptional understanding between them.
Joel came into the world unusually
equipped for mental hazards. His father,
S. J. Kupperman, structural engineer of
the City of Chicago, was an honor stu-
dent at the University of Illinois, and his
mother was formerly a school teacher.
It was when Joel was four that some-
one told him that two times 13 was 26,
and when he repeated this everybody
laughed and seemed to think it very re-
markable. This aroused his interest in
mathematics so his father began teach-
ing him the multiplication table, which
fascinated him. Soon father and son were
having a mathematical huddle every
morning from 8 to 8:15, talking about
all kinds of problems and this became
such a treat to Joel that if there was
need for punishment, this morning privi-
lege was taken from him. Mr; Kupper-
man plans to write a book on what he
has learned with Joel, for the boy's in-
ventive mind has found several short
cuts — he calls them his "secret twicks."
Oh yes, he lisps in real life exactly as he
does on the radio.
When given a problem he's as active
physically as he is mentally, and he'll
run around the room or climb over a
chair, apparently paying no attention to
what is going on, yet if you catch his
eyes you'll see they are bright with con-
centration. His mother says he thinks
best when standing on his head. Which
may account for his amazing gyrations.
Joel is never pushed ahead or made to
intensify his studies for his parents want
him to be a normal, well-balanced boy.
This year he's in 3-B grade at the Volta
Public School in Chicago, and will have
the same studies as the other children,
with the exception of first year algebra.
68
SCREENLAND
He likes school, likes his playmates, and
it is all fun to him.
At luncheon, he ordered hot dogs, then
hamburgers, but because of rationing
there was neither, so he asked for a ham
sandwich, which he explained was always
his "fird" choice. Leaving the commis-
sary he chased and caught a butterfly to
add to his collection. While he was ad-
miring his prize, two marines from the
"Gung Ho" picture came along and one
asked, "Joel, what's the cube root of
6,859?" "Nineteen," replied the wizard,
without even looking up to see who
asked the question.
The other marine sprang to action
with, "What's the cube root of 274,625?"
"Sixty-five" Joel called back. He was
already chasing another butterfly.
Then along came a girl from the pub-
licity office who asked, "Who was Bac-
chus, Joel?" "God of wine," he replied.
Girls and women don't interest him.
In fact, they bore him. His sister is the
one exception. Perhaps this is admira-
tion rather than sentimentality for Har-
riet is in higher grades and this wins his
respect.
They were having a discussion. Said
Harriet, "The biggest building in the
world is the Empire State Building in
New York."
"No," contradicted her brother. "It's
the Merchandise Mart in Chicago."
"But the Empire State is taller," per-
sisted Harriet.
"Maybe," conceded Joel. "But the
Merchandise Mart is fatter and fatness
makes up for bigness." This ended the
argument!
For three days a magazine cameraman
trailed Joel until growing impatient, the
boy said, "Listen. I'm tired taking pic-
tures. I want to relax, and go out and
chase butterflies!"
He went with the "Quiz Kids" broad-
cast while still in kindergarten, when he
wrote the sponsors he could add quicker
than the corner grocer. These programs
are the highlights in his life, the best fun
he has. He says he loves Joe Kelly and
all the kids. Thirteen-year-old Richard
Williams is his hero, and he's positive
Richard knows everything.
More than twelve and a half million
persons listen to these broadcasts each
week and Joel is the outstanding favorite,
receiving a big share of the fan mail.
The children receive a $100 Bond each
week, so the Kupperman's are making up
what he misses on the Sunday programs.
Visiting the Ostrich Farm he was as-
tonished to see a big bird swallow an
orange without peeling it, and he watched
it go down the long throat. Unafraid, he
rode an alligator at the Alligator Farm.
He visited Lou Costello at his home in
San Fernando, racing all over the place
and picking real lemons off the trees. He
loved the ocean and developed a fond-
ness for boats. Already he's been given
seven miniature craft and he's saving his
money to buy a beautiful one that costs
a dollar. His allowance is a nickel a day.
Joel is under contract to Jack Skirball,
an independent producer, for five pic-
tures, beginning at a salary of $2,000 per
week, which he received for "The Third
Glory," and steadily going up to $5,000.
He'll return in January for the second
film on this contract.
Jessica
Dragon****
says-
the
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Joseph Co+ten Turns to Romance
Continued from page 39
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to even things up. He "struggled" in his
early years.
"I have taken cartons of potato salad
to dozens of parties," he said, dipping his
fork into his potato salad. "That was
back in Florida, in the days when I was
a potato salad tycoon. President and
treasurer of the Tip-Top Salad Company,
no less!"
It seems that Joe went to Florida in
the boom days of Miami, when the air
was filled with stupendous projects and
all God's chilluns were stockbrokers and
talked glibly of thousand dollar profits.
Joe was entranced by Miami, and the
Tip-Top Salad Company was his own
get-rich-quick idea. The enterprise con-
sisted of putting up waxed paper con-
tainers of potato salad and selling them
to drug stores and to private parties.
The set-up was simplicity itself. Ex-
cept for a man to deliver the orders by
truck, the salad company was strictly a
one-man corporation. That is, except
when Joe could inveigle Miami debs to
spend an evening peeling potatoes. Many
a social bud was detoured to Joe's salad
factory to help him fill orders before
continuing on to the country club. "But
this wasn't always satisfactory," Joe re-
members. "Most of the girls didn't know
anything about cooking and they left
eyes in the potatoes. (The factory was
one room on the second floor of a store
building.)
"I made a big deal by purchasing a
million paper cups with the company
name on them free. Then I added fruit
salad to the company products. The sal-
ads went so well that the drugstores woke
up to the fact that they could make their
own salads." So, being a realist, Joe
gracefully retired from the field. "I'll bet
there are still at least a half million
of those cups floating around Miami,
though," he laughed.
Joe was born to a well-to-do and promi-
nent family of Petersburg, Virginia. But
blessings of the silver spoon aren't al-
ways appreciated. In Joe's case they
brought him many knock-down-and-at-
'm scraps at school. For Joe epitomized
what the well-dressed child of a promi-
nent family should look like. Until he
was seven he had long blond curls and
wore Little Lord Fauntleroy velvet suits
even on weekdays. You can imagine his
plight at school. The kids delighted in
teasing "that snooty Cotten boy."
"I tried all ways to get them to stop,
but I finally had to fight it out," Joe re-
members. Thus, he developed a pugilistic
strain that was, in the beginning, harder
on him than it was on the others. But
with practice he developed technique and
by the time he was through grade school,
was fairly proficient at pummeling other
boys.
It was during his high school days that
Joe came to the conclusion, without the
slightest outside influence, that he had
acting ability. No one else, it seems, had
noticed this blossoming talent in him,
but nevertheless, he eventually succeeded
in persuading his father to send him to
the Hickman School of Expression in
Washington, D. C.
There, Joe tells, he lost his Southern
drawl and learned to breathe correctly
and speak loudly. "We had to speak
loudly to be heard above the riveters
who were working on the Mayflower
Hotel being erected next door to the
school," he explains. "But it was won-
derful training. For years afterward, no
matter what the size of a hall or theater,
I never had any difficulty in making my-
self heard."
For several years, Joe's life was one
financial problem after another. He made
the rounds of the Broadway producers'
offices. Yet he seldom saw more than a
reception clerk. The closest he came to
meeting a producer in those days was
talking to his secretary. Eventually, when
his three skimpy meals a day dwindled
to one, he accepted a job less artistic
than acting, but satisfying at the mo-
ment. He became a paint salesman.
After a fair season of paint-selling, he
pocketed his savings ($200) and set out
for Florida to seek his fortune at what-
ever offered. En route, he stopped off at
Petersburg to see his family. But two
days of celebrating his homecoming left
him strapped. He cashed in a life insur-
ance policy he'd bought from his high
school English teacher. "Some policy,"
Joe observed with a laugh. "It got me a
passing grade in English and some cash
when I needed it."
Joe became the favorite male among
Miami's younger social set, with his
choice of attractive debs who had their
own cars — and gasoline, for company.
Shortly after his potato salad days, he
met Lenore Kipp, blonde, bright, socially
A-l and a first-rate concert pianist. She
saw him in a little theater play and knew
he belonged on Broadway.
So, armed with a letter of introduction
to David Belasco, Joe called on the im-
presario. "He greeted me like a long-lost
friend. An open and shut case of mis-
taken identity, I thought. But the next
Marlene Dietrich and Orson Welles pose
in costumes for magic sequence in Uni-
versal's "Three Cheers For The Boys."
She's holding a cigarette for a friend.-
70
SCREENLAND
thing I knew, Belasco was taking me all
through the theater, and before I left
he'd made me understudy to Lynn Over-
man in 'A Dancing Partner.' I felt kind
of shaky when I came out, for after all,
this was New York — and Broadway. For
the first few weeks, at least, I guess I
was the only understudy on record who
prayed every night that the star would
stay healthy."
Joe and Lenore Kipp were married be-
tween shows in 1931, when the actor was
a member of the Copley Square Players
in Boston. Then came a call to return to
Broadway in "Absent Father." And
young Cotten was on his way.
The much touted Damon-and-Pythias
friendship of Orson Welles and Joe Cot-
ten began when they were working to-
gether on a radio program. One of the
actors committed a jaux -pas at a serious
point in the drama, and both Cotten and
Welles laughed uproariously. They were
promptly ejected from the studio by an
irate official. After dusting themselves
off, they gave each other the once-over
and decided they could be friends.
Joe still bemoans the fact that he hap-
pened to be away the Sunday Welles
gave his famous Mars broadcast. "When
I heard about it," he says, "I felt as
though I were going through life like a
taxi driver — just missing everything."
For several seasons life in the theater
was more discouraging than otherwise.
Then Joe and Welles joined the Federal
Theater. (They were among the stellar
few who got paid.) Although their ef-
forts produced no outstanding financial
returns, they did create a certain amount*
of public bewilderment which passed for
genius in some circles.
To add to his income, Joe modeled for
commercial photographers. "One of those
collar ads," he explained, "of the 'before
and after' type. I was Mr. After then —
you know, the fellow who goes out and
gets the job because he's wearing the
right suit."
Joe was co-starring with Welles in Mer-
cury Theater productions when he was
offered the lead opposite Katharine Hep-
burn in "The Philadelphia Story." Joe
and the fiery Katie hit it off very well
and wound up the season with a hit play.
When Orson Welles came to Hollywood
to film "Citizen Kane," he paged Joe for
one of the leading roles. "You just don't
say 'no' to Orson," Joe explains, so he
came out to take his first fling at motion
pictures. "It was exciting," he tells, "for
the entire film colony was agog over the
revolutionary contract given to Welles.
And, of course, speculation as to the out-
come of the picture ran wild."
As you know, Joe played Jedediah, the
critic who started and finished the pic-
ture in a wheel chair. When "Kane" was
completed, Joe went back to Broadway
and the second year of "Philadelphia
Story." While he was in New York,
Alexander Korda asked him to play the
lead^ opposite Merle Oberon in "Lydia."
Joe accepted. Then followed two more
pictures for friend Orson, "The Magnifi-
cent Ambersons" and "Journey Into
Fear." Overnight, studios woke up to
the fact that Cotten was a real find, and
in one week six studios had contracts all
ready for his signature. Cotten signed
with David O. Selznick. That was a year
GAIL RUSSELL AND JAMES BROWN, STARRING IN
THE PARAMOUNT PICTURE,
EARTS WERE
IG AND GAY"
tke Qdorable HcuicU
Gail says any girl can have
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SCREENLAND
71
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Use Powder for
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For while creams and liquids are suit-
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There is ONE Powder
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Take KURB tableu only as directed on the
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ago. He has been on loan-out ever since,
and Mr. Selznick had quite a time in get-
ting his own star back to play in "Since
You Went Away."
"When this picture is finished, you'll
probably take a long vacation — at least
a week," I proposed.
"This is another one of those 'Gone
With The Winds,' " Joe grinned. "It
promises to go on and on."
"Then perhaps you'll be up for an
Academy Award," I suggested cheerfully.
Joe just grinned. "If Mr. Selznick's
luck holds — maybe, some day," he said.
A messenger girl arrived on the set.
Even though it was a party, she came
over to Joe just bristling with business-
like efficiency. "M-G-M has been trying
to get you, Mr. Cotten. They have one
more scene for 'Gaslight,' and since you
are scheduled here every day this week,
they wondered if you'd drop over to-
night for that one scene."
"Really, Mr. Cotten, you should be
two people," I said as he rose to excuse
himself.
"It would be nice if he was," sighed
the messenger girl with one of those Sina-
tra gulps. "Mr. Cotten looks sooooo ro-
mantic!"
It's a good thing Joe Cotten decided
to essay romance — and not hold out on
us any longer. In fact, as Joe says, he
wanted to all of the time. He was just
waiting for the producers to give him a
break. They did — and the fans backed
him up.
"Besides," as Joe says, "there's more
of a future in romance. Where does a
wheel chair get you?"
Canteen Romance
Continued from page 29
fancy ones — this is just a waltz. How
about it?"
The boy said, "You're asking me to
dance? You're — asking me to dance?
But — but I'm not a hot dancer like most
of the fellows are. Maybe you better
ask one of the other fellows."
She said, and the low voice was kind
as well as confidential, "I didn't come
to the canteen to dance with hot dancers.
I came to dance with — with heroes in
the making. Now I'm sounding corny
. . . Get going, soldier — put your arms
around me. I won't break."
He put his arms around her— one
arm, that is. His other hand clamped
down on the satin threads of fingers —
they were lost against the palm of it . . .
Suddenly it was spring in the country
and an April breeze was blowing — it was
Maytime and the apple trees were pink
with blossoms — it was June and the red
rambler rose was falling like a sunset
shower over the wellsweep — it was Sep-
tember and a harvest moon was a splash
of gold in a black velvet sky. Suddenly
he was being deftly guided, unaware of
everything except the perfume of her
cloud-like hair.
It wasn't a Viennese waltz, it was a
slow waltz. Something a man could
wander through and remember for the
rest of his life. She danced close, the
way she'd danced in that picture that
happened in New Orleans. She peered
up through her lashes — such long, tan-
gled, real lashes — the way she'd peered
at the hero in that picture that was
laid in a New York penthouse. The
soldier said queerly, under his breath,
"This is white of you, Miss. Dancing
with me, I mean, because I'm not a hot
dancer," and she said, "You're hot
enough to be a leading man, my fran'!
You are a leading man, right now, in a
feature called destiny." And then the
music rose up in a mist — rose up to the
clouds and came down again and the
dance was over.
Just a dance — and it was over. The
boy wanted to say, "You've been my
ideal ever since I saw you in your first
picture." He wanted to say, "It's not
that I was ever in love with you or any-
thing like that — you can't be in love
with something you can't touch — " and
then he realized all over again that he
had touched her. He wanted to say, "I'll
never forget this evening, and just a
few minutes ago I was asking myself
how I happened to come . . . I'm not a
fish out of water any more, I belong to
something eternal, and you've made me
belong."
She said, "A penny for your thoughts,
soldier?" and he told her thickly,
"They're not worth a penny — they're
just goofy thoughts . . . Look, Miss, it
was white of you to dance with me . . .
It'll be something to remember when
I'm in the thick of it."
She asked, "Will you be in the thick
of it soon?" and he told her, "We're
expecting our orders any day," and she
said, "Then — then you must wear my
colors. A knight going out to battle
must wear a lady's colors, you know . . .
Do you understand about knights,
soldier?"
He gulped — it was becoming a habit —
and said, "In school we read about King
Arthur, but that was long ago. All that
stuff about dragons and things," and she
said, "Some dragons wear gas masks
and throw hand grenades and starve
babies . . . Let's see — let's see. What'll
I give you?"
He wanted to say, "You've given me
so much. You've given me beauty!"
But it was something that a boy, raised
on a farm, couldn't put into words with-
out feeling like a sap, so he faltered,
"Maybe when I come back you'll send
me an autographed photo. Maybe if I
wrote you a letter when I get back you'll
give me one for my bureau."
She said, "I'll give you two — and a
leather case to keep them in. But for
the nonce — "
All at once she was unpinning the
gardenias that she wore on her left
shoulder. On her left shoulder — not so
very far, the soldier thought, north of
her heart. She was smoothing out the
knot of silver ribbon that held them
together; she was saying, "Shall I pin
them on you, soldier? Or would that be
too much for you to bear? Would you
72
SCREENLAND
rather put them away in your pocket?"
He stared down at her. He thought,
"I'd like to kiss her when her mouth's
like that, with the upper lip raised a
little." He said, '"If you don't mind I'd
like to put them in my pocket . . . I'd
get razzed if I wore a bouquet pinned
to the front of my tunic."
They were calling from across the
room. Calling her name. She said, '"Good
grief, soldier, I must go. I promised to
help out in the kitchen — sandwiches
and that sort of thing. But look, soldier,
don't forget about that feature called
destiny! And don't forget that you're
my knight."
She was standing on tiptoe. She was
kissing him lightly on his chin and he
was conscious of the fact that his chin
was prickly because he hadn't shaved
since early morning — he hadn't known,
you see, what this canteen would be
like. And then she was gone, with the
taffeta rattling against her knees — gone
with never a backward glance — and he
was buttoning the flap of his pocket —
buttoning it down over a pair of white
flowers that smelled like something a
man dreams about but seldom finds.
* * *
It was hot and very dusty ... It
was so hot that it was the heat instead
of the dust that choked a fellow — which
was all wrong when you thought about
it! The boy brushed his hand up over
his forehead and his hand and his fore-
head stuck together as if they were glued
with gritty glue. He wasn't so conscious
of his wrists now, only sometimes he was
glad they'd had practice plowing and
chopping down trees — it made plowing'
through enemy lines, chopping down hu-
man trees, a speck easier. If easy were
the word to use, out here . . .
It had come suddenly — more suddenly
than he'd expected. It had happened
the morning after that visit to the can-
teen. Packs put together hurriedly,
equipment shuffled around like some-
thing in a school picnic or a kid's game,
lines of men marching to a railroad
depot and a train and then a ship . . .
Life preservers and jeeps being loaded
onto the ship with tanks and other
things made of gray metal — implements
of war that he didn't know by name.
Watching the things being loaded the
boy had wondered where farmers would
get enough metal for the next few years
— metal to make implements of peace
like spades and pitchforks and harrows
and tractors.
Seasickness. Seasickness causing a
fellow to forget that there were sub-
marines under the gray water and planes
above it . . . Would a girl in taffeta,
which rustled against her knees — a girl
who was a movie star — think that a
man was playing the lead in something
called destiny if she could see him up-
chucking like all get out? Food served
on tin plates and water like tin and a
sky like hot tin and a ship cutting a
sullen swift path between the two. He
wished that he'd gotten to eat one of
the sandwiches she'd put together in the
kitchen after she'd left him — a sand-
wich put together by her satin threads
of fingers would have been tasty. But
after she'd left him he hadn't felt in
the mood to eat anything — he'd just
— how lucky that
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stumbled from the canteen and walked
for miles in the close enfolding darkness,
remembering the touch of her mouth
on his stubbly chin, sensing the fra-
grance of the gardenias in his pocket . . .
A ship touching shore at last — except
that it didn't actually touch, they used
landing barges to make the connection.
But nobody was very glad, even though
journey's end meant an end to seasick-
ness . . . And then the heat and the dust,
but her lips had touched his chin! And ,
her gardenias, the ones she'd worn just
north of her heart, were his for keeps.
The boy felt gingerly of his pocket — •
not the pocket of a tunic, he wasn't
wearing anything over his sweat-stained
shirt. Yes, they were there — they rat-
tled dustily, they'd be dust, too, before
long, like everything else — when a gar-
denia's dry enough it turns to dust.
"But a knight," he thought crazily,
"keeps on wearing a lady's colors even
after they turn to dust . . ." Once the
top sergeant had seen him transferring
the faded flowers from one pocket to
another and had tried to get funny but
— well, he'd taught the Sarge that it
wasn't wise to be funny with a leading
man! The top sergeant — they hadn't
hardly missed him but that was because
there wasn't time for missing . . . And
anyhow, the silver ribbon was still sil-
ver. A trifle tarnished, perhaps, but still
silver.
There was a burst of firing from off
center. It was the same machine gun,
picking them off from that clump of
something that might be palm trees and
might be camouflage. The second lieu-
tenant, the one they'd kidded about be-
cause he couldn't seem to raise a mus-
tache, was crawling on his stomach
through the dust, and his face was
streaked with sweat and dust mixed, and
somehow it gave him dignity and you
didn't miss the mustache . . . The sec-
ond lieutenant would have been a nice
kid to have for a visit on a farm. Sort
of quiet and — well, quiet — and a farm
might have built him up — his wrists
were kind of narrow. The boy said,
"Yes, sir?" automatically, as the second
lieutenant paused nearby, and the sec-
ond lieutenant grated, "We've got to get
it — or else. You understand that, don't
you?
The boy said, "Sure, I understand."
It was the machine gun popping them
off that the second lieutenant meant —
the machine gun making little puffs of
brown dust all around the spot where
they were lying. The boy said, "Sure,
we've got to get it — but how?"
Once, back in a place where there
were pavements and office buildings —
and farms, but farms that were remote
from cities — second lieutenants had been
sort of stand-offish and privates had
saluted before they addressed the single
gilt bar. But a boy, crawling on his
stomach, can't be stand-offish with anj
other boy who's lying on his stomach,
and it's hard to salute, too, from that
position. The second lieutenant said,
"How — that's the question. This isn't
the day — " he laughed hoarsely — "of
miracles! Knights don't charge across
battlefields with their colors flying."
Knights . . . colors . . . That corporal
who wrote so many letters home — he
was just a stone's throw away — coughed
suddenly and pulled his knees up under
his chin, like a kid that's tired, and is
trying to get into a more comfortable
position before he goes to sleep. The
boy said, "Got him in the belly. How
come you mentioned knights? How come
you mentioned colors flying?" and the
second lieutenant said, "God knows!
Guess I'm going nuts . . . Anyhow, he
never knew what hit him."
The machine gun was popping again.
It was something that bothered a guy,
like mosquitoes on the porch in the
dusk when you were all geared to light-
ning bugs. The boy said, almost shyly,
"She gave me her colors, you know.
She pulled that knight line, too." He
choked because a puff of smoke had
blown up almost under his nose, and
said, "Crawling across this lousy
ground won't do — not all the way to the
machine gun nest. There's too much
distance, all the way — it'd have to be
running for the last half. Running fast
enough to get there in one piece —
running no matter what for the last half
. . . Knights with colors flying — that sort
of racket — "
The second lieutenant said, "But I
can't ask it of anybody because I can't
do it myself." His face crumpled into
a strange knot. "Maybe if it weren't
so hot I could do it myself, but — but
I can't . . . That's why it's not possible
to ask it of anybody else. Get me?"
The boy felt his hand wandering up
to the pocket of his sweat stained shirt.
What the deuce — they'd soon be dust
anyway, and dust was the end and the
beginning if you believed what preach-
ers told you. He said, "I could. I could
crawl part way and then run the last
half. It'd be easier if somebody 'd keep
firing in front of me — you, for instance.
Sort of a barrage, I mean, coming from
in back and hitting in front of me and
making sort of a dust screen." He started
crawling and the second lieutenant, with
his young face working, began to fire
from a revolver and the dust spurted up.
It got in the boy's eyes and the gar-
denias in his pocket rustled like dry
paper without anything written on it
except one word — a word, perhaps, like
destiny.
Dust puffs to right of him — dust puffs
to left of him — dust puffs in front of
him volleyed and thundered. It was from
a poem he'd learned in school — "The
Charge — " of something or other. A
poem he'd learned about the time that
he'd learned the saga of knights and
their ladies . . . The boy thought, "She
said some dragons have hand grenades —
maybe I'm a dragon myself. I've got a
hand grenade, and by gosh, I'm going to
use it." He was halfway to the place
that might be palms or might be camou-
flage, and they hadn't touched him yet,
but the puffs of dust were coming thick-
er and faster and there weren't so many
in front of him now — maybe the second
lieutenant had lost the range or had
even lost — well, his revolver. The boy
thought, "This is the time to get up and
run," and so he got up and ran and
something struck him in the arm and he
thought, "These mosquitoes sting like
blue blazes. They're as big as eagles this
year, but that's because we had a damp
74
ScREENLAND
spring." Something struck him in the
shoulder and he thought, "If they
mess up that silver ribbon I'll be
good and sore because it's still silver."
And then he was almost on top of
the place that the bullets were coming
from and he could feel hot stings all over
him — and the place was camouflage, it
wasn't palm trees, and his wrist was still
strong enough to carry his hand up. the
hand that held the grenade. And then
somebody chattered in a voice that didn't
make sense, a voice like a monkey in a
zoo, and somebody screamed and maybe
it was himself that screamed. And then
there was waltz music — a slow waltz, and
the taffeta was rattling around her knees
and the perfume was rising up from her
hair and she was saying, "Get going, sol-
dier. Put your arms around me. I won't
break."
He put his arms around her. One arm,
that is — the other arm was hanging limp.
And suddenly it was spring in the coun-
try— April with a breeze blowing. And
it was Maytime and the apple trees were
pink with blossoms. . . . And it was Sep-
tember and a harvest moon was a splash
of gold. . . . The waltz music rose to the
clouds and the clouds crumpled and fell
in a shower of dust. Only the dust didn't
choke a fellow any more because it was
like spangles in his hair and in front of
his darkening eyes.
* * *
It had been a hard day at the studio.
One of those hard, hot days when the
lights had been like sun in a desert and
when mascara stuck to a girl's lashes and
when being glamorous was more of a job
than a privilege. She drew her hands
across her eyes and said, "Queer, but I
almost feel as if I'm going to faint."
The director said, "You're not the
fainting type, keed, but it has been a
tough session. Why don't you go home
tonight and take a shower and curl up
with a book — if you have a book? Why
don't you forget that you have five mil-
lion engagements and four million heavy
lovers?"
She said, "Skip the engagements and
the heavy lovers. Tonight's my night at I
the canteen. Tonight's my night to get
my feet stepped on and to butter bread." |
The director said, "Why don't you skip
it this once? There are other people to
dance with the armed forces. Other peo-
ple to butter bread — "
She said, "Yes, there are other people
but — sort of you never know. Queer — I
was thinking about a boy just now — a
boy I danced with once at the canteen.
Kind of a big oaf from a farm, but sweet.
He was almost afraid to touch me, and
he couldn't talk, he was so scared."
The director said, "Scared, eh? Did
you iron him out? Did he get over his
panic?"
She said, "Oh. I gave him a couple of
gardenias — I don't know quite why I
gave them to him — and he put them in
his pocket. I wonder how long he kept
them — in his pocket?"
The director said. "Not long. I guess —
gardenias don't last long." He sighed.
"Hardly anything lasts long."
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Lady Korda: "A Good Joe!"
Continued from page 43
tights, and balancing an unwieldy hair-
dress of ostrich plumes and aigrettes,
grabbed Eddie's mop and proceeded to
shine up the floor. "All right, it's
mopped," she said sweetly. "Now don't
fume at Eddie. His wife is sick."
Laird Cregar was taken completely
back, every pound of him, when Merle
said to him a few minutes before he did
his big dramatic scene with her, "This is
your scene, Laird. It's the best scene
you have in the picture. I'll play it with
my back to the camera. Give it every-
thing you've got!" When he recovered
from the shock Cregar, who has been up-
staged by the glamor department ever
since he started in pictures, told Sara
Allgood, "That's the first time that ever
happened to me!"
"Merle's a good Joe. Everybody in the
company likes her," one of the grips said,
and as an afterthought added, "even Mr.
Sanders." Naturally that brought on
further research. George Sanders, the
most irritating and intriguing man in pic-
tures, is famous for not liking anybody.
He's completely anti-social. Always has
a mad on. Nor did he go into hearts and
flowers over Merle. He said, "I like Miss
Oberon, but when people see me making
love to her in this picture, they'll begin
asking me to parties again. And I'll have
to exert myself to say 'no' again. I'm a
lazy man. I like to rest. I like to sleep
I don't like to make polite conversation.
The trouble with making love to beauti-
ful women like Merle Oberon on the
screen is that people get the idea you're
social. I'm not." Well, when you con-
sider what he has said about other lead-
ing ladies, I think this is a compliment.
Teacher's pet was sitting in her dress-
ing room studying her lines when I
dropped by "The Lodger" set. Merle was
dressed for her next scene in the long
street-cleaning skirts of the 1880's. Her
shapely legs (and you'll have an oppor-
tunity to see just how shapely in the
dance hall sequences) were propped on a
nearby chair. My eagle eyes quickly de-
tected not one, but three, runs in her
stockings. And when I commented on
same, she said, "I've only a few pairs of
nylons left. Don't think I'm crazy enough
to wear them when they don't show!"
Of course nylons led to rationing, and
rationing to servant problems — and I am
delighted to report that I have found one
Hollywood star who hasn't a servant
problem and who is perfectly happy.
"I've had my cook for years and years,"
she said. "She has a ten-year-old daugh-
ter who lives with us. I find it's the best,
way to make a mother happy and keep a
good cook. I lost three chauffeurs in the
draft." (Merle is always learning to drive
a car but never quite learns.) "So finally
I called up an employment agency and
asked them if they didn't have a woman
who drives. A vivid blonde named Mrs.
Van Alstyne came in response to my call.
She had never been a chauffeur before,
and didn't have any references, but I
told her, 'You have a nice honest face. I
like you. The job is yours.' And it's
worked out wonderfully. She told me she
76
ScREENLAND
had tried defense work but she found it
too monotonous for her temperament. It
seems she is a student of human nature."
Merle may not be the only actress who
has a chauffeur who is interested in so-
ciological research and has the fancy han-
dle of Mrs. Van Alstyne. But I would
like to make a small bet that Merle is the
only actress in the world who has a
chauffeur who wears false eyelashes!
Merle is extremely pleased with her
role of the gay, light-hearted Kitty Lang-
ley, a music hall dancer and the toast of
London in the days of Queen Victoria.
"The Lodger" has been adapted for the
screen from Mrs. Belloc Lowndes' fa-
mous horror story which has been a best
seller for over thirty years. The story is
based on the actual criminal record of
Jack the Ripper, who murdered six
women in London between August and
November, 1888, and disappeared into
the fog of Whitechapel. The case re-
mains one of the few failures chalked up
to Scotland Yard. I wouldn't be at all
surprised if that fascinating Detective
George Sanders doesn't clear up the mys-
tery once and for all. But you'll have
goose-pimples while he's doing it.
Merle has had more "lady" roles
packed into her screen career than any
other actress, with the possible exception
of Irene Dunne. She's usually dragging
floor-length dresses around and looking
put-upon. And she's tired of it. She has
never been allowed to be her own infor-
mal self on the screen, to smile, dance and
sing — and show a pair of legs that look
fresh off the Atlantic City Boardwalk.
"I've always had to be sad on the
screen," said Merle. "They call it the
nostalgia appeal. I've been the sad, sen-
timental girl with memories in her eyes.
I've shed more tears and looked at laugh-
ing throngs with tragic countenance more
than any other actress. And all the time
I've wanted to be gay. I've wanted a
chance to smile into the camera because
1 know gaiety is the most appealing qual-
ity a woman can have."
When Merle went to work on Colum-
bia's "First Comes Courage" they gave
her a set dressing room which had no
top to it. She started to change her
clothes when suddenly she noticed that
the grips, high up on the scaffolds, could
look right down into her dressing room.
Merle squealed in girly-girly fashion and
pulled her robe around her. One burly
grip leaned over the catwalk and shouted
to her, "Lady, we're too busy to watch."
Merle thought about that later.
H'mmm! Was she losing her feminine
appeal? Then it was time to do some-
thing about it. So she kicked up her
gams in the can-can.
"It wasn't easy learning the Parisian
Trot, a version of the can-can," Merle
continued. "I discovered all kinds of
aching muscles. The leg-mount is the
most disconcerting angle of the can-can.
With your right hand you hold the right
foot, knee straight, close to the right ear.
Meanwhile, the left foot keeps time to
the music while pivoting the body rhyth-
mically. And while doing this you must
flash a dazzling smile into the camera.
At first I'd get the knee straight and
manage to put my foot against my right
ear when a shout would go up from
dance director Kenny Willliams. 'You
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SCREENLAND
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sllOllld see your face, he'd say, and bend
double with laughter. But right at the
last I got so I could give them a smile
and literally tear myself in half at the
same time."
Merle believes that one of the post-war
problems is going to be getting women to
take off their slacks and get back into
girly gear. She thinks that when a girl
wears slacks for a certain length of time
she stops thinking in girl terms;
"I don't care what it is," says Merle,
*'a girl can stand at a lathe eight hours a
day, she can grease cars, anything — and
still be just as much a woman as she ever
was. Being feminine is an attitude of
mind. If we girls lose it because of the
war, we'll have lost our most valuable
asset. Laird Cregar and I were talk-
ing on this subject the other day, and he
told me a story which sums up every-
thing neatly. It happened at a session of
the French Chamber of Deputies. One
deputy was arguing for extreme mascu-
line rights for women. 'After all,' he said,
'nowadays between men and women
there is very little difference.' For a mo-
ment there was a silence. Then up jumped
another deputy. 'Hurray for the differ-
ence,' he said quietly."
Why Joel McCrea Is Quitting Films for Duration!
Continued from page 35
clink of many coins will pass hands.
From all sides, offers have come to
Joel for bigger and better pictures. I
happen to know that two of the largest
and most important studios offered Joel
better contracts than he had ever had be-
fore— and Joel has always been a highly
paid actor. One of the contracts, had he
signed it, would have brought him a
total of more than a million dollars. The
figures were fabulous, almost fantastic.
The producers wanted to sign him up for
seven solid years! In the case of most
contracts, at the end of six months or a
year, along comes an option, and an
actor may suddenly be dropped from the
contract list. But the contract offered
by this studio meant security, safety.
There were no option times when the
studio could drop him.
And yet Joel turned down all these
fabulous offers. Hollywood was dazed, as
though a bombshell had been dropped.
It had been counting on men like Joel
to give pictures that box office tang.
The columnists had a field day guess-
ing at Joel's reasons. Now, for the first
time, Joel himself explained his reasons
to me as Screenland's representative.
"Joel said, "I have quit commercial
movies for the time being, because I feel
I ought to be doing my bit in the war
now. I have turned down all commercial
offers; but if the government wants me
to make a movie 'for free,' to help the
war effort, I shall.
"I know some people feel that by stay-
ing in pictures and not quitting, they are
accomplishing more than if they quit.
They're probably right — for themselves.
Maybe I'm wrong. But for my own per-
sonal satisfaction, I have to do some-
thing besides make pictures. If I con-
tinued to do the same thing, I wouldn't
feel that I was doing all I could for the
war effort.
"You can't depend on other people to
tell you what to do. Sure, every pro-
ducer will tell you that it is right to stay
in Hollywood; to remain in pictures.
Everyone who likes you will tell you to
keep on doing what you have been doing.
It is easy to go on making pictures and
telling yourself that you are doing your
bit by paying heavy taxes and investing
every penny you can in War Bonds.
"But from the time America entered
the war, I have felt that I wanted to do
more. I wasn't satisfied to keep on doing
the same thing I had done before.
Frances (Frances Dee, his wife) and I
often discussed what I could do. Several
men have already gone overseas; some as
entertainers, some for morale. Men like
Joe E. Brown have helped lift the spirits
of thousands of men on battlefields and
in hospitals in the Pacific."
Joel is not sure exactly what he might
be called upon to do overseas. Perhaps
visit with men in camps and hospitals;
perhaps appear in dramatic sketches; per-
haps entertain the men by telling them
about Hollywood and the amusing and
dramatic things that happen there. Men
who have been away from home for a
long time are apt to respond eagerly to
anyone who comes bringing them news
from home. And when that man is some-
one whose face has been familiar to them
through the years — then that man is sure
to represent home to them.
"Cary Grant went on a tour of the
hospitals in this country," Joel went on.
"He accomplished a great deal of good.
I hope to be able to do similar work
overseas. Some men can't take such trips,
because the hazards are too great. They
have too many responsibilities."
"But," I protested, "what about your
responsibilities?" I was thinking of beau-
tiful Frances Dee, and their two sons,
Joel, 9, and David, 7. Joel has always
been a devoted, loving father; he has
tried to give his two sons the kind of
boyhood they will always remember.
Theirs has been the kind of boyhood that
all boys dream of. When Joel himself
was a youngster, he and a friend of his
built a cabin of cottonwood logs in the
Hollywood hills, and spent enchanted
days there pretending they were big
game trappers, Indians and cowboys.
Every day, when they returned from
school, they would change into clothes
suitable for the woods and hills and rush
up to that charmed cabin.
When Joel became a star, he found
that this was one of his happiest memo-
ries, and so he made it possible for his
sons to have the same kind of carefree
boyhood. He never allowed them to go
on the screen, lest they be robbed of a
normal boyhood. On their father's ranch,
they have led the sort of life two kids
can lead only on a ranch, never in the
heart of a city.
And no small part of the enchantment
has been the fact that whenever Joel was
free from pictures, he liked to play with
them, for he is their pal. To the two
Scree nland
boys he is Buffalo Bill in person; the
spirit of the West; a true cowboy; and
above all, their dad, their gay, wonderful
dad.
The boys have been fortunate enough
to enjoy a home where a spirit of tran-
quility reigns; a home in which love be-
tween Frances and Joel has set the pat-
tern for a truly happy life.
There has never been any rivalry be-
tween Joel and Frances. When she
married him, she gave up pictures. Later,
after years of happiness, she did venture
to make an occasional film, but it was
easy to see that much as she had once
loved pictures, her heart was now with
her three musketeers, Joel, Joel, Jr., and
David.
And so I asked, "What of Frances and
the two boys?"
"Frances and I talked it over," Joel
said, "and she agrees with me that this
is something I ought to do because I feel
it is the right thing to do. She is de-
lighted that I am going to do what I
think is right."
Delighted, I thought! When was a
woman ever delighted to see the man she
loves take risks? But I admired the gal-
lantry of Frances Dee, who had con-
vinced her husband that she was "de-
lighted." From now on, she will probably
rush for the mail each time it comes; she
will wait in a fever of anxiety for some
word from Joel. It takes courage on
Joel's part, but it takes greater courage
on Frances' part to tell him. "Yes, Joel,
that's the right thing for you to do."
Joel said of the hazards, "Why shouldn't
I take those risks? These others who are
being drafted — they, too, have responsi-,
bilities. Some of them are married and
have children whom they love, just as I
love David and Joel. They want to pro-
tect their children, just as I want to pro-
tect my two boys. But we all know that
until Germany is whipped and Japan is
beaten, there is no safety for anyone.
We have to do what we can. I can have
no peace of mind unless I do everything
I can to help the war effort."
Joel is not quitting his ranch, even
though he may be going overseas. The
ranch is too important, as are all ranches
and farms that are properly run. Before
he goes, Joel will sell everything -that
should be sold; then leave the ranch tem-
porarily in the hands of his workmen.
He will leave detailed instructions with
them about all the work they are to do.
Since Joel has been running the ranch
successfully for twelve years, he knows
pretty well what to anticipate. Perhaps,
while he's gone, he will lose money, but
that is something for which he is pre-
pared. After all, a man who has sacri-
ficed the prospect of over a million dol-
lars doesn't quibble about his losses on
a ranch.
"Quitting pictures is my own idea,"
said Joel. "I'm not doing it to please
anyone else. Of course, I did talk it over
with several people; but in the end I
made my own decision, as one always
should about anything important. I
wouldn't dream of trying to tell any
other man or woman that he also ought
to quit what he is doing in order to do
war work. That is a problem which
every man and woman in this country
must decide for himself."
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SCREENLAND
79
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Notes gathered here and there which give a lift
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Intimate Notes of a Wartime Wife
Continued from page 37
took over the reins of her career and she
continued as a reigning actress. It was
after Ziegfeld's death that she met Mr.
Mclntyre. "My. world has crumbled!"
she cried.
Sometime she must have read that
couplet of Kipling's:
"If you can bear to see the things
you gave your life to broken
And stoop and build them up with
worn-out tools . . ."
That's what Billie Burke has done.
Perhaps her new life isn't the one she
would have chosen for herself but she has
done a splendid job with the materials at
hand. I knew that is what I would have
to do.
I roamed restlessly through the house.
There was the guest room that has
housed everything but guests. I remem-
bered, soon after we moved to our ranch,
one night when the rain was coming
down in torrents, Desi and I were home
dreaming dreams aloud and planning
how we were going to fix the place up.
"There will have to be chickens," I stated
positively. "A ranch without chickens
would be like Abbott without Costello."
The next night Desi staggered in out
of the rain carrying an incubator with a
hundred baby chicks in it. We had no
chicken house so, for the next two weeks,
until we could get materials and build
quarters for them outside, the incubator
stood in the guest room.
Hardly had the chickens taken up
their own quarters than Desi decided he
was putting on weight. A couple of days
later a truck drove up and the men un-
loaded a steam cabinet big enough for a
public bath. There was nowhere else to
put it so into the guest room it went.
I passed the dining room and saw,
through the window, the swimming pool
beyond. "No more of those Sunday night
shindigs," I thought ruefully. We used
to have crowds in almost every Sunday — -
Dick and Mona Carlson, Marsha Hurit
and her husband, Jerry Hopper, the
Sedgwicks, the Francis Lederers and a
half dozen other couples. One Sunday
night Desi would act as MC and chef.
He would fix up a Cuban dinner, strum
a guitar and sing Cuban songs. The next
Sunday night I would play hostess. That
is, fix the dinner.
"Oh, well," I consoled myself, "those
parties would probably have to go by the
board anyhow. We couldn't get enough
food to feed them now and even if we
could, a lot of the men we used to have
are in service and some of their wives
are living where they're stationed."
Everywhere I turned my eyes there
was some reminder of Desi — of the things
we'd done and planned together.
I started talking to myself again: "A
fine way to build a new life," I jeered.
"Those things belong to the past. You'll
go nuts if you keep thinking about
them."
And then I remembered a few lines
from Edward Sheldon's "Romance":
"Yesterday? It is a dream we have
forgotten. Tomorrow? Just the hope
of some great happiness — some joy
that never comes. Before — behind —
all clouds and stars and shadows.
Nothing — nothing is real — -only the
little minute that we call today."
"That is what I must live by," I told
myself. "I must forget yesterday. To-
morrow? The future has always taken
care of itself, and very nicely, too. To-
day? I must live for today — for all the
'todays' until Desi comes home again."
Then I wondered, "How am I going to
fill my todays?"
That took some thought. Fortunately,
I'm not a moody person. I mean, I don't
get into those black moods that last for
days. Oh, sometimes I become despond-
ent, but I have a mercurial disposition
and the least little thing will snap me out
of the blues. Something as inconsequen-
tial as a phone call from a friend I
haven't seen in a long, time will lift me
up to the skies.
I knew, therefore, I wouldn't have to
worry about being depressed. Not for
long at a time, anyhow. Sure, I miss
Desi. But so do a couple of other million
wives miss their husbands. They're liv-
ScREENLAND
81
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ing through it and, for the most part,
doing a pretty good job of it. Of course,
it was tough having our lives disrupted
just when we'd got things going the way
we wanted them.
When M-G-M put us both under con-
tract it was heaven. People used to ask
me how it was working out, both of us
working and both of us being at the same
studio. They seemed to think we should
get on each other's nerves when we came
home at night tired, and perhaps nervous
because things hadn't gone right that
day.
I think marriage (or, at least, ours)
works out better when both are working
and certainly in our case, they worked
out better because of being at the same
studio. We knew the same people, came
to know their personalities, and when we
talked things over we were talking about
people we both knew. When one is work-
ing and comes home tired and the other
is fresh and rarin' to go, it's not so good.
If we were both tired and jittery, we re-
spected each other's feelings.
Neither of us care for night clubs —
not Hollywood night clubs, anyhow, so
we were content to stay home and have
friends visit us or visit them. If we were
tired we stayed home by ourselves. I
knew, of course, that companionship I'd
grown used to would have to be forgot-
ten for the duration. All right, I'd for-
get it.
"Are you going to be one of these
Army wives who thinks because her hus-
band is away she should be seen here and
there with various friends, just to fill her
time, and say that you and Desi have an
'understanding' — that he has given you
'permission' to go out with other men
while he's away?"
That sort of thing is definitely "out"
for me. In New York, night life is dif-
ferent than in Hollywood. People live
mostly in apartments there and the facil-
ities for entertaining in them are limited.
So you turn to night clubs for dinner and
amusement.
In Hollywood you have homes and you
use them. I can get much more enjoy-
ment out of an evening with congenial
people — either in my own home or theirs
— than I can out of night clubs.
It is a conviction of mine that in Holly-
wood people go to night clubs either be-
cause they're carrying a torch and want
to be around other people so they can
forget, or they go because they've changed
sweethearts and want everyone to know
about it, or they go because they want to
be seen — for the publicity they get out
of it. Hollywood Cafe Society is a pretty
sad life to me and I want no part of it.
"Then how are you going to fill your
life?" I asked myself.
When I'm working I never go out any-
how. Living as far out as I do, the ques-
tion of help is quite a problem. I could
close up the ranch and move into an
apartment, but the ranch means so much
to me I want to keep it open. I knew a
woman — an old friend of my family's —
and she said she would keep house for
me if I didn't ask her to cook. So, until
I can get a cook, she does the cleaning
and marketing and I do the cooking.
Sometimes it's tough when I've put in
ten hours at the studio to come home
and start fixing dinner, but it's no more
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than a lot of other women do. And I'd
rather do that than sit around in a res-
taurant for an hour waiting for a table
and then waiting another hour to be
served. This way, I can at least relax
when I get home, even though I'm still
working. .
Desi occasionally gets a weekend leave
and comes home and we're still able to
have a few people in. On those week-
ends when he doesn't have leave I try to
go to the camp where he's stationed.
If. as occasionally happens. I have a
day off at the studio or get away early,
I go to the Hollywood Canteen and help
entertain. I didn't sign up to be a regu-
lar hostess because I work so constantly
I wasn't sure I could always be there the
nights I was supposed to.
'"So far, so good." I told myself.
"You've taken care of your time when
you're working. Xow. how about the
times you're between pictures?"
Strangely enough, that question didn't
present the problem I'd thought it would.
In the eleven years I've been in pictures
I've rarely had more than a few days off
at a time. After I finished "Meet The
People" the studio told me my next pic-
ture wouldn't start until January. That
means I have almost four months off.
My next is to be a musical so I'm taking
singing lessons. My voice will never cause
Lily Pons any worry but if I'm going to
sing I want to sing as well as possible.
I thought of taking piano lessons again
but gave up the idea. I knew I wouldn't
keep it up and there seemed no point in
wasting a lot of time on something from
which I'd derive no lasting benefit or
pleasure.
Well, then, I thought, how about war
work? Buying bonds isn't enough. So I
have doubled my camp tours. For over
a year I've been going out on shows with
Kay Kyser whenever possible. Xow, I go
with whoever else is putting on a show
when I have a free night.
Also, Desi puts on a show at his camp
every week. I help with that. About
once a month I appear in the show but
every week I line up the talent for him
and do all the telephoning. This may
seem simple but it takes almost the
whole week. You phone about a hundred
people before you find the few you need
who are available. Then you find out
what sort of act they are going to do.
arrange for costumes and transportation,
etc.
Possibly all this doesn't sound like
much — not like any drastic change in my
way of living. In some ways perhaps it
really isn't. I still live in the same house
— only now I do my own cooking. In-
stead of the night life I used to know —
the gay evenings with friends — I do camp
shows with Kay Kyser and others or
help Desi with his. Instead of the com-
panionship I had from Desi on off nights,
I pore through books.
As regimented as all this sounds there
is never time enough for all I have to do.
I fill my life with today, but I dream of
tomorrow — that "hope of some great
happiness."
Ryan Gets the Girl!
Continued from page 33
than the guy who acts simply because
his family were actors and he was born
backstage in a trunk.
"For years I fancied myself a writer,"
he continued. "I majored in English at
Dartmouth and wallowed in good litera-
ture for four years." He took a course in
satire under Professor William Eddy, and
wrote a modern satirical essay called
"Alice And The Toilet-Bowl" in which
he satirized the current hard-boiled
school of literature advanced by Faulk-
ner, Caldwell and Hemingway. Professor
Eddy proclaimed it the best bit of writ-
ing of the type he had encountered in
college, and read it annually to succeed-
ing classes. In his senior year, he won
first prize ($100) in a one-act play-writ-
ing contest, penning a little opus about
death called "The Visitor." The hundred
bucks decided him. He'd be a writer.
"I've started lots of stories and plays
since," he continued, "but I never fin-
ished them. For a while I lived in Green-
wich Village in New York so I could
meet other writers. I met them all right.
But they never seemed to write. They
just sat around and talked and drank
gin. They were all phonies like me,
though at the time I didn't know I was
a phony. I talked a good story but I
just never seemed to get around to writ-
ing it."
It wasn't until 1937, after a slue of the
most amazing jobs you ever heard of,
that Bob took an interest in the theater.
He was in Chicago, his home town, at
the time. He started on a "hobby" basis.
He built a miniature set, and, using dolls,
would spend hours on end arranging
stage groupings. He'd study plays, line
by line, figuring out how each line should
be projected physically on the stage.
After six months of intensive study he
decided to get some kind of a directorial
job. "I learned that the Stickney School,
a private school for teen-age girls, was
about to put on its annual play. I cas-
ually announced to the principal that I
had directed plays in the East. She was
very happy to get a distinguished direc-
tor, particularly since such genius was
willing to work for free." The play, "Dear
Brutus," was a success — greatest in the
school annals. Bob was as cocky as
Mickey Rooney.
Then came a miracle. Despite many
lean weeks, Bob had managed to save up
S300. A friend invested it for him — in
an oil well, of all things! — and he got
$2,000 on his investment. (If you have
•S300 don't do it — this is what' is called
the luck of the Irish, and could only hap-
pen to a Ryan.) Bob hopped off for
Hollywood and enrolled in Max Rein-
hardt's Workshop.
The first day at Reinhardt's he met a
young actress named Jessica Cadwalla-
der, and decided then and there that she
was the girl he wanted to marrv. Thev
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were married in March, 1939. At that
time Bob had $100 left from his oil bon-
anza. In nothing flat the newly weds
were broke. Reinhardt gave Bob a part-
time assistant director's job in his sum-
mer courses at the Workshop, and Bob
picked up a little cash by giving boxing
lessons at $1 per lesson to Hollywood
kids. (He'd won the Dartmouth heavy-
weight boxing championship for four
years.) Jessica helped out by writing
confession stories on the side. Bob made
his professional stage bow, playing in a
revival of "Too Many Husbands," which
Reinhardt directed at the Belasco Thea-
ter in Los Angeles. Said one critic: "We
understand Mr. Ryan used to be a boxer.
Last night he talked as though he had
forgotten to take his mouthpiece out."
Life was at a low ebb for the Robert
Ryans. Bob made a tour of all the cast-
ing directors at the Hollywood studios.
They would have none of him. "They
told me. my eyes were too small, my
teeth were bad, I was too big, I was too
heavy, everything was wrong with me,"
Bob said with a shrug. "You name it, I
had it."
He figured that the East was the best
place for him to get a foothold in the
theater. He hitch-hiked to New York
("but I came back to California in a
drawing room, all expenses paid") and
two weeks later got a job in a Long
Island stock company. He wired his wife
to join him there, and she took the first
bus going East. They made two dollars
a week a piece — Bob played the hero and
Jessica the heroine — and had the time of
their young lives. "It was swell experi-
ence. In Roslyn I became a local celeb-
rity. For the first time in my life people
wanted to pay money to see me act —
not much money, but money."
After that Jessica got a job modeling,
to keep them from starving to death,
and Bob played in stock companies and
straw-hat theaters all over the East.
His "break" came when he was playing a
repeat week of "A Kiss for Cinderella"
at the Maplewood Theater in New Jer-
sey with Luise Rainer. Luise had praised
Bob's work to her ex-husband, Clifford
Odets, whose new play, "Clash by Night,"
was to be produced by Billy Rose with
Tallulah Bankhead as the star. So one
night Rose, Odets and Tallulah descended
upon Maplewood, and after the play
Tallulah exuberantly announced to the
thoroughly bewildered Robert, "Darling,
you're going to be in my next play!"
During rehearsals Pare Lorentz came
back-stage one night, dangling an RKO
contract, and announced, though not
quite as exuberantly as la Bankhead,
"Ryan, you're going to be in my next
picture."
Bob "arrived" with a vengeance. Be-
fore he ever stepped foot on a Broadway
stage he had been given a leading role in
a Broadway play, and a leading role in a
Hollywood movie.
RKO's newest pride and joy (no more
bumping him off, please) was born in
Chicago, November 11, 1909. "Mother
concentrated on the finer things of life,"
says Bob. "She wanted me to study
piano. But Dad said I'd only end up
playing piano in a saloon. So Mother
compromised on violin lessons. I was
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Name Age
Address
City State
nine at the time. Dad, sensing the perils
inherent in toting a fiddle through the
streets of Chicago, hastily hired a pro to
give me boxing lessons."
Bob went to Chicago Catholic High
School where he distinguished himself on
the athletic field, as well as in the edi-
torial room of the school paper. As edi-
tor of the paper he exercised the power
of the press and published reams of his
own poetry which, he states, stank to
high heaven, and no one ever read except
his Mother. When he graduated from
Dartmouth the depression was in full
swing, and college boys were a dime a
dozen. Bob's various jobs are a colorful
story — much more colorful than any
studio scripts he'll be asked to play in.
To hit the high-spots: for a short time
he became a salesman for cemetery lots
in a Chicago suburban development. "I
never did have any sales ability*, but I
had one good sales argument, viz., I was
selling a permanent product." For even
a shorter time he became an unwitting
gangster in the Chicago underworld. A
supposedly reputable oil man offered him
a combination chauffeur-secretary job at
good wages. Bob drove his boss to odd-
looking places and sat in the car while
"contracts" were being discussed in sotto
voce tones. It took him ten days to catch
on to the fact that he was working for a
timid bootlegger who had hired him as a
husky bodyguard. He resigned, quickly.
And there was the time he went to work
as a "human mule" in a Chicago sewer
tunnel operation, a first step in the aris-
tocracy of the sand-hog.
One summer he worked as a cowboy
(he had never been West of the Missis-
sippi) on a dude ranch in Montana. "My
boss simply hated the guests. He charged
them $30 a day, rang ranch bells at four
in the morning, starved them at the
table, and insulted them to their faces.
Finally he got rid of all of them, and the
rest of the summer we had a wonderful
time. I never realized before what prices
rich people will pay for nothing." Once
when he was down to his last thin dime,
he became a photographic model in New
York. He posed for cigarette ads, alcohol
rubs, and threatened young womanhood
in a series of illustrations for a confession
magazine. He couldn't stand this for
long, so when he met a convivial sea cap-
tain at a hilarious party in Greenwich
Village, he decided to go to sea. The next
morning he signed on with the black-
gang of a freighter bound for the East
Coast of Africa with a cargo of automo-
biles and dry-goods. His advice is, "Don't
ever go to sea as a fireman."
When Uncle Sam tapped Bob for the
Army, the Ryans gave up their house in
Hollywood and moved into a small apart-
ment. "I went through that physical like
a cyclone," said Bob. "My wife secretly
hoped there would be something wrong
with me, but there wasn't even a ver-
tebra out of place. We've been in show
business ever since the day we met so
what happens next week has never wor-
ried us. But she tells me she expects to
be a camp follower, as long as i am in
this country."
You see, Bob is the type who gets the
girl. Off-screen as well as on. RKO
should be so slow.
SCREENLAND
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Winged Victory
Continued from page 45
formers. Those not needed are either in
the downstairs lounge trying to read, or
catch up on their letter writing, or are in
theater seats playing helpful audience to
their friends on stage. Since thirty-one
of the female roles are being played by
soldiers' wives, that, as well as the strict
military discipline in effect at all times,
may account for the absence of boy-girl
chatter, present at civilian rehearsals.
The Taylor lad isn't really as un-sol-
dier-like as he sounds, because all the
boys know that Moss Hart encourages
light humor, if it brings out the relaxed
performance he's looking for. Pinky was
a difficult part to cast, anyway, as evi-
denced by no understudy having been
appointed while rehearsals were still in
progress. When Don arrived in New
York, all the other major parts had al-
ready been filled, so he was fortunate
that no one else had been found for the
role of Pinky, which fits him like a glove,
because Pinky is supposed to be a young
flying cadet whose assumed bravado and
cockiness can't hide his youthful fears
and sensitive disposition. Twenty-two-
year-old Don Taylor proves the talents
he displayed in the tests and bits at
M-G-M, where he was on the verge of a
lead such as he wins here, in a scene
which calls for the highest emotional un-
derstanding — where he, as Pinky, has
been "washed out" (failed) in his studies
as a pilot, and must become a gunner
instead. The heartbreak he cannot hide
will make up a scene in both the stage
and film productions — here's hoping Don
gets to play it in the movies — which
every theater-goer will remember when
the war is over and Don continues his
still active M-G-M contract.
Since the scene we're watching will be
repeated many times until it's perfect,
let's wander down to the lounge and talk
to some of the boys we know. Mmmmm
. . . these leather chairs are a relief after
those straight-backed theater seats, and
sure enough, here's Private Lee Cobb.
You know him, of course, for his unfor-
gettable role as the Italian father in
"Golden Boy." In fact, Lee's got an-
other grand part in the current "Song of
Bernadette," but he isn't at all self-con-
scious about admitting that his mature
looks have relegated him to a compara-
tively minor role in this tremendous
Army show. In fact, many of our movie
lads have had to be satisfied with small
parts here, because of the scarcity of
major roles in the production. Sitting
over there on the couch is Private Dick
Travis of Hollywood, whose wife Ann is
in the show; Private Barry Nelson, who
had just finished "A Guy Named Joe"
before he donned khaki; and Private
Harry Lewis, the Warners juvenile who's
played love scenes with Alexis Smith,
Joan Leslie, Susan Peters, and Louise
Allbritton. That's Staff Sgt. Peter Lind
Hayes. Can't you still remember his
swell performance with Victor Mature in
"Seven Days Leave?" Oh, oh — get a fast
look at the dance routine going on in the
corner. It's Private Ray McDonald prac-
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with sister Grace, after the war's over.
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86
ScREENLAND
From the picture "Is Everybody
Happy?" which is making a big splurge
right now, you'll recognize Private Mi-
chael Duane, who has a brief but impor-
tant scene in this Army show with Lee
Cobb. Mike's wife, one of the wives who
is a real actress on her own, is in the
play too, so that's why Mike says it's a
bit of old-home week being in New York,
where he had struggled for stage breaks
before Hollywood and the Army snapped
him up. Alan Baxter, Michele Morgan's
husband, Bill Marshall, and Victor Young
(Charlie Chan's number two movie son)
need little re-introduction to Screexland
readers, while handsome Walter Reed,
whose role in "'Bombardier" had him
among the top-flight romantic prospects
before induction, is also having a big re-
union with his wife and year-old baby.
And for Glenda Farrell fans, her son
Tommy's here, while you must remember
the Mauch twins — Billy and Bobby.
They're 22 years old now, and it's much
easier telling them apart, because Bob is
a bit taller than Bill's five foot eight inches.
Since David Rose (Judy Garland's ex-
husband) is elsewhere, writing original
background music and an important
original overture for the production, in
which he's directing the pit orchestra,
that leaves only two Hollywood personal-
ities for us to meet.
Corporal Mark Daniels has the leading
role in "Winged Victory," and his bride
of a year is here too, although she has no
acting ambitions herself and only ac-
cepted a part to be near Mark. Xow
that we're upstairs watching rehearsal
again, notice Mark's concentration, as he
plans the action to fit his lines. That's
what he did in Hollywood, too. After the
grand job he does here, he can probably
write his own ticket when he returns to
pictures. In talking to us. he is anxious
not to be rated as strictly a handsome
guy (although he is the handsomest sol-
dier in sight, girls!) . He wants the same
thing that all serious-minded young ac-
tors today wish. In particular, he hopes
some day to do "Night Must Fall." Be-
ing merely a personality player in pic-
tures would never hold his interest. All
he needed to crash the top flight at
M-G-M was an opportunity such as
service for his country has given him.
Sergeant George Reeves has something
in common with Mark — he hates to be
thought of as good-looking! That's why
he's delighted about having broken his
nose three times during three years of
schooldays boxing (in which he says he
was just a "palooka") , because it spoils
the otherwise classic regularity of his fea-
tures. George is still reaping acclaim for
his role of Lieutenant John Sumners op-
posite Claudette Colbert in "So Proudly
We Hail." But let George tell us himself
what he enjoyed about this picture:
"What I liked about playing in it was
that Miss Colbert and I didn't count as
individuals — instead, we helped to build
up a story that was more important than
we were. There was a terrific social mes-
sage in the thing, actually, and I'm proud
that I had a chance to convey it to the
public. The message was one of hope for
the world in general because it dealt
primarily with the goodness of people —
little people, big people, all kinds of peo-
ple— and the fact that they are able,
even under the foulest circumstances, t<
pick themselves Up and keep punching."
This black-haired boy. with contrast-
ing hazel eyes, is 29 years old. and has
studied most earnestly at the Pasadena
Playhouse. During the six years he spent
there he met his Ellanora, whom he mar-
ried five years ago. When he went into
service she resumed her own acting career.
To be with him she joined the feminine
roster of "Winged Victory."
In the Army show, George plays a fly-
ing instructor with some good lines in the
star party (a celebration pilots have be-
fore graduation) , as well as another scene.
The story of "Winged Victory" is one
that shows the effects of long-range plan-
ning, and proves the great personal sacri-
fice made by its creator. Moss Hart. He
was actually writing another of those
box-office successes he does so skilfully —
such as the filmed versions of his col-
laborations with George Kaufman: "Once
In A Lifetime," "You Can't Take It
With You," and "The Man Who Came
To Dinner," or his solo ventures, like
"Lady In The Dark." which has just
been released — so that he probably sacri-
ficed an approximate personal profit of a
half-million dollars to comply with Gen-
eral Henry H. Arnold's request that he
write, direct, and produce "Winged Vic-
tory." Moss Hart made a tour of our
nation's air bases for the purpose of col-
lecting background material for the show.
It has to be an accurate portrayal, you
see, because a critical audience of two
million soldiers in the Army Air Forces
alone is waiting to set up a howl if every-
thing is not exactly GI.
As we watch Moss Hart directing, it's
a pleasure to notice his lack of tempera-
ment and his abundance of charm, cour-
tesy, and consideration to everyone.
Standing on the stage to coach Don Tay-
lor, he doesn't get upset because Don
hasn't interpreted the action properly.
Realizing the lad's fresh eagerness, he
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NAME
SCREENLAND
87
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merely remarks in conversational tones,
"Don, I think this scene could be done
differently. You come in now as though
you're already aware of the three lines
Ed's going to say. That shouldn't be. It
doesn't set the mood. Just remember
that you're not supposed to know you're
going to hear bad news — try being
breezy about it all when you enter."
Somebody else has omitted a line en-
tirely, so Moss Hart raises his hand and
interrupts gently, "Sorry, soldier, but
there was another line in there that's
pretty important. It goes like this
(quoting it) ." The soldier smiles grate-
fully, the cue is repeated and rehearsal
proceeds smoothly.
He's a tall, thin, dynamic fellow, this
Moss Hart, who doesn't miss a trick, as
with perfect relaxation he sits quietly
down front, with his eyes half-closed to
get the right effect. In between smok-
ing a pipe, he chews gum, his only sign
of the tension which must go with put-
ting on a spectacle like this. Other di-
rectors and producers fulfill all expecta-
tions of theatrical fireworks, but Hart
contradicts every preconceived notion of
what true genius either sounds or looks
like. In other words, to quote the vary-
ing GI comments around him, he's "won-
derful," "terrific," "a great guy," and
our friend, George Reeves, seems to sum
it all up beautifully with this comment:
"The most stimulating thing about be-
ing here is watching Moss Hart work —
in fact, you can put that down in spades!
We all think he's the greatest living man
in the theater and that the theater needs
more men like him — certainly, Holly-
wood does!"
Sergeant Reeves chuckles over Moss
Hart's tactful way of letting him know
he couldn't have a part which calls for a
Texan accent. After trying him out,
Moss remarked, "Your accent is won-
derful, George, but every once in a while
I catch you at it!"
"There was nothing else to say after
that," George grins.
It's really about time that Screenland
readers were told these things about
Moss Hart, because after the stage tour
is finished, "Winged Victory" will be
filmed, and already the major studios
have put in their bids for it. An inter-
esting fact is that Moss Hart has had
many previous offers to direct screenings
of his plays, but turned them down —
yet now he's almost eager to direct this
one, because he knows that the cost of
his screen services, as well as all stage
and screen profits, are going to the bene-
fit of Army Emergency Relief.
"Winged Victory" will interest a lot
of movie fans who hitherto have known
little or nothing about the inner work-
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their home towns to an air base and
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the audience right to the actual combat
scenes, giving personal glimpses of the
boys, their failures and triumphs, and
their feelings about it all. Naturally,
their loves figure in the story, too, and
since nine of the feminine roles are quite
important to the plot, it's certain to
start another casting problem for which-
ever studio wins the film rights.
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Screenland
A message for you
. . . from 1953
{Today, John Jones is just an average
American, wrestling with all the doubts
and worries and problems that beset every
one of us right now. But let's skip ahead
10 years. Let's look at John Jones then —
and listen to him . . .)
ometimes I feel so good it almost scares me.
^5 "This house — I wouldn't swap a shingle
off its roof for any other house on earth. This
little valley, with the pond down in the hollow
at the back, is the spot I like best in all the
world.
"And they're mine. I own 'em. Nobody can
take 'em away from me.
"I've got a little money coming in, regu-
larly. Not nauch — but enough. And I tell you,
when you can go to bed every night with noth-
ing on your mind except the fun you're going
to have tomorrow — that's as near Heaven as
a man gets on this earth !
"It wasn't always so.
"Back in '43 — that was our second year of
war, when we were really getting into it — I
needed cash. Taxes were tough, and then Ellen
got sick. Like most everybody else, I was
buying War Bonds through the Payroll Plan —
and I figured on cashing some of them in. But
sick as she was, it was Ellen who talked me
out of it.
" 'Don't do it, John!' she said. 'Please don'tl
For the first time in our lives, we're really sav-
ing money. It's wonderful to know that every
single payday we have more money put aside!
John, if we can only keep up this saving, think
whatit can mean! Maybe someday you won't
have to work. Maybe we can own a home. And
oh, how good it would feel to know that we
need never worry about money when we're old ! '
■"Well, even after she got better, I stayed
away from the weekly poker game — qui t drop-
ping a little cash at the hot spots now and then
— gave up some of the things a man feels he
has a right to. We made clothes do — cut out
fancy foods. We didn't have as much fun for a
while but we paid our taxes and the doctor
and — we didn't touch the War Bonds.
"We didn't touch the War Bonds then, or
any other time. And I know this: The world
wouldn't be such a swell place today if we had ! "
The Treasury Department acknowledges with appre-
ciation the publication of this advertisement by
Screen la xd
Be Your Age!
Continued from page 16
want to steal a march on Father Time
it's up to you to recognize what beauty
problems may lie ahead of you.
Nobody need tell you that the basic
beauty needs for all ages are the same
familiar ones we talk about day in, day
out. Good health, scrupulous cleanliness,
sufficient rest and proper diet. With these
four musts under control, you face your
age squarely.
Let's look over hair and hairdos first.
(We'll take for granted that your locks
are shampooed with preparations that
make them easy to comb into shining
neatness and that they are brushed into
perfect condition.) If you're 18, soft,
casual styles may add to your allure, but
take a warning that this same style, at
38, will probably subtract from your
charm. On the road between 18 and 38.
you'll watch carefully for those changes
in hair arrangements that will suit the
development — and frequently the im-
provement!— of your personality.
Also, constant and careful scrutiny of
your hair will indicate when it's time for
substitutes for nature's glamor to enter
your hair picture. The minute that a
star discovers that her glorious youthful
tresses have begun to fade, she finds a
rinse that puts the rich color back into
her hair. And, when the first gray locks
appear, she makes an immediate decision
as to whether it's gray her head is going
to be, or whether the natural color is to
be kept for years to come.
For retaining your color, maybe a little
retouch with a good vegetable coloring
agent will do the trick. Or perhaps a
complete dye is needed to keep you
blonde, chestnut, or red-headed. If the
latter is the case, put yourself in the
hands of a reliable hairdresser whom you
know uses the best products.
Should you decide to "go gray," re-
member that there are wonderful rinses
that dramatize the increasingly popular
gray — or white — coiffures. And here's a*
place to say a word again on permanents.
Good, soft waves are essential at all ages
In the very important matter of
make-up — from 17 to 70 — we'll do well
to ask ourselves if we remember any time
when glaring and obvious changes took
place in the faces of our chosen stars.
We'll bet that you think of them all —
young and mature — as just always being
beautiful. It will only be when you com-
pare old pictures with new, that you'll
realize the differences in their stages of
loveliness! The same eyebrow lines,
mouth shapes and rouge application just
can't go on forever.
So, as they travel along the beauty
road, the stars gradually alter the color
and contour accents of their faces. They
select, too, from those many softened
tones of lipstick, rouge, eyeshadow, and
nail polish those which are definitely the
more attractive color choices — as time
goes by!
And finally, isn't it extraordinary to
you, how ageless the hands, feet and
figures of our movie stars seem to re-
main? It's not done with lights or mir-
rors either! Your clue to this secret again
lies in appropriate everyday beauty care.
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Mail the coupon today with Sl-98 or order C.O.D.,
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V*TABS CO., Dept. SU-2. Room 1302,
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. Send me one month's supply of V-TABS (120
tablets).
□ I enclose SI. 98.
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Name * - •
Address - -
BUY BONDS, BUY STAMPS,
THEN BUY SOME MORE.
THAT'S A WAY TO WIN THIS WAR.
TRUE LOVE
CAN BE YOURS!
True love if not won lightly. Sweetness
wins love. Sympathy wins lore. UNDER-
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"THE ART OF KISSIXG" — In every kiss
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FREE TRIAL -
Albert Publications, Dept. LT
33 Union Square, New York 3, N. Y.
Rush me in plain wrapper your Modem Love Library
(3 books*. I will pay postman on delivery $1.00 plus
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□ Check here if you wish to save postage by enclos-
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If not satisfied after 5 days' trial, your money
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Name . .
Address
City . . .
ScREENLAND
89
Why shouldn't I
buy it?
I've got the
money
99
/I
Sure you've got the money. So have lots of us. And
yesterday it was all ours, to spend as we darn well
pleased. But not today. Today it isn't ours alone.
"What do you mean, it isn't mine?"
It isn't yours to spend as you like. None of us can spend as we
like today. Not if we want prices to stay down. There just
aren't as many things to buy as there are dollars to spend. If
we all start scrambling to buy everything in sight, prices can
kite to hell-' n' -gone.
"You think I can really keep prices down?"
If you don't, who will? Uncle Sam can't do it alone. Every
time you refuse to buy something you don't need, every time
you refuse to pay more than the ceiling price, every time you
shun a black market, you're helping to keep prices down.
"Then what do you want me to do
with my money?"
Save it! Put it in the bank! Put it in life insurance! Pay off
old debts and don't make new ones. Buy and hold War
Bonds. Then your money can't force prices up. But it can
speed the winning of the war. It can build a prosperous
nation for you, your children, and our soldiers, who deserve
a stable America to come home to. Keep your dollars out
of circulation and they'll keep prices down. The government
is helping— with taxes.
"But I thought the government put a
ceiling on prices. "
You're right, a price ceiling for your protection. And it's up
to you to pay no more than the ceiling price. If you do,
you're party to a black market deal. And black markets not
only boost prices — they cause shortages.
"Doesn't rationing take care of shortages?"
Your ration coupons will — if you use them wisely. Don't
spend them unless you have to. Your ration book merely
sets a limit on your purchases. Every coupon you don't use
today means that much more for you — and everybody else
— to share tomorrow.
"Now wait! How do taxes help
keep prices down ? ' '
We've got to pay for this war sooner or later. It's easier and
cheaper to pay as we go. And it's better to pay more taxes
NOW — while we've got the extra money to do it. Every
dollar put into taxes means a dollar less to boost prices. So . . .
Use it up . . . Wear it out . . .
us
Make it do ... Or do without keep
WN
A United Stales war message prepared by the War Advertising Council, approved by the Office of Warlnformation,and contributed by the Magazine Publishers of America
m
Screen land
PRINTED IN THE U.S. A. By THE CUNEO PRESS, INI
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(IQHT 1943 ASSOCIATED DISTRIBUTORS, DISTRIBUTORS, CMICAQO. IN SOU
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A Beauty Revelation
What gives a woman's face magnetic charm? Something more than a nice skin and dramatic red lips. Arresting
faces . . . memorable faces sparkle with life and expression! Here lovely eyes are the star performers,
which means that pale-tipped lashes and skimpy eyebrows are definitely passe. The most expressive eyes
are accented with subtlety and taste — a blessing made possible by soft Maybelline Eye Beauty Aids.
Lashes look naturally long and lavish, darkened with Maybelline Mascara. Brows are gracefully tapered
with the pointed, smooth-marking eyebrow pencil. There's luminous magic in a deft touch of exquisite eye
shadow. If you have never tried world-famous Maybelline eye make-up, the difference will enchant you.
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NGER
GERS
"Lady in
*
ice
I'm Raising
My Son
for Tomorrow!"
Says
ROSALIND RUSSELL
The Truth About
TURHAN BEY
With Color
Closeup
win romance with a bright, sparkling smile!
Smiles are brighter when gums are firmer. Guard against "pink tooth brush1'— use Ipana and massage*
THERE'S a victory to win — and you're
working hard! But after hours, you're
you — with your girl's heart and time for
romance. So wear your feminine frills and
furbelows. Yes, and call on the most fetch-
ing charm of all— a radiant smile!
Remember you don't need beauty to
win happiness and romance. Charm counts
as much as beauty. And even the plainest
girl— with a sparkling, attractive smile-
can turn heads and win hearts!
So make your smile gay and radiant— a
smile that is the real YOU. And remem-
ber, healthy gums are important if you
want to have a bright, sparkling smile.
"Pink tooth brush" — a warning!
If your tooth brush "shows pink"— see your
dentist! He may say your gums are tender
—robbed of exercise by our soft foods. Like
many dentists, he may suggest "the helpful
stimulation of Ipana and massage."
For Ipana is designed not only to clean
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the health of the gums as well. Let Ipana
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Your Country needs you
in a vital job!
3,000,000 women are needed to serve
on the home front — to release more
men for wartime duties.
Jobs of every kind— in offices, stores
and schools — as well as in defense
plants — are war jobs now.
What can you do? More than you
think!
If your finger can press a button,
you can run an elevator or a packag-
ing machine! If you can keep house,
you've got ability that hotels and res-
taurants are looking for!
Check the Help Wanted ads. Or see
your local U. S. Employment Service.
SCREENLAND
LEO PRESENTS
& ^ wmjuL SPENCER TRACY
& oA K^uXlRENE DUNNE
0 in VICTOR FLEMING'S Production
of the M-G-Marvelous Romance
The grandest love story since *(Test Pilot"
Ot <%wf HoahjU, Joe,
^ with VAN JOHNSON • WARD BOND • JAMES GLEASON • LIONEL BARRYMORE
BARRY NELSON • ESTHER WILLIAMS • Screen Play by Dalton Trumbo • Adaptation by
Frederick Hazlitt Brennan • Directed by VICTOR FLEMING • Produced by EVERETT RISKIN
A Metro-Goldwyn-Mayer Picture
4
ScREENLAND
Paul Hunter, Publisher
Delight Evans, Editor
HOMER ROCKWELL, Executive Vice President
Elizabeth Wilson,
Western Representative
Helen Fosher,
Assistant Editor
gumiiiniimiuiiijiniiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiniiiiiiiiiii
llllll|il|llllllllllllllllllllllllllllll!lll!lllllllllllllllllllllllllllllllllllU
Prank J. Carroll,
Art Director
Anthony Fsrrara,
Asst. Art Director
I i • i it utuuHU^nnmniiiii m 1 1 n ■ m i n 1 1 n ■ m m nut ti ■ m » n ■ iui n
II il ill llll I It I ■ 111 ■ M 1 1 1 LI 1 1 LI I LI 1 1 1 M I L 1 1 1 1 1 1 1 illl 11 1 1 1 M I M It LI 1 1
.'tOPITIIP!^
March, 1944 Vol. XLVIII, No. 5
EVERY STORY A FEATURE
The Editor's Page Delight Evans 19
1 ,000,000 Men And A Girl. Sinny Simms Michael Sheridan 20
"I'm Raising My Son For Tomorrow!" Says Rosalind Russell
Gladys Hall 22
Hollywood's War Within A War Neil Rau 24
From Apple Strudel to Cheese Cake. Marlene Dietrich.
Constance Palmer 26
The Truth About Turhan Bey John R. Franchey 28
Peggy Ryan's Romance Barbara Flanley 30
Private Life of a Zany: Jack Carson Liza 32
Anna Lee's Overseas Adventures Elizabeth B. Petersen 34
Brian Donlevy, Pin-Up Man Barry Farrar 36
The Fabulous Tallulah. Tallulah Bankhead. Elizabeth Wilson 38
FULL COLOR PORTRAITS:
Rosalind Russell, starring in "What A Woman!" for Columbia
Turhan Bey, appearing in Universal's "Ali Baba And The Forty
23
29
40
Thieves"
Lana Turner, seen next in M-G-M's "Marriage Is A Private Affair"
PICTURE PAGES: Photo Preview of the New Films, Something For
The Boys, Something For The Girls, Nelson Eddy Has A Holi-
day!, Man-ln-Demand! (Joseph Cotten), The Allure of Lupino,
Let's Dance! (Rita Hayworth and Ann Miller), Spring Fever
Fashions (Trudy Marshall).
DEPARTMENTS:
Hot From Hollywood 6
Your Guide to Current Films Selected by Delight Evans 8
Fans' Forum 10
There's Hidden Beauty in Your Hair Josephine Felts 16
Honor Page. "Destination Tokyo" 41
Here's Hollywood.
Candid photos by Jean Duval — Gossip by Weston East 56
Guide to Glamor 60
Natural Color Cover Portrait of GINGER ROGERS, who will next
be seen in Paramount's "Lady In The Dark," opposite Ray Milland
Paul Hunter, President
Burner Rockwell, Executive Vice President and Advertising Manager
Lee VVagner, Circulation Manager
8CRKENLAND Published monthly by Hunter Publications, Inc., at 205 E. 42nd street. New York, N Y
Advertising Offices: 205 E. 42nd St., New York; 410 North Michigan Ave., Chicago, 111.; 427 W. 5th Gt„
Los Angeles, Calif Manuscripts and drawings must be accompanied by return uusLage. They will receive
careful attention, but SCREENLAND assumes no responsibility for their safety. Yearly subscriptions $2.00 In
the United states, Its dependencies. Cuba and Mexico: $2.50 in Canada; foreign $3.00. Changes of address
must reach us five weeks in advance of the next issue. Be sure to give both the old and new address. Entered
as second class matter, September 23. 1930, at the Post Office, New York, N. Y., under the act of March 3, 1879.
Additional entry at Chicago. Illinois. Copyright 1944 by Hunter Publications, Inc. Printed in the U. S. A
MEMBER AI'DIT KUKKAU OF CIRCULATIONS
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Published in
this space
every month
A legend currently circulating among
airmen reveals that _ when General
Chennault, commanding his Flying
Tigers, climbed into the cockpit of a
plane he said,
★ ★ ★ ★
"When I'm at the stick I'm just a guy
named Joe."
M-G-M presents Spencer Tracy and
Irene Dunne in Victor Fleming's pro-
duction of "A Guy Named Joe".
★ * ★ ★
With Van Johnson.Ward Bond, James
Gleason, Lionel Barrymore, Barry
Nelson, Esther Williams.
★ ★ ★ ★
Screen play by Dal ton Trumbo, adap-
tation by Frederick Hazlitt Brennan,
directed by Victor Fleming and pro-
duced by Everett Riskin.
★ ★ ★ ★
That's the entire billing and it's an
honor to be on it. "A Guy Named
Joe" is a great memorable picture.
★ ★ ★ ★
Spencer Tracy gives the outstanding
performance of his career. It is way
ahead of his shadow life as an aviator
in "Test Pilot".
★ * ★ ★
Irene Dunne surpasses her best work,
not excluding "The Awful Truth".
★ ★ ★ ★
Victor Fleming's direction makes you
remember that he also directed "Gone
With The Wind".
★ . * ★ ★
Two lovers with stars in their eyes and
their eyes in the stars are Spencer and
Irene. She too, you see, is a pilot.
★ ★ ★ ★
A story of recklessness in the face of
the sheerest danger and of love itself
which is the enemy of fear.
★ ★ ★ ★
M-G-M is as proud of this one as of
"Madame Curie" which has met with
such acclaim throughout the country.
★ ★ ★ ★
If you care to listen in to a first class
radio program try "The People's Re-
porter" on the Mutual Network. Need
we tell you the sponsor?
★ ★ ★ *
But it's hard for us to mention the air
without . ^mmammmmmmmmmtmUKK
coming
back to . . .
Presented by
A Guy Named
Screen land
5
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Here is six-months-old
Alana Ladd, daughter
of the Alan Ladds.
D OMANTIC rumor of the month con-
cerns Van Johnson and Judy Gar-
land. We'd hate to hold our breath so
long, but there are those who believe
Judy and Van are heading for the altar.
In the meantime they are seen here and
there together, a mighty cute couple.
DICHARD WARING, who gets his
-*- *- break opposite Bette Davis in "Mr.
Skeffington," just bought a small restau-
rant. On the announcement cards he
sent out for a gag, Richard wrote, "No
dogs allowed, wolves welcome!"
GREER GARSON and Ensign Richard
Ney are going to have a Hollywood
honeymoon or else! The studio has issued
orders to the publicity department, the
production department, and all depart-
ments concerned that Greer is not to be
disturbed while her husband is here on
leave. You have to be a pretty big star
to rate that kind of treatment.
f ITTLE MARGARET O'BRIEN just
received a fan letter that almost any
glamor gal would swoon over. It's from
Cary Grant, who saw Margaret in "Lost
Angel" and thinks she's an angel — and
anything but lost!
WITH merchandise at a premium,
Betty Grable is having a difficult
time trying to assemble a layette for the
new baby. Carole Landis is organizing a
group of girls who will be known as the
from
HOLLYWOOD
"Diaper Brigade." They're going to get
together once a week and work on tiny
garments. Betty thinks it's a swell gesture.
BY THE TIME you read this, John
Loder should belong to M-G-M.
Hedy Lamarr wants to do a picture
with her husband and has everyone in
the script department searching for the
right vehicle. Since "Old Acquaintance"
the Loder career is looping.
Dinah Shore and George Montgomery "at
home" after secret marriage in Las Vegas.
6
SCREENLAND
irop everything
fo see ir/
IT f ' iff , 1 I l***y- 3BTi>v.f«i
"But it would be more fun to see
'The Miracle of Morgan's Creek"
^Ec/afe Brack?*
Is Trudy tocfenlocfcr V
assies
'Promise m-
ScREENLAND
Copyright by Paramount Pictures. Inc., 1944.
Scenes from the forthcoming
musical sensation of 1944
tyouA, GUIDE
CURRENT FILMS
SELECTED BY
Cover Girl
Music by JEROME KERN
Lyrics by IRA GERSHWIN
■itt
LEE BOWMAN • PHIL SILVERS ■ J I K X FALKEHBURG
THE COVER GIRLS
IS Of AMERICA'S MOST BEAUTIFUL WOMEN
Scilll Pill k| Vllfllll Tin U)»
Directed bt CHARLES VIDOR
A COLUMBIA PICTURE
DESTINATION TOKYO — Warner Bros.
Warner Bros., who turned out a grand job on "Air
Force," do it again — this time on the submarine service.
In addition to the tried talents of Cary Grant, John
Garfield, Alan Hale and John Ridgley, they have cast
several newcomers in important roles. The story con-
cerns the U.S.S. Copperfin and her crew on a secret
mission to broadcast from Tokyo all necessary infor-
mation for a successful raid on Japan. There are many
tense moments of suspense — an unexploded bomb lodged
in the aft deck, prolonged depth bomb attacks and finally
cruising underneath a damaged Jap cruiser by listening
device. See our Honor Page for further praise.
MIRACLE OF MORGAN'S CREEK — Paramount
Audiences are in for a grand surprise ! Preston Sturges,
noted for his individualistic treatment, has done a
remarkable job of suspense. The film is important, too,
because it gives Betty Hutton her first real chance to
give out with histrionics, which she does with efferves-
cent enthusiasm. Eddie Bracken also proves he's of star
caliber, though he practically knocks himself out in every
scene. The story's about a pert young smalltown miss
who wakes up one morning with the knowledge that
she doesn't know what happened the night before.
The predicament grows, involving her boy friend,
town and finally the state. Don't tell surprising end !
HIGHER AND HIGHER — RKO- Radio
Hollywood hasn't changed Sinatra one iota in this screen
version of a Broadway musical comedy. He plays him-
self with crooked smile, big. ears and all'the personality
he exudes over a radio mike and across the footlights.
More than that he delivers several hit songs to further
stir young hearts. Michele Morgan proves herself mis-
tress of comedy as the scullery maid who, in order to
save a bankrupt millionaire's estate, poses as his daugh-
ter eligible for a wealthy suitor. Jack Haley handles
the role of valet who engineers the hoax capably, and
the millionaire is tailored to fit Leon Errol's brand of
comedy. Marcy Maguire and Mel Torme are a cute team.
STANDING ROOM ONLY— Paramount
The title is descriptive of wartime Washington which
is again the scene for a fluffy bit of satirical comedy
about a resourceful young lady (Paulette Goddard)
from the donkey department of a toy factory and the
handsome business manager (Fred MacMurray), the
object of her amorous pursuit. As his secretary she
accompanies him to Washington to convert the factory
to an ordnance plant. When her "resourcefulness" in
cancelling hotel reservations lands them on the street,
she finds them jobs as domestics. Much confusion, red
tape and other complications fail to reach the
high hilarity stage. Edward Arnold, Roland Young, fine.
WHAT A WOMAN — Columbia
Rosalind Russell in the role of a dynamic talent agent,
more familiarly known as ten percenters, Brian Aherne
as an easy-going writer-editor, and a 6 foot 4 newcomer,
Willard Parker, who warrants more than a second
glance, make up a sure-fire formula. Story revolves
around a best seller authored by a young pedantic
professor, ashamed of his off -trail literary effort. When
the book is to be filmed, he wins the starring role, and
goes through a gruelling grooming. He falls in love and
becomes too masterly for his efficient and beautiful
"Pygmalion." It's fast and funny enough to satisfy
that escapist impulse we all must indulge on occasion.
8
SCREENLAND
MADAME CURIE— M-G-M
Based upon Eve Curie's book about her
mother, directed by Mervyn LeRoy and
starring that well-remembered "Mrs. Mini-
ver" team of Garson and Pidgeon, this
photoplay will appeal to thoughtful adult
audiences, taking its place among the really
important motion pictures of its time. You
should be warned not to expect rousing en-
tertainment, for "Madame Curie" is a se-
rious tribute to a high-minded, consecrated
scientist, not a glamorization of her hard-
working life. Even Greer Garson's magic
is dimmed as she conscientiously portrays
Marie Curie through her career of self-sac-
rifice, and Walter Pidgeon is equally pains-
taking in his characterization of husband
Pierre. The discovery of radium provides
the drama in their fine, faithful lives.
LADY IN THE DARK — Paramount
For something stunning, something different,
see thisl Moss Hart's hit show has been
skilfully adapted to the screen, with all of
its glamor and most of its wit intact. Only
those who will positively accept no substi-
tute for Gertrude Lawrence in her original
role of fashion magazine editor Lisa Eliot
may find fault with Paramount's brilliant
job. Ginger Rogers is not as subtle as Miss
Lawrence in the part, but she will wow her
audiences when she hits her stride in the
musical numbers, especially the cejebrated
"Saga of Jenny." The stage play had no
such charmer as Ray Milland in the role of
advertising exec who turns out to be Liza's
dream man after psycho-analysis has solved
her emotional problems. The dream se-
quences are breathtaking. A "must" movie.
THE LODGER — 20th Century-Fox
Haunting, menacing eyes of Laird Cregar
as Jack the Ripper, character of Mrs. Marie
Belloc Lowndes' novel, will follow you
around the block. He gives a subtle per-
formance, but we knew him from the first.
Merle Oberon, particularly delightful as a
music hall dancer in London, does a mean
can-can. George Sanders plays the Scot-
land Yard inspector, and supplies a mild
romance. The tone of the picture is as dark
as the alleys in which the gruesome crimes
are committed, but if you need a chill, see
it by all means. (More Reviews on page 15)
to fp!! you abou> a
film that is happy and gay
and filled with romance and ^
action. You'll loseyourcares
when you go to see this
rhumba-on -the -range fiesta
ROY ROGERS
jfl King of the Cowboys
1 TRIGGER
Smartest Hoise jls in the Movies
RUTH TERRY
GUINN "BIG BOY" WIUIAMS
ONSLOW STEVENS
MARY TREEN,
The Wiere Brothers
and BOB NOLAN and
THE SONS OF THE PIONEERS
Roy Singt
Hoagy ("Stardust") Carmtchael's "Hands Across
the Border" and other grand tunes
Buy War Bonds and Stamps
U RtPUBL
BUC
f ans rorum
4K
10
FIRST PRIZE WINNER
$10.00
Mickey Mouse, Donald Duck and their
cartoon kinsfolk are not to be outdone by
the many top-flight stars in uniform and en-
tertaining soldiers on far-flung battle fronts.
They are majoring in the languages and a
score of other subjects, including sanitation
and nutrition ! The animated pen pals of
millions of youngsters will do an about-face
when they present this new educational proj-
ect endorsed by world leaders.
After Professor Duck condenses the Eng-
lish tongue into eight hundred and fifty
words, to be known as Basic English, Bambi
may give us his interpretation of Louis Pas-
teur, demonstrating the importance of vac-
cination. Or Ferdinand may lecture on the
soy bean from his favorite cork tree.
By helping to combat illiteracy Disney's
diplomats will serve as a powerful influence
in the post-war solution of age-old interna-
tional problems.
Motion picture audiences have learned
many lessons from the pages of celluloid
text-books, but when Disney and Edison met
education really began!
MRS. NELL ROWE, Parkersburg, W. Va.
SECOND PRIZE WINNER
$5.00
A couple of months ago, I saluted a hand-
some young lieutenant. His face seemed
familiar, and I thought perhaps. I knew him
in civilian life. For two weeks my mind
kept reverting to the incident. Then one day
when I saw him greet an enlisted man, I
saw my chance to put my mind at ease. I
asked the soldier the lieutenant's name and
he replied: "Why, that's Lieutenant Price.
You probably saw him in the movies. He
was actor John Shelton before he entered
the armed forces. You see his real name is
John Shelton Price."
My curiosity was satisfied. John Shelton
was one of my favorite actors. I liked him
because he played his roles with the natural-
ness of a man in a real life situation.
I saw him again when he acted as master
of ceremonies at a soldiers' talent show. He
has done an admirable job of keeping up the
morale of the boys, and he has done it in his
spare time, as his regular duty is with the
signal corps.
For some time his wife, singer Kathryn
Grayson, lived in nearby Clearwater Beach,
and he made the twenty-five-mile trip across
Tampa Bay each evening to be with her.
Nothing has been heard of John Shelton in
SCREENLAND
Opinions, Please!
Everyone has at least one ! We want
yours about the stars and the latest
movies you've seen. Motion picture pro-
ducers and directors, as well as stars,
welcome constructive criticisms and
comments upon their films. They will
be read in Fans' Forum. Your letter
may win a prize, too. Monthly awards
for the best letters published: $10.00,
$5.00, and five $1.00 prizes, all payable
in War Savings Stamps. Closing date
is the 25th of the month.
Please address letters to Fans'
Forum, Screenland, 205 East 42nd St..
New York 17, N. Y.
the past couple of weeks, but wherever he
may be, one can rest assured that he is giv-
ing his best to his country. In lovely Kath-
ryn -Grayson, John Shelton has a special
reason why he wants to get this war over
with quickly.
CPL. ARTHUR G. JOHNSON,
Drew Field, Fla.
FIVE PRIZE WINNERS
$1.00 EACH
While I think these war pictures have
been a good thing for all of us here at home
— showing what the boys are doing for us
and how they are keeping our trust — I think
a right-about-face in plots would be a good
thing. Let's show the boys that we are keep-
ing their trust, too — that our plans for the
future are influenced by them and their
home-coming. Let's have pictures that show
some of the honest-to-goodness sacrifices
and obstacles which confront the folks at
home, and how gladly they are met.
It seems to me that the best morale-builder
in the world for the boys in the service
would be the thought that they always come
first in our minds and hearts. And I know
of no better medium to put this thought over
than the movies !
MRS. CELIA SCHOOLEY, Wichita 2, Kans.
How about un-typing Veronica Lake?
Seems to me it's about time. Her perform-
ance in "So Proudly We Hail" shows she
can act, but who would know it when she
RATIONED FUEL?
Now, more than ever, Listerine Antiseptic may help you guard against colds and sore throat
WHEN the thermostat says 60 de-
grees as you sit down to play
bridge, maybe you had better have a
bottle of Listerine Antiseptic handy,
to be used at the first sneeze or sniffle.
Many medical authorities consider
a chill, a draft, wet or cold feet, and
fatigue to be important factors, in the
production of some of the trouble-
some symptoms of colds.
In their opinion, these factors may
lower body resistance so that a threat-
ening group of germs called the
secondary invaders can stage a "mass
invasion" of throat tissues.
Much of the discomfort and misery
associated with a cold are due, they
say, to such "mass invasions."
Kills Millions of Germs in Tests
The prompt and early and repeated
use of Listerine Antiseptic may avert
this mass attack . . . get the surface
germs before they get you. This de-
lightful germicide reaches way back
on mouth and throat surfaces to kill
millions of bacteria . . . gives Nature
a helping hand in its fight to throw
off the infection before it gets serious.
This quick, germ-killing action, we
believe, explains why Listerine Anti-
septic has had such an impressive
record against colds in tests conducted
over a period of twelve years.
Fewer Colds for
Listerine Antiseptic Users in Tests
These tests showed that regular, twice-a-
day users of Listerine Antiseptic had fewer
colds and fewer sore throats than non-
gar glers. Moreover, when colds did develop
they were generally milder in character.
Just remember, that fifteen minutes
SCBEENLAND
after Listerine Antiseptic was gargled
germ reductions on mouth and throat
surfaces ranging to 96.7% were noted
. . . and up to 80% even one hour after
the test gargle.
Surely, when you feel a cold coming
on, it's just plain common sense to
take advantage of the Listerine Anti-
septic precaution. Lambert Pharmacal
Company, St. Louis, Mo.
BECAUSE OF WARTIME restrictions you may
not always be able to get Listerine Antiseptic in
your favorite size Most drug counters will, how-
ever, have it generally available in some size.
LISTERINE
ANTISEPTIC
for oral hygiene
n
always gets the same part, no matter
whether it's laid in Puritan New England,
or in the Philippines? It's that darn hair
that does it. Loose or pinned up, it makes no
difference. A short haircut and some real
life roles would do wonders to take her out
of the ranks of female oddities and put her
into the ranks of real actresses. It'd better
be, "Off with her hair" before a bored pub-
lic says, "Off with her head."
VELMA EGGERS, Indianapolis, Ind.
Ah, these Frenchmen ! First, it was Boyer
in "Algiers." His dark smouldering eyes
and velvety voice intrigued the girls no end.
"Moontide" introduced Jean Gabin, he of
the attractively ugly face, and American
women became definitely aware of that con-
tinental charm. Then Paul Henried took
the country by storm in "Now Voyager."
The girls just couldn't get over the fascinat-
ing way he lit cigarettes for two.
Now it's Jean Pierre Aumont in "Assign-
ment In Brittany," and he's totally terrific
That mussed blond hair. That smile. Ah.
me ! I, for one, demand to see a lot more
of him on the screen — and in romantic
comedies, please.
CATHERINE McCROHAN, Detroit, Mich.
Ever since Alan Ladd went into the Army,
there has been something missing in the
movies. Now that he is out again my friends
and I are very glad.
"The Fighting Seabees," Republic's picture
dedicated to the valiant Navy Construction
service, has John Wayne and Susan Hayward,
shown left, in the romantic leads. Below,
Vera Hruba Ralston deserts her ice skates to
play a strictly dramatic part in Republic's
"The Monster," thriller-chiller horror story.
ARMY NOSE CORPS
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of today's American woman. Complete your make-up
with Irresistible's matching rouge and face powder.
IOC AT ALL 10c STORES
TO STAY ON LONGER . . . S-M-0-O-T-H-E-R !
That "Irresistible something"
is IRRESISTIBLE PERFUME • I0C
12
SCREENLAND
Of course we're awfully sorry Mister
Ladd couldn't stay in the Army — in one re-
spect. He wanted so much to get in.
If it will make you feel any better, Mister
Ladd, your fans are behind you. So how
about giving us some more of your good
pictures ?
RITA JANE POPEJAY, The Bronx, N. Y.
I didn't intend to see "Oxbow Incident"
because everyone I knew who had, discour-
aged me. It's a waste of time, they said.
And it was. But an article by a producer in
a trade journal whetted my curiosity. It said
the picture had a timely and significant mes-
sage, but judging from its boxoffice flop, the
public missed the point.
I didn't, my friends didn't and I don't
think the public did either. The message,
that civilized men are governed by their con-
science, not their passions, was obvious. But
it was the producers that missed the point.
They failed to make that message signifi-
cant.
Our boys are fighting fiercely, gloriously,
for freedom and the rights of civilized man,
giving their lives for it. That's significant !
The Nazi and Jap fight fiendishly and
without a conscience for power and su-
premacy. But he fights, and that's signifi-
cant too.
The supposedly rough, tough boys of
"Oxbow Incident" period talked about men's
rights and humanity in quite a civilized way.
They even took sides, but they didn't do any-
thing about it. They didn't fight 1 No wonder
it was strictly that — an incident without sig-
nificance !
WILMA D. DURBIN, Detroit 27, Mich.
ft
Ella Raines tries three sharply contrasting
characterizations in her next picture, Uni-
versal^ mystery thriller, "Phantom Lady."
I hope, Mary,
you will never read this letter . . .
If you do, it will mean that you will
have to go on from here without me.
You will have to face alone all these
things we started out so confidently
to face together. * I have wanted so
much for you my darling. So many
things I had hoped to give you and
to share with you. * Above all else,
I wanted you always to have peace
of mind, your dignity and your
" independence. • Now it's too late for me
to have a part in that. But perhaps I have been
able to help a little. For sometimes, when things seem clear to me,
( feel that these are the things we over here have been fighting for.
• All my love, Mary. We have had, at least, a little time together."
Tragedies like this— personal, individual tragedies-
are happening every day. And they will
continue* happening until the great tragedy
of war is over— and our victorious men
start coming home. * America needs
millions of her women— needs you
personally— to make this day of victory Jk
come sooner. * You can do a vital job
in ending this war quicker. You can
save many and many an American
soldier from fighting needless extra
days. # You are wanted desperately
in a war job— in the armed services—
in essential civilian work. Today, look
in the classified section of your \
newspaper, or go to your nearest
United States Employment
Service office. In most communities
you will find the right job for
you. If your choice is the armed
services, apply ai your Army
or Navy Recruiting Station.
The more women at war . . . the sooner we'll win
PUBLISHED IN CO-OPERATION WITH THE DRUG. COSMETIC AND ALLIED INDUSTRIES BY
MUM
A Product of Bristol-Myers Co.
SCREENLAND
13
A LESSON
IN LOVE SCENES
FROM LUM AND ABNER
Abner (Norris Goff) demonstrates the subtle
technique with Margie Stewart, above, and
seems to be doing all right. Lum (Chester
Lauclc) proves that he is a glamor boy, too,
right, with Barbara Hale. The homespun comics
are playing in RKO's "So This Is Washington."
HONORABLE MENTION
When I was a very little girl my mother
used to take me to see Harold Lloyd's pic-
tures because they were "accepted" as being
quite proper for children. I would sit and
cry from start to finish because I felt so
sorry for Mr. Lloyd. I was miserable for
him because he was so stupid.
As I watch Red Skelton on the screen I
find that he has much the same effect on me
as Harold Lloyd had twenty years ago.
Must a comedian necessarily appear com-
pletely nonsensical? The cleverest people
(.and the wittiest, I might add) are quite
intelligent and often sophisticated. It would
be so refreshing to see Red Skelton expose
his quite nice face minus the imbecilic look.
He is a fine actor. We might even be aston-
ished to find that he has his share of sex-
appeal ! His brand of comedy when not
supported by much else will grow stale. But
if Red Skelton will combine his wit with the
acting of which he is capable and portray a
normal human being, he'll still be a welcome
sight on any screen.
MRS. B. A. BATTLES, Oklahoma City, Okla
Your Guide to Current Films
HAPPY LAND — 20th Century-Fox
So heartening is this dignified portrait of
an American family, so moving and poignant
in its simple human emotions, this film ver-
sion of MacKinlay Kantor's well - loved
novel will linger long in your memory and
give guidance to those who need it. Don
Ameche is largely responsible for making
this a beautiful piece of Americana because
of his fine understanding of the father
whose son is lost in action. The son, played
at various ages by Larry Olsen, James West,
and Richard Crane, would be the pride of
any family. The role that Frances Dee plays
as wife and mother, is inconspicuous but
adds an enormous amount of charm to the
picture. Ann Rutherford contributes a fine
and beautiful romance with Richard Crane.
Gramp' is played capably by Harry Carey.
NO TIME FOR LOV E — Paramount
Claudette Colbert lends glamor to the sand-
hogging profession in this frothy story
adapted by Claude Binyon — a combination
hard to beat. Add Fred MacMurray, as a
big, brawny, conceited sandhog - inventor,
and you have a picture that will take any-
one's mind off wartime blues — for at least
83 minutes. An ace femme photographer
(Claudette Colbert), glamorizing sandhogs
for a picture magazine, saves the life of
sandhogger (Fred MacMurray) whom she
dreams is Superman. As a cure she tries to
ridicule him in her own eyes. But Superman
walks off with the honors in the drawing
room, while she is found wanting in a riot-
ous game of musical chairs the sandhog-
gers play to prove brains are important.
THREE RUSSIAN GIRLS — United Artists
The fortitude of Russian volunteer nurses is
given every test in this story, laid in the
outskirts of Leningrad. The three girls
mostly concerned are Anna Sten who plays
commander of the group of twenty nurses,
Mimi Forsythe, the volunteer who finds it
hard to give up her good times, and Cathy
Frye, the youngest but nonetheless capable.
Kent Smith plays an American flyer, hos-
pitalized after his plane has been brought
down by enemy fire. He supplies an
appealing romance with Anna Sten, which
does much to lighten the tone of this picture.
VERONICA LAKE *t*
Star of "THE HOUR BEFORE THE DAWN" a Paramount Picture:
"Hollywood
has certainly
analyzed
charm....
"One essential
is a smile
that's really
dazzling.
He
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SCREENLAND
13
Keep it clean,
keep it healthy,
and you'll find
unexpected ra-
diance there!
By
Josephine
Felts
Lucille Ball, Starring in
M-G-M's "Meet the Peo-
ple," wears smartest of
hats because her hair is
so beautifully coifed. Her
upswept hairdo has long
back and short sides
brushed forward into soft
curls. Back is lacquered.
THERE'S BEAUTY
HIDDEN
IN
YOUR HAIR
* * * ★
SOFT, shining, silky, sparkling . . .
These are words most often used to
describe the lustrous and luxuriant
hair of the movie stars!
When your hair, too, answers this
description, it makes a brilliant frame
for your face. But when it's drab, dull
and dingy, it robs you of a beauty that
can, and should, be yours.
If by any chance you are one of these
girls whose hair lights are hidden by de-
fects, you really should take a few tips
from the beauty-wise screen stars who
have found out that even the most life-
less hair can be revitalized into loveli-
ness.
They suggest that first you analyze
your hair. Pull it to pieces to see what
makes it lack natural beauty. You're
bound to discover that, the state of your
hair is very dependent on the condition
of your scalp. Dry, brittle hair is quite
obviously the result of a dry, flaky scalp.
Oily, sticky hair usually indicates that
the oil glands in your scalp are working
overtime. And, of course, normal,
healthy hair must come from a normal,
healthy scalp. No matter which type of
hair is yours, the stars and beauty ex-
perts all agree that it can only be made,
and kept, beautiful by proper cleansing,
lubricating and exercising.
If you're the lucky one whose hair
radiates life and luster, then, the chances
are that you have been treating it prop-
erly all along. Keep up the good work!
But, if excess dryness or oiliness have
come upon your head, then you should
start today to give your hair the sham-
poos, treatments and brushings that will
bring it back to a normal condition!
How — and how often — you shampoo
your hair depends on its type, on the
job you do and on the place you live.
For a city dweller with a normal scalp,
a washing every ten days is in order.
Every two weeks is sufficient if you live
or work in a grime-free community. In
almost any situation, every two weeks is
often enough to wash dry hair. And,
oily hair, if it's to be kept free of excess
scalp secretions, needs a weekly bath.
It's hardly necessary to remind you
that you must be fussy about what you
use to wash your hair — and the way you
use it! Never use a harsh soap which
may irritate the scalp and rob it of its
natural coating of oil. Only a liquid will
thoroughly penetrate the hair and satu-
(Please turn to page 87)
16
SCREENLAND
re?
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/
o other Shampoo
leaves hair so lustrous, and yet so easy to manage !
i
A— 4
Look devastating those precious
hours you spend with "him." You will,
even in the simplest dress, if you do
right by your hair! Here's a glamorous
new hair-do he'll adore ... if your hair
itself has the shining smoothness only
Drene with Hair Conditioner can give.
Soap film dulls lustre — robs hair
of glamour!
Avoid this beauty handicap! Switch to
Drcne Shampoo. It never leaves any dulling
film, as all soaps and soap shampoos do.
•
That's why Drene reveals up to
33% more lustre!
Only Drene with Hair Conditioner
reveals up to 33% more lustre
than soap . . . yet leaves hair so easy
to arrange, so alluringly smooth!
In the game of love, a girl's best trump
card is lovely, shining hair. Yes, a man
really falls for hair that sparkles with
highlights, gleams with lustre!
So if you want to be the "Queen of his
heart," remember that! Never
let soap or soap shampoos dull
the radiant beauty of your hair.
Instead, use Drene Shampoo with
Hair Conditioner! See the dramatic
difference after your first shampoo . . .
how gloriously it reveals all the
lovely, sparkling highlights, all the
natural color brilliance of your hair!
See, too, how the wonderful hair
conditioner now in this new, improved
Drene leaves hair far silkier, smoother
and easier to handle . . . right
after shampooing.
Easier to comb into smooth, shining
neatness! If you haven't tried
Drene lately, you'll be amazed!
So for more alluring hair, insist on
Drene with Hair Conditioner. Or
ask your beauty shop to use it!
And remember . . . Drene gets rid of all
flaky dandruff the very first time you use it.
D
rene Shampoo
with
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SCREENLAND
17
CENTURY-FOX PRESEN
ORSON WELLES
as "Edward Rochester" J
JOAN FONTAINE
as "Jane"
Margaret O'Brien
Ann Garner -John Sutton
18
rrrtrd by ROBERT STEVENSON • Scrrrn Play l>y
Stevrnsmi aild Julin HmtM-man
ScREENLAND
And watch for the other coming big
pictures from 2^^tH Century Fox
including
THE SULLIVANS
The story of the year about the
family of the year! — in the
picture of a lifetime!.
* 1
An Open Letter to
You Folks Back Home
from
Mom and Pop, Sis
and sweetheart- —
just to let you
know that your
fighting boys are
still seeing their
American movies,
wherever they go
Betty Grable, symbol of the girl they
left behind, is among many stars whose
movies are shown to American fighting
men on many fronts. Men in hospitals,
jungle tents enjoy the shows. These
movies bring "home" closer to them.
Phcton: V. 8. Army.
Army Signal Corps.
T^ROM the boys overseas on the fighting fronts, the news
A is that a night isn't called Monday night, or Tuesday
night — it's Deanna Durbin night, Judy Garland night, Bob
Hope night, Mickey Rooney night, Kathryn Grayson
night, and so on — into the night.
Because now they've got movies — new movies, which to
them mean "as American as apple pie and coffee." So in
New Guinea they're "jungle happy," in Egypt they're
"pyramid happy" and in Sicily and Italy they're "volcano
happy." Because that's where their theaters are.
In the jungles the boys sit on benches of chopped-down
cocoanut trees for seats, where the projector is under a
canvas cover to protect it from the downpour of rain — the
boys let it rain, they want to see what Dorothy Lamour is
up to. When the moonlight brightens the pyramids, they
sit outdoors while the 16mm film unwinds on the screen
and Betty Grable makes them yell their lungs off. In Sicily
they don't need elevated seats, they sit on the side of a
sloping volcano and cheer their approval at Jimmy Cagney
or Humphrey Bogart- (Please turn to page 77)
Hi
1,000,000
en and a
ONE NIGHT at the Hollywood
Canteen, over by the coffee and
sandwich bar, a baby Marine was
talking in guarded tones to a veteran
of the Sicilian campaign. They couldn't
have been more than eighteen and
twenty-five respectively.
Said the Marine, "The way she hugs
that mike makes you think she's hug-
ging you!" And the soldier whispered
back, "Yeah, she reminds me of three
people: my mother, my kid sister, and
the girl I'd like to be hitched up with."
In those words you have a pretty fair
picture of Ginny Simms, and what makes
her tick with the many who have voted
her not only tops on the radio, but the
girl with the biggest future in Holly-
wood. Symbol of the "girl back home"
to countless thousands of fighting men
on the battlefronts all over the world,
and in the homeland posts, camps, naval
and Marine bases, Ginny is also carving
20
By Michael Sheridan
a solid and. it is to be hoped, quite per-
manent niche for herself in the movies.
For a long time she didn't believe that
she might have any kind of a career in
pictures. Her entire being was wrapped
up in her radio work; her whole heart
and soul was reserved to giving of her
best in the weekly broadcast that, with
its Crosley rating of 19.6, is listened to
by 19,600,000 people each week. Movies,
for Ginny Simms. was something very
much on the side.
Now that whole picture is changing.
In Metro-Goldwyn-Mayer's Technicolor
production of "Broadway Rhythm" a
new Ginny Simms appears. No longer is
she just a radio songstress against the
background of a popular band, with a
couple of lines to say, and about as much
action as removing a pair of gloves. This
time Ginny was awarded a healthy
speaking part and allowed not only to
sing but to act! Furthermore, instead of
the producers saying shruggingly, "'Oh,
just wear anything, Ginny, you're only
doing a couple of solos," the efforts and
talents of the best dress designer, the
Ginny Simms really comes into her own on the
screen in "Broadway Rhythm," M-G-M's Tech-
nicolor musical in which she appears with
George Murphy — see scene still, below. Yes,
that's Ginny as a blonde, for special Spanish
number, one of the most outstanding in new film.
best hairdresser, and the best voice coach
were put to work. And, as movie audi-
ences throughout the country will soon
be able to judge for themselves, a very
worthwhile all-round decision it is, too.
Altogether, Lady Luck has been good
to Ginny Simms. Her one rule in life:
"Be kind," has brought its own just and
deserved reward. The prologue to Ginny
Simms' success story has lacked any bit-
ter, hopeless sense of struggle, although
there was one time, early in 1936, when
life lost a lot of its kick. That was when
her mother was desperately ill, and Ginny
was torn between taking care of her and
continuing with a protracted and tiring
tour with a band td make financially
possible the best medical care. "In those
days I lived every minute of every hour
of the day. Between singing in one town
after another and waiting to hear about
mother in the brief spells between re-
hearsing, hopping on or off trains, and
searching frantically for the nearest tele-
phone as soon as I stayed put long
enough to use it, I died a thousand
deaths. Nothing mattered verv much
then."
In those days, and when things like
that happened, money was important to
Ginny. But only then, not any more.
Now Ginny Simms, with an annual in-
come from radio, screen and phonograph
(Please turn to page 66)
ROSALIND said, "I can't do it!"
I said, "I never heard you
say 'can't' before about any-
thing."
Rosalind said, "Perhaps not. It's
a word I detest. But there are some
things you see, from the day Lance
was born, I've refused to give forth
with what is known as a 'baby' story.
That is, I've put , thumbs down on
being interviewed about what I felt
when I first saw the baby, what
Freddy said when he first saw the
baby, etc."
"But why?"
"Because," young Mrs. Brisson
said, with characteristic Russell em-
phasis, "because personally I can't
imagine anything more ridiculous
than a movie star presuming to hold
forth about her achievement in re-
producing the species! A presump-
tion which would be calculated, I
should think, to make other women,
with four, five, and more children
and no to-do or te-da about it,
scream with justifiable resentment,
'Well, get her!' "
Rosalind's home, where I went to
call upon Master Brisson, is a pleas-
antly spacious white Georgian house
in Beverly Hills which his parents
bought from funny woman Mary Bo-
land. It is done entirely in cottons.
With the exception of one or two
rugs there is not a thread of silk or
wool in the place. The drapes, lamp-
shades, cushions, upholstery — all cot-
ton. Rosalind, characteristically,
brought the conservation-of -war-
materials effort home with her.
And there I found Rosalind sitting
on the floor in a soft green wool suit.
Her dark hair was a shining mop,
hanging loosely. Her infant son (the
blond replica, in miniature, of his
{Please turn to -page 62)
For the first time Rosalind talks for pub-
lication about her baby son, Lance Bris-
son, just six months old when photo at
left was made. Below, from left to right:
"Mom" presents "Pop" to Brian Aherne;
scene with Willard Parker from latest
Russell comedy for Columbia, "What
A Woman;" autographing for soldiers.
aisingjr^^^on For T<
Says Rosalind Russell
omorrow !
To Gladys Hall
HOLLYWOOD'S
WITHIN A WAR
By Neil Roil
THE War Department received an odd request recently from a home-
sick corporal and two privates down in New Guinea. The three
soldiers advised their superiors in Washington that their morale would
be lifted by several notches if Ann Sheridan could be persuaded to stand
before a microphone in Hollywood and fry an inch-thick sirloin steak so
that they could listen to the tantalizing sizzle by short wave radio.
And what do you suppose happened? The request was duly referred
to the Hollywood Victory Committee and machinery was put in motion
to see that it was carried out. This sort of thing is mere routine to the
men in Hollywood responsible for keeping the armed services happy. On
a weekly air show called "Command Performance," which is broadcast
exclusively to overseas bases, they have filled service men's requests for
anything from Carole Landis heaving a deep sigh to Paul Robeson singing
"I Am An American," to a baby's cry, to the sound of a bottle of cold
Brooklyn beer being poured into a tall glass.
Through the Victory Committee Hollywood is fighting a war within a
war — a battle against ennui, frustration and homesickness. Its weapons
are music, song, comedy, drama or anything else that will lift a weary
service man out of his routine for a while and give his spirit a figurative
shot in the arm. This committee handles anything from requests such as
those listed above to the involved procedure of sending stars like Gary
Cooper and Bob Hope to the actual battlefronts. It functions with
smoothness and precision and definite campaigns are mapped out, some-
times months in advance.
Upon the arrival of news in this country that a big star is touring a
certain theater of war, the question is often asked as to how he got there.
Who actually determines what player goes where?
In detail it works this way: through cooperation of studio casting
directors and producers, and actors' agents, the Victory Committee
lines up a player for a camp tour on a certain date. The player's name
and date of availability are turned over to USO Camp Shows, which
shares office space with the Victory Committee in Beverly Hills. By
teletype the information is passed on to the main USO Camp Shows
office in New York, whence it is submitted to (Please turn to page 88)
Of course you've known all along that your
movie stars have been doing a grand morale-
building job in the war effort. Now, read the
complete story of their inspiring activities
Christmas "Command Performance" broadcast featured the brilliant cart shown above. At right, above, Cery Grant
lots instructors in MRTC demonstrate first aid bandaging on him at Camp Robinson, Ark. (Photo by Lt. Lloyd Hart,
Asst. Chief. Signal Section.) Pictures below, reading from right to loft: Adolpho Menjou chats with men of the Head-
quarters Detachment at Fort Francis E. Warren, Wyo. (Photo by McEachare.) Fredric March autographs for boys
overseas. Rosalind Russell helps on home front. (Photo by Signal Corps, Fort Sam Houston, Texas.) Corp. Herbert
Geiloupe meets his old friend, Kng Crosby, on the rifle range. (Photo by Corp. Wis. Peery, Ft. Warren, Wyo.)
Jk
T
From Apple Strudel
to Cheese Cake
By Constance Palmer
That many-faceted
personality, Mar-
lene Dietrich, does
if again! Glittering
new role of siren
in "Kismet" leaves
her little time for
her old cooking
hobby, remember?
THE FAMOUS legs were gilded to the thigh. The feet were bare, toe-nails
painted blood-red. The magnificent bone structure of the well-publicized
torso was also bare and the blonde hair gilded and lacquered into a high,
firm pin-cushion effect above hollow cheeks and slanting eyes, hard as flint.
Marlene Dietrich has done it again! Stars may rise and stars may fall, but
the Dietrich can always be depended on to carry it off. Gloria Swanson and
Pola Negri in their salad-days couldn't hold a candle to her when it comes to
wearing the costumes studio designers dream up.
In "The Garden Of Allah" she floated in Technicolor over an extremely
sandy desert brushed by a well-controlled and becoming breeze, wearing pastel
chiffons so delicate that they looked as" substantial as fondant candy in a
hot sun.
In "Destry Rides Again," she was a way-out-West dance-hall girl, com-
plete with spangles, feather . boas, silks, satins, velvets and birds of Paradise
that would have taxed the financial resources of Mrs. Astorbilt herself.
Now, in "Kismet" at Metro-Gold wyn-Mayer, she's undressed to the teeth.
She does a sensuous Oriental dance to the blaring tones of the set recorder
and succeeds in creating an atmosphere of ■provocative mystery that would
do credit to a perpetrator of the Indian rope-trick.
First they did her up in tiny gold chains, but there were so many spectators
around hoping the chains would break —
which they did — -that they changed the
conception to voluminous folds of black
chiffon through which the gilded legs shine
satisfactorily.
But the Marlene Dietrich of the set is
not the Dietrich of the Hollywood Canteen,
the Government hospitals for wounded
servicemen, the weekly broadcast in six
different languages to countries under the
Axis heel. The Marlene of the gilt, the
chiffon, the small golden breastplates — the
Marlene whose knitting-needles click with
All that glitters definitely is
gold in Dietrich's case. Gilded
makeup for the Queen of the
Dancers in "Kismet" takes four
hours to apply. „ Pictures here
give you an idea of her allur-
ing new role in the M-G-M film.
furious efficiency between shots as she
manufactures wristlets and scarfs, sweat-
ers and mittens for soldiers and sailors
and marines — is an entirely different
woman.
Time was when she spent many hours
being a good cook. Her coffee cake, her
apple strudel melted in the mouth, as
many a fellow-worker on the set and
personal friend in the European contin-
gent can bear witness. But now it's dif-
ferent.
This is the day of big things, organi-
zations, War Bond tours, important
public appearances and small, private,
unheralded effort. Every minute of the
day must be budgeted and cared for as
preciously as a jewel. There is time
for work; time for rehearsal; time for
speeches; time for traveling from Can-
teen to hospital to air-port. There is no
time for play.
"Every woman's life is so full now,"
she told me on the "Kismet" set, "that
it seems only by forgetting oneself can
one accomplish a small half of all the
duties there are to be done."
She picked up her ever-present knit-
ting and her strong fingers flew. The cold
steel needles, moving so swiftly, fashion-
ing the wool into something for a soldier
to wear and perhaps die in, made strange
contrast against the gold thighs, the chif-
fon, the sequins, the bracelets and ban-
gles. I asked her if she thought glamor
still had a place in this war-torn world
— if it was necessary to the morale of
both fighting man and civilian.
She most definitely thought it had not.
"What I think we need here is more
work on the part of everybody. Com-
pared to the people of Europe and China
we've been lucky — so far. And the small
amount of rationing we've had isn't even
worth talking about."
She rose at the director's call, care-
fully laid down the sweater she was
working on and went back into the scene.
She gets to the studio at seven every
morning, as it takes four hours to pre-
pare her for the set and almost as long
at night to restore her to a reasonable
fac-simile of normal. Wood-alcohol is
used to take the gilt from her legs and
she wonders wryly if their present green-
ish tinge of an evening will be per-
manent.
The recorder blared raucous sounds
you won't hear when you see the pic-
ture; Marlene hid behind a pillar at the
top of a short rise of steps; technicians
fussed with this, fiddled with that.
Finally the clack of the marker and
Marlene stuck her toe out from behind
the pillar and the dance was on. She
swayed sinuously down the steps, and
waved her arms gracefully. The scene
was completed without a hitch. She came
back and sat down.
"American w o m e n," she went on,
touching the black chiffon that cascaded
in lovely folds from her marvelously-
wrought and lacquered coiffure, "have
thought too much in the past about
making themselves beautiful. They have
the reputation of being the best-groomed
women in the world. More and more
magazines are published teaching them
taste about dressing, methods of beauti-
fying the body.
"Motion pictures have helped. The
habit of beauty is so deep-seated now
that scarcities and the demands of the
war-effort are possibly upsetting to the ,
woman accustomed to having plenty of j
time to work out her own glamorizing
routine. But with all there is to be done, j
they should not forget the importance j
of keeping themselves healthy. And the j
best way for them to retain beauty is i
for them to use the simplest means to \
present an attractive appearance."
She believes that meat and butter !
shortages will work wonders for our com- J
plexions because we are eating, perforce, j
more fruit and vegetables. Happy and
good thoughts bring beauty to an other-
wise plain face, so — to the girl whose !
features are not too perfect — she says, j
"Don't worry. Don't brood over fancied
slights. Think with all your might that |
things are good — and they will be good!"
She is all for hard work during the
day because she says it makes us go to !
bed early enough to get a full night's
sleep, which makes naturally for bright
eyes and an alert brain.
When I asked her what her advice was \
about the buying of finery and embel-
lishments during war-time, her reply was j
oblique — like her eyebrows.
"There is an ancient saying that is ;
very wise." She smiled a little. "It goes ;
T went to the market today and ad-
mired so many beautiful things I couldn't •
use.' Isn't that wonderful? It's so good j
to remember. For instance, before ra- !
tioning we thought nothing of buying ;
three or four pairs of shoes at a time. i
It was so much easier to pick out the
season's supply all at once. Now we \
know that one sturdy, comfortable, well-
fitted pair, of good leather and work-
manship, will have to do until the next
shoe-stamp is good.
"Now it's doubly necessary to shop
wisely. Some women seem to make a
life's work of shopping. They shop by
the hour, six days a week. They wander
up and down the aisles of every depart- ;
ment store, from floor to floor, fingering, i
pricing, picking up, laying down articles j
they can't possibly need or use. They'll
buy anything — just for the satisfaction
of being able to choose, pay for and say, j
'It's mine!' Better — much better to spend
the time at the Red Cross or Canteen or ]
UjS.O. where you can be of service to !
your fellow man who's perhaps giving his j
life for you."
It used to be a studio legend that she
almost never arrived empty-handed for
work. Sometimes it was a batch of
cookies she'd baked for the crew, or a \
cake for the birthday of somebody's i
little girl, or a wad of bills in an en- !
velope to help an electrician with a sick
wife. Now her generosity is taking on j
bigger scope. While, in the past, she's i
given away fortunes to the needy, today j
her largess goes to the starving children j
in stricken lands.
Because she knew hunger in her native I
Germany after the end of the first World
War, she intends — when this war is over :
— to go back to Europe, not as an j
actress, but as a simple woman, working |
among those starving and tragic little I
ones to bring back into their lives what j
measure of happiness and comfort |
she can.
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SANITARY BELTS D-N DELNAPS
TO HEAR Turhan Bey tell it, he is "nothing but a normal
somebody who thinks it's fun to sit and read or to putter
around a bit on a farm."
Whom is Turhan Bey trying to kid?
Mr. Bey is as normal as an aquatic owl, an 8-day week,
and a Sahara snowstorm. In the extremely remote possibility
that Mr. Bey does not know what he really is, his fans do.
For their money, he is the hottest screen sensation since
Rudolph Valentino, with more good looks than Robert Taylor,
more dash than Errol Flynn, more vitamins than Victor Ma-
ture, and more sex appeal than Clark Gable.
Females in such a frame of mind are not given to suffering
in silence. If Mr. Bey's admirers are typical, what they are
driven to doing is putting pen to paper and expressing them-
selves on the subject, lyrically, warmly, and vociferously. For
which Mr. Bey should render eternal thanks. Up until the
moment that he began disturbing the sleep of a sizable por-
tion of the democracy's womenfolk, he was just one of the
boys, knocking down Si 50 a week from
Universal for playing a handsome no-
good who got his come-uppance in reel-8
by being shoved into a boiling cauldron
or thrown to the crocodiles.
For a picture or two the womenfolk
(Please turn to page 74)
'The Terrific
Turk" — just
who is he, any-
way? Here's
the first real
story about
Hollywood's
sensational
new menace
28
Universal "discovered" young Bey, cast him as
a handsome no-good until femme fans started
swooning over him. Facing page color closeup
shows him in U's "Ali Babi and the Forty
Thieves." At right, scene with Evelyn Ankers
from his first romantic role in "The Mad Ghoul."
Roman Freulick,
'niversal Pictnres
Exclusive photos
show Peggy Ryan
with the "Great
Man" in her life, her
fiance, Technical Ser-
geant Ray Hirsch,
of the Marines. Ray,
former national jit-
terbug champion,
has fun on furlough
with lively Peg, who
has just finished roles
in "This Is The Life"
and "Patrick The
Great" co - starring
Donald O'Connor.
PEGGY
RYAN'S
i
30
TELL you. this Peg is hep! Why doesn't she get the
killer? Dunk those icky leading women."
These are real quotes from one of thousands of letters
which have poured into Universal Studio now that snub-nosed,
pert Peggy Ryan has made nine pictures with volatile Donald
O'Connor.
So, in the tenth, "Patrick The Great," public demand is sat-
isfied. Peggy (the hep) gets Donald (the killer) and the icky
young leading women are tossed into the discard, just as Peggy
used to be. She has her fans to thank for the opportunity.
Peggy loses out to an "icky" for the last time in "This Is
The Life." Now she'll come into her own on the screen just
as she has in real life. It has been a long, uphill pull.
"I am not, and never have been, glamorous," Peggy says.
"I am a slacks and sweater girl, who likes to be herself."
Margaret O'Rene Ryan is a native of Long Beacb, Cali-
fornia. She was raised in San Diego. Through a sheer desire
to go places — "I like to be recognized and have people ask me
for my autograph," she frankly admits — she is now a pattern
followed by many of the kids of the nation.
Romance
By Barbara Flanley
As Peg explains herself and her life she slides up and down
in her chair. She fiddles with a cross at her throat given her
by her Great Man, about whom more later. She fingers a piece
of paper. And her patter is so fast that the interviewer puf-
fingly brings up the mental rear, about six blocks behind.
Peggy Ryan does strange things to you. Half an hour of her
tremendous vitality and you feel as if you are getting old, or
had better get some vitamins, or something. You are breath-
less. A sample of the way Peggy unreels:
"So I met this character, O'Connor, in New York in 1941.
He'd push me around. He started dating me so he could go
Presenting
that pert
hep-cat,
cute Peg
Ryan: her
life and good
times, and
her "Great
Man" (not
O'Connor!)
out with my current chum, Sue Robin, and then gate me.
He'd give me a dime and tell me to go to the Automat. I'd
end up on the second string with an octopus named Larry
Darnels, who was right, and in my corner. I never thought
some day I'd be working with this O'Connor but here I am,
stuck with the smack."
Putting this into the kind of English they teach in school,
it means that O'Connor always made up a foursome with
Larry Daniels, asking Peggy to go (Please turn to page 80)
31
PRIVATE LIFE OF A ZANY:
JACK CARSON
THEY told me that Jack Carson was Hollywood's number
one zany. When I learned that I was to have lunch with
him at the Vine Street Brown Derby I prepared -for the
worst. Double aspirin. I fully expected that he would indulge
in snappy patter with the waitress, leap from table to table
to exchange banalities with comedians he had just left two
minutes ago at the broadcasting station, slap columnists on
the back with a brash where-have-you-been-you-old-soandso,
and wow me with personality, vitality, and a Mrs. Roosevelt
joke. I would indeed be lucky if I were spared what the first
moron said to the second moron.
Well, somebody's wrong somewhere. Jack Carson turned
out to be a quiet, friendly sort of a guy, considerably on the
shy side. "I used to drop my eyes if anyone looked at me,"
he explained later. He thinks that all people are basically nice
(him I got to talk to!) and that life has done very hand-
somely by him. If only his Crosley would go up. He's a very
good looking guy, too, if you don't insist on Dennis Morgan
curls and Charles Boyer bedroom eyes. And I don't insist.
He worries a lot about his friends, wonders why they com-
plicate their lives so terribly when everything would be
so easy ami simple if they'd use the old bean. Not smug.
Not Jack. Just deeply interested. If I ever become Liza
Eliot and need a psychiatrist I shall go to Jack, save twenty
32
bucks a throw, and get better results, I'm certain.
Jack and his pretty wife (she used to be Kay St.
Germain, singer on his radio program) and his small
son have recently moved into a new home out in the
Valley. Ever since he and Kay married in 1940 they
have been looking for the perfect home, and they
think they have at last found it. "We wanted a
house." said Jack, "with not too many rooms, but at
the same time a big house. I'm a big lummox around
the house and I need plenty of room." There isn't a
guest room. "We Carsons are hospitable folk." he
added with a grin, "but we just don't like to have
people spend the night with us — we'd rather pay their
bills at a hotel." You probably know exactly how he
feels.
"There's no furniture to be had," Jack continued,
"so we decided rather than take second best we'd wait
until we could get what we want. We've furnished the
den with patio rugs and all kinds of garden stuff from
our former house, and we live there for the most part.
One room is completely bare except for a davenport-
And the living room has nothing in it except a piano
and several pictures leaning against the walls. And
you should see the walls! They're painted strawberry
red and they give our guests quite a jolt when they
wander in on them unexpectedly. We're going to paper
them later. In the meantime, strawberry red."
Jack's two-and-a-half-year-old son gets a better
break. The nursery is complete. When I asked Jack
his son's name he said, "Jack Jr., of course. What else,
with an egomaniac for a [Please turn to page 78 ]
Current shortages pre-
sent no problems to ge-
nial Jack. Exclusive
photos show him at
home: above, in bare
living room, and making
the best of it; basking
in comfort in one com-
pletely furnished room,
at piano with Mrs. Car-
son. Pacing page, with
Jack, Jr., "Jackaboy."
A zany on the
screen.maybe.
But when you
meet him Jack
Carson turns
out to be a
swell, substan-
tial citizen —
and all set for
stardom, too
Photos by Floyd McCarty, Warner Bros.
Left, the Jack Benny troupe, including
Anna Lee, with the Army plane loaned
to them for their entertainment tour.
Above, Anna powders up. Right, some-
where in East Africa — note parachute.
A NNA LEE, just arrived in New York after her four months'
/% USO tour of the Mediterranean and North African war
theaters, didn't even look at the luncheon menu the
waiter placed before her. She knew what she wanted, a big
glass of milk and eggs, eggs made in any style at. all. They
were the things you dreamed of after not tasting them for
four months, she explained. Not steaks, not turkey or desserts
and candy. Just eggs and milk. It surprised her, she said,
that those should be the things she had longed for. She hadn't
even known she was especially fond of them before, just taking
them as an essential part of her daily diet.
"One thing this trip has taught me," she said, "is that I'll
never take anything for granted again. Beds or sheets or bath-
tubs or faucets that run water. You can't accept things like
that casually after you've once known what it's like to go
without them, after you've spent months sleeping in pup tents
and barracks and the baggage compartment of cargo planes.
I've slept in all of them and I've slept better than I ever have
in my fife. I've slept in dingy little hotels alive with bedbugs
too, and I've slept in a Baron's castle in Sicily. There were so
many rooms that you couldn't even begin to count them and
there were priceless tapestries in every room and gold leaf
worth a fortune on the walls but there was only one bathroom
and it didn't have running water. It has given me a marvelous
new perspective knowing I'd rather have one durable water
faucet than all the elegance in the world!
Anna Lee was still dressed in the regulation G.I. outfit a
Quartermaster had issued her when all her clothes were stolen
in Algiers, a size fourteen shirt and the smallest pair of regu-
lation pants he could find. A native tailor had shortened the
trousers and taken in a seam here and there but the shirt
drooped a bit over her shoulder line. But to make up for that
was the dog tag with her own serial number engraved on it.
"I hate to give up this uniform," she said. "It's going to
be hard to go back to civilian life again and I want to go over-
seas again just as soon as I get permission. Next time I'd like
to go to the South Pacific, and to India and China."
She opened the musette bag slung across her shoulders, that
and a bombardier case was the only luggage she had, and took
out the long ribbon of short snorter bills signed by practically
every military celebrity in the war (Please turn to page 83)
Left. Anna Lee on her return to New York, wearing uniform of the
Seventh Army worn during her second visit to Sicily. She had informal
"orders" cut by command of General Patton and was given an unofficial
Army "serial number": MB-384751 (MB for morale-builder). At right,
facing page, highlights of Miss Lee's trip. Picture at bottom of page
shows her sound asleep curled up in baggage compartment of plane.
- : 1
YOU would know it, now wouldn't you — that sooner or later some group
of girls in the armed services would select an ideal pin-up boy. But did
you guess it would be the lady Marines, or that their choice would be
Brian Donlevy? •
Well, there are some pretty potent reasons why Brian would be the choice
of the feminine Marines, if they are anything like their square-shooting
brothers-in-arms. As a handy starter, let's paraphrase the old adage and say
.that he's all man and practically a yard wide — a fittin' subject for any gal,
Marine or otherwise.
But since the deed has been done with official gestures and all that, let's
;e up the situation and see what makes a genuine pin-up boy tick. By
v&y of being exact, however, Brian came by his new title at the hands of
Company 3211, of the First group of Women Marines Auxiliary, who are
"led at the U. S. Naval Training Station at Hunter's College in
rew York.
And just to show you how fitting these lady Marines are in the matter of
oosing an ideal male, let it be known that Brian is by no means coy about
ing a pin-up boy. He has always been known as a man's man, and the new
bel just naturally threw him in line for some kidding from such friends
Lloyd Nolan, Fred MacMurray and their likes. But Brian is proud of the
mor, even though a little bashful, and he goes on
record as affirming, "If I'm going to be a pin-up guy,
I'm glad to be a pin-upper in the Marines." In fine,
others might kid about it but Brian thinks it's swell,
which goes to show — as we started out to prove — that
the lady Marines know their business when it comes
to picking out the right man. (Please turn to page 70)
II FK is never dull around Tallulah Bankhead. Besides being
j one of the most colorful and exciting people in the world
in which we live, she is also one. of the most entertaining.
Tallulah simply has to express herself dramatically or burst.
She was born entertaining, and she nearly died entertaining.
That was three years ago when she was giving the one
bright spot to Clifford Odets* grim "Clash by Night." The.
play was being tried out in Philadelphia, and despite a heavy
cold and a rising temperature. Tallulah was trouping away
without a murmur. She collapsed after a performance one
night with an advanced case of pneumonia, was rushed to the
nearest hospital, ami put under an oxygen tent while the dew-
tors fought for her life. For weeks she lay flat on her back —
no visitors permitted — with nothing to do but think. "Well,
now," said her friends, "after this brush with death she'll have
sense enough to take care of her health for a change." At last
she was dismissed. Walking shakily down the stone steps to
the waiting cab. she turned to the hospital ami addressed it
at large. "Don't think." she said, "it taught- me a thing!"
There is no doubt but what her incessant flood of words,
and never a dull one among them, was inherited. Her father,
the late William B. Bankhead. who died four years ago, was
Speaker <>f the House of Representatives, the first Alabaman
lo hold that office and the first Speaker ever chosen unani-
mously. Her grandfather. John II. Bankhead. was a United
States Senator, famous as "the father of Federal (iood Roads."
The Bankhead Highway was named after him. The present
Senator John H. Bankhead is her uncle. It was her Aunt
Marie — Marie Bankhead Owens, for the past twenty years
State Historian of Alabama — -who made the imperishable com-
mentary on the family propensity for talking. "Aunt Marie."
says Tallulah appreciably, "came out of an automobile acci-
dent with a torn knee cap and a tongue cut so badly she was
unable to say a word. The doctor started bandaging her leg.
Aunt Marie signalled frantically for a pencil and piece of
paper. She hastily wrote. 'To hell with my knee, but a Bank-
head without a tongue is no good to the State of Alabama.*"
Tallulah has been called many things, some lyrical, some
acidulous. Conde Nast once prettily called her "a legend in
her own lifetime-." The New York critics recently culled her
the best actress of and. gave her the Critics* Award for
her performance of Sabina in "Skin of Our Teeth." What
Lillian Hcllman called her is not for print. But no one. even
I hose bitter individuals who have had their inflated egos punc-
tured by the rapier-sharp Bankhead wit, have ever called her
a bore. She speaks brilliantly, and always entertainingly, on
assorted subjects that range anywhere from baseball to |M>st-
war plans, from Joe Louis to Degas. One of Hollywood's most
cynical writers recently pronounced her "the most fascinating
female I have ever met." He had [Please turn to puye <>S)
lew, part of the crow listens for the "ticlt-
k" before a depth bomb explodes. Center,
b Hutton brings a boyish charm to his role
"The Kid." Pictured at bottom of page is
ne Clark ("Tin Can") in a tense scene from
i picture. You'll be seeing these boys again!
Pictured left and below are Cary
Grant, as the captain and John Gar-
field, who gives a different kind of
characterization to his role of "Wolf."
•J
PHOTO
First flashes of im-
portant produc-
tions now in work in
Hollywood studios
Circle, closeup of Robert Walker and Donna Reed in "See
Here, Private Hargrove." Yep, Hargrove gets a girl, in the
moviei! Adaptation of best-selling book is first starring
role for young Walker. At left, Dame May Whitty and
Roddy McDowall in "The White Cliffs," story of wartime
England which also stars Irene Dunne and Alan Marshal. Be-
low, gay song and dance number from "Meet The People"
features Virginia O'Brien, Dick Powell, and Lucille Ball.
EW FILMS
Circle, tense moment from "A
Guy Named Joe," with Irene
Dunne, Spencer Tracy, and Van
Johnson. Tracy has role of a
pilot who loses his life only to
find that his real job begins
after death. Here, he finds
himself listening to the young
flier under his care making
love to the girl he loved when
on earth. - Right, Gloria De
Haven and Kenny Bowers, cute
newcomers in "Broadway
Rhythm." Below, Red Skelton
gets "framed," while Esther
Williams laughs, for an hilari-
ous scene in "Mr. Co-Ed."
'J
\
43
Meet the most dazzling of
the new beauties, intro-
duced in current pictures
Gale Robbins, below, is seen In "I Married A Soldier."
June Haver, left, in "Home In Indiana." Both are
budding starlets presented by 20th Century-Fox.
■
With a bow to producer
Michael Todd, whose Broad-
way musical comedy hit of
the same name will become a
20th Century-Fox musical.
SOMETHING
FOR THE
BOYS
Photo by St ax Groves 45
Ladies, look out for
these new men! Lat-
est contenders for
laurels left by the
Jimmy Stewarts,
Clark Gables, Ty
Powers and Hank
Fondas for duration
Lon McAllister, at seventeen,
scored a sensational success in
"Stage Door Canteen." Now
he is starring for 20th Cen-
tury-Fox in "Home In Indiana,"
with Jeanne Crain, pictured
with him below. Dick Haymes,
at lower left, appears in "Four
Jills And A Jeep." He can sing!
Pr«°"fs Eddy a C'a t ?rb°C,ter H°''<W-
'"W of old New A« ra!^newsP-Per oub
ab7 « Peg-leg;ei,ngord-. Chafes "Co
,adV «i.y W EJ «c. Oowl,ng as t^1
c'°*">* for f,er.
Nelson
Eddy
Has a
Holiday!
In fact, it's "Knicker-
bocker Holiday" for
dignified Mr. Eddy —
a rollicking role, a
lovely new heroine,
Constance Dowling
Photos bp Hal McAlplln, PCA-Vnited Artists.
Man-in-Demand !
Claudette Colbert, always a lucky star
for leading men, captures Joe Cot-
ten's attention for closeup, above.
Try to catch up with Joe Gotten! Most sought-
after leading man in Hollywood, cameraman tracks
him down on the set of "Since You Went Away"
Remember when Joseph Cotten was considered a character
actor, merely another member of the Orson Welles Mercury
Players? Well, Icolc at him now! Below, with two pretty players,
Rhonda Fleming and Vicki Styles, on David O. Sebnick set.
Ida Lupino and Paul
Henreid play love scenes
in Warner Bros.' new
romantic drama, "In Our
Time," which are said to
scorch the screen! Here
are samples of the Hen
reid technique, and Lu
pino's response. Whew!
What is it about the elfin Ida that attracts ro-
mance, admiration, audience applause? There may
be better actresses or more beautiful stars, but
it's Ida, the original, who holds your interest
51
Movie audiences are crying for more mu-
sicals, so — bring on the dancing girls!
Most original song and dance routine in current comedies is
Way For Tomorrow," a feature number in Columbia's "Cover
Rita Hayworth, teamed with Gene Kelly and Phil Silvers, ab
stellar dignity, lets joy be unrefined as she hoofs along a wate
set with playboy friends, finally meeting up with the milkman on his
early morning deliveries. Top right, Rita and Gene pose for love
scenes later, which round out the formula for good entertainment.
Fun clothes for a popular gal (read-
ing from right): sporty slack suit,
combining brick-red rayon gabardine
with bold plaid of red and beige;
resort dress of chartreuse rayon linen
with sleeveless bodice of white
printed in purple, yellow., blue and
black; beige cocktail dress embroid-
ered in black sequins with cap to
match; and (far right) sun suit of
royal purple rayon linen with bodice
printed in white, red, yellow and black.
The Spring prints are something to
shout about! At left, dinner dress
with floral pattern in red, chartreuse
and grey on black. Below, long-sleeved,
high-necked dinner dress in pink and
black print. Trudy Marshall finds
extra fashion interest in her pink
velvet bandeau. Miss Marshall will
soon be seen in "The Sullivans,"
a screen story immortalizing the five
heroic brothers lost on the Juneau.
MARGUERITE CHAPMAN never
leaves her house without leaving
Mfcord where she can be reached at any
hour of the day or night. The reason?
So the boy friend, BUI Lundigan, can
call her if the Marines happen to give
Hm five minutes to himself.
nDELIEVE it or not, Betty Hutton,
-L' who has never been accused of be-
ing a shrinking violet, can't play com-
petitive games. When she goes to a
Hollywood party and they play charades
or the "acting game," Betty just retires
into a corner and watches. Says she is
self-conscious unless it's part of her job.
WONDER what will happen next
•time Olivia De Havilland and
Randy Scott meet face to face? Randy
was practically set for the Sonny Tufts
part in "Government Girl," when Olivia
intervened. She didn't think Randy was
right for it and said as much.
K FLOOR show jsn't necessary when
George Raft takes Ava Gardner out
to the night spots. Their dancing leaves
nothing to the imagination and there are
some pretty good imaginations in Holly-
wood. That Georgie really tosses a mean
hip!
WHEN Fred Astaire made "Broad-
way Melody" for M-G-M, he de-
clared he would never work for that
studio again. So-o-o-o, his new and ex-
clusive deal with that studio has just
been signed! They're really laying out
the red carpet for Fred and well they
should. His pictures are terrific money-
makers. His first dancing partner will
be Judy Garland — and is she thrilled!
NOW they'll have you believe the Jen-
nifer Jones-Robert Walker separa-
tion is a publicity stunt! We'd hate to
believe that two people as nice as Jenni-
fer and Bob appear to be, would sub-
scribe to any such tactics. Well, the
gossips have to talk about something,
don't they?
ERROL FLYNN'S overseas letters to
his Hollywood pals are making the
rounds. According to Errol, he can't tell
where he is — but he shot a polar bear
and the great national past time is rub-
bing noses! Errol's cracks at himself
went over big with the soldier boys.
When he told them he liked their cold
climate because it was getting pretty
hot for him in Hollywood, they loved it!
JUST when everyone at M-G-M was
pleased as punch that Lana Turner
was back again, she started talking
about having a second baby. No, she
isn't expecting one — that is, not yet.
But she'd like one very much, thank
you.
WHEN the Brenda Marshall-Lieut.
Bill Holden son was born recently,
Brenda requested her friends not to send
her flowers. Instead, she asked for a
carton of cigarettes. Being that the
Holdens are mighty popular, Brenda
collected enough cigarettes to present
to the boys in a hospital, who had re-
cently been overseas.
WHEN Sonny Tufts was having such
a hard time finding a house to live
in, he was interviewed by a prospective
landlord. "Do you have any children,
dogs, cats or canaries?" inquired the
landlord threateningly. "No, but I have a
Center above, Anne Baxter enjoys an evening
with Peter Lawford at the Palladium. It was a
gay time for Ann Sothern, above, when her
Lieutenant husband, Robert Sterling, took her to
the Mocambo. Left, Mr. and Mrs. Ray Milland
also were seen at the popular rendezvous.
57
58
fountain pen that scratches a little,"
cracked Sonny as he slammed the door.
BETTE DAVIS was just too lonely
in her house that holds so many
memories. Now her mother, sister, and
little niece Faye are living with her.
The sound of childish laughter is doing
a great deal to help Bette forget her
sorrow.
LUCKY break for Barbara Britton!
Maureen O'Hara bowed out of "Till
We Meet Again" when she discovered
she was going to have a baby. So Bar-
bara is co-starring with Ray Milland.
Come to think of it, Ray was also lucky
for Deanna Durbin, Dorothy Lamour
and Gail Russell — appearing opposite
them in their very first pictures,
must feel like Major Bowes!
He the songs they like most to hear.
TT'S SO typical of Hollywood. Dis-
couraged with poor parts, Faye Emer-
son decided to quit the movies cold. So
what happened? She showed she didn't
care and the breaks began to get better
and better. Then along came Vaughn
Paul and started dating her several
nights a week. Suddenly life is full for
Faye Emerson. Every producer on the
lot wants her in his picture.
NICE gesture on the part of Janet
Blair. All her spare time is devoted
to making books of recordings for the
boys overseas. Whenever possible, she
tries to grant personal requests and sing
TRENE MANNING, singing star at
Warners, has a clause in her new con-
tract. It gives her the right to visit her
husband, Het Manheim, twice a year —
regardless of where he may be. Het's
in the Army and, of course, there's air
ways the chance that he might be sent
overseas. If it happens, Irene is just the
little girl who will hold the studio to its
promise!
UNIVERSAL has been worried over
Maria Montez losing so much weight.
When they begged her to go to a doctor
for a checkup, Maria said: "There isn't
anything wrong with me. I'm just in
love with a soldier who happens to be
ft
ETROTHED to Air Corps
Officer— exquisite Martha Price
of Cleveland, another Pond's Bride-
to-be, is engaged to Thomas Liston
of Chicago, now with the Army
Air Force . . .
When you see a girl with a complexion
as luminous and gossamer-fine as Martha's
— you naturally want to know what she
does to help keep it that way!
Martha says — "I simply use Pond's
Cold Cream."
Every night, every morning — Martha
beauty-cleans her lovely face, like this:
She smooths on snowy-soft Pond's, pats all
over her face and throat to soften and re-
lease dirt and make-up. Tissues off. She
"rinses" with more luscious Pond's, work-
ing her cream-tipped fingers round and
round for extra cleansing, extra softening.
Tissues off.
It's no accident engaged girls like Martha,
great society beauties like Mrs. William
Rhinelander Stewart love Pond's Cold
Cream. Ask for a big jar today. Use it night
and morning — for daytime clean-ups, too !
Today — many more women use Pond's
than any other face cream at any price
MARTHA PRICE has a fair-skinned, golden loveliness . . . her
wide-apart eyes are deep amethyst blue, her hair a glinting red-
gold, and her complexion has that sweet, soft-smooth look you
notice about so many girls who care for their faces with Pond's.
HER RING — the handsome diamond has
three baguettes either side, all surrounded
by smaller diamonds set in platinum.
THIS IS MARTHA'S WAR WORK— She gives a whole day
every week at the Child Care Center seeing that little boys and
girls are kept happy and healthy while their mothers work.
Workers like Martha — full time or part time — are badly needed.
Perhaps you could make this your war work, too !
ASK FOR A
LUXURIOUS BIG JAR!
It's patriotic — saves glass
and manpower. You may
find different color "war-
caps" on Pond's jars now
— but Pond's Cold Cream
is the same lovely quality.
SCREENLAND
.59
If Your Daughter Has
Just Married
SHE SHOULD KNOW
CERTAIN VITAL FACTS!
New, More Convenient
Feminine Hygiene Way Gives
Continuous Action for Hours!
♦ Doctors know that even today the
majority of women still know little or
nothing about certain physical facts.
Too many who think they know have
only half knowledge. And they do not
realize how seriously their happiness
and health are threatened by lack of
up-to-date information.
That is why you ought to know
about Zonitors— and to have all the
facts about their unique advantages
for vaginal germicidal care. (See free
book offer below.)
Zonitors are dainty, non-greasy
suppositories, scientifically prepared
for vaginal hygiene. So convenient
and easy to use. The quickest, easiest,
daintiest way of using a vaginal germi-
cide No cumbersome apparatus,
nothing to mix, no unpleasant greasi-
ness to spoil your daintiness.
Powerful, but safe for delicate
tissues, Zonitors spread a protective
coating and kill germs instantly on
contact. Deodorize by actually de-
stroying odor, instead of temporarily
masking it. Give continuous action
for hours. All druggists have Zonitors.
, FREE BOOKLET ,
I Mail this coupon for revealing booklet of
update facS. Sent postpaid in ptaa
I envelope. Zonitors Dept. 7332 370 Lex
| ington Ave., New York 17. N. Y.
GUIDE TO GLAMOR
Here are some bits of information which will
appeal to the well-groomed woman and girl
For hands beautiful to behold and to hold, Cutex suggests for nail care, orangewood
sticks in glass tubes, 7-in. emery boards, and cuticle oil and cuticle remover with oil.
IN A GAY colored magenta and white,
I small compact box, one finds the ingre-
dients and equipment in compact form to
give a permanent wave at home. It's the
Charm Kurl method and has been worked
out in three simple steps. Complete direc-
tions go with each package and, not only
are the instructions given for doing a normal
head of hair, but also for bleached and dyed.
Each point is clearly defined in illustrations
which unfold like a small reel of film.
WHEN the winds are biting and raw,
your face needs more than the usual
good attention you give it. It needs and
must have extra care, and a good cream to
help do the trick is Lady Esther Four-
Purpose Cream. It cleanses, softens the
skin, tends to refine pores and provides a per-
fect base for powder. A companion piece
is the Lady Esther Face Powder which
gives the skin a natural, smooth finish.
TO GUARD your skin against that unat-
tractive weather . look -there is Tussy's
Wind and Weather Lotion to use after your
bath. It relieves the skin of that itchy feel-
ing and that flaky look, and helps soften
harsh-looking elbows and pump-bumps on
heels. Men like if, too, as a non-greasy
after-shaving lotion. That goes also for the
service man whether he be in the torrid
tropics or the frozen north lands.
"C ENTIMENT" isn't the name of a per-
«J fume but of a glamorous new slip, cre-
ated by Barbizon. This shimmering, lustrous
slip is made of a fabric which was discov-
ered before the war. While the slip is soft
to the touch and drapes nicely to the figure,
it is especially woven to take care of the
hard wear demanded of materials today. In-
numerable tests show that the slip launders
easily and doesn't shrink, and wonder of
wonders, it only needs the iron run over it
once to accomplish results.
Face winners, Lady' Esther Four Purpose Face
Cream and Powder, a foundation and a finish.
VJKflTUflTKK';
For Valentine that lingers, "Infatuation,"
Duchess of Paris, a captivating fragrance.
60
SCREENLAND
Co-star of Walter Wang
"LADIES COURAGEOUS"
I hese Beauty facials really make
skin lovelier! says this famous star
"I cover my face generously with the rich Lux
Soap lather, work it in thoroughly. I rinse with
warm water, splash with cold and pat to dry."
YOU want the loveliness that wins romance!
Try the simple beauty care Hollywood stars use.
See if it doesn't make your skin lovelier!
Clever women everywhere find
in Loretta Young's Lux Toilet
Soap facials a simple, easy care
that really works. In recent
tests three out of four com-
plexions actually improved !
See if this daily complexion
care that lovely screen stars
recommend doesn't make your
skin smoother, softer — more
adorable !
DON'T WASTE SOAP!
It's patriotic to help save soap.
Use only what you need. Don't
let your cake of Lux Toilet Soap
stand in water. After using,
place it in a dry soap dish.
Moisten last sliver and press
against new cake.
Lux Toilet Soap LASTS... It's hard-milled! 9 out of fO Screen Stan? use ft
SCREENLAND
61
LOSES 25 POUNDS!
Reveals her
hidden beauty
"I wondered if
such a thing could
happen to me,"—
— says Audrey He/mer,
22-year-old teacher of
Prospect, New York.
"When Audrey Helmer
was 16, she weighed
116 and was slim as a
reed. Then she began
to put on the pounds.
When she graduated
from college she
weighed far too much
for her 5' 3". Through
the Du Barry Success
Course she reduced her
weight from 140 to 115
—and is healthier, hap-
pier than ever before.
Before
"This is more than f
Course," writes Audrej
Helmer, "It's a new
way of living that I
will follow always."
It Can Happen to You !
Audrey Helmer is just one of more than 110,000
women and girls who have found the DuBarry
Success Course a way to be fit and fair. The
Course brings you an analysis of your needs,
then a step-by-step routine which shows you
how to bring your weight to normal, remodel
your figure, care for your skin and hair, use
make-up subtly for glamour. Right in your
own home you follow the same methods taught
by Ann Delafield at the famous Richard
lludnut Salon, New York.
Get the full story. Today it's important to be at
your best— fit and ready for strenuous wartime
living. When this plan has meant so much to so
many others, why not use the convenient cou-
pon to find out what it can do for you? Just
paste it on a penny postal.
DuBarry Beauty Chest
Included!
With your Course
you receive thisChest
containing a gener-
ous supply of Du-
Barry Beauty and
Make-up Prepara-
tions for your type.
ANN DELAFIELD. Directing
"I'm Raising My Son for Tomorrow"
Continued from page 22
Guaranieed by *v
i Good Housekeeping
Richard Hudnut Salon
Dept. SC-66. 693 Fifth Ave.
Nr. York. N. Y.
Please send the booklet telling all about the
DuBarry Home Success Course.
Miss
Mr.
Street—
City_
Danish father) was on the floor, too. He
wore a white cotton knit suit. His play-
things were his mother's ten fingers which
he appeared to consider gymnastic ap-
paratus for he was hoisting himself to a
sitting position by means of them, letting
himself down again, only to repeat the
procedure, tirelessly.
"Having all the normal impulses," the
practically brand-new mother of the
practically brand-new Lance was saying,
"I want to talk about our son and heir,
of course. And do, constantly, when in
the bosom of the family. But I would
feel horridly pretentious if, in my pretty
soft spot (as spots go) I should make
much ado, in print, about my maternity
which is not, let's face it, an experience
peculiar to me.
"But about my hopes and plans for
my son, I will talk — would like to. For
we are, each and every one of us, trying
to do as good a job as possible in raising
our kids for Tomorrow. And no matter
how different our environment or our
circumstances the basic training of chil-
dren in all walks of life should be, I
believe, pretty much the same. For the
problems facing parents are not, pri-
marily, matters of economics. What I
mean is parents on very limited incomes
may say, 'What the heck does she know
about our problems? She can give her
youngster all the material things and
all of the advantages.' Perhaps. But that
does not change our fundamental prob-
lem. If anything, it makes it tougher.
Because too many material things and
too many so-called 'advantages' tend to
soften a child, surfeit him; incline him
to be spoiled, lazy, lacking in enterprise.
So that we have, in a way, a stiffer job
to do in order to make our youngsters
fit for their problems Tomorrow. You
know, it isn't what we give our kids in
the way of material things (the less of
them, the better) that matters but what
we are able to give them of courage and
generosity of spirit — all the decencies.
Which means that I must try to give
Lance, no more and no less, what you,
and you, and you try to give your Tom
and Joe and Dick and Harry.
"I am, by the way, very optimistic
about the World of Tomorrow. I may be
wrong but it seems to me the world has
always gone spinning on, Art and Science
have always developed. Religion has
stayed with us and I believe the world
will continue to spin on, and to develop,
only at an accelerated pace. Thing is to
be sure that our kids will be eager and
equipped to spin on and develop with it.
"These are the weapons, the tools, I
hope to place in Lance's hand — and in
his heart: (a) Love, (b) the 'World
idea,' (c) scorn of being a quitter, (d)
the ability to face things and take things*
(e) a sense of values and, (f) somewhere
along the line, all along the line, a sense
of responsibility to life. For I do not
believe you can go through life without
paying. I think you pay for everything,
the intangibles as well as the tangibles,
just as you do when you go to market
and put your money on the counter. Life
is a privilege and should be paid for.
"Love, I said. That comes first. That
is going to be the cornerstone of my
plan for raising Lance. But not just
love of his parents, the kid next door,
his family — no, more all-embracing than
that— Love of his community, his coun-
try and, expandingly, the world.
"Love of his parents must come first,
of course. But before we should expect
love from a child we must first prove
to him, prove to him conclusively, that
we love him. 'But that's silly,' you may
object, 'children don't have to be told
that their parents love them. They know
it.' It's not silly. They don't always
know it. They should be told, in sp
many words. A friend of mine, a man
of mature years, said to me recently,
'My parents appeared to me as a cross
between stern school teachers and ogres.
I was afraid the first ten years of my
life, resentful for the next ten and re-
gretful for the next twenty-five.' That
sort of insecurity breeds the individuals
who, frightened and resentful, make all
the trouble in the world. We intend to
make Lance feel our love for* him as an
unshakable fact, a natural element, like
the air he breathes and the earth under
his feet. If we succeed, we will have
placed in his hands the weapons of con-
fidence, obedience, and truth.
"After love of parents, should come
love of home. I believe that home is
terribly important. T° give children a
sense of home and to keep home together
is the gravest problem we working moth-
ers have to face. Many women have to
go out to work, for economic reasons.
Others are working for the war effort;
doing Red Cross work, driving ambu-
lances. And that is good. But what-
ever the reason, we should make it clear
to our children that the primary object
in working is to keep the home together.
"Lance will know, because I intend to
make it crystal clear to him, that his
father works for our home, and works
hard. My kid will know that I've worked
for him. My kid will know that we ex-
pect him to work for his home, too. Cer-
tainly he is not going to be one of those
spoiled brats who have the feeling,
"That's my joint — my old man and
woman keep it up — all I have to do is
barge in and shout "I want sumpin' to
eat!" ' TJh-uh. My kid is going to have,
according to his age, his chores to do.
My kid is going to empty those waste-
baskets and tote things to the inciner-
ator. My kid, as soon as he is able, is
going to take care of his own clothes.
I don't care how many servants we have,
I will not have a servant pick up a
child's clothes or keep his room in order
for him. I'd refuse to -pay anyone to
pick up after him. Nor will he be allowed
to be destructive. None of that sticky-
hands-on-the-wallpaper, jumping-up-and
down-on-the-furniture routine for Master
Brisson. Being a child, he will make mis-
takes, of course. But they don't have to
be chronic.
"I intend to see to it that Lance never
has too many possessions. For surfeit
Screenland
o are they? — Its Confidential!
War workers, nurses, business girls, teen-agers, mothers wrote
frankly and intimately. Included were letters from women who
had used practically every type and brand of napkin. But they
all switched to Modess — and for reasons amazingly alike! When
their letters were analyzed by an independent, impartial concern . . .
^ 8 oat of 10 women said they're glad they switched to Modess for its
wonderful softness, for its comfort or for its dependable safety!
A Mrs. J.W. B. wrote: "Having four small daughters, doing my own
work, being church organist and teacher, I must have a comfortable,
safe napkin. It's Modess.r' Thousands of women whose jobs keep
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Discover the Difference . . . Switch to
SANITARY NAPKINS
Modess
MODESS REGULAR is for the great majority of women. So highly absorbent it
takes care of even above-average needs. Makes bulky, over-size pads unneces-
sary. In boxes of 12 napkins, or Bargain Box of 56. MODESS JUNIOR is for
those who require a slightly narrower napkin. In boxes of 12.
But you'll be glad thousands of busy
women had the courage to write
frankly— telling why they switched to
Modess! "So soft," "Such comfort,"
or "So safe," say 8 out of 10!
Their names are a secret — you'll never know
them. But here's how 10,086 women, from
every state in the Union, recently did you a
good turn. They found time in their hurrying,
war-busy lives to write why they're glad they
switched to Modess Sanitary Napkins!
Wrote Miss D.P.: "Fm a high school girl — and I find
Modess softer, less likely to chafe through the necessarily
longer wearing time at school." There's a reason for
this greater, heavenly softness! Modess is made with
a special softspun filler instead of close-packed layers.
And because it's softer, it fits like a dream. (No hard
tab ends to cause tell-tale outlines, even under the
sleekest dress.)
How about you? Have you tried Modess recently?
Doesn't the experience of these thousands of husy
women make you wonder? Why miss a world of greater
softness and greater safety that you need these hurry-
up days? See what a difference Modess makes! Yet
it costs no more. Ask for Modess — today!
ScREENLAND
63
□ CREAM? □ POWDER? □ LIQUID?
For ordinary uses, you may prefer one
type of deodorant, your neighbor
another. But for one purpose — impor-
tant to you and to every woman —
there's no room for argument.
Use Powder for
Sanitary Napkins
For while creams and liquids are suit-
able for general use, a powder is best
for sanitary napkins. That's because
a powder has no moisture-resistant
base;doesn't retard napkin absorption.
There is ONE Powder
. . . created especially for this purpose
—QUEST* POWDER— soft, sooth-
ing, safe. It's the Kotex' Deodorant,
approved by the Kotex laboratories..
Being unscented, it doesn'tmerely cover
up one odor with an-
other. Quest Powder
destroys napkin odor
completely. It's your
sure way to avoid of-
fending. Many months'
supply, only 35c.
Curb them each
month with . . .
KOTEX
PRODUCT
7
COMPOUNDED ESPECIALLY FOR THIS USEI
Take KL'RB tablets only as directed on the
package and see bow KURB can help you 1
dulls the bright edge of possession and
tends to make it valueless. And what-
ever he does have, it must- be his re-
sponsibility, he must take care of it.
When we were children at home, in Wa-
terbury, Connecticut, we had horses.
But we did not have grooms to take
care of our horses for us. The care of
them, feeding of them, watering, groom-
ing, etc., was up to us. When we showed
signs of slipping up on the job my father
first threatened 'to take them away from
us — and later, did. And there was no
appealing the decision. I shall do like-
wise with Lance. As a small boy, if he
has a bicycle he doesn't keep in condi-
tion, a pet he doesn't feed properly, a
book he misuses, they shall be taken
from him and that will be that. What
is more, if he deliberately damages the
belongings of any of his playmates he
will have to pay for what he does, out
of his own pocket. His allowance will
be docked until he has paid. A sense of
responsibility toward your own posses-
sions and, equally, toward those of oth-
ers, seems to be a terrifically important
weapon to put in the hands of the Youth
of Tomorrow. If only, in Germany, there
had been that second sense — !
"Which brings me to the 'World idea':
I feel that if a youngster begins life with
a love of his parents and of his home,
and a confidence in and respect for both
he will then develop a love of his com-
munity, a love of his country and, as I
said, expandingly, a love of the world.
That is what we want for Lance. We
want him to feel that the whole world
is his home and that he should behave
in it, wherever he may be. as he behaves
in his house in Beverly Hills. In order
to achieve this, the starting point is to
see to it that he does respect and serve
his house in Beverly Hills.
"To this end, I believe that geography
is enormously important in the educa-
tion of children. They should realize, as
early as possible, that the world is not
so large; that we are all, so to speak,
neighbors; that peoples of all races have
kindred hopes and hungers, dreams and
needs; that none of us is a stranger, one
from another; therefore, none of us need
be enemies.
"To give a child this comprehension
— well," Rosalind said, and gravely,
"given that comprehension today, hu-
manity might not have been involved in
the global catastrophe.
"Scorn of being a quitter:
"When I was a youngster of twelve
or thirteen I took part, one summer, in
the water sports at the beach in Con-
necticut. I considered myself a knock-
out as a diver and was, in fact, pretty
good. Entered, much to my pride, in
the Women's Finals. I knew I had only
one real competitor — a girl of twenty-
four, with a beautiful face and such a
sensational figure that, skinny and un-
glamorous as / was, I also knew I'd have
to out-dive her. but all out, or be com-
pletely overlooked by the judges, all
males. To this end, I practised until I
was blue around the gills and corrugated
like a washboard from the long hours in
the water. Came the day of the events
and, as I had forseen, it wasn't long be-
fore everyone was eliminated except this
girl — and me. Just as I was about to
make my next-to-the-last dive, the strap
of my bathing suit broke, people laughed
and, clutching myself awkwardly, hor-
ridly embarrassed, I dived into the wa-
ter very badly. My score up to then
had been perfect and, had I controlled
myself, I might still have won. Instead
of which, in a furious temper, and like
a spoiled brat, I got up on the board for
my last dive, which was to have been
a breathtaking Jackknife, and just plain
jumped. My competitor won. I came to
the surface to see her being rowed, tri-
umphantly, to shore. Sick with rage and
shame, / swam in. As I neared the
beach, my eyes caught a pair of white
shoes firmly planted on the sand. A
man's shoes, and there my father stood
It gave me a chill. For I very well knew
Dad could ndt stomach poor sports. As
I faced him he said, very quietly, 'Rosa-
lind, a winner, never quits and a quitter
never wins.'
"When I first came to Hollywood, un-
der contract to Metro-Goldwyn-Mayer,
Myrna Loy, Norma Shearer, Joan Craw-
ford, Jean Harlow were among the big
name stars on the lot. Faced with such
competition, I felt like 'jumping off'
again. But didn't because of those
words, those unforgettable words, my
Dad spoke. If I have never quit (though
often tempted) and if, I hope, I never
do, it will be because of them. The point
being that if ever it is necessary for me
to put scorn of quitting into Lance's
mind and heart, I shall borrow my
father's word and use them.
"The ability to take things and face
things is a weapon without which we,
all of us, are pretty helpless. So I shall
do my best to help Lance face up to
things, to take the bumps and bruises,
the disappointments, the defeats without
whimpering, without alibis. While he is
still a small boy I shall try to resist the
temptation to pet him and comfort him
for the small hurts. Which reminds me,
again, of what my Dad said to me when,
one day (I must have been nine or ten)
I dropped something on my foot and,
I am afraid, cussed like anything. 'Why
do you go on like that?' he asked me.
'Because,' I whined, 'it hurt.' Regarding
me thoughtfully, a shade quizzically, he
said, 'What are you going to have left
to say when something really hurts?'
Then, as he turned on his heel and left
me, he said over his shoulder, 'Why not
start it on a lower key?' That was a
well-timed lesson in taking the small
injuries without too much ado; in sav-
ing ourselves for the bigger hurts. It
was. also, a lesson in values.
"I also remember one night at the
dinner table at home. I was in a very
disgruntled mood. There had been class
elections at school. I had confidently
expected to be elected president and
wasn't. 'Oh. well,' I told the family, any
girl can be president if she plays up to
the kids and the teachers. Of course, I
added, smugly, 7 don't.' 'Then,' said my
father, pleasantly, 'the girl who won
knows more than you do. She knows
how to get what she wants. You don't.
The right man won!'
"Too often do we alibi ourselves, feel
sorry for ourselves, fail in our sense of
values. When Lance is old enough I
shall take him through hospital wards,
64
SCREENLAND
SCREENLAND 65
Make-up
created by the men
who make up the
Hollywood Stars
HOUSE OF | A 20th Century Fox Picture
WESTMORE
MAKE-UP
One of the many beauty aids offered by the
House of Westmore is a perfect foundation cream.
It gives you a lovely, attractive, natural beauty
. . . goes on smoothly, and really stays on. It effec-
tively hides tiny lines and blemishes... does not
dry the skin because It contains lanolin . . . never
gives you a "masked" feeling or appearance.
The Westmores — Perc,Wally and Bud — not only
make-up the Hollywood stars, but have actually
created the make-up with which they do it. And it
Is that very make-up you get when you buy House
of Westmore's lipstick, rouge, face-powder and
foundation cream. You can get House of Westmore
Make-up at toilet goods counters everywhere.
In 25 and 50 cent
sizes — regardless
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WESTMORE
MAKE-UP
and the tenement districts of cities, so
that he may see with his own eyes and
hear with his own ears what other people
suffer, and endure. No words of mine
could so effectively give him perspective.
"So I hope — and pray — that Lance
will have love in his heart, for all man-
kind. I hope that he will never be a
quitter in anything, great or small. 1
hope that he will have a sense of values,
will be able to face up to things, will
have integrity. If he has not these qual-
ities, these weapons in his hands, it will
be our faults, his father's and mine.
"1 know that I can never genuinely
take a bow for anything good I may
have done in my life. The bows go to
my parents. Anything wrong I may have
done, or may do, is on my own. My
parents gave me manners and morals, the
rules of right conduct. They acted as
my guides until they felt that I could
walk alone, in the right direction. As
parents should do. For nothing is more
fallacious than the new-fangled theory,
'Let kids go on their own. Don't guide
them. Let them make their own mis-
takes.' Great Scott, 'raising' them means
guiding them, doesn't it? Means trying
to help them NOT to make mistakes.
"Whoever it was said, 'There are no
bad children in the world, there are only
bad parents,' spoke a • stunning truth.
For whatever is wrong with a child, it is
the parents' fault. On the other hand,
whatever is right and good with a child,
boy and man, is largely due to his
parents, too.
"So I earnestly hope that when To-
morrow comes, our son will be equipped
and prepared to meet it, cleanly and
honorably, with strength and with in-
tegrity. For then we will be able to say
'That's one job we've done well.' "
1 ,000,000 Men and a Girl
Continued from page 21
Perc Westmore,
Hollywood
Make-up
Genius.
records that puts her in the higher
income brackets, finds that money hasn't
changed her. Nor her mode of living,
the friends she has, the things she
wants to do. "Other than giving me a
lovely ranch- — which is self-sustaining, by
the way — my life hasn't changed. I still
live in the same small apartment in
Hollywood, I still run my old convertible
coupe, and I am still the same softie for
hats I was five years ago — and from the
same modiste, Suzanne Colbert."
"Official Sweetheart" of more than one
hundred Army Camps, Navy and Marine
bases and Air Force units, Ginny Simms
is five feet six inches in height, with
chestnut brown hair and blue-green eyes.
One of her most treasured possessions is
a red morocco diary in which she keeps
nothing but the record of the many offi-
cial designations that she holds in the
various branches of the services. She is a
platoon sergeant in the Marines, an honor
conferred on her by the Leathernecks in
San Diego. She is a Bos'n's Mate First
Class in the Navy. She is the Sweetheart
of (a) the Airborne Command, (b) Ham-
mer Field, (c) 1452nd Quartermaster Co.,
U. S. Army. She is the favorite screen
star of the "Radio Gang" at Fort Moul-
tree, South Carolina. And that isn't one-
tenth of the list.
She is particularly proud that, more
than a year ago, some of the boys in
England named a Flying Fortress after
her. She is constantly receiving reports
on the behavior in the air and in com-
bat of "The Flying Ginny." In Texas,
too, there is an irrigation lake named by
the soldiers for the singing star. And a
few weeks ago a Major commanding the
camera combat crew of a big bomber re-
turned with the glad news that she rates
"Favorite Pin-Up Girl of the Forces in
North Africa" 5 to 1 over her nearest
contender, Rita Hayworth. "Really," says
Ginny, "I couldn't be more thrilled if
someone suddenly told me I had been
given the Academy Award!"
Ginny Simms, who has traveled more
than 100,000 miles to entertain over 150
Army camps, has already appeared in
person before approximately one million
members of the armed forces. And it
makes her particularly happy to think
that they are always thinking of her, and
acquaint her of the fact — not only with
letters. "At Christmas, for instance, I am
always receiving beautiful knitted scarfs
and quaintly embroidered pillows. Then
one day I found a heart-shaped bracelet
made out of the debris of a captured
Zero in my mail. On other occasions I
received a stuffed elephant in a sergeant's
uniform, a twenty-pound box of cookies,
a quilted box to keep my jewelry in, and
the Navy, in the person of Pat Nerney,
sent me three dozen bobby pins."
Originally, Ginny had intended to be-
come a concert pianist. This was the
fond hope of her ex-minstrel father, Dor-
mer Simms, and so it was that she de-
cided to teach piano at Fresno State
Teachers' College. But the only music
she ever taught was to two other mem-
bers of Sigma Phi Gamma sorority, with
whom she quickly and enthusiastically
formed a vocal trio. For a long time they
sang at college proms and minor concerts.
Then, out of the blue, Ginny was offered
her own program on a Fresno radio sta-
tion. However, it wasn't until three years
later that Ginny decided to take singing
lessons. Her first appearance of any im-
portance was as a featured soloist with
Kay Kyser's band in 1936. She scored
brilliantly, her own intimate style and
delivery winning nation-wide plaudits.
She appeared in three Kay Kyser films,
"That's Right, You're Wrong," "You'll
Find Out," and "Playmates," and stayed
on with the band until the summer of
1941. Then RKO signed her.
In those days all she had to do was to
rely on her voice and personal appeal to
get over. The scripts that were thrown at
her called for nothing more. "I felt I had
some dramatic talent, but I wasn't given
the opportunity to demonstrate it. Then
as time went on I began to lose faith in
myself. All I wanted was to bury my
nose behind a microphone at the radio
station. And it looked very much as if I
were going to get my way."
With neither the studio nor Ginny
quite able to make up their minds about
66
SciiEENLAND
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her screen possibilities, she was given the
chance she had always prayed for. That
was in 1941, when she appeared for the
first time on a national hook-up with
her own radio show. Then she was on an-
other network with Bob Burns and in
September, 1942, she started on her cur-
rent nation-wide program for Philip Mor-
ris cigarettes. The success of that show is
common property: last year she shared
the Crosley rating with people like
veteran Kate Smith, and topped other
national standbys such as "One Man's
Family." Her phonograph recordings
started to sell like wildfire, and a rough
sales tabulation of the 500 recordings she
has made reaches in the millions, with
her renditions of "St. Louis Blues," "Per-
fidia" and "Frenesi" among the top sellers
in the country.
Other pictures came along like "Here
We Go Again," "Seven Days Leave" and
"Hit the Ice." In the latter she appeared
in romantic support of Abbott and Cos-
tello, and was seen to a little better ad-
vantage. But still there was no indica-
tion that Ginny had what it takes for pic-
tures. Oh, the critics were kind enough,
the boys overseas still plied her with
eulogistic letters, but deep down Ginny
wasn't any too happy about her studio
career. But the studios believed in her —
and "Broadway Rhythm" is an eloquent
example of that belief.
As a little girl Ginny always insisted
on having a black and white checked taf-
feta dress. When she outgrew one, she
always had her mother buy or make her
another. That checked taffeta outfit was
always — and still is — Ginny's idea of true
elegance. Because long ago she found a
dressmaker suit that she liked, she always
has it repeated in various colors but never
altering the style. Now she has the same
suit in six different shades.
She is never tired of recalling that once
she was a drum majorette, and led a
boys' band in Fowler, California, and
that her father once owned a small mo-
tion-picture theater there. She always
talks with enthusiasm of the days when
she was an usherette while attending
school. She hasn't lost track of the
friends she made while attending the
Fresno public schools, nor those that she
made at the Fresno State Teachers' Col-
lege.
Ginny is a girl of definite likes and dis-
likes. She loves walking in the rain, black
linen handkerchiefs, and plain, massive
jewelry. She is crazy about hats, the big-
ger the better, the sight of the alfalfa
fields in the sunrise, and rich, foreign
foods. She likes long telephone calls, well-
groomed men, good music, semi-romantic
novels, and very hot baths. Of marriage
she says, "Isn't that what we're really
here for?"
She can't stand the sight and sound of
a coward, loud-mouthed people, and evi-
dences of fame without talent. She has a
horror of pretty boys, writing letters,
people who make "entrances," and all
forms of laziness and malcontentment.
She'll walk a mile to get out of earshot
of a Hollywood gossip. Most of all, she
can't bear false fronts, false emotions
and false generosities.
It is a source of constant amazement
to Ginny's many friends how she is able
to sustain the pace she has set herself.
Take a look not at Ginny's day, but at
the average week she spends before the
cameras, behind the microphone, and
making recordings. She gets up at six,
takes a very hot bath, tears into her
Plymouth, and is on the set in full make-
up at eight o'clock. She never leaves the
studio before six, and luncheons are gen-
erally occupied by ironing out details of
her weekly radio shows, giving out inter-
views like this one, and going over new
songs. At six p.m. she is on her way
home. She takes a bite of dinner and it
this is a Monday she hurries over to
C.B.S. and rehearses for the following
day's broadcast until the wee hours. On
a Tuesday, she does the same except that
the hours after her broadcast are devoted
not to rehearsing hut to planning the fol-
lowing week's show. Wednesday, Thurs-
day, and Friday, and Saturday are dif
ferent: Thursday night is M-G-M night
at the Hollywood Canteen, and Ginny
sings five songs at each shift of entertain-
ment. What happens to the other three
days? Army camps. And there is your
Ginny, 1944 streamlined edition of Elsie
Janis. You wonder how on earth she can
do it, let alone keep it up as she has since
that fateful Pearl Harbor dawn.
"Oh, my Sundays are my own," said
Ginny, smilingly. "You know how I love
my ranch, Michael. I've got forty acres
planted in alfalfa and citrus fruits now
We have 1,000 chickens, 19 cows and a
prize bull. And it's fun puttering around
the vegetable garden, and feeding the
little ones in the piggery. Who wouldn't
be able to relax in a spot like that?"
SCREENLAND
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The Fabulous Tallulah
Continued from page 38
had lunch with her the day before and
spent the entire time listening to her talk
about bulbs. Hedda Hopper dropped by
her hotel for tea one. afternoon. "I wish,"
said Hedda, "that I had seen you in
'Skin Of Our Teeth.' " Two hours later
Hedda left, limp but enthusiastic. Tal-
lulah had obligingly done the whole play
for her. I just casually mentioned one
day that I was extremely annoyed by
the withholding tax. Tallulah promptly
gave me the history of the tax, the argu-
ments in favor of it, and at the end of an
hour had me all misty-eyed and grateful
that I lived in a country that had such a
smart government.
Tallulah's so-called "feud" with Holly-
wood has ended in a beautiful romantic
clinch. Tallulah loves Hollywood, and
Hollywood loves Tallulah. And the
grapevine has it that when "Lifeboat" is
released early in 1944 the Academy will
love her so much that they will un-
doubtedly give her an Oscar.
According to Tallulah, and after all
she ought to know, there never was a
feud. "The day I left Hollywood in
1933," she says, "the California sun out-
did itself. Mercury boiled in the ther-
mometers. A bright withering glare over-
spread everything. As I was about to
step aboard the train a reporter asked
me, 'Are you sorry to be leaving Holly-
wood?' Fighting off an imminent sun-
stroke, I said, 'I'm a happy woman, es-
caping from what you call a climate.' So
I was quoted in most of the papers as
saying that I was departing Hollywood
because I didn't like anything about it,
including the climate. The implication
was that I would never be back. People
promptly put me down as Hollywood
Hater No. 1 — which only goes to show
how little it takes sometimes to get a
reputation. The longer I stayed away
the more the reputation grew. But I had
no control over that. Whenever a tempt-
ing movie role came along I had a pre-
vious stage commitment. When I was
between plays, free to make a movie,
the only scripts that fell into my hands
read like some screen writer's revenge on
actresses."
That sort of thing went on for ten
years. Then a few months ago, when
Tallulah was planting bulbs and pruning
trees on the farm she bought last winter
near Bedford Village, New York, she re-
ceived a long distance call from Director
Alfred Hitchcock. He wanted her to
come to Hollywood at once and play,
Mrs. Connie Porter, the shipwrecked for-
eign correspondent, in "Lifeboat," which
he was directing for Twentieth Century-
Fox. Tallulah read the first ninety pages
of the script, and was so enthusiastic
about it she took the next train for
Hollywood. Thereby spiking the rumor
that she would never return.
She still doesn't like the climate, if you
want to make anything out of it. "Give
me a place where the seasons change,"
says Tallulah. The sun had very little
chance to bother lier this last trip, how-
ever, as she had to be up by six, while it
was still dark, and rarely left the studio
until six, when it was beginning to get
dark. Labor Day the studio closed, and
Tallulah had her first day off. Rising
luxuriously at nine she looked out of her
hotel windows and saw the sun beating
down mercilessly. "How nice for all the
people to have such good weather for a
holiday," she thought, well pleased with
nature. "And then I suddenly remem-
bered that it was Hollywood, where the
sun always shines."
Another thing she doesn't like about
Hollywood is the local traffic. But as
Hollywoodians themselves don't like it
either . they're not likely to pick a fight
with her over that. "The drivers," says
Tallulah, "are absolutely unpredictable.
And the city fathers have the quaint
custom of shutting off the stop lights on
Sundays when the traffic on the main
boulevards is the heaviest." Tallulah
doesn't drive a car herself. She's too
nervous. Besides she has never learned
her right . hand from her left hand, so
she doesn't think there is really much
use trying for a driver's license.
Having read that Winston Churchill,
her idol, often escapes temporarily from
the weighty problems of the day by set-
ting up an easel and painting landscapes,
Tallulah decided that she too would try-
relaxing in oils. She bought herself a
complete equipment, and started with
still life. She spent all one Sunday on
her farm painting a tasty looking bunch
of grapes. That evening friends dropped
in for dinner. They always do, Tallulah
being famous both for her hospitality
and her cook. She unveiled her first can-
vas, and impatiently inquired, "What do
you think of it?" There was a long
pause, while everyone studied the paint-
ing, with the thoughtful dignity befitting
a great artist, especially one whose roast
beef they were about to consume. Finally
someone said, "Tallulah, you're wonder-
ful. I don't know how you do it. What
a realistic bouquet of morning glories!"
Tallulah now does her relaxing with mys-
tery stories. The 25-cent kind from the
drugstores. And she can't decide whether
she's furious with the writer's stupidity,
or delighted with her own mental
prowess, when she guesses whodunit in
the third chapter.
Though she remembers every line in
every play she has ever done, and is
well known as a raconteuse of amusing
stories, Tallulah has an atrocious mem-
ory for names. She glides over this beau-
tifully by calling everyone "darling."
This is rather awkward when she finds
herself in a spot where she has to intro-
08
SCREENLAND
duce people. And Tallulah always intro-
duces people. Unlike most celebrities
she is never rude, and never snubs the
social amenities. She gives them that old
Southern graciousness, and "darling"
meets "darling," never suspecting that
Tallulah hasn't the vaguest idea who
they are. Tallulah doesn't like to think
that she calls people "darling." She con-
siders it insincere. When Hitchcock, a
great tease, heard her carefully explain-
ing to a reporter that she definitely did
not call people "darling, darling," he im-
mediately put "darling" into "Lifeboat."
When Tallulah was a kid of twelve,
and attending private school in Wash-
ington, someone asked her father, "In
the name of Southern womanhood, Con-
gressman Bankhead, can't you do some-
thing about Tallulah's raucous laugh?"
Her father replied, "Ever since she was
born I've tried to do something about
that laugh." Tallulah's laugh, deep,
throaty and spontaneous, has become a
Bankhead trademark, something that
people expect of her. Hitchcock decided
that he must have that laugh in "Life-
boat" too, though it called for a bit of
figuring. Then one day he had an in-
spiration. "Tallulah," he said, "as you
see your diamond bracelet sink beneath
the waves, let the irony of it all suddenly
hit you. Laugh that damn inimitable
Bankhead laugh."
She is a fair bridge player but isn't
as avid about it as she once was. In the
"good old days" she always had three
alert bridge-playing house guests, so she
could have her foursome any time of day
or night.
Tallulah is one of the most substantial
citizens in the United States today. By
reading newspapers and magazines in-
cessantly, and never missing an impor-
tant radio broadcast, she keeps herself
well informed on world events. She can-
not tolerate people who kick other people
around, and never hesitates to stand up
for the oppressed. Long before it was
popular to speak out against the Axis
she was one of the leaders of Fight for
Freedom, which has since become Free-
dom House. She has the courage of her
convictions — a courage that has won her
the respect and friendship of the most
forthright public figures in both America
and England. No one has ever accused
Tallulah of refusing to fight for a worthy
cause.
The day she finished "Lifeboat" Tal-
lulah left for her charming home in the
East. But this time no one could pos-
sibly misquote her about Hollywood. "1
want to see my home, and I want to see
some snow," she said, "and then I would
like to come back to Hollywood and
make another picture." The studios are
putting in their bids. Twentieth Cen-
tury-Fox is trying to persuade her to do
the screen version of "There Shall Be No
Night," the famous Robert Sherwood
play, done on Broadway several seasons
ago by Lynn Fontanne and Alfred Lunt.
She hasn't said yes and she hasn't said
no. She would like to do a comedy. But
it's a cinch she'll be back.
Let's All Back The Attack!
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Brian Donlevy, Pin-Up Man
Continued from page 37
Curiously, Brian is one of the few
leading men in Hollywood who started
out his career with a definite aim of not
wanting to nonplus the feminine popu-
lation. "The thing that I dread more
than anything else," he told this writer
one day in his dressing room at M-G-M
while waiting to do the final scenes on
"America," "is that my lady customers
might get to the point where they see
things in me that don't exist. I've
always wanted more than anything to
have a good male following because most
men aren't fooled by other men. If a
fellow is generally liked by those of his
own sex it means that he's at least par-
tially succeeding in being on the level
with himself and others.
"But as to the women, I hate the
thought of them comparing me with
their husbands and boy-friends. There
is no parallel, because the man they see
on the screen isn't me at all. It is some
fictional character who always gets the
breaks in the end and comes up a hero.
There is a kind of feminine following I
like, though, say when the boys on the
set come up to me and tell me their
wives liked me in such and such a role.
I know this type of admiration isn't the
gushing, sentimental kind, or you can
depend on it that their husbands
wouldn't have told me."
Although he is leery of a wild, popular
acclaim from his women customers — he
always refers to his fans as customers —
Brian does not give the impression that
he thinks the girls in the Marines are
silly for having selected him as their
pin-up boy.
"I feel very flattered being put into,
the classification of a glamor boy," he
told me. "But I'm hanged if I know why
anyone would pick me as such. The
longer I live the more I'm convinced I
know less and less about what really
goes on. For example, if you had asked
me 10 years ago what I thought about
red-headed girls, I would have told you
that they were a mite crazy. And yet, I
married a red-head. It just seems im-
possible for me to draw a line and put
-people in one category or another. All
I do seem to savvy is that if you make
it a point to pick out the good in people
and like them apart from their faults,
they will invariably like you. It all boils
down to being fair."
Brian philosophizes on these matters
of human relations with the quizzical
frankness of a schoolboy, and then ap-
plies the conclusions to himself and his
work as an actor. "I've always tried to
do a good day's work before the cam-
era," he went on, "by never forgetting
for a moment the people who will see
the picture I'm making. I know that
their only reason for going to a theater
is to be entertained, and I further know
that they won't like a phony guy who
tries to be something he 'ain't.'
"That's the reason why I always make
a study of the character I'm going to
portray. And if I can't understand said
character I refuse to do him. When I
do get hold of a good role, though, I
don't mind working like a truck horse to
70
S CREENLAND
discover the fine points of the character.
It's the only way to make him con-
vincing."
"To be a screen actor you have to be
a fairly decent business man, too, you
know. And on my system I figure I
might be able to muddle along because,
as in any other properly conducted busi-
ness, the customer is always right. But
anyway, I always try to make the char-
acter like myself instead of the other
way around because I know myself bet-
ter than anyone else. Therefore, in work-
ing primarily with my own character I
come closer to giving a convincing per-
formance.
"You have to be convincing in the
movies because the people get so close
to you. The people are smart and don't
let anyone kid ypu into believing other-
wise."
Having dispossessed himself of these
sage observations, Brian then t u r n e d
right back to his first contention that
the public can never judge what an actor
is really like from his screen appear-
ances. He was referring to the inner
man, which he declares is never revealed
even though he tries to put as much of
himself as possible into his work. "Take
this role I'm doing in 'America* as a
first example," he continued, "I play an
immigrant with a Czech background,
who comes to America as a poor boy
and rises to the position of a business
tycoon. The fact is that in real life I
could never have been a success in the
field of competitive business. I'm the
sort of fellow who is happiest when I'm
doing something with my hands. I'm
really cooking on a front burner, as the
kids say, when I'm out in the back yard
making a chicken coop, or when I'm
turning a piece of wood in my machine
shop. I like to put my hands to things
and see them take shape, such as the
making of a chair or a table."
Sitting there talking to Brian and
hearing him try to define himself rela-
tive to the characters he has done on
the screen, I attempted to throw him
off balance by reaching into the bag of
memory and dragging out the despicable
Sergeant Markov in "Beau Geste," which
actually brought him more attention
than any of his previous roles up to that
time.
"What about Markov?" I asked him.
"How could that character fit into your
theory of acting? He was such a thor-
oughgoing scoundrel that I should think
you would never admit that you gave
any part of yourself to his portrayal."
"Why of course I did," he quickly re-
plied. "We all have something of the
Markov in us. It's the part that we live
down or suppress in order to enjoy the
much richer, less destructive benefits of
civilization. Most of us are fortunate
enough to have been trained that a
Markov never comes out on top, and
experience shows us this is true. What
are the Nazis, for instance, but a group
of Markovs? Under the proper training
and example they all might have been
sane men, maybe even useful to society.
As to playing Markov on the screen,
make-up helped a lot. I'm not denying
that. But in doing him I had to picture
in my mind what I myself might have
been like had I allowed myself to have
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been controlled by the same bestial pas-
sions and cruelties that governed him.
"Another character along somewhat
similar lines was the one I did in 'The
Glass Key.' He was a gangster and he
believed in living by his wits and getting
by on as little honest effort as possible.
As with Markov, this character was the
product of a training and environment
very different from mirte. But it is totally
possible that I would have been just as
devious had I been brought up under
the influences that usually produce a
racketeer. But I wasn't fetched up that
way and so I'm me instead of being a
gangster. Understanding it along these
lines enabled me to be a racketeer in
that characterization.
"I'm no angel by any means, but I'll
show you how different my real char-
acter is from the one I did in 'The
Glass Key.' I M7as born of a typical
American family that emigrated from
Ireland shortly after I was bom and
settled down in the small community of
Beaver Dam, Wisconsin. My father was
a lumber man and he taught me that
you never get anything worthwhile with-
out working for it. And that tradition
has stuck with me so thoroughly that
I actually don't like anything I acquire
unless it comes to me as the result of
expending my own energy to get it. Like
most Americans, I'm decidedly skeptical
of anything I can get for nothing. Now
this, to prove my point, just goes to
show how far off a person can be in
trying to judge what an actor is really
like by the things he does on the screen."
My own acquaintance with Brian goes
back to the days when he had just
reached the decision to be satisfied with
a steady quota of work. Being a sensible
man and haying sniffed the Hollywood
winds, he had arrived at the conclusion
that they were too changeable for good
health if your altitude on the ladder of
success was too high. He liked things
from his position on the lower rungs,
where a man could make a substantial
living and run fewer risks of becoming
dizzy.
But something happened to Brian's
career a couple of years ago which even
he doesn't attempt to explain. Choice
roles started coming his way in a steady
procession, and today he is unquestion-
ably one of the top male stars of Holly-
wood. He seems to be one of those for-
tunate persons, however, who can keep
his head while success is swirling all about
it. And this earthy, substantial quality
in his nature could well be one of the
principal reasons why the lady Marines
chose him as their pin-up boy.
To get to the real Donlevy, then, let's
piece together the little things about him
which have been observed by those who
know him best, his wife, Marjorie, and
his small circle of real friends in Holly-
wood who have been close to him for
years.
First, even seasoned military men de-
clare he would make an outstanding
officer on the strength of his recent
screen portrayals alone. You will hardly
disagree he has the necessary bearing
if you recall him as Commander Roberts
in "Stand By For Action," or as Major
Colon in "Wake Island." You may or
may not have heard that Brian came
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pretty close to being a professional man
of arms, which explains his handling of
military roles. He received an appoint-
ment to Annapolis and actually entered
the Academy after he completed high
school. But his interest was more in
aviation than anything else and when he
discovered it would take him eight years
to get into the air arm of the Navy he
resigned with thanks and philosophically
decided to start life on his own.
It is no longer news that Brian's next
move after leaving Annapolis was to go
to New York. His first job there was
as a model for Leyendecker, the illus-
trator, who was doing collar ads, and
from there on our future pin-up boy
gradually edged himself into the theater.
He finally sealed his fate when, at the
bidding of the late Louis Wolheim, he
took the role of the young corporal in
"What Price Glory." When you look at
the record now it does seem that Brian
invariably turns up with something
military.
But let's get on with Brian as he is
in his habits and his quiet life around
Hollywood. At present, although he is
always working top speed in pictures,
he is more worried about stretching the
output of vital tungsten from his mine
in the Mojave desert for the war effort.
During less hectic times Brian fits very
neatly into the classification of being
just a nice, homespun guy. He likes to
spend his evenings reading a book, par-
ticularly a book on engineering. He likes
to write, too, and strangely enough his
literary output is of the poetic variety.
He is crazy about his home, and above
all else he wants to be a good provider.
Long before it became patriotic to have
a vegetable garden Brian was cultivating
an acre of ground next to his house. He
wants only the best vegetables in the
world served on the family table and
one way to achieve this is to raise them
himself.
He is the type who likes to rough it
in the desert when he can get away, and
he beefs when his wife, sudden-like, in-
forms him he has to get dressed to go
out for an evening. But being a good
fellow, he always has a swell time at
parties and his wife has to coax him to
leave. He is a neat, conservative dresser
and he likes to wear a hat, but his fa-
vorite chapeau is an old felt which his
wife is always hiding from him. He
doesn't care for a variety of shoes and
would as soon wear the same pair of
nice Sunday brogues from one year to
the next.
Like most men, Brian shapes up into
a paradox when you consider his little
likes and dislikes. For example, he is
wild about exotic perfume, and before it
became so scarce he was always lugging
home big bottles of it for his wife. On
the other hand, his eating habits reveal
the rugged man that he is. A thick steak
for breakfast will put him in a good
mood for the remainder of the morning.
But when they are not forthcoming
these days he doesn't gripe about it. He
isn't the griping kind.
Brian is also proud of the fact that he
is sentimental enough to remember birth-
days and anniversaries, and his wife has
never yet been a disappointed woman
on such occasions. When he's alone and
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9*i a SLIP rfi
GOOD BEHAVIOR'
tltai cau+iti
thinking, he usually hums some tune,
particularly when he's driving a car. He
likes to whistle in elevators. He doesn't
care much for expensive automobiles,
but goes in big for gadgets on a car. His
favorite machine is a Ford pick-up truck
and he would even drive it to formal
gatherings if his wife didn't object.
As to women in general, Brian has
always leaned to the theory that a female
really comes into her highest perfection
when she is head of a home and family
and is absorbed in her job. "I was afraid
there would be a radical change in the
traditional American woman when it be-
came necessary during the war for them
to take on men's jobs," he admits
frankly, "but nobody can see what they
are doing and not be proud of them.
They haven't lost their femininity at
all, and from the ones in the armed serv-
ices I have talked to, they are only doing
their bit until they can return to the
ideal of building homes and families for
the future of their country.
"If you ask me, the women have per-
sonified the true Yankee spirit in our
greatest emergency and are carrying out
a whale of an assignment. I have con-
cluded that it is the spirit that makes
the woman, regardless of what she is
doing, and by this standard we all have
to admit that the girls of today are
wonderful."
That's Brian Donlevy, girls, just about
as much of him as you can get onto
paper. We hope you like him, but if
you don't you had better not tell it to
the lady Marines.
The Truth About Turhan Bey
Continued from page 28
winced at the sight of love's dream being
put to the sword. For the next two
they writhed, sighed, and groaned. The
fifth, and they were muttering "Injus-
tice!" under their breath as Bey expiated
his high crimes on the screen. Then they
unleashed their righteous wrath. Swoop-
ing down on available writing materials,
they loosed the floodgates demanding, via
an avalanche of letters to Universal Pic-
tures, Inc., that henceforth the Bey ap-
pear in an upright position at Finis on
pain of boycott of all offending pictures.
And that isn't all. To demonstrate to
Bey where their sympathies, loyalties,
and affections lay, they set in motion a
rivulet of letters which swelled into a tor-
rent of mail that virtually inundated the
studio's fan-mail department, with the
result that Universal, heeding the hand-
writing on the wall, put an abrupt end to
his career of villainy and made him an
honest citizen. In "The Mad Ghoul," not
only was he alive and kicking at Finis
but, more importantly, he was in the
heroine's arms, which is very fine work,
indeed, when the lady's name happens to
be Evelyn Ankers. In the one after that,
"Ali Baba And The Forty Thieves,"
which you will be seeing any day now,
the script was rewritten so that Turhan
Bey who died for Maria Montez in "The
Arabian Nights" and was scheduled to
perpetrate enough high crimes to insure
him of the usual capital punishment,
winds up no more diabolical a figure than
the man who helps Jon Hall win Maria
Montez.
At which point, Metro-Goldwyn-
Mayer, letting Jon Hall fend for his own
women, made the proper overtures and
borrowed him to play Katharine Hep-
burn's husband in "Dragon Seed," which
Metro would like to think is as good a
picture as will hit the asbestos this year
of grace 1944. Universal, not to be out-
done, promptly cast him in the lead of
"The Climax," opposite Susanna Foster,
a romantic, modern to-do carrying with it
stardom. And Mr. Bey's redemption from
sin was complete.
The subject of all the sighing and
shouting is tall (six foot, one) , slender
(170 pounds) , and swarthy with a set of
well-chiseled features, luminous brown
eyes, a low, rich voice, and a well-turned-
out general appearance. In manner he is
suave, in temperament, calm, in conver-
sation, easy, and in attitude a cross be-
tween debonair and nonchalant. None of
your typical young movie star who is
constantly busy buttering those he meets
for the sake of his future, he is inclined
to be casual and relaxed. No Johnny
Appleseed, who is eternally taking it big.
he has a marked air of having been
around and having enjoyed himself in the
process. Impressionable women are apt
to murmur: "How terribly continental!"
once they get out of earshot. What else
they think about Mr. Bey clearly comes
under the head, of "Personal," although
there are those, of course, who like to
put it in writing — and do, to Mr. Bey's
delight and, on rarer occasions, embar-
rassment.
Universal's dream man comes by his
poise and sophistication quite naturally.
They were a part of him long before he
came to Hollywood. He comes by his
nonchalance equally naturally. He most
emphatically did not lie awake planning
a conquest of the movies. Fame, as such,
leaves him cold. And he didn't especially
need the money. He came to America for
the climate and landed in Hollywood and
pictures by a mere coincidence. But
maybe the place to begin is at the be-
ginning.
Vienna is where he was born with the
resounding name of Turhan Selahettin
Schultavy Bey and a curious and proud
ancestry that goes back, on his mother's
side, to prominent Czechoslovakian pa-
triots and captains of industry and on
his father's side to the prophet Moham-
med, himself.
Vienna is where he was born, but Istan-
bul, the capital of Turkey, is where he
was brought up, in as sumptuous a style
as befits the scion of an important
Turkish diplomat whose estate, "Nischan-
tash," on the fringe of the Turkish capi-
tal, was as large as Beverly Hills and
considerably more interesting.
Selahettin pere (Bey is actually a fam-
ily title) was — and is — a man of the old
school, Turkish version, of course. As
head of the house of Bey, he was in-
evitably the not reluctant host to every
unattached member of the Selahettin
clan. There were fifty of them bivouacked
at "Nischantash" throughout young Tur-
han's boyhood. At twelve, having been
subjected to tutors for eight years, he
was packed off to France to acquire a
little polish.
I don't want to be an Absentee
but what's a girl to do?"
I know how important it
is to stay on the job. So
do plenty other women
who miss work on "trying
days". We know how much
our plant — our country-
depends on us, when
every minute counts! But
how can we keep going,
at times when we feel
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You'll learn how to feel better,
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It's a brand new booklet
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/ "That Day Is Here Again" is the answer to
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76
He was fifteen and as wise as fifty
when he helped finance an expedition into
Tibet in search of minerals to be used as
filters in gas masks. Naturally, to protect
his investment he went along. He romped
through Tibet, a pearl-handled pistol
slapping against his side, and had a
miserable time of it. Not a single brigand
put in an appearance!
At 18 he acquired a mild archaeological
fever, enough to send him into Egypt as
aide to Dr. Felix Fuchs, the eminent
Egyptologist. He gambled on the sands
for nine months before he got fed up with
the monotony of the scientific life.
The urge to travel still raging within
him, he got home in time to accompany
his father on a tour of world capitals on a
roving diplomatic mission. He spent con-
siderable time in Russia, Persia, and Aus-
tria watching the diplomatic wheels go
round when he kissed the good-will tour
good-bye and went off by himself to see
what India was all about.
It didn't live up to advance billing. He
didn't encounter a single wicked rajah
(the kind you see in Universal pictures
every now and then) , he didn't witness a
single uprising of the tribes, and he didn't
manage to invade one of the forbidden
temples. He did run into an attractive
lady from Texas and for a while it looked
as if something wonderful might come of
it, as indeed it might have were it not
for the fact that she was suddenly called
back home to Rising Star or wherever
she came from.
He was precisely 21, a little jaded with
life, and living in Paris with his mother
when a chance encounter with a man
named Dr. Ludwig Wilson changed his
life. They met, the young fugitive from
boredom and the eminent American law-
yer in Paris, over a drink in the bar at
the hotel where both were stopping.
In the course of conversation our hero
dropped the information that, firstly,
Paris was all right but that his mother's
health called for a more congenial cli-
mate, that he was temporarily on the
outs with his father, and that, if the
truth were known, he was just a little
weary of the routine.
Dr. Wilson wondered if the answer to
all three problems wasn't the United
States — California, to be exact. In fact,
right then and there he offered to give
him a letter of introduction to one of his
friends living in Los Angeles.
Never one to dawdle over making up
his mind, the reluctant sojourner in Paris
broached the proposition to his mother.
She thought it was a fine idea. Three
months later, almost to the day, the Beys,
mother and son, arrived in California,
just in time for a cloudburst ushering in
the rainy season. He was wondering what
to do with himself until the rains abated
when he remembered the letter of intro-
duction. He dug it up. It was addressed
to Arthur Lubin, Universal Pictures. He
lost no time in telephoning.
Mr. Lubin was cordial. Any friend of
old Ludwig's was a friend of his.
They met for lunch in the Universal
commissary. "For a man who has trouble
ordering his meal in English," Mr. Lubin
said with a twinkle, "you have no diffi-
culty at all in making yourself under-
stood to the flower of American woman-
hood, gathered here." He paused, swept
ScREENLAND
an interested eye over the ladies busily
engaged in getting a load of the new
arrival. "Sex, apparently, speaks an in-
ternational language."
Bey's English was not quite up to Mr.
Lubin's verity and wit. "Pardon me?" he
said.
Mr. Lubin chuckled. "What you ought
to do, if you're asking me, is to go to
work on your English right away. Why
not enter some dramatic school? You'll
get lessons in diction, conversation, and
maybe a little drama thrown in. A knowl-
edge of drama never hurt anyone — least-
wise in the pocketbook."
"Pardon me?" Mr. Bey said.
Well, he enrolled at the Bard Dramatic
School where Alan Ladd and a hundred
more picture celebrities learned their
ABC's, and he took to the regimen like
a high school girl to a uniform. He
learned English so fast and so well that
in a matter of eight months he was cast
as the lead heavy in a school drama.
You guessed it. The night the play
opened, a talent scout offered him not
merely the usual test, but a part in a
Warner Bros, picture. The Bey was a
little surprised and even more amused.
He didn't need the money, he didn't give
a hoot about acting, and he had no espe-
cial interest in Warner Bros.
"I'll think it over and let you know,"
he said politely.
The talent scout did a double-take, in-
quired if Bey was kidding, and departed
with the information that Bey wasn't.
He talked it over with Lubin that same
night. Lubin thought it was rich. A
whole city full of would-be movie actors
and here was Warner Bros, anxious to
sign up a guy who didn't give a hang
about the movies.
"Why don't you do the picture just for
a lark?" he suggested. "You might find
it fun."
Mr. Lubin was prophetic. He did do
the picture and he found it fun — immense
fun. In fact, he felt a little sad when the
picture was finished and he confided as
much to friend Lubin.
Lubin said nothing, but did plenty.
First, he wangled a look at the picture
the minute the rough cut was ready.
Next, he arranged to borrow a print.
Then he had it screened for a posse of
Universal executives.
The Universal executives as a man
thought the Bey had "possibilities" and
recommended an immediate contract.
When Lubin broached the matter, Bey
snapped it up, without even inquiring
about starting salary, raises, or options.
He went into pictures, remember, as a
lark. It explains everything, especially
how come he didn't mind the treatment
he got from the Universal casting
geniuses, who work on the theory that if
a man does a good job as a movie villain
he is a cinch to flop in any other depart-
ment of movie acting. He made a suc-
cessful debut for Universal in "Half Way
To Shanghai" as a no-good character.
From then on he was sunk. He went from
picture to picture, behaving abominably
and paying for his misdeeds by every
imaginable form of destruction, includ-
ing death by flame, until the women of the
land decided that enough was enough.
You know perfectly well what they did
about it.
The Editor's Page
Continued from page 19
When a plane from the good old States
swoops down, two questions are asked
simultaneously: "Any mail — any mo-
vies?" And at one combat base you'd
have thought the war was over the way
the yells went up over some news. "A
new projector has arrived!" It spread
like wildfire. You see, their first one had
been wrecked by a Nip bomb. Screening
was going on as peaceful as could be
when a Jap plane flew over and let drop
a bomb. Nobody hurt — but the projec-
tor went up in the air and came down
with a bang. But now they've got a new
one.
The soldiers, sailors and marines are
now getting the best possible film fare.
Now the pictures are brand new, the ma-
jority of them having their world pre-
mieres in camps before they are seen on
Broadway and Main Street. Prints are
being shipped from Hollywood as soon as
they are out of the cutting room, and the
boy that left you behind is probably now
seeing Hedy Lamarr's latest film before
you will.
However, it can't be this way with all
pictures. Say a brand new film arrives
in North Africa. It's shown at nearly
every base. Then it may be shipped to
the Solomons, to Guadalcanal, back to
Africa, then to Italy, maybe, with India
having the next booking. The boy in
India sees it last. This particular pic-
ture might be old to him. Perhaps he
saw it before he embarked from an Amer-
ican port, and while he was making his
slow crossing it beat him by plane to
Africa, had its successive screenings and
finally caught up with him in India.
Sorta old to him, maybe.
But — the next day in India a plane
may swoop down with film and that
night there will be a screening of a pic-
ture he'd never heard of — maybe a mu-
sical full of girls. That was tops!
The Army has the film situation well in
hand. Things are under contrcl. They're
getting the latest movies hot off the grid-
dle and they're getting them places by
plane, train, jeep, boat, canoe, and by
dog team in Alaska.
There's that case of the Army picture
operator who traveled by ration boat to
a certain isolated island. A small boat
came out to bring him ashore with his
equipment. Just as the boat came to the
beach a huge wave swept the operator
about thirty feet where he landed flat on
his face. The boat was swamped. Wad-
ing back, he retrieved the equipment, got
it on the beach, then cleaned and dried
the projector and film. That night two
shifts of men enjoyed the movies sitting
under the stars and the palm trees.
The natives? They eat them up too.
They are catching on to American slang.
When they see a pretty blonde on the
screen, they murmur to each other,
"Good one! She good one!"
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Private Life of a Zany:
Jack Carson
Continued from page 33
father!" Jack couldn't wait to talk about
his son. You'd think no one ever had
one before. "He's so intelligent," said
Jack, "it's really embarrassing to take
him places where there are other kids
his own age. He shows 'em up. Their
parents are always urging them, now,
Junior, say so and so. And Junior sticks
his thumb in his mouth, or hangs his
head, or bursts into tears. Jackaboy gives
the other kid one minute to do his stuff,
and then does it for him. He reads ev-
erybody's lines."
Jack was away on a camp tour re-
cently with Ann Sheridan and Dennis
Morgan. When he got home Mrs. Carson
very casually asked little Jack over his
cereal one morning, "Who's the best
comedian on the air?" "Bob Hope,"
Jack, Jr., quickly replied. "And who,"
continued Mrs. Carson, enjoying her hus-
band's surprised look, "and who is the
corniest comedian on the air?" "My
Daddy," shrieked Jack, Jr., with real
enthusiasm. Next time he goes out on a
camp tour Jack is considering taking
Jackaboy with him. He and his mother
might start tearing into his pictures next.
Jack's best friends are Jane and Ron-
nie Reagan and the Dennis Morgans.
They play gin rummy together a lot,
and hold an occasional Saturday night
poker session at one of their homes. Jack
used to be a bridge fiend, but gave it up
when he married Kay because she doesn't
like bridge. (See what a nice husband
he is.) Jack doesn't care much for
Hollywood parties and avoids them as
much as possible. Because, I suspect, he's
a very shy person, and Hollywood parties
are strictly for exhibitionists.
"A radio program is a seven day a
week job, don't let anybody tell you dif-
ferently," he said. "So I like to go to
bed early, even on Saturday nights.
We try to live the way we would in
Milwaukee," he says. (Milwaukee is his
home town.) "I think you have more
success in marriage if you don't get in-
volved in this town." And I think he's
got something there.
Out at Warner Brothers the executives
are still swooning. Not over Frank
Sinatra. Over Jack Carson. Seems that
the first year Jack was under contract
to Warners he worked fifty weeks out of
fifty-two. The second year was almost
as bad. With option time coming due
Jack notified the executives he'd like
to have a little business talk with them.
They naturally thought that here was
another actor all set to gripe about over-
work and underpay. They got ready to
slap him into line. "Hello," said Jack
when he entered the front office, where
the air was fresh from the Frigidaire, "I
just wanted to tell you that I like it here.
I like working for you, I like the studio,
I like the publicity you give me, and I
am completely satisfied with my salary."
Well, well, the boys were thrown for a
decided loss. An actor who actually
liked something! It had never happened
at Warner Brothers before. It probably
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SCREENLAND
had never happened in Hollywood be-
fore. "But," continued Jack with an af-
fable smile, "I would like to have better
parts. You can't blame me for that." Here
they were all ready to shout and sus-
pend. The props were knocked out from
under them completely.
"How would you like to be a star?"
they asked in a weak voice. Jack
thought he'd like it fine. Papers were
drawn up, names were signed, and Jack
was a star. Simple as that. His first
starring picture will be "Make Your Own
Bed" and it goes into production right
away. Which all goes to prove that you
can become a star in this town without
having to fight, pout, and sue. Just like
Jack said: people snarl up their lives so
hopelessly when things could be so easy.
Warner Brothers' newest star was all
for telling me how cute Jack, Jr., was
when they took him out of his zipper
sheets and put him into a youth bed.
But I sidetracked him with that old one
about what was your biggest surprise.
Seems that Jack's biggest surprise oc-
curred in New York last year. He's al-
ways hated night clubs, even in the old
vaudeville days, and his visits to the
Stork Club have been few and far be-
tween. Five years before he had dropped
in at the Stork one night and had been
handed a check that looked like Bing
Crosby's annual income. But last year
when he was in New York — after "The
Hard Way" — his wife expressed a desire
to have dinner at the Stork Club. "It
was her birthday," said Jack, "and I
wanted to do anything she wanted to do.
I told her, 'Last time I had a hard time
getting in, and getting out, but we'll go
anyway.' The doorman surprised me by
saying 'Good evening, Mr. Carson,' and
the headwaiter put us at a table in what
he called the celebrity corner. The man-
agement sent over champagne. Every-
body was staring at us and I felt like
the darnedest fool in New York.
"I ordered something under glass, and
Kay ordered something with a long
French name which turned out to be
lamb stew with vegetables. Several pub-
licity boys dropped by the table, and
several actors I had known in Holly-
wood. I ordered drinks for all of them.
Then I began to worry. If the check had
looked like Bing Crosby's annual in-
come before, when I only had crackers
and cheese and a short beer, it would
certainly resemble the third War Loan
this time. I was sure I didn't have
enough money with me, and wondered
if the management would cash a check,
or haul me off to the police station.
Well, at last Kay said she had had a
wonderful birthday and why didn't we
leave. I called for the check. It was for
nine dollars! Not ninety. Nine. I couldn't
believe it. I still can't."
Jack had said earlier in the luncheon,
when he explained to me why he stopped
being a loud-mouthed, uncouth charac-
ter, and became his quiet, normal self,
"How much confidence a little success
gives you." Yes, success gives you con-
fidence in yourself, Mr. Carson. And it
gives night club managers confidence in
you too.
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SCREENLAND
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Peggy Ryan's Romance
Continued from page 31
with him. But what he really wanted
was a date with Sue, and always ended
with her, leaving Peggy with Daniels,
who was a nice fellow and liked Peg.
Peg and I collided for an interview
just after she had finished "Patrick
The Great" and "Hip, Hip, Hooray,"
and was about to begin "The Merry
Monahans." Her work is just like every-
thing else about her — constantly explo-
sive. She has had less than ten days off
while making her ten pictures.
Peg still has time for romance, how-
ever. She has had four Great Men
(fiances) in her event-studded 19 years.
The present incumbent is Technical Ser-
geant Ray Hirsch, U.S.M.C., an aerial
torpedo bombardier instructor stationed
not too far away to come up to date her
most week-ends.
Sergeant Ray, Peggy says, has taught
generals the art of aerial torpedoing. The
Irish-German lad previous to that was
1) a very hot football player at Holly-
wood High School, 2) a very successful
actor and 3) national jitterbug cham-
pion. He has just been selected "the
average American Marine," and will be
seen in a picture made by the Marine
Corps. In short, he is hep.
He is very definitely the greatest of
the Great Men, for he has presented a
ring which Peg very proudly displays.
Johnny Peterson, Number One Great
Man, was the son of a restaurateur.
They pledged themselves when Peggy
was 15.
"From the beginning," says Peg, "men's
attentions toward me have always been
honorable. They want me for a wife."
Number Two was Charlie Peck, whose
father was in dental supplies. Number
Three was Buddy Pepper, an actor. The
Greatest of All came into her life in 1941.
Sergeant Ray and Peggy have two
kinds of dates. One is Splurge Night.
That comes right after the fifth of the
month, which is the Marine Corps' big
payday. This means orchids, Cafe La
Maze, the Players, or some other impor-
tant place. Check around $30.00. The
twentieth is Short Payday, which means
the Palladium, 75 cents; a gardenia, 75
cents, and a hamburger joint, 70 cents.
"And," says Peg, "if it's a day date,
which isn't often, we go out to Ray's
mother's house, and we wash our gow
buggies. That's rugged work." (Gow
buggies are hopped-up, cut down auto-
mobiles.)
Now and then, Splurge Nights include
Donald, who is currently putting the
rush on Gwen Carter, daughter of a
musician and student at Hollywood High
School; Anne Rooney, under contract at
Universal, and George Ivonavich, Sea-
man First Class, U.S.N. The other night
they hit La Maze and really threw a
ding — drinking cokes and dancing all
evening. Mostly jitterbugging. Wearing
orchids, too.
The saga of Peg, who seems to be
typical of a new and rising generation,
starts before she was born. Her parents,
Emanuel Anthony and Hazel Ryan,
danced in vaudeville. They were dancing
fools. They danced right through one
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baby's arrival, and thereafter he lived in
cribs back stage and went to bed at
night in hotel bureau drawers and trunks,
and now and then involuntarily took
part in the act.
"Oddly enough," says Peg, "my
brother, Michael E. Ryan, does not care
for the stage. I cannot imagine why."
Michael, in Peg's opinion, is a smart
guy in more ways than one — a regular
hep. Right now, he's going to the Uni-
versity of Tennessee, and one of these
days he'll be a Naval Pilot. He started
at the bottom, fought his way through
the Aleutians, passed a lot of exams, and
now he's off to a higher education in
more ways than one. He is six years
older than Peg.
Getting back to the pre-Peg era, one
day the Ryans got their biggest chance.
They were offered time on the Orpheum
Circuit, which was really putting the
show on the road in those days.
"We're in the big time, Moms," said
Emanuel Anthony Ryan.
Hazel yawned. "Let's not bother," she
replied. "Let's have a baby instead."
So the Ryans settled in Long Beach,
and Emanuel Anthony sold soda pop.
Peg arrived. The family dashed off to
San Diego as soon as Peg was able to
toddle. When Peg was two and a half,
Hazel Ryan took one look at her legs.
"Bow-legged!" she snorted. "Off to danc-
ing school with you."
Peg danced. And her first professional
appearance was at an Elks Benefit. She
was three at the time.
"I took one look at that sea of shirts
and did the entire routine with my back
to the audience," she recalls. "I wowed
'em."
She was toe dancing at four and toe-
tapping, which is very hard work even if
you like it, at five. Her father was serv-
ice manager at the El Cortez Hotel, and
here she remembers constantly leaping
from the inside of cakes, large toy rab-
bits, hats and what not to dance for the
visiting firemen. No banquet was com-
plete without Peg.
"Then," she says, "somebody told
Moms I ought to be in pictures."
Peg was now approaching ten years.
She had had five years of formal educa-
tion at Our Lady of Peace Convent in
San Diego.
"We are going to Hollywood," said
Mrs. Ryan.
"I'll give you one year to make good,"
said Mr. Ryan, sternly, "and I'll be up
every week-end."
Mrs. Ryan and her dancing offspring
moved into an apartment in a very
frowsy joint, as Peg puts it. From then
on, and until this day, it is known to the
Ryan family as "the tunnel."
About this time Peg became- ex-
tremely Eleanor Powell conscious. With-
out prompting she'd go into any Powell
routine. Sometimes unexpectedly. Mrs.
Ryan placed her in the Hollywood Pro-
fessional School. Here, she went to
classes, danced and sang.
"It was a shock to me to see all the
little glamor gals with their long blonde
curls and frilly dresses and pretty man-
ners," Peg said. "I took one look at
them and told Moms, 'let's go back to
San Diego.' Glamor scared me then. It
scares me now. It doesn't go for me and
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At school her fetish for dancing like
Eleanor Powell attracted attention, and
pretty soon she was rushed to M-G-M,
where Dave Gould, the dance director,
went into a series of nip-ups over her.
"Get Powell!" he cried. "Get Louis B.
Mayer!"
Miss Powell and Mr. Mayer first
gaped, then laughed, while Peg did a
couple of Powell routines. Eleanor said:
"From here on, you're my protegee."
The legal department wrote a seven-year
contract. Peg and her mother moved
out of "the tunnel" and sent for Dad.
Three months later, it having been
decided that Eleanor would play in no
picture in which she was depicted as a
child, there seemed to be no further
use for Peg. She moved out of M-G-M
and the Ryan family moved back into
"the tunnel." Dad got a job at the
Plaza Hotel in Hollywood.
Gould said of Peggy Ryan's passing
from the M-G-M roster: "They should
not do this to a dog."
So he got her a dancing spot in the
Actors' Fund Benefit at the Pan-Pacific
Auditorium on July 3, 1935. Thousands
of people packed the place, hung from
the rafters, milled in the aisles and sat
in the seats two and sometimes three
deep. (So says Peg) Peg wowed 'em by
the thousands, Eleanor sent flowers and,
even better, Universal sent for Peg. They
spotted her in "Top of the Town" and
she danced with George Murphy and did
an Eleanor Powell routine.
"We want to give you a build-up,"
said the Universal powers, "and we will.
But first we've got to get a girl named
Durbin started off on the right foot."
Peg got a term contract and was told
to relax. The Ryan family again moved
out of "the tunnel."
However, Peg was doomed to go on a
professional crying jag. She went to work
with George Murphy in "The Women
Men Marry" and bawled all over the
place. Then she cried through roles in
"The Grapes of Wrath," "One Way Cor-
rigan," and "The Chicken Wagon Fam-
iiy"
"I came to Hollywood to dance and
sing," Peg told Pop, "and all I do is
weep. I'm a drip in the real sense."
"Peg," said her dad, "I think you're
rutted."
This quaint conversation took place
when Peg had reached the ripe old age
of 15. And, a short time later, she was
destined to cry real tears. She had a
chance for a good role in the stage play,
"Meet The People," which looked as if it
was strictly stuff. (Had quality and
would be successful.)
"We are going on the road soon," said .
the head man. "We want you. You are
strictly tops. You must be 16, however,
according to the law."
"I was sixteen on January 3," said
Peggy.
They asked her mother. "She was six-
teen on January 28," Hazel Ryan replied.
This discrepancy of testimony caused
an investigation which resulted in Miss
Ryan being tossed out. Hence the real
tears. But, finally, she talked them into
a flier in the hope the show wouldn't go
on the road until she was really sixteen. |
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SCREENLAND
Peggy prayed and danced and sang so
hard that crowds came from everywhere,
she got eight bows when the show opened
and it didn't move until she'd passed the
proper milestone.
By this time, Peg had a dog. It was,
and is, an Aberdeen terrier, which looks
like a Scotty in an oversized overcoat.
The dog sings with Peggy. Dad Ryan is
sure that some day the animal will talk.
The dog, for no reason, is named Hamish.
Peg wowed 'em in Chicago, and Christ-
mas found the entire family and Sue
Robin, who was also in the show, living
in a penthouse atop a small hotel on
Eighth avenue, in New York City. It
was here she met that character, O'Con-
nor. The show ran 18 months. Peg's
fame grew and grew.
On October 3, 1941, Peg opened in
Hollywood in the stage show, "They
Can't Get You Down." The Ryans
moved into a small house they leased on
Cahuenga boulevard, which curves over
the Hollywood hills to Universal. They
and "the tunnel" had parted forever.
Peg wowed 'em, and Universal signed
her. To play opposite that character,
O'Connor, in the first of ten pictures.
Unglamorous Miss Ryan was set.
Today, Dad Ryan is a foreman with
Technicolor. Moms Ryan and Peg are
always fixing the house up. They have
painted and re-decorated it; they have
painted and varnished and re-built.
When Peg isn't working, she makes up
scrap books on interior decorating,
recipes and babies, clipping everything
she reads. "Some day," she explains, "I'll
get married, have a home and a baby,
and they'll combine the best features of
each."
Anna Lee's Overseas
Adventures
Continued from page 34
zones she had visited and the photo-
graphs she had brought back with her.
There was the picture of the sailor she
had been with in the hospital when he
was awarded the Purple Heart.
"I met him first in a hospital in the
North of Sicily," she said. "He hadn't
been there long and he was in a cast that
came right up to his chin but that cast
couldn't hold his spirits down. About
four weeks later when I was visiting a
hospital in Algiers I heard my name
called and there he was grinning a wel-
come at me. It was like suddenly coming
on an old friend seeing him again and I
was delighted to see that the cast was
much shorter now. Then a good many
days later I saw him in a hospital in the
Oran area and again the cast had been
shortened. An officer came in while I was
there and asked if I didn't want to wait
and be with the boy when he received his
decoration. As if anything could have
kept me away! It was one of the biggest
thrills I've ever known.
"About a week later I was in another
hospital in that area when a nurse came
over to me and said a friend had heard I
was there and wanted to see me. She led
me to a stretcher waiting to be loaded on
an ambulance and there was the boy, his
cast off now. He was being taken to a
debarkation hospital which meant he
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STAMP
REDUCE #srw
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was on his way home but knowing I
would get there before he did he asked if
I would take a message to his mother if I
happened to land anywhere near Miami.
"I flew home and the first thing I did
was to go to his home. The whole four
months would have been worth it, just
to see that mother's face when I told her
the boy would soon be home. He was her
only son, the last of five and the only
word she had of him was the telegram
saying he was wounded.
"After that I visited the General Hos-
pital in Miami and it gave me such a lift
to see so many of the boys there I had
met overseas and to know that they were
home. They had all been longing for
home when I saw them there; now they
were homesick for their own outfits. AH
they wanted was to get well fast so they
could go back again. I knew how they
felt. I'd only been back a few hours and
I was getting homesick myself.
"The best part of the trip for me was
the time I spent in the hospitals. When
I was with the Jack Benny outfit we put
on all the shows we could manage in hos-
pitals and those wounded boys were so
appreciative, so anxious to laugh at
Jack's sallies and to enjoy Wini Shaw's
singing and Larry Adler's harmonica
playing. I'm not really a singer and I
felt I could contribute more talking to
the boys and listening to them when
they talked.
"The shows were such fun. We enjoyed
them as much as the boys. What appre-
ciative, enthusiastic audiences they are!
It's thrilling to perform for them and
doing those shows gave me more satis-
faction than I would have in winning the
Academy Award.
"Then one day I was grounded. I had
developed an ear condition from flying
when I had a cold and I was hospitalized
for five days. That was when I made up
my mind that if I could get permission I
was going to stay on after our present
tour was over. It was awful lying there
thinking of what I was missing. As soon
as I was discharged I tried to get in
touch with the Benny troupe but nobody
knew where they were as departures or
arrivals of anyone, even morale builders,
are military secrets in time of war.
"A cargo plane was leaving for Algiers
and there was room for me. But when
we arrived, there was no sign of Benny
and I went on to Tunis. 'Has anybody
seen Benny?' I asked but nobody had.
So I thumbed my way on another plane
and went on to Bizerte asking that same
question which by now sounded like a
jingle tuned to the melody of Has Any-
body Here Seen Kelly. But this time I
got results.
" 'Sure, he played a show here two
nights ago,' the boys at the Airport told
me. 'He's probably in Algiers now.'
"Back to Algiers I went only to dis-
cover that he had been there and left and
might be in Sicily. I got new orders from
General Eisenhower and when I arrived
in Palermo the first thing I saw on the
field was our plane, the Five Jerks to
Cairo. It certainly was good to see it.
"It was Jack's turn to be hospitalized
now. He was laid up with laryngitis and
a chest cold so Wini and Larry and I put
on the show. Then Wini got sick and
Larry and I played one alone. I can't
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say enough in praise of that crowd. They
were grand troupers, grand companions
and grand soldiers. When Jack improved
a little he insisted on giving a show in
the pouring rain and incidentally, very
much against doctor's orders.
"You get to know people on a trip like
this, better than you do even intimate
friends, and everything I discovered
about Jack and Wini and Larry made me
admire them more. One of the hardest
goodbyes I've ever gone through was
standing on the field when I saw them
off on their way home. I could hardly
see the plane as it zoomed away for my
tears. We'd been together for two and a
half months and every minute of that
time had brought us closer together. It
was awfully hard to see them go but I
had heard Adolphe Menjou was coming
and that I could join his act.
"He arrived that same morning and
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proper authorities and was given permis-
sion to put on a show of my own. A Red
Cross girl was our singer, our accom-
panist a boy who played the guitar and
our master of ceremonies was a Sergeant
who must have had Broadway in his
blood judging from his marvelous ad-
libbing. But I lost my cast soon after I'd
gotten it together when they were called
back to service because their outfit was
moving up.
"Now I was strictly on my own. But
to me it was the most satisfying part of
the whole trip for when I asked a certain
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hospital in the Iran and Casablanca areas.
It was so much more personal than enter-
taining from a stage and it was funny to
discover all the heroes were much more
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"I visited camps too and I wrote an
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play opposite me. It was always the
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I called on and the moment he opened
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"It was a wonderful trip every bit of
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all had been. There were marvelous high-
lights to remember such as the time I
found myself quartered in a wealthy
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and off and running the water from those
beautiful faucets.
"Much more exciting though was the
time when three fliers, all wearing the
Distinguished Flying Cross, came over to
me just after I'd landed at an airport.
" 'Do you remember when you were
with Jack Benny at Bengazi?' one of
them asked. 'Do you remember a bomb-
ing mission going out? We missed the
show you put on that evening and we
wonder if we can't see your show tonight
even though it's not for our outfit?'
"After a bit of questioning I got the
story. The boys I was talking to bailed
out of their disabled plane and were
taken prisoners by the Italians. Then
they heard the Germans had come into
Italy.
" 'As they came in the front door,' one
of them said, 'we sneaked out the back.'
"Just as casually as they told of their
escape they went on with the rest of
their story, how they'd walked two hun-
dred and seventy-five miles and finally
got back to their basd
"There were so many other stories, too
many to tell in a short time. They're one
of the reasons I feel uncomfortable when
anyone compliments me on having taken
this trip. Compliment me, indeed! It has
done much more for me than I could pos-
sibly have done for anyone else. Besides
a lot of other things it has given me poise
and confidence.
"Before I went I was so shy that peo-
ple who didn't know me thought I was
aloof and cold. It seems so strange to me
that I, who was afraid of airplanes be-
fore, have flown 52,000 miles and in four
and a half short months have been in the
Caribbean area, West, Central, North and
Italian East Africa; Arabia, Suez, the
Middle East, Palestine, Iran, Iraq, which
includes the Gulf of Persia, Morocco,
Dakar, Sicily and Italy.
"I'll never be afraid of anything again
as long as I live and before I was scared
to journey alone from Chicago to New
York. Before I left I was restless, prob-
ably because I felt I wasn't doing all that
I should in this tremendous thing we're
going through. Now I have a better feel-
ing in my heart. I like living with my-
self better than I ever have before.
"I was frightened at the thought of
crossing the Atlantic in a plane for I've
had a terror of planes ever since I was
fifteen and a flyer took me up and did all
sorts of acrobatics and the buckle on my
safety belt slipped. But even then I
knew that I'd rather have a moment's
fear than not to be there. Now I know
God gives you some kind of courage
when you do a job like this."
Time had gone fast listening to her
talk. Now there was a little more than
half an hour to make her plane for Holly-
wood. She rose, an incredibly small,
fragile looking creature in the uniform
that made her look like an absurdly
young G.I. I couldn't help commenting
on it and she smiled.
"I'm tough," she said. "It takes a lot
to knock me out. I must have com-
mando blood in me."
There was a brief handshake and there
she was striding away and I have to ad-
mit it was pretty prosaic after that keep-
ing an appointment at a hairdresser's for
a shampoo and wave.
Vicky Victory
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There's Beauty Hidden
in Your Hair
Continued from page 16
rate the scalp. When you use your
favorite cake soap for your hair, shave
it and melt it down. There are also
bland, non-caustic toilc: soaps which
make good shampoos. And, of course
there are several excellent soap prepara-
tions all bottled ready for your use.
Some of the newest, fine shampoos are
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effectively they clean and condition the
hair, leaving it lustrous.
Here are the general rules for hair-
washing. While you are applying the
shampoo — soapy, or soapless — -lift your
hair up so that the underneath hair will
receive as much of the shampoo as the
top hair. And don't be afraid to rub
your head hard. The combination of
friction and shampoo will remove dirt
that might otherwise cling to the scalp
. . . Shampoo your hair twice if it is
really soiled, and always rinse it several
times in warm water until all lather is
removed. Warm water is usually the best
for the last rinse too, except in cases of
over-curly hair when cold rinses some-
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A highly recommended preliminary
treatment for dry hair is the rubbing in
the scalp of a few drops of olive oil some
time before the shampoo. Complete hot
oil shampoos are also excellent to sup-
plant the loss of natural oil. . . . Oily
hair must be shampooed with extreme
care. After it is dry, the application of
a special tonic to the scalp helps -retard
the reappearance of oil. Brushing vig-
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late circulation, and to help the scalp
glands throw off oil and accumulations,
is always a pre-shampoo MUST.
And speaking of cleanliness, remem-
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Because bad cases of dandruff are a
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SCREENLAND
87
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Hollywood's War
Within a War
Continued from page 24
the War Department. The War Depart-
ment then lays out a tour route de-
termined by the most urgent need for
camp entertainment and according to the
length of time a player is available.
The Talent Committee of the Victory
Committee, headed by Charles K. Feld-
man, keeps constantly informed as to
what players will be free for tours by
weekly reports from studio casting heads
and actors' agents. In this way it can
accede promptly to urgent entertainment
requests from the War Department. It
is the job of Marco Wolff, executive ad-
ministrator of the Victory Committee,
and his staff, to contact players directly
and map out their assignments in detail.
In all there are thirty-six members of the
Executive Committee of the Victory
Committee, including representatives of
guilds and production heads of studios.
And, of course, they all work without
salary.
Funds necessary for the actual tours
and other entertainment are raised by
the USO, which gets its money from pub-
lic donations. Players supplied by the
Victory Committee receive no salaries.
In addition to domestic and overseas
tours, a major job of Hollywood person-
alities is to provide entertainment for
great armies training on the Southern
California and Arizona deserts — which
may not be as famous as the Sahara but
are as hot; for West Coast naval bases;
for hospitals, air bases and reception cen-
ters in the same area.
To stage these "spot shows," as they
are called, variety troupes go out on one-
night stands or over the week-ends. Up
until November more than twelve hun-
dred players had given eight hundred
and seventy-seven such shows, playing to
audiences numbering as high as fifteen
thousand men. To date more than two
hundred performers have gone on domes-
tic tours, covering nearly two thousand
camps.
As this was written, fifty-one top-flight
players had gone overseas: sixteen to
England and Ireland; four to the Panama
Canal Zone; six to Alaska and the Aleu-
tians; seven to the Caribbean; two to
Newfoundland; one to Greenland; five to
the South Pacific and ten to Africa.
Others are on their way now, but who
they are and where they are going is sup-
posed to be a War Department secret.
In addition to personal appearances,
the stars provide a vast flow of radio en-
tertainment for troops overseas. This
entertainment, in the form of transcrip-
tions, shares transportation priorities
with guns, bullets and food for American
fighting fronts. By Ferry Command, by
commercial airline, by ship convoy, en-
tertainment goes to Alaska, New Zealand,
India, Australia, Puerto Rico, China,
Guatemala, Great Britain and Africa.
Ten of a score or more of transcribed
programs are made regularly by such
Hollywood stars as Bing Crosby, Carole
Landis, Dorothy Lamour, Dinah Shore,
Bob Hope, Betty Hutton, Cary Grant
and others.
The stars make these transcriptions
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88
ScREENLAND
when they are too busy working to go
out on tour. They finish a day in front
of the movie cameras, hop into a car and
go to a recording studio, eat dinner (a
sandwich and a glass of milk) while re-
hearsing and wax the transcription before
going home. Or they do shows on Sun-
day.
Entertaining the armed forces costs the
stars plenty in time and effort and even
more in cash. Kay Kyser is a good exam-
ple. Kyser takes his entire commercial
radio show into camps. Since Pearl Har-
bor he has given up well over a million
dollars in contracts to play free for the
men in uniform.
Carole Landis, Kay Francis, Martha
Rave and Mitzi Mayfair took a fair
jaunt of 37,000 miles for five months to
entertain American troops in England
and North Africa. Five months' salary
for the girls figures up to a lot of cab-
bage. Joan Blondell went to Newfound-
land and made domestic tours that con-
sumed about six months of her time, and
there are a lot of folks in Southern Cali-
fornia who are retired on less than Joanie
can earn in a half-year period.
Joe E. Brown, whose son, Don, died
following the crash of his Army plane,
spent seven months overseas. First he
made a trip to Alaska, the initial off-
shore tour negotiated by a Hollywood
personality, then an expedition to the
South Pacific. Edward G. Robinson, who
made a trip to England for the OWI and
who does free radio shows for the gov-
ernment, is reported to have given one
hundred thousand dollars to the USO.
Adolphe Menjou recently returned from
a five months' trip through England,
Sicily and Africa. His movie salary for
five months would come to well over
seventy-five thousand dollars.
When Reggie Gardiner started a recent
tour, the only train space available was
an upper berth. Philip Dorn's schedule
went awry, and he found himself with a
night to spend in Dallas — where lines
start forming at hotel desks at noon. He
spent the night on a park bench.
Players entertaining in the desert give
their performances on open platforms in
the sun, where the thermometer hits 130.
Gloria Jean folded up on a Saturday
afternoon performance, dosed up on salt
tablets and went on again Sunday after-
noon. In a Denver camp Mickey Rooney
gave eight fifty-five minute shows a day,
singing, dancing and cracking gags. In a
two weeks' tour he wore out two pairs of
shoes. Edgar Kennedy made forty-seven
appearances in one day in New Mexico.
During the cross-country tour of the
Hollywood Cavalcade, which consisted of
twelve top stars, more than $1,079,586,-
819 in bonds were sold to help the Third
War Loan campaign, and altogether it is
estimated that movie personalities have
sold more than two billion dollars worth
of War Bonds. If you think this sum is
staggering, consider the value of the time
the players give free to such work. A
man like Ronald Colman ordinarily earns
seven thousand five hundred dollars for a
radio broadcast, but he has done any
number gratis for Uncle Sam without
giving it a second thought.
Oddly enough, the assignment players
like most is a trip overseas to one of
the active fronts, despite the dangers.
According to countless letters on file at
the War Department, the visit of a movie
star to a fighting front is the greatest
morale builder the Army has found so
far. The movies are a part of everyday life
for most Americans and the faces of their
screen favorites are so familiar that sol-
diers always confess they feel as though
they have talked to someone from home
after meeting a Hollywood actor. Players
are considered practically old friends, and
the men yearn for their visits.
A player doesn't have to be able to do
a song and dance to give the fighting
man a thrill, according to Adolphe Men-
jou. This actor spent a great deal of his
time autographing "V" letter forms for
soldiers in North Africa and England and
the men were so proud of them that they
used the forms for letters to send back
home, taking care to write all around the
Menjou scrawl so their folks would know
they had met and talked to a genuine
movie star. Rosalind Russell, who is a
member of the Executive Committee of
the Victory Committee, proved the value
of this kind of personal contact with men
in the armed forces during the early days
of our active participation in the war.
Roz offered herself as a guinea pig by
making a tour across the country, merely
talking to the men and shaking hands.
Her reception couldn't have been more
enthusiastic if she had worn pink tights
and stood on her head at every appear-
ance.
But to give you an example of how
even a remote contact with a star peps
the men up, consider the case of Betty
Grable. The War Department, in re-
sponse to ninety-six specific requests
from the Pacific war theater, put Betty
on the radio and had her sing "Song of
the Islands." "Hollywood has made these
islands vastly different from what they
are," wrote one petitioner, "but when we
hear Betty Grable sing about them they
look a darn sight more like a scenarist's
pipe dream than they really are."
The experience of Andy Devine also
points to the complete cooperation of
players once they put themselves in the
hands of the War Department. Andy
had been told to prepare for a tour of
the South Pacific and was mildly elated
over the prospect of trimming a few
pounds off his midriff down in the swel-
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SCREENLAND
89
Pin-up picture for the man
who ' can't afford"
to buy an extra War Bond!
"trou'vE heard people say "I can't
*■ afford to buy an extra War Bond."
Perhaps you've said it yourself . . .
without realizing what a ridiculous
thing it is to say to men who are dying.
Yet it is ridiculous, when you think
about it. Because today, with national
income at an all-time record high
. . . with people making more money
than ever before . . . with less and
less of things to SjCf!nd money for . . .
practically evervdme of us has extra
dollars in his p^Sket.
The very least that you can do is
to buy an extra $100 War Bond . . .
above and beyond the Bonds you are
now buying or had planned to buy.
In fact, if you take stock of your re-
sources, and check your expenditures,
you will probably find that you can
buy an extra $200 ... or $300 ... or
even $500 worth of War Bonds.
Sounds like more than you "can
afford?" Well, young soldiers can't
afford to die, either . . . yet they do
it when called upon. So is it too much
to ask of us that we invest more of
our money in War Bonds . . . the best
investment in the world today? Is
that too much to ask?
Let's all BACK THE ATTACK!
SCREENLAND
Frank Sinatra, star of RKO's "Higher
And Higher," Chairman of the Amer-
ican Youth Division, heard on 925 sta-
tions singing and soliciting funds for
President's Birthday — "March of Dimes."
tering tropic heat. But when he arrived
in San Francisco to take off he was noti-
fied that a sudden change in plans had
been made. There was an urgent request
for a little morale building in the op-
posite direction. This led Andy to believe
that he would still get a good sunning.
Sicily had been invaded and he was head-
ing for New York. So you can imagine
the Devine double-take when he was
finally sent to Greenland. He spent an
entire month above the Arctic Circle
making the boys laugh and admits now
that he wouldn't exchange the experience
for anything on earth.
To give you an idea of the variety of
entertainment being furnished the fight-
ing forces by the Victory Committee,
there is the recent trip of Judith Ander-
son and Maurice Evans to the Hawaiian
Islands. These two toured the most re-
mote posts in the Islands doing "Mac-
beth," of all things. Boys who had never
been in a theater in their lives literally
hung on the Shakespearian pentameter.
In fact, Miss Anderson reported only one
unorthodox reaction.
When she appeared in the decollete
night attire of Lady Macbeth in the first
scene of act five during the opening days
of her tour the show was practically
broken up by whistles and cheers from
the audiences. Men who hadn't gazed
upon an attractive woman in months,
and one so well dressed to bring out the
feminine charms, simply couldn't restrain
their enthusiasm.
"After that," Miss Anderson told this
writer, "I made a brief speech prior to
every performance attired in the Lady
Macbeth nightie. I told the boys to get
the whistles and cheers out of their sys-
tem before the curtain went up because
we knew they would enjoy the play bet-
ter if they didn't break up the mood once
we had started."
The experience proved three things —
that Uncle Sam's boys are so avid for
entertainment they will sit spellbound
during a Shakespearian tragedy; that
Miss Anderson is a great trouper, and
that the feminine touch still has the
mostest appeal.
90
SCREENLAND
PRINTED IN THE U.S. A. BV THE CUNEO PRESS. INC.
WITH
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Hollywood Starlet
Kodachrome by
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Copyright 1944, Liggett St M - 1 • Tobacco Co.
W GARLAND ANSWERS YOUR INTIMATE QUESTION
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So smile, plain girl, smile! Not a brief,
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"Pink tooth brush"— a warning!
If your tooth brush "shows pink"— see
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sparkling with Ipana and massage.
ScREENLAND
3
A snappy salute is in order — as M-G-M
brings "See Here, Private Hargrove"
to the screen.
★ ★ * ★
The Big Studio has made a very special
issue of the best-seller G. I. story!
★ ★ ★ ★
Robert Walker whose own private life
reads like a composite biography of the
average private, plays the title role !
Walker worked in a garage, punched cat-
tle in Texas, jerked sodas on Broadway,
survived a wreck at sea, then turned
to the film-world for more excitement.
★ ★ ★ ★
He made his bow to picture-audiences
as the sailor-boy in "Bataan" — followed
this with a role in "Madame Curie".
His checkered past partly accounts for
his splendid performance as the naive
rookie. ★ ★ ★ ★
"See Here, Private Hargrove" should
be seen. It's definitely in the nature of
a command performance for every sweet-
heart, wife, mother, dad and kid brother.
★ ★ ★ ★
Or even if your closest association with
the service is the memory of the smil-
ing kid next door!
★ ★ ★ ★
M-G-M 's film is a rollicking, entertain-
ing revelation of a masculine world!
★ ★ ★ ★
With lovely Donna Reed providing the
feminine touch— and it's a delightfulone.
★ ★ ★ ★
Robert Benchley, Bob Crosby, Keenan
Wynn, Ray Collins and Chill Wills also
answer to the entertainment roll call!
★ ' ★ ★ ★
Wesley Ruggles, one of Hollywood's
foremost comedy directors, pilots the
screen Hargrove in top-flight fashion.
George Haight produced with great gusto.
★ ★ ★ ★
Leo gives a hand to Harry Kurnitz for
the screen play and the initial pat on
the back to the newspaperman who
became a private — then told the world
all about it!
* ★ ★ ★
Our closing phrase
is a paraphrase:
"See — Hear — Pri-
vate Hargrove"!
★
*
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★
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★
★
★
★
★
★
★
★
★
★
★
★
*
★
★
★
★
★
★
★
★
★
★
★
★
★
★
★
★
★
★
★
*
*
★
*
★
★
★
★
★
★
★
★
★
★
★
★
★
★
*
★
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*
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Paul Hunter, Publisher
Delight Evans, Editor
HOMER ROCKWELL, Executive Vice President
Elizabeth Wiison,
Western Representative
Helen Fosher,
Assistant Editor
^ TUP!k
Frank J. Carroll,
Art Director
Anthony Ferrara,
Asst. Art Director
The Editor's Page Delight Evans
One of the Millions. Robert Stack Jule Butler
Judy Garland Answers Your Questions Alyce Canfield
Listen, Soldier! Michael Pearman
"Little Lamb Chop." Margaret O'Brien . Hattie Bilson
Alan Marshal's 7 Steps to Stardom Constance Palmer
"My Baby and I." Lana Turner. Gladys Hall
Shirley Scotches Those Romance Rumors! Shirley Temple . . May Mann
The Gaga Saga of Danny Kaye John Franchey
The George Sanders "Murder Mystery" Hattie Bilson
"Chip Off the Old Block." Complete Fictionization .Elizabeth B. Petersen
Tu// <?olot Portrait*: * ★ *
Shirley Temple, in David O. Selznick's "Since You Went Away"
Marilyn Maxwell, M-G-M actress; Belita, star of Monogram's "Lady,
Let's Dance/' Mickey Rooney, in "National Velvet;" and Ann
Sheridan, seen next in Warners' "Shine On, Harvest Moon"
Joseph Cotten, appearing in "Gaslight" for M-G-M
19
20
22
24
26
28
30
32
34
36
39
Pic tut e Paqe±;
Luscious Linda (Linda Darnell); Sugar Girl
S (Vicki Styles);Sweef Peggy O'Neill; Screenland
Salutes Gail Russell; Photo Previews of the New Films,- Pin-Up Girl
Fashions (Betty Grable)
IPepattmentAi "k
Hot from Hollywood 6
Your Guide to Current Films Selected by Delight Evans 8
Fans' Forum 12
Here's Hollywood. Candid photos by Jean Duval — Gossip by Weston East 54
Beauty at Her Fingertips. Gloria Jean Josephine Felts 58
Guide to Glamor 60
Cover Portrait of JANET BLAIR, appearing in Columbia's "Curly,"
/ with Cary Grant. Kodachrome by Coburn.
APRIL, 1944
Volume FOBTif Eight
Paul Hunter, President Number Sins
Homer Bockwell, Executive Vice President and Advertising Manager
Lee Wagner, Circulation Manager
SCREENLAND. Published monthly by Hunter Publications, Inc., at 205 E. 42nd Street, New York, N. Y.
Advertising Offices: 205 E. 42nd St., New York; 410 North Michigan Ave., Chicago, 111.; 427 W. 5th St.,
Los Angeles, Calif. Manuscripts and drawings must be accompanied by return postage. They will receive
careful attention, but SCREENLAND assumes no responsibility for their safety. Yearly subscriptions $2.00 in
the United States, its dependencies, Cuba and Mexico; $2.50 In Canada; foreign $3.00. Changes of address
must reach us five weeks in advance of the next issue. Be sure to give both the old and new address. Entered
as second class matter. September 23, 1030, at the Post Office, New York, N. Y., under the act of March 3, 1879.
Additional entry at Chicago, Illinois. Copyright 1944 by Hunter Publications, Inc. Printed in the U. S. A.
MEMBER AUDIT BUREAU OF CIRCULATIONS
Screenland
SCREENLAND
Romance ,
of the ,<;>•'
even sens
The first vivid drama of the
Navy's men of might! Ready
to land! Ready to love!
Ready to fight ! The first great
screen sensation of the year !
Grant Withers
FrowleV
Paul fi* . •„
LAMOR girls who turned their backs
on careers in favor of families will in
future be publicized as Glamor Mothers!
They include Alice Faye, Betty Grable,
Brenda Marshall, Brenda Joyce, Gene
Tierney and Joan Bennett.
Producers now inquire carefully into
the status of young starlets. Single girls
get preference in castings. Engaged girls
and brides won't get big build-ups.
V^HEN Maria Montez played a local
' * theater with a picture showing her
in a bubble bath in technicolor — the tub
was pink marble and Maria was lovely
clad in bubbles — a sailor stopped the
show, shouting: "Stand up, Maria, and
take a bow!" (More Gossip on page 10)
ScRKBNLAND
Harry James sits in with Lynn
Bari and her new husband, Sid Luft. Above,
Bonita Granville appears with a new escort;
Joe Pasternak with Gloria De Haven — all seen
at Palladium, Hollywood's popular ballroom.
Paramount^ gripping picturization
of Dorothy MacArdle's hair-raising
story of the supernatural— the most
fascinating novel since "Rebecca"!
mnvi
STARRING
Ray Milland-Ruth Hussey- Donald Crisp
with Cornelia Otis Skinner and Introducing Gail Russell
Directed by LEWIS ALLEN • Screen Play by Dodie Smith and Frank Partos
A PARAMOUNT PICTURE
You'll see her now in "The Un-
invited" as the ghost-haunted
heroine. Ah, Yes, a Mystery ... an
Open scandal of the strange past
comes haunting this lovely child,
affecting her first exciting love and
causing most unusual nocturnal
nces.
A locked door! an
old mansion! She
is forbidden to
(Wouldn't you like
"""" to know?) . . .Then ,
_ there's a chill wind i
— a creeping mist'
with a clinging
scent of mimosa!
moanin' low with
choking sobs that
draws her to the
cliff's edge . . .
STOP! (For the
cliff's edge she wears a very de-
mure gown, pure white and very
transparent with nothing to match.)
Some pretty strange goings on in
this picture, if you ask me . . . things
that you just can't put in writing.
A Delightful thriller that will leave
you breathless with excitement!
• • •
Whoops, here comes that strange
mist again — gotta go now!
PARAMOUNT PICTURES. INC., 1944
SCREENLAND
BXCfTBMBHT FROM
muywoopf
Ifottt GUIDE
CURRENT FILMS
SELECTED BY
LIFEBOAT — 20th Century-Fox
Alfred Hitchcock is given plenty of material for sus-
pense in John Steinbeck's story of nine survivors afloat
in a bullet-riddled lifeboat. Besides the storms, the
unrelenting sun, thirst and hunger, the author has also
given the survivors another element to fight — the cun-
ning bestiality of the German U-boat Captain, who
gains their confidence and finally control of the lifeboat.
Tallulah Bankhead is a definite attraction as the news-
paper woman who maintains her charm through her
last smidgeon of lipstick. John Hodiak, Hume Cronyn,
William Bendix and Henry Hull give fine perform-
ances, and Walter Slezak fits the villain's role to a T.
IN OUR TIME— Warner Bros.
The story of a Polish Count who marries an English
working girl and takes her into the bosom of his aris-
tocratic, tradition-ridden family furnishes a beautifully
sentimental romance for Paul Henreid and Ida Lupino
— a team you'll want to se'e again. The family — stuffy,
to say the least — is completely unsympathetic with their
attempts to put the estate on a paying basis, substi-
tuting modern machinery for the old-world, out-of-date
methods. They succeed finally in educating the peasants
but the family, with the exception of Uncle Leopold (a
grand character played by Michael Chekhov) remains
in its nice comfortable rut, totally unprepared for war.
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If you are not completely satisfied,
we will gladly refund your money.
A GUY NAMED JOE — M-G-M
Aviators' heaven combines with the realistic world to
make this a fascinating fantasy. Spencer Tracy is fine
as the cocky pilot who becomes a member of the spirit
world to guide young air cadets in the art of flying.
Assigned to a wealthy young stick-in-the-mud (Van
Johnson), he takes it upon himself to guide him also
in the art of making the right approach to young ladies.
He has regrets, however, when his protege meets the
girl he still loves. Irene Dunne plays this role and
handles admirably the mixed emotions she's required to
display. Lionel Barrymore, seen briefly as "Heaven's
CO.", delivers a couple of long but effective speeches.
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ALI BABA AND THE FORTY THIEVES— Universal
Walter Wanger surpasses the dazzle and glitter of
"Arabian Nights" in this new film based on the famous
fable. Maria Montez in colorful costumes looks and
acts every bit the part of Amara, whose traitorous fa-
ther offers her in marriage to the Khan. Jon Hall is
handsome and dashing as Alt Baba, who inspires the
Forty Thieves to free Baghdad of the Mongolian ruler.
Turban Bey plays a faithful servant, a sympathetic
part which should elevate him still further in the esteem
of the feminine populace. Andy Devine is jovial and
funny and Kurt Katch is mean and sinister. What more
could you ask in the way of romance and adventure?
SONG OF RUSSIA — M-G-M
Robert Taylor's last picture for the duration is a tender
love story enacted for the most part between lengthv
concerts of 'Tschaikowsky — all of which we enjoyed,
but some may find over-balances the romance. The girl
is a Russian peasant and accomplished pianist. The boy
is a famous American symphony conductor on tour in
peacetime Russia. They meet, marry, and find perfect
happiness until their ways are parted by the Nazi
putsch. The mood changes abruptly with war scenes
of scorched earth, showing tenacious Russia on the de-
fense— a trifle out of date with today's headlines. Susan
Peters excites great interest. (More Reviews on page 16)
8
SCREENLAND
Matchless music by JEROME KERN
LUting lyrics by IRA GERSHWIN
Dazzling TECHNICOLOR
Enchanting LOVE STORY
Entrancing DANCING
and /§ of America's most
Beautiful COVER GIRLS!
RITA HAYWORTH
GENE KELLY
U TECHNIC CXLOR
with Lee Bowman • Phil Silvers • Jinx Falkenburg
• T CHARLES VIDOR . a Columbia picture
ScREENLA N D
11
Fans1 Forum
Stop a minute and check up on the list
below. Do you belong to any of the
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really must discover Tampax, which was
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It's really modern!
Three sizes (Regular, Super, Junior)
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FIRST PRIZE WINNER
$10.00
Why not have a "Fighting Stars" Week?
Some of our most popular young -tars are
in the armed forces today — Gable, Mont-
gomery, Stewart, Fairbanks, Jr., Power, and
dozens of others — and we would enjoy see-
ing again some of their thoroughly enter-
taining pictures.
It would bring to many people the realiza-
tion that these young men, whom they've
grown to know, to love and to admire, are
"somewhere" risking their lives for our
freedom. It would give these stars a chance
to be with us, to be seen and enjoyed, and
not forgotten.
A "Salute to Our Fighting Stars" Week
could be easily promoted by Hollywood—
for their benefit, our benefit and for the
benefit of the stars in the services.
Who wouldn't go once again to see : Clark
Gable in "It Happened One Night" Tyrone
Power in "Lloyds of London ;" Douglas
Fairbanks, Jr., in "Prisoner of Zenda;"
James Stewart in "Mr. Smith Goes to Wash-
ington;" Robert Montgomery in "Night
Must Fall?"
Well — who wouldn't?
PVT. WILL HERMAN, Fort Eustis, Va.
SECOND PRIZE WINNER
$5.00
After I read the January issue of Screen-
land, I was fighting — or should I say, writ-
ing?— mad ! I'm referring to your statement
that Greer Garson is the screen's "First
Lady."
Have you, by any chance, forgotten that
there are other actresses, greater actresses,
who have been on top longer than Miss Gar-
son ? Take Joan Crawford, an actress who
lately has not been given the good parts she
deserves but who always gives fine perform-
ances anyway. Although she is in England,
we movie fans have not forgotten the fine
performances Vivien Leigh gave in "Water-
loo Bridge," "That Hamilton Woman," and
her unforgettable portrayal" of Scarlet
O'llara. American movie-goers are await-
ing with eagerness Miss Leigh's return to
the screen.
Last, but not least, there is Bette Davis
who d. finitely is the screen's "First Lady."
Miss Davis has made a hobby out of collect-
ing awards for her unsurpassed talent. The
fact that she won her last Academy Award
in 1938 does not mean her acting is not what
it used to be, because she is nominated every
R. S. V. P.
From Pvt. Will Herman of the
United States Army comes a valuable
suggestion to the movie . industry —
"Salute to Fighting Stars" Week. But
that is just one of many ideas. Every
reader of Screenland has at least one
suggestion, comment or criticism con-
cerning pictures or people which rates
publishing in Fans' Forum. Write us a
letter about it. Monthly awards for the
best letters published : $10.00, $5.00 and
five $1.00 prizes, all payable in War
Savings Stamps. Closing date is the
25th of the month.
Please address letters to Fans' Forum,
Screenland, 205 East 42nd St., New
York 17, N. Y.
year for the Award. Not many, if any,
actresses have a record like that.
Those are just a few reasons why I sug-
gest that Screenland think it over the next
time they call Greer Garson, or any actress,
the screen's "First Lady."
ALFRED MORITZ, New York, N. Y.
FIVE PRIZE LETTERS
$1.00 Each
I have seen just about every war picture
that has been produced, and some are very
touching ; but none of them digs at my heart
like the several accounts I have just read of
the trip that Bob Hope and Frances Lang-
ford made to entertain our fighting men
abroad.
When I reatl these stories, I passed them
on to my buddies. And when they finished
reading, they would sit staring into space,
thinking, admiring. By going over there,
those great people (and, of course, these
two aren't the only ones) also did a wonder-
ful job of morale-building right here at
home.
If our women have the courage and gal-
lantry to go through what Frances Lang-
ford did, just try to imagine what our fight-
ing men can do after their visits. What I'm
getting at is this : our movie people are do-
ing such a splendid job that people should
know more about it. So how about more
news about such things?
SGT. W. R. SLOCUM, Reams, Utah.
!2
Screenland
O/t/ fr/e/?c/s are Aest w6er? Co/ak a/7*/ Sore rtroa/s /firea/e/?
THAT'S THE TIME you appreciate
your old standby, Listerine Antisep-
tic, more than ever. So often it can be
such a help in fighting the bacteria re-
lated to colds.
Used early and frequently as a gargle
ir may help head off a cold entirely or
keep it from getting serious. That goes,
too, for simple sore throat which so
often accompanies a cold.
Fewer Colds, Fewer Sore Throats for
Listerine Antiseptic Users in Tests
There's an impressive lot of evidence to
back this statement up. Over and over
again, in tests made over a period of
twelve years, those who gargled Listerine
Antiseptic regularly every day bad fewer
colds and usually bad milder ones than those
who did not gargle.
Perhaps you wonder why. The explana-
tion, we believe, is simple:
Listerine Antiseptic kills millions of
the Secondary Invaders, those potentially
troublesome germs that can set up house-
keeping in almost everybody's mouth.
Many a noted nose and throat spe-
cialist holds them responsible for rhe
complications of a cold, much of its
discomfort, misery and trouble. They
can stage a "mass invasion" of the throat
tissues when wet feet, cold feet, drafts,
fatigue or sudden temperature changes
pur you under par.
Germs Reduced in Tests
It is wise to attack these trouble-makers
to forestall, if possible, such a "mass
invasion." And that, apparently, is what
Listerine Antiseptic so often does.
SCBEEXLAND
In actual tests this cool, refreshing anti-
septic accomplished reductions of germs
on mouth and throat surfaces ranging
up to 96.7/3 fifteen minutes after a gargle.
One hour later the same tests showed
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13
Jinx Falkenburg and Evelyn Keyes, now playing in Columbia's "Nine Girls," find a
pleasant way to pass the time between scenes. They wear the sunsuits in the film, too.
Tonight I happened to read the story of
the feud between the Sinatra and Crosby
fans. It recalled to my mind an amusing in-
cident from last winter, although to us at
the time, it was not amusing !
I was stationed with a unit of Army
nurses in England and Africa when we were
horrified to hear "Brother Bing" was dead.
To imagine the United States without
Crosby . was almost impossible. Our one
recording of "White Christmas" was packed
carefully and only played on special occasions.
Even-one to whom we wrote to check the
news seemed either to ignore the question or
didn't know. When I finally became ill and
was returned to the United States and dis-
charged from the Army, I often thought
how much Bing Crosby's, melodious voice
really means to innumerable people in this
country. There is a quality in it that makes
us know everyone at home is or will be okay
until we return.
Mr. Sinatra sings very nicely, but Bing
Crosby reigns supreme to many of us.
MARY ELLA HOWARD, Ann Arbor, Mich.
The other evening our crowd was discus-
sing the effect which television might have
on motion pictures after the war when the
former is expected to make great strides to-
ward popular favor. The consensus of opin-
ion was that television, instead of reducing,
would actually increase attendance at movie
theaters.
As one of those present expressed it:
"Television will be launched with the same
old barnacle of interrupting commercial an-
nouncements clinging to its hull. At first
people will be thrilled by seeing the per-
formers on radio programs. But after sev-
eral evenings of having the visible programs
constantly interrupted by the view of an an-
nouncer who warns them to take a certain
pill, or else, the majority of the television
public will exclaim : 'Why, television is
nothing but a poor movie with a pill peddler
who interrupts too much!' Then they will
shun television and go to the real movies in
ever-increasing numbers."
FRED B. MANN, Danville, 111.
This may be a strange request coming
from a dyed-in-the-wool Flynn fan, but I
wish the magazines would lay off Errol
Flynn for a while. Stop the articles, both
those building him up, and the detrimental
ones. Give us a photo now and then and, of
course, news of his pictures. But let his per-
sonal life strictly alone. Give him some
privacy. The news columnists will keep us
informed of the latest scandals, whether true
or false, anyway.
Let Mr. Flynn show an unbiased public
he has the stuff of which Academy Award
winners are made, without all this publicity.
I have faith enough in him to believe, if
given the chance, he will come through.
You, his fans, support his pictures, nat-
urally. After all, box office receipts and fan
letters are the real measures of his popular-
ity and talent.
To the studio : lay off the great lover
stories, and sending him out with new star-
lets to give them a publicity build-up. It's
not good for him. Don't send out so many
publicity stories about him. They only con-
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14
SCREENLAND
"I quit, Miss Jones—
those girls burn me up!
tradict themselves and serve to give people
the wrong impression of him. People who
know nothing of the real man are glad to
believe the worst. Why make a gigolo out
of him and sacrifice him on the altar of some
starlet ?
Last of all. here's to you. Mr. Flynn. May
you have your chance to achieve glory on
your own ability !
LUCILLE JENNINGS, Beverly Hills, Calif.
I want to voice my opinion on two actresses,
two sisters, in fact — Olivia de Havilland and
Joan Fontaine. Olivia is being put in smaller
pictures all the time. It's true, a comedy
along the line is good, but Miss de Havilland
deserves much bigger and better roles. Peo-
ple are beginning to say. "She's one of the
de Havilland sisters. They say Joan Fon-
taine is a much greater actress than she."
And why not? Look at the terrific parts
Joan has been given. Remember "Rebecca?"
Then came her Academy Award perform-
ance in "Suspicion." followed by "This
Above All" and "The Constant Xymph."
Her forthcoming pictures are "Jane Eyre"
and "Frenchman's Creek." Who wouldn't
make good with roles like that?
While Joan was making these pictures.
Olivia was seen in "Hold Back The Dawn"
('and I think she should have won an Oscar
for this). "They Died With Their Boots
On," "In This Our Life," then came "Gone
With The Wind" in which she played Mcla-
nie so magnificently. Who didn't weep dur-
ing her scenes from that great movie? She
had a bit part in "Thank Your Lucky Stars."
Then came "Princess O'Rourke," a comedy.
RKO then featured her in another comedy
entitled "Government Girl." If her next
picture, "Devotion," is all it's talked up to
be, Olivia ought to be nominated for the
Academy Award this year.
Her dramatic acting, to me, is far above
her sister's and if she were given greater
roles she could prove it. I think Warner
Brothers should commence emphasizing her
acting ability as much as other stars'.
LAWRENCE LUDWIG, Revere, Minn.
HONORABLE MENTION
It is we, rather than the movies, who are
still in the infantile stage. This is betrayed
by the feverish intensity with which we in-
terest ourselves in the private lives of the
stars. Consider any of the other arts. A
singer may have had six husbands, but do '
opera fans care? A writer or an orchestra
leader may be aloof and unsociable, yet this
has no effect on his sales or his standing.
Let us resolve — shall we ? — to try and
grow up this year, to cut out those cracks
at Garbo, and to cultivate a mature and
more kindly attitude toward a serious art
that has long outgrown swaddling clothes.
GERALDINE RAYNE, Vancouver, Canada.
Dennis O'Keefe and Marjorie Reynolds in Ed-
ward Small's comedy, "Up In Mabel's Room." ,
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Your Guide to Current Films
THE BRIDGE OF SAN LUIS REY —
United Artists
The century-old rope bridge linking Lima
and San Luis Rey collapsed one day in 1775
and five lives were lost in ihe abyss below.
In the attempt to determine why these peo-
ple met their fate, the film version of Thorn-
ton Wilder 's story presents an engrossing-
tale of love, evil, and intrigue. The chron-
icle revolves about Michaela, dancing girl
of the streets who becomes a great actress
and the Viceroy's favored lady forsaking
her love for Manuel, a devil-may-care sailor,
whose twin, Esteban, strange and moody
scribe, also loves her. Lynn Bari plays the
highly temperamental Michaela with admir-
able restraint. Francis Lederer in the double
role of Manuel and Esteban draws each
character vividly. Akim Tamiroff turns in
one of his best performances as Uncle Pio,
and Louis Calhern is excellent as Viceroy.
GUNG HO! — Universal
Though not given the authenticity of real
names, this film is based on the actual his-
tory made at Makin Island by Lt. Col.
Evans F. Carlson, USMCR, who served as
technical advisor, and his raiders. The
scenes showing the training of the 600 hand-
picked men to do the job are documentary
in effect but interesting, but the tone changes
when the boys actually put out to sea. War
scenes are credible without the loss of thrills,
excitement and suspense. Sharply defined
characters are those played by Randolph
Scott and J. Carrol Naish as commanding
officers. Grace McDonald, Noah Beery, Jr.,
and Larry Bruce furnish romantic rivalry.
WHERE ARE YOUR CHILDREN? — Monogram
First of the films dealing with juvenile de-
linquency has an attractive newcomer, Gail
Storm, who rates watching, and Jackie
Cooper, released from his Navy duties just
for this role. The story points the moral
that parental neglect leads to most juvenile
crimes, and teaches a lesson to civic-minded
citizens who close their eyes to such places
as the questionable dance hall, den of in-
iquity in this picture. From this environment
emerge four youngsters, whose drinking and
wild auto rides lead to murder. Good cast.
16
SCREENLAND
TENDER COMRADE — RKO-Radio
This touching and true screen story of "the
girl he left behind him" provides a personal
acting triumph for Ginger Rogers (it's a
habit with her) and a swell performance by
her leading man, Robert Ryan. Bring along
the handkerchiefs for those scenes of pathos
which will move you almost unbearably ; but
be prepared for wholesome chuckles as well,
as Dalton Trumbo's clever story unfolds
the romance of just another American girl
and boy whose marriage is interrupted when
the husband is called to duty overseas, leav-
ing the young wife to a maleless future
working in an aircraft factory and rooming
with four other women. Kim Hunter, Ruth
Hussey, Patricia Collinge and Mady Chris-
tians are grand — but it's Ginger's picture.
THE U N I NVITED — Paramount
Don't miss this thriller ! It's no horror film,
rather a romantic "spook" drama, first of its
kind ever attempted, and strikingly success-
ful. Imagine a young girl, Sleeping Beauty
brought up to date, leading a lonely life in
an English village (note: this is all pre-war
vintage) . She's haunted by a house — there's
a twist for you — and it takes a handsome
Prince Charming from London to wake her
from her nightmare. Before this is accom-
plished, exciting events conspire to keep you
on tenterhooks : a "ghost" prowls, a malig-
nant lady does some dirty work, love blooms,
and — a new star is born. She's Gail Russell,
who shines in distinguished company of
Ray Milland, Donald Crisp, Ruth Hussey.
THE FIGHTING SEAB EES— Republic
The organization and training of Seabees
offers plenty of exciting action in. the first
film about this branch of the service. As
this story has it, the nucleus of the first
battalion was a group of tough, first-class
workers in a construction gang, who chaffed
under the regulation which forbade them
to fight when the enemy attacked. It's a
trial-and-error method by which the boss,
bull-headed and obstinate (John Wayne),
is finally shown the necessity of putting his
men through basic training. There's an ex-
citing battle scene in which the men use con-
struction implements as weapons. Dennis
O'Keefe, as a Navy officer, adds rivalry.
Susan Hayward contributes romantic angle.
Do's
and Don'ts
every woman absentee
should know
A WAR-PLANT NURSE WROTE
KOTEX that their greatest number
of absentees are women who miss
1 to 3 days of work each month,
frequently on "problem days".
These hints are just a few of the
many in the new 24-page booklet
we offer free to help you feel better
and stay on the job every day. Lost
days means lost lives !
DO but don't overdo, and you needn't
skip the "swing shift" ! But why not wait
for the waltzes and rhumbas and leave the
jitterbug tactics 'til next week? Sit out a
dance now and then ... to look at the
stars or hear a life story. You can always
say your feet hurt!
DON'T wrestle with these heavy jobs
on "difficult days". Straining is harmful,
and your foreman would rather give you
lighter work at this time than have you
on the absentee list. Send for the new
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for tips on how to lift the safe way!
DON'T get the late -at -night cocktail
habit . . . too much stimulation is bad at
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hours sleep every night! You won't be a
sissy . . . you'll be smart!
DO send for this free booklet
— lost days mean lost lives!
"That Day Is Here Again" contains 24 lively
pages of do's and don'ts for war-workers'
"problem days". A full page of suggested
exercises to curb cramps. When to see your
doctor. Facts for older women ; and for when
the stork's expected. Plain talk about tam-
pons. We take pride in bringing you this au-
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To get your copy free, just mail name
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SCREENLAND
17
MAKE ROOM IN YOUR HEART
FOR ALL OF THEM!
THE Kuiflticm ARE MOVING IN!
N'T MAKE 'EM ANY
», better!
,»^fflEAT£fi!
it THEY DO
if THEY DON'T MAKE 'EM A
it THEY DON'T MAKE
SELENA ROYLE • TRUDY MARSHALL
and
EDWARD RYAN - JOHN CAMPBELL . JAMES CARD WELL
JOHN ALVIN - GEORGE OFEERMAN, Jr. As "The Sullivan Boys"
Directed by LLOYD BACON- Produced by SAMJAFFE- Associate Producer
ROBERT T. KANE • Screen Play by Mary C. McCall, Jr. • Story by Edward Ooherty and Jules Schermer
DARRYL F. ZANUCK'S
first production since his return |=
from the fighting front:
THE
PURPLE
HEART
18
SCREENLAND
By
Jule Butler
I EXPECTED to feel swoony when I
saw Ensign Robert Stack for the first
time in his Navy greens. What I
didn't expect was to meet an absolute
stranger — an entirely different young
man from the beautiful hunk o' he who
joined the Navy fifteen months ago.
The change that has occurred in Bob
is not unlike that which is occurring in
millions of young American men today.
Every mother's son who for any period
of time has been under the sturdy tute
lage of the land's military is marching to
important personal progress. This is hap-
pening to Bob. The potential powers
and goodnesses and greatnesses of the
boy are jelling, to form the man. Sure..
Bob had a lot of swell "potentials" be-
fore he went into service — but he charm-
ingly drove his family and close asso-
ciates nuts trying to help him compress
them into a solid maturity. Bob's Uncle
Sam has done it — a thorough and -swift
job of it.
Ensign Robert Stack presented a tired,
dusty, hard-working guy when he walked
into the small living room of the apart-
ment where his mother and I awaited
him. He'd just come off the Navy shoot-
ing range, where he'd been working since
sun-up — (if there is such a thing through
the fog of San Francisco) . He'd been out
there all day — ten hours to be exact. He
was wearing the G.I. khakies — and was
without a doubt the dirtiest officer I'd
ever seen outside a combat zone. Fifteen
minutes later, he'd showered and dressed
and emerged — every gal's idea of what
the Navy's Junior Officer should look
like — in his greens.
There are many interesting facets
about this change in Bob — from a good-
looking, lovable and completely irrespon-
sible young actor, to the sharp-eyed,
serious, sedulously neat officer who sat
across from me. Bob doesn't pace the floor
nervously as he once did when he talked.
He doesn't gaze off blankly into space to
return to the conversation seconds later
on an entirely different subject. He settles
down now and focuses on the subject.
He looks directly at you — twinkles, when
amused, with a pair of blue eyes which
make you wish you were years younger
so you wouldn't be so sure he's kidding.
His features are strongly defined today,
instead of just attractively young. His
frame has filled out. His six-feet-two no
longer have a stripling quality. He's a
full, prime man.
Bob has always had a youthful, sweet-
ness about him — that too, has jelled —
into a man's gentleness. He still uses the
contemporary colloquialisms, but his
sense of humor is less collegiate — and
more fun.
Bob Stack is one of the few Hollywood
actors whose perfection in a specialized
field won him (Please turn to page 79)
After fifteen months in the Navy, Bob Stack
is a different young man from the handsome
juvenile Hollywood knew. These pictures show
him — now Ensign Robert Stack — as U.S. Naval
gunnery instructor. Portrait at right by Maurine.
k
lb
DEAR FRANK:
Help, help ! Your fans are after me, fighting mad,
and I wish you'd call them off before it's too late. It's up
to you because they won't listen to anyone else, so use your
influence, will you?
It seems that whenever the Sinatra name is mentioned,
if not surrounded by every superlative in Mr. Webster's
book, your followers go stark, raving crazy. They don't
want you just admired and respected, they want you wor-
shipped and woe betide the editor who doesn't bow down
three times at the sound of your voice. When I mildly
suggested that there was another singer named Crosby,
good too, you could hear the howls from Hoboken to
Hollywood, and I will have to go into hiding if it doesn't
stop. And the letters — you'll have to do something
about the hundreds your fans have sent me, that's all.
And while you're about it, why don't you suggest that
your more violent admirers restrain themselves at your
broadcasts? At first it was fun, but now it is only a bore.
You yourself are such an honest person, both as an enter-
tainer and as a man, that I'm sure you will face facts
sooner or later, looking ahead to years of popularity and
success, which you deserve for your hard work, your integ-
rity, and your terrific voice, rather than just a flash.
You're no sky-rocket star as I see you, but a natural-born
performer who can go on practically forever, like — like —
well, here goes: like Crosby.
P.S.— Regards to Frank, Jr
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" LITTLE LAMB CHOP
That's Mickey Rooney's pet name for
Margaret O'Brien, and she eats it up
Seven-year-old Margaret is the dar-
ling of the Metro lot. All the famous
male stars are her slaves. Above,
with Walter PIdgeon, who plays
her father in "Madame Curie."
By Hattie Bilson
kID YOU sleep well last night, Margaret?"
'"I slept very well, thank you."
"And did you dream last night, Margaret?"
"Yes, I did."
"Did you dream about me, Margaret?"
"I never have nightmares," retorted Margaret O'Brien, and
stalked majestically off "The Canterville Ghost" set, leaving
Rags Ragland open-mouthed and speechless. For a seasoned
trouper like Rags to find himself neatly topped by a seven-year-
old grande dame was extremely bewildering, but Margaret's
friends, those who know her well, have long since given up
trying to solve the enigma. They have learned to sit back and
enjoy the show. Not that Margaret is a precocious child;
rather it is her instinct for the well-turned phrase, an innate
flair for the dramatic.
Ever since Shirley Temple sang and danced her way to
million dollar fame, Hollywood casting offices have been
swamped with be-curled, be^ribboned, (Please turn to page 89)
"The free education
and the monthly allowance
are wonderful • • •
f| but its the future
that decided me !
TF YOU can qualify as a U. S. Cadet
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Age-
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ONE OF A SERIES OF ADVERTISEMENTS PREPARED AND SPONSORED BY
EASTMAN KODAK COMPANY, Rochester, n. y.
ALAN
MARSHAL'S
7
STEPS
TO
STARDOM
Here he is — the man who waited seven long
years for fame. And worked while he waited
ALAN MARSHAL has been seven years on the road to star-
dom. He has just taken his seventh step and he stands now
on the threshold.
After a long and careful build-up, he is playing his first lead-
ing role. The picture itself, "The White Cliffs," is to be one of
the biggest and most pretentious on the year's schedule, and the
director, Clarence Brown, is noted for the dignified and pains-
taking care with which he handles emotional drama.
Few people in the industry know Alan Marshal very well.
Personally, he is affable, quiet, calm, sure of himself and moti-
vated by a steady English reserve inherited from his mother and
father, who were prominent on the stage in Australia and this
country,
"I always wanted to be an actor," he said on the "White
Cliffs" set. "Probably from the time I followed my mother onto
the stage during a matinee in Sydney. When you consider that
they brought me to this country when I was only four, you can
imagine how quickly I was hustled off into the wings on that
first appearance!"
Later, though, he had better luck: all on his own when he
was 15, he got a job in Gilbert Miller's production of "The
Swan," with Eva Le Gallienne starring and Basil Rathbone the
leading man.
John Drew was the first celebrity he ever met. Leonard Mar-
shal, Alan's father, introduced him to the great idol at The
Players' Club in New York. Transfixed by the magnitude of the
occasion, the very young Alan managed to blurt out politely:
"How do you do, Sir? I have admired everything you have ever
done, Sir!"
Drew regarded the boy quizzically for a moment and then
28
After his long, careful
build-up Marshal at last
achieves a leading role
in "The White Cliffs,"
opposite Irene Dunne
(above). It took seven
pictures to pave the
way, but Alan was
patient. At right, the
best of reasons for
waiting and working —
lovely Mrs. Marshal,
mother of 4-year-old Kit.
replied: "Humph! You aren't old enough
to have seen me in everything I've ever
done, but thank you for your extravagant
compliment. And thank God you look
like your mother instead of your father!"
After he had finished his schooling in
1928, he joined Fritz Lieber's Shakespear-
ean Company in New York and spent
an entire year understudying until he was
at last allowed to play Lorenzo to George
Arliss' Shylock in "The Merchant Of
Venice."
"It was the finest kind of experience
for a young actor," Marshal said. "I can
still see Mr. Arliss watching me and hear
him say, 'Loosen up, Alan, loosen up!' It's
good advice for anybody on the stage or
in pictures."
Success came faster after this, for, after
a year in stock in Montreal and Toronto,
he came back to New York to play in
"Michael And Mary," "Fool's Cap,"
"Lady Jane" and "On Stage" with the
late Osgood Perkins.
David 0. Selznick saw him and signed
him immediately for "The Garden Of
Allah," which he was to make in Tech-
nicolor. He brought Marshal to the Coast
by plane and has kept him here under
contract ever since.
That was seven years ago, and Selznick
said to him then: "Alan, it may take me
ten years to do it but if you will be
patient, I will make you a star. You are
the type that will improve with maturity,
and in my opinion you may not get your
big break for about seven years."
Marshal was patient, and in the seven
years there have been seven pictures
which have built slowly toward the
goal set for him. One might count
"The Garden Of Allah" as the first step,
and afterwards "After The Thin Man,"
with Myrna Loy and William Powell,
"Night Must Fall," with Robert Mont-
gomery, "Conquest," with Greta Garbo
and Charles Boyer, "Irene," with Anna
Neagle, "Tom, Dick And Harry," with
Ginger Rogers, Burgess Meredith and
George Murphy and — finally — "White
Cliffs," with Irene Dunne again. There
have been others, but these seem the
most important.
He was married in 1938, to Mary Grace
Borel from San Francisco. They have a
little son, Kit, who's not quite four and
who's the pride and joy of his father's
life. Kit, himself, thinks his father's
pretty fine, too, and only permits him to
go to the studio because he's convinced
Daddy's appearing in a rather protracted
version of "Bambi."
Alan Marshal's life, in fact, is — outside
his profession of acting — entirely cen-
tered around his lovely wife and baby.
She calls him Bill and he calls her Buzz.
He doesn't believe in marital vacations
and he does believe in throwing himself
wholeheartedly, with the greatest inter-
est and enjoyment, into the careful up-
bringing of little Kit.
"And my wife and I agree on most fun-
damental subjects," he said yesterday.
"We both like music; we both enjoy the
same pastimes. She has a great virtue
that I admire tremendously — and that is
her great capacity for living and laughing.
"The greatest obstacles to marriage are
the small, insignificant things — not the
ones big and important that might cause
a disagree- (Please turn to page 65 )
CHERYL WALKER, IN SOL LESSER'S MOTION PICTURE,
"STAGE DOOR CANTEFN"
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Girls! . . . your shade of Woodbury Powder will do
glamorous things for you . . . Because Hollywood directors
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ALSO BOXES OF WOODBURY POWDER SO*, lit, KM
Little Empress" and Mrs. Crane, above. The baby rules the
household, and Lana loves it. M-S-M's star of "Marriage Is A
Private Affair" loves her home, seldom steps out these days ex-
cept for brief whirl at El Morocco op New York visit (right).
tfTN THE LAST few months, just before and since the baby
L came, I have been happier than I have ever been in my
life — thanks to Stephen. He's been so good to me, so kind
to me, so thoughtful of me, so considerate. All thanks to our
daughter, christened Cheryl Christine, commonly called Cherry
but also known to her adoring household as the 'Little Em-
press' or, in less regal moments," (a chuckle) " 'Ragamuffin.' "
Lana was saying this. Lana Turner. Lana Turner Crane,
as she now calls herself — and signs herself, in letters and auto-
graphs. Lana, sitting quietly, hands relaxed, in the chair oppo-
site me. Lana, in a long, navy blue coat, navy alligator shoes
and bag, a white chiffon scarf around her throat, the slim, gold
band of her wedding ring, her only jewel, he? gold hair ("Steve
likes me to be a blonde") pompadoured in front, falling loosely
to her shoulders in back. A Lana so palpably at peace that it
was a tangible thing, like a robe wrapped about her. A Lana
seeming, in spite of the rain-gray day, to be basking in sun-
light. Generated, I thought fancifully, by the kind of glow,
rich and warm, that comes from a happy heart.
"It's the newness of it," Lana said. She added, "of having
a baby." And there was delight in her voice, the incredulous
delight of a child at possessing something long dreamed of and
desired but who, at first, can only half believe the dream has
come true.
But she is not a child any more, I thought, rejecting that
impression. That she is no longer a child, groping, a little lost,
sometimes wayward, reaching and restless is, precisely, the
"change" in her of which, now, Hollywood speaks.
And then, as if mind-reading, Lana said: "Do you know
what has come to us, to Shephen and me? It's kind of funny,
I suppose — we're not dignified people. We like informality
and fun. And people. And laughter. We always have. We
still do. But it's just that we find ourselves handling ourselves"
differently. We — well, we walk more quietly. We speak more
quietly. Our voices are more modulated. Instead of going out
as much as we did, we have our friends in. And the friends
who interest me the most are those who, like myself, have
babies. Now, instead of talking, as we once did, about clothes
and dates and beaux and shows we talk about baby formulas
and weights and how-many-teeth and the first solid food and
'Did she keep it down or 'pit it up?' We just don't quite DO
the things we did before. Nor want to. We don't feel older,
that isn't it. We've just grown up. That's what it is. We're
not boy-meets-girl any longer. We're not boy-and-girl any
longer. We're parents now. The parents — and the subjects
of — " Lana laughed, "the Little Empress.
"The whole household," she said, "Steve and I, my mother,
the cook, the nurse and the two dogs revolve around the Little
Empress. And our hopes and fears and dreams and ambitions.
And our days and our nights. The cook," Lana laughed, "plans
her days off according to Nana's day in. When I must go out
in the morning, Steve plans his engagements for the afternoon,
or the other way around. When we both must go out, mother
stays in. On Nana's days off, mother and I bathe the Rag-
amuffin, take care of her and even when Nana is at home,
mother or I, or both of us, still bathe her, do about everything
for her. Why, even the dogs, by (Please turn to page 62)
31
m I . Scotches Those i
j Romance Rumors !
RECENTLY there has been a lot of talk about Shirley
Temple's beaux. There was one item: "Shirley and her
'boy friend' are looking for a preacher." Sounds ridicu-
lous— but it was actually printed.
"I thought that must have been just for a big laugh,"
Shirley said of that line. "I just hope that every time I go
out with a boy such stories won't continue. It certainly places
all my friends at a disadvantage. And it does seem silly to
think of a fifteen-year-old girl being linked romantically with
different boys. I think a girl should wait until she is eighteen
or so — at least until she's grown up — for such talk. Some of
my friends 'go steady' with boys and I suppose it's nice for
them.
"As for me, when the time comes — and that will be a few
Shirley sounds off sensibly about those ridiculous rumors
which have her eloping at fifteen! She's serious about
her new screen career: appearing with Joseph Gotten, be-
low, and Monte Woolley in "Since You Went Away."
years still — I want to have the same privilege all girls have,
of announcing my engagement. And I just hope," she added
wistfully, "that the columnists won't print romantic items
about me, and try to make me a glamor girl too soon!
"Of course, I like going out with boys, like any other girl.
I know lots of boys, and we like to go dancing and have fun.
But I've read the movie magazines, and I've noticed that
photographers take pictures of couples dancing and the cap-
tions usually say 'Hollywood's newest romance' or something
like that. So I tried to solve that problem for myself and
my various dancing partners in this way. There are one or
two places where we like to dance, and I went in and paid a
special visit to the managements. I told them that I would
very much appreciate it if they (Please turn to page 85)
5am Goldwyn thinks Danny
Kaye is such a brilliant
comic that he is starring
him in his first film, "Up
In Arms." Here's Danny
doing one of his famous
routines which convulsed
Broadway audiences.
r
How a Brook-
lyn boy par-
I a y e d
skinny frame,
mobile face,
furious en-
ergy and flair
for mimicry
into fame
and fortune
Danny and his wife
Sylvia who writes
his best material.
THE GAGA SAGA
DANNY KAYE still doesn't understand how he did it, which ought to be
understandable enough even where you sit if you mull over the fact
that what Danny has done is to parlay a skinny frame, a mobile face,
a furious energy, a flair for mimicry, and a passion for satire into a pleasant
pastime, a glowing movie career launched with "Up In Arms," and a fortune.
Three years ago the number of people in Manhattan who had heard' of
Danny Kaye could be crowded into a telephone booth, despite the fact that
he had been knocking himself out for almost a decade trying to get noticed
and had succeeded in impressing just one lone mortal, a bright-eyed brunette
named Sylvia Fine, whom he eventually talked into marrying him. After
that, Fate never had a chance. It was Danny all the way.
The proper place to begin the gaga saga of Danny the Nonesuch is in
Brooklyn, which has a way of being the starting point for sagas loonier, some
of them, than this one. He was born David Daniel Kominsky, scion of a
t
DANNY KAYE
dress-cutter whose hope was that his first-born would do well in school, go
on to college, emerge as a doctor, open up offices on Sutter Avenue, and
minister to the whole neighborhood. It was one of those dreams against
which all the gods seemed to conspire. Danny was willing enough, but by
the time he had grown out of knee-pants, established quite a reputation in
the corner candy store as a clown, and waltzed through high school with
not too breathtaking results, the depression suddenly rolled over Brooklyn
flattening the dress industry and, with it, Kominsky finances.
Mostly the members of the gang that frequented the corner candy store
dropped out of high school long before FINIS. Danny stuck it out, won his
diploma, made with a wry jest at commencement, parked the parchment in
a safe place, and started hunting a job.
It was the epoch of the ex-broker hawking apples on street corners, so that
when Danny landed a job as a soda jerker in a (Please turn to page 82)
Danny with Constance
Dowling in a scene
from "Up In Arms."
■
mmil
Like the maddening man himself, this exclusive interview may infuriate or amuse, but NEVER bore you!
/
The George Sanders
'MURDER MYSTERY"
By Hattie Bilson
victim of a mysterious murder, whom would
you want questioned?"
I shot this macabre query at George Sanders
without warning and watched avidly for a sign
that the phenomenal aplomb of .the inscrutable
gentleman had at last been shattered. The same
question aimed at any other star would have
started histrionic fireworks. But from Mr. San-
ders there was nary a flicker. "What did you
have in mind?" he asked drily. "Simple strangu-
lation, or somebody hacking me up piece by
piece r
I had the grace to choke a little. "How you
are murdered should prove interesting," I con-
ceded, "but the motive is what I'm after."
George Sanders regarded me from his lofty six
feet three as though I were a worm — and not a
particularly juicy one at that. "Why are you so
certain of my potential murderers?" he asked.
s'Do I strike you as the sort of person who. goes
about arousing the desire to kill?"
I didn't dare answer that. I wasn't even sure I
could. All those stories I had heard . . . the many
suspensions he had taken from his studio when
the offered roles "bored" him . . . the furore
raised by his casual reference to the neighbor-
hood in which he lives as "lousy" . . . the impor-
tant actress he had described as "too old to play
ingenues and too much in love with the limelight
to retire" . . . his rapier-sharp frankness . . .
were these stories factual, or merely part of a
carefully-planned campaign to enhance the
fabulous Sanders character of the Great Menace?
Other interviewers had tried without success to
fathom the Sanders' Leer and Sneer and get to
the Inner Man. My method was murder!
"You want motives," he said, thoughtfully
pinching his lip. "Let me see. Now if I'm found
crushed beyond recognition, make sure a certain
English actor is questioned. He has as good a
reason as any for wanting to put a period at the
end of my life sentence."
"Professional jealousy." I ventured.
"Frustration," was the reply. "Several years
ago, an English producer, having seen my per-
formance as a semi-nude Greek God in H. G.
Wells' 'The Man Who Could Work Miracles,'
wanted me for the role of 'heavy' in a jungle
epic. Having no desire to be typed as a male
Sanders will surprise you in "The Lodger." He plays
Merle Oberon's hero-lover, leaving the villainies to
Laird Cregar. Scenes above from new 20th Century-
Fox film. Left above, another recent item for Sanders'
collectors: "The Night Is Ending," with Brenda Marshall.
Dorothy Lamour, I persuaded the producer to
do a drawing room comedy instead. I had no
idea at the time that the actor who was to have
played the jungle Adonis had spent months de-
veloping a lady-killing physique. He never for-
gave me."
Still on the trail of the Inner Man, I prodded
for more intimate details, dragging forth the
greatest murder motive of them all, the Ven-
geance Of The Spurned Woman.
" 'Hell hath no fury,' " softly quoted Mr.
Sanders. "Her name was Thais. She was a tender
little thing, was Thais. I'm afraid I spurned her
pretty badly."
"What happened?" I asked in breathless an-
ticipation. {Please turn to page 87)
37
Marilyn Maxwell, Indiana girl who began her career as a singer
with popular orchestras, is now M-G-M's new honey-haired beauty.
Mickey Rooney goes -from the newest Hardy Family film, "Andy
Hardy's Blonde Trouble," into dramatic role in "National Velvet."
Belita, below, one of the world's great ice-skaters, is cutting
movie capers now as the star of Monogram's "Lady, Let's Dance."
Lovely Ann Sheridan, pride and joy of the Warner lot, has prire
role of her brilliant career in her next, "Shine On, Harvest Moon."
ekip ou tke oid mock"
A LADDIN didn't have anything on Donald Corrigan. The
f-\ wonder boy from Arabian Nights had his magic lamp
to get him places but Donald had his personality.
Maybe he wasn't handsome, maybe his ears were too big and
his nose didn't exactly stack up against that of the classical
Adonis, but no one thought of that once Donald's easy charm
began working.
Everyone agreed that Donald was an up-and-coming young
fellow. But on the morning following the Sperling Naval
Academy's annual show, that prediction had been changed
to up-and-going as far as the school was concerned anyway.
For Donald, who had written and produced and starred in
the show, had dropped from genius to something less than a
worm in the faculty's estimate when he had dared to spoof
the Academy unmercifully in the grand finale. Even Dean
Manning, whose sense of humor had always come to his
favorite pupil's rescue before couldn't stand out against his
indignant colleagues. And even Donald's unquenchable op-
timism faltered when he saw the Dean's face.
"I sent for you because I've just been checking your record,"
Manning began and there wasn't even a flicker in his eyes to
offset the gravity of his voice. "And though you've only been
with us one semester, I can assure you, we'll never forget you.
For instance, getting the Glee Club out in the middle of the
night to serenade Professor Frost's daughter with something
called, "Whip Me, Father . . ."
"Beat Me, Daddy." Donald corrected, suppressing a grin.
The Dean'frowned. "The Professor didn't like it. I'd planned
to confine you to quarters, but that song you sang last night . . ."
Donald winced wondering why he had thought the words
of that song so excruciatingly funny when he was writing it.
The lines about the graduate of Sperling Prep, who brought
scales to weigh the anchor, and looked for eggs in the crow's
nest, and had taken a box along to box the compass, didn't
seem funny at all with expulsion staring him in the face.
"Just like your dad and your granddad," Manning sighed.
"They were always getting into wild scrapes, too, and trying
to blarney their way out of them. I sailed the old clipper ships
Gay new comedy
romance starring
Donald O'Connor
and Peggy Ryan
presented in fic-
tion form — strict-
ly for fun and
O'Connor fans!
Donald points out that his latest picture is also his best. Clowning
and dancing with Peggy in bright new musical numbers. Complete
cast and credits of this Universal film will be found on Page 75.
39
Don in difficulty! Here he had been making a big
impression on Glory (Ann Blyth) when Peggy meets
him at the station and hurls herself into his arms.
with your granddad, an irresponsible,
wild man if I ever knew one! And I had
your father in this school once. He only
lasted a half semester! I still don't under-
stand how he ever got to be a Lieutenant
Commander." He started to chuckle,
then quickly suppressed his mirth. "I
should expel you! On the other hand, I
hate to have all the other schools you've
attended think I'm a copyist. Where is
your father now?"
"At sea, sir," Donald gulped. "But he
may be back in New York this Sunday."
"I'll send you home on extended leave,"
Manning said in sudden decision. "When
your father guarantees your future con-
duct, you can come back again. I'm
only doing it," he went on gruffly, "be-
cause I love the Navy and believe you'll
be an asset to it, if we can ever get you
straightened out." The sternness went
from his face as he rose. Impulsively he
put his hand on Donald's shoulder in a
fatherly gesture. Then realizing the old
Corrigan charm had won again, he took
it away quickly. "Dismissed!" he said
shortly.
Donald couldn't help swaggering a bit
as the other cadets crowded into his
quarters to hear ihe verdict. Instead of
being expelled, he'd snared a nice leave
for himself. No one could say crime
didn't pay when it was a Corrigan who
had perpetrated it.
"Maybe I'll decide not to come back
at all,"' he said loftily as he threw a pile
40
Jl
Scenes from Universale new
Donald O'Connor comedy
show the young star in and
out of hot water as usual.
His supporting cast in-
cludes . Patric Knowles (left)
as his father, and such stal-
wart performers as Arthur
Treacher (in his familiar but-
ler role), Helen Brodericlc,
Ernest Truex, and Helen
Vinson. Lower left, Peggy
catches up with Don again.
of shirts into his bag. "I'd be in the
Navy right now if it weren't for the
glimmers. That's the reason I've been
working out on this." He took a chart
for eye exercises off the wall. "Of course,
Dad always talked Annapolis, but the
war can't wait for that!"
"Golly, I wish I was old enough to
enlist," the other boy said enviously.
Then as Donald began closing the bag,
he walked over to the bureau and took
down the picture of a girl. "Wait a min-
ute!" he said. "Don't you want Slinky
Sheba?"
Donald gave the picture the casual
glance that might be expected from a
man-of-the-world such as himself.
"Thanks," he said. "I'm wiring her from
Chicago to save tomorrow night for me.
She's just a little hep kitten I met two
academies ago and she's been writing me
ever since." He paused impressively.
"Goes to some kind of theatrical school
in New York."
"Gee!" one of the boys whistled. "An
actress! And look what she says. 'All my
love, Peggy.' " i
"That's just her way. She gushes,"
Donald shrugged and tried his best to
look bored. "But she doesn't mean a
thing to me. It's merely a matter of con-
venience. She's a swell dancer, I've got
an evening to kill in New York and
that's as far as it goes. Women are bad
luck to the Corrigans."
But just the same he couldn't stop
thinking of Peggy all the way to Chicago
and planning new routines with which to
dazzle her. Peggy's dancing was a chal-
lenge even to an expert like himself. With
her in his arms and a hot band to spur
them on, there weren't any heights their
jiving feet couldn't reach. And Peggy's
outspoken adoration, even though it
could be annoying, was comforting to a
man's ego, though Donald's certainly
didn't need any pampering.
He was still thinking of her when he
boarded the Twentieth Century for New
York, feeling a bit smug about the tele-
gram he'd sent her. He hadn't even
blinked at the extra word it had taken
to create just the mood he wanted — in-
terested, yet casual too. Peggy was im-
pulsive. A man had to watch his words
with her otherwise he'd be fouled up in
his own line.
Then suddenly Peggy was forgotten.
Sitting opposite him was the prettiest
girl he'd ever seen and Donald automat-
ically straightened his tie and patted his
hair and grinned at her expectantly.
Then as she looked at him aloofly and
turned back to her magazine, his grin
faded. No girl had ever made him feel
such a complete juvenile before.
It didn't help to assume that attitude
of injured dignity either for the girl
wasn't even noticing him. At last in
desperation and for lack of something
better to do, he opened his bag, took
out the chart and studiously began his
eye exercises.
The exercises began with that alter-
nate rolling and dilating of the' eyes, fol-
lowed by a series of winks. So absorbed
was he, he didn't even see the girl's
startled stare as she looked up or notice
her surreptitious signal to the conductor.
Even though the conductor called such
obnoxious characters as he took Donald
to be by the obsolete term of masher,
never let it be said he didn't know a
wolf when he saw one. His hand clamp-
ing down on Donald's shoulder felt as if
it was made of steel "Listen, wise guy,"
he said, "that stuff doesn't go on this
train. Making goggle eyes at strange
girls and having them complain!"
"Oh!" Donald grinned as he realized
what it was all about. "You mean this."
He held out (Please turn to page 73 )
41
The Darnell beauty has her best role in
Rene Clair's "It Happened Tomorrow"
Often called Hollywood's most beautiful girl, Linda has seldom had a
chance to prove her acting ability. Now, as heroine of the new Arnold
Pressburger production, she has her big opportunity and makes the most
of it. Top left, Linda in Diclc Powell's over-size 1890 suii, clov/ning
for "rationed cheesecake" art. Center, tender moment from the movie.
43
p
They call her "Sugar Girl"
and you will not wonder
why when you glance at
these poses of Vicki Styles.
One of a bevy of beau-
ties in David O. Selxnick's
"Since You Went Away,"
Vicki stands out from the
crowd. At right, she takes
a swimming lesson" from
willing and capable teach-
er Johnny Weissmuller.
Vicki Styles is the
lovely to captivate the
California cameraman
SUGAR
• GIRL
¥ 7
A CKarles Rogers discov-
ery, San Francisco beauty
contest winner Peggy
O'Neill has her chance
for fame as one of five
leading ladies- in "Song
Of The Open R o a d,"
competing for Charlie
McCarthy's fickle atten-
tion. Below, Charlie sud-
denly sprouts curls as he
peeks over red - headed
Peggy's shapely shoulder.
^^^^^^^^
■ debut m Song char\es Mcu
Edgar «e^en a" |
f
SWEET
PEGGY
O'NEILL
m '
Peggy won a beauty contest for red heads, bought a
ticket to Hollywood with her prize money, became a
drama pupil of Max Reinhardt, was screen-tested by
Charles Rogers, and won a contract — all in good order.
*
Ginger Rogers
greets new star,
Gail Russell, on the
set at Paramount.
Gail played a small
part in Ginger's
picture, "Lady In
The Dark." Below,
Gail with Donald
Crisp in "The Unin-
vited," splendid
"spook" drama with
romance — Gail's
first important role.
> Photo Previews
Fash
ton model pjj.
Manet Stud,
'os, A .
BBS
o^AVel^°W!" Redone
worn by Betty, r u ■ coih""e
reveals a ,fim «|» • /d ov«*ltirt
■
All dresses adapted from costumes
worn in 20th Century-Fox's production,
"Pin-Up Girl," starring Betty Grable.
Clever, wearable adaptations of
costumes worn by Betty Grable in
her new picture make fashion news!
Now you femme Grable fans may
wear a "Pin-Up Girl" creation. Frocks
adapted from Betty's picture costumes
may be found in a number of smart
shops throughout the country. This
one, a marquisette dancing frock with
lace applique, worn by Miss Grable
at right, has been adapted into the
slender fitted princess-line frock pic-
tured above. In black, white, and colors.
*KA
51
s sauciest dancing costume
her bright new musical, "Pin-
p Girl," has been adapted into
the dignified, lovely dinner frock
modeled below. The transparent
black lace blouse is built upon a
flesh chiffon midriff and boasts a
pert peplum. The rayon crepe
straight skirt has a discreet slit to
show a shapely knee now and then.
A skating costume worn by
Gloria Nord, right, in "Pin-
Up Girl," supplied the inspi-
ration for the pretty cotton
fashion pictured above. The
brief skirt with pleated ruffle
becomes the peplum that ex-
aggerates the slenderness of
the silhouette. The bodice,
startlingly low-cut to the
waistline, has a transparent
insert of white marquisette.
The white pique fabric comes
in an all-over embroidered ;
design in either red or blumr
More "Pin-Up Girl" fashions, adapted
from Betty Grable's picture costumes
Comes Spring, a smart girl wants a wrap-around top coat. From the
gabardine coat worn by Betty Srable in her new film a clever designer
concocted the collarless model at right. Flung over the pure wool
gabardine suit pictured at top left, it's decidedly dashing. That suit,
by the way, has the new collarless fitted iacket, straight gored skirt.
HERE'S HOLLYWOOD
Gossip by Weston East
Candids by Jean Duval
Betty Hutton and Red Skelton were among
those present at Los Angeles Examiner Benefit.
Also present at the Los Angeles Examiner Bene-
fit: left, James Cagney, Adele Mara, June
Allyson, Dick Powell and Gloria De Haven; right
below, Mary Pickford, Monte Woolley and Regi-
nald Gardiner; left below, Roddy McDowall
is seen with Mr. and Mrs. William Bendix.
■
I
Above, Roddy McDowall with his mother, father, and sister attend
"Song Of Bernadette" at Carthay Circle. Right, top to bottom:
Edward Arnold congratulates Bud Abbott and Lou Costello on winning
box office championship in Showmen's Trade Review Poll; William
Bendix with his wife and daughter at "Song Of Bernadette"; Dinah
Shore and George Montgomery also attend premiere at Carthay.
WHEN Merle Oberon began refusing invitations on the
score that she "had a house guest who didn't care for
social affairs," none of the lion-hunting colony real-
ized the guest in question was the Hon. David Bowes-Lyons,
brother of the Queen of England. .
Young Bowes-Lyons, with limited time on his hands,
wasted none of it on the usual Hollywood routine. There
were no glamor girls, studio visits or night clubs on his sched-
ule. Merle is enjoying one of the biggest comebacks of any
movie star in the industry, after a long period of illness. At
present she is playing George Sand in Columbia's production,
"Life Of Chopin."
rT,HAT unknown admirer who has been sending Bette
Davis gold cigarette holders won't see any of them in her
forthcoming pictures although three have arrived anony-
mously as this is being written. For Bette has made up her
mind to go in for serious roles during the coming year. She
has fallen in love with two middle-aged characterizations —
"The Corn Is Green," in wMch she will play a school teacher
past fifty (it was done by Ethel Barrymore in the theater) ,
and the life of Sarah Bernhardt, most of which will keep her
in middle-aged make-up.
Warners are listening with interest to her pleas to do the
Bernhardt role, and Bette's fans flock into the theater no
matter what she plays, which keeps her sitting pretty in an
acting way. Bette and ex-husband Ham Nelson have been
good friends all through her marriage to Arthur Farnsworth
and his loyal sympathy meant much to her in her bereave-
ment.
'"PRUDY MARSHALL is newest of the junior stars to get
a big break, in every direction. Trudy, once New York's
top model and the Chesterfield Girl among other things, was
drafted into movies almost against her will. She lives in
Hollywood the way fans expect all their glamor girls to live:
has a lovely apartment at fashionable Sunset Tower and has
captured one of the town's greatest eligibles, wholesale meat
packer Phil Raffin — tall, blond, rugged, and with a hefty
bank roll.
Trudy makes no secret of the fact that she'll be the missus.
Every day is Christmas for her. Phil loads her with golden
gadgets. She has an aquamarine and sapphire engagement
ring as big as a locomotive headlight. His latest gift, a pair
of fan-shaped golden ear-rings studded with aquamarine and
sapphires. She's starry-eyed in love to boot.
There's a saying in Hollywood: "I'm a Trudy for luck"- —
some of it has to do with the fact that Trudy stepped quickly
into big. roles. She grabbed off the part of the sister in "The
Sullivans" — wears a WAVE uniform most becomingly. This
won her the lead in "Ladies Of Washington," in which she's
equally fetching as a SPAR. And she goes right on from
there into some of Twentieth Century-Fox's biggies for which
she's testing right now.
BIG-MONEY boys are winning out over actors this season.
Hona Massey has a multi-millionaire on the string, and
Virginia Hawkes can't tear herself away from Mexico City
on account of how one of its top bankers is at her feet.
Robin Raymond decided to take Paul Phillips for better or
worse after a five-day romance — flew to Las Vegas on the
spur of the moment, forgetting a dinner-date with the current
boy friend. When the boy friend showed up at her mother's
Above, Lieutenant Com-
mander Robert Montgomery
and his wife at the Mocambo.
Left, top to bottom: Janet
Blair and Helen Forrest at
the Los Angeles Examiner
Benefit; Patricia Stillman and
Randolph Scott; Jon Hall en-
tertains wife Frances Lang-
ford and her brother on their
return from an active war
front. Below, Red Skelton
with best girl, Muriel Morris.
and heard the news of the wedding he
stammered, "Who's he?" Mama said:
"Someone very new. I haven't met him
either."
Paid Phillips is handsome, owns one
of the big defense plants hereabouts. His
income will keep the wolf from the door
without any strain. Robin, whose name
originally was Rayemon Robin, was
brought to Hollywood by Mervyn Le-
Roy to play the brat kid sister of Robert
Taylor in "Johnny Eager" — got men-
tioned for Academy Award, although
she lost out on the final vote.
MARY ANDERSON doesn't go in for
glamor stuff. Drives to the studio
in a shabby little coupe of the jalopy
class. Hair in curls under hair-net, brown
slacks and camel's hair coat. Could be a
schoolgirl, or a defense plant worker. The
other morning she picked up a hitch-
hiker, a young fellow about twenty-two.
He climbed aboard, grinned, said "Hello,
sister," and proceeded to chat comfort-
ably. He asked Mary who she was and
what she did.
"I'm Mary Anderson," she said. "I'm
an actress."
He looked her over again, said: "Yeah?
Who you acting for?"
"Twentieth Century-Fox. I'm playing
in 'Lifeboat.' "
"That the picture Hitchcock's mak-
ing?"
Mary nodded. "Now tell me who you
are." "
He jerked his thumb: "Here's where
I get out, sister — right over there, on the
far corner. Who'm I? Why, you ought
to know, I'm Alfred Hitchcock!"
QNAPPY interview comebacks seldom
^ rate the laugh Sir Cedric Hardwicke
got when a woman interviewer asked
him what his life's greatest disappoint-
ment had been. "I was taken to the-
circus at the age of six," Sir Cedric re-
torted, "and came home broken-hearted-
because I wasn't born a freak."
T^ANS who are deluging Mary Martin
with inquiries about her next picture
will be interested to know that she still
has a picture to make with Paramount.
But when Mary is allowed to leave "One
Touch Of Venus" in which she's knock-
ing 'em for a loop on Broadway, shell
most likely go to Warners for the "Life
Of Marilyn Miller," on an inter-studio
deal. Paramount plans to make "The
Count Of Luxembourg" in which Rise
Stevens — young, beautiful and from the
Metropolitan Opera via Metro-Goldwyn-
Mayer — will be the star.
VTOU'LL be seeing a lot of Gregory
Peck — tall, dark, handsome. He's
California-born — spent his youth around
San Diego before he went to Berkeley
University and during the coming four
years he'll make twelve top pictures. His
time will be divided thus: 4 with Casey
Robinson producing; 2 with David Selz-
nick; 2 with RKO and 2 with 20th
Century-Fox. The other day Gregory
and Roddy McDowall met for the first
time. Roddy plays Gregory as a small
boy in "Keys Of The Kingdom." He
looked up at 6-foot-3 Gregory Peck and
said, "Ah, so that's the way I'll look
when I grow up!" "Guess I can take
that in reverse," said Peck.
tTOLLYWOOD divorces are noncha-
lant affairs, quite often, with the
principals remaining fast friends fre-
quently and appearing in night clubs to
do a little shut-eye dancing from time
to time. Joan Crawford and Franchot
Tone kept the public pretty well mixed
up this way before each fixed their hearts
elsewhere. But no matter what the pat-
ern for separation is, a good healthy
disagreement usually precedes it.
So the story of Johnny Weissmuller's
split-up becomes news in view of the
fact that he says the first he knew of an
impending split in his household was
when the papers were served him as he
sat breakfasting in bed with his wife.
Johnny says he blinked, stared,
blinked again, stared at them a second
time, got up, got dressed, and got out.
Ann Sheridan, star of WARNER BROS. "SHINE ON HARVEST MOON"
our
dream
pearls
by ©eltah
hey're beautiful. They're flattering. They're Deltah
Pearls — nearest thing in reproductions to the real thing
in precious Orientals) Clamorous stars of screen and
stage wear them with pride, with every kind of costume.
And so will you! Necklaces and earrings, perfectly
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L. HELLER * SON, INC., FIFTH AVENUE,. NEW YORK
By
Josephine
Felts
Gloria Jean, cutest of the screen's younger singing stars,
is appearing in Universal's "Moonlight Iti Vermont." She
shows you, here, how she keeps' her fingertips attractive
and well-groomed; and sets a fine example for her fans.
58
THERE'S no doubt about it. Ugly, ill-kept nails rob your
hands of the beauty and romance that should lie within
them!
Can you possibly picture a screen star — whose hands are
forever in the foreground — imagining that ungroomed nails
might pass by unnoticed? Of course you can't. And there's
never a moment when your own nails aren't on parade. With
every motion of your hand they wave the flag of your groom-
ing habits!
Gloria Jean is very conscious that her nails must be per-
fect. So, to keep them in the pink, she has mastered the art
of a good home manicure. She disagrees heartily with the
girls who say, "But I can't do my own nails!" According to
Gloria, it's practice makes perfect in manicuring as in every-
thing else. And she should know. It takes practice to sing
those high C's clearly and truly; to choose such becoming
clothes; and to look always so pretty!
Gloria's nail grooming ritual is an easy one that every girl
can follow. It shouldn't make any difference how busy you
are. As a matter of fact, war-busy hands need extra pro-
tection for their loveliness' sake. Gloria sets aside a special
time each week for a proper nail-do, and in between times
she gives her nails simple daily care.
Before you start the external care of your nails, you must
remember that their natural smoothness and hardness de-
pends to a great extent on your physical condition. Haven't
you noticed that when you aren't up to par, your nails be-
come brittle and spotted? The vitamins you take in have a
definite influence on the state of your nails as well as on the
condition of your skin and hair. It's to a wise diet that
Gloria Jean attributes the good health that's so necessary
for her singing as well as for her prettiness.
So much for basic nail health. Now, the idea is to learn
the right way — and to avoid the errors — of manicuring. Try
to choose a quiet time and a peaceful place to get to work.
(Doing one's nails can be quite a release from tension, you
know!) Gather together your implements and nail prepara-
tions. Fingernail boards, manicure (Please turn to page 70)
ENGAGED! MARY JANE MAXSON
of West Orange, N. J. to William B. Eppler
or Maplewood, an army officer, now
overseas. She is a graduate of Mary Lyon
Junior College; he attended Princeton.
MARY JANE IS DEMURE AND SPRING-BLOSSOMY. Her smooth,
silky hair has a baby-fine quality. Her exquisite complexion is so
clear and so soft. "I just take care of my face with Pond's Cold
Cream," she says. "The more I use it, the more I love it."
VICTORY FARM HAND— Mary Jane's war work on the family's
victory farm is no glamour job! SAe's working where she's needed!
All kinds of jobs need women workers. Check Help Wanted ads
— consult local U. S. Employment Service.
ANOTHER POND'S BRIDE-TO-BE
he's so pretty 7" people ex-
claim after they meet
Mary Jane Maxson. Her
heart-shaped face has a
sweet elfin charm — quiet
stillness one minute, mischievous laughter
the next.
Mary Jane herself has definite and prac-
tical ideas about how to keep her lovely
face looking its prettiest. "You've just got
to have sparkling clean skin," she says.
"It has to look and feel soft, too. That's
why I'm so keen about a Pond s cold-
creaming for my face every night and every
morning. Pond's is such heavenly soft-
smooth cream. It feels grand to use and
makes your skin look so nice."
. Copy Mary Jane's beauty care with Pond's
Cold Cream. This is what she does!
First — She smooths Pond's snowy Cold
Cream all over her face and throat and pats
with quick fingertips to help soften and
release dirt and make-up. Tissues off.
Next — She "rinses" with more Pond's,
Today — many more women use Pond's
than any other face cream at any price
working her white-tipped fingers over her
face in little spiral whirls. "This twice-over
creaming makes my skin feel extra clean,
extra soft," she says.
Beauty-clean your (ace with Pond's every
night, every morning. Use it for daytime
clean-ups, too. You'll see why it's no ac-
cident engaged girls like Mary Jane, society
beauties like Mrs. Anthony J. Drexel, III
and Britain's Viscountess Milton love this
soft-smooth cream. Get a big jar of Pond's
Cold Cream today.
ASK FOR A LUXURIOUS BIG JAR!
Large sizes save glass and man-
power! And it's so much
quicker to dip finger tips of
both hands in the wide jar!
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GUIDE TO GLAMOR
Spring is here! And here are grooming tips to bring
added loveliness to your face, hands and hair
A jar of Sofskin Creme on bathroom window sill
or on kitchen shelf is a good hand-reminder.
IF YOU'RE painfully conscious of your
' hands — so terribly aware of them that
you're constantly tucking them out of sight
for fear they may be noticed — resolve to do
something about it. Devote a few minutes
a day to a simple hand grooming routine.
There's Softskin Creme, for instance, which
will help to keep your skin soft and white,
your cuticle smooth and unbroken.- When
you want to keep your hands especially nice,
apply a tiny dab of this fluffy white cream
after doing the dishes. It is neither greasy
nor sticky, and disappears immediately, leav-
ing your hands velvet-soft and smooth.
FOR the face, Dorothy Gray is putting a
new product on the market called "Cello-
gen," a rich emollient cream containing
biactol which is a glandular hormone in-
gredient. It has been designed especially
for the woman whose skin is muddy and
sallow and has lost its vital clear look. This
house has also introduced Portrait Make-Up
in cake form.
COR the hair there's some interesting
•news. Yardley's offers Solidified Brillian-
tine, delicately scented with lavender. It
does much to keep in place those stray
wisps and baby hairs. Applied with discre-
tion it will leave your hair with a glorious
sheen and without a bit of stickiness.
AND re : clothes cleansing, there's a little
\ package of concentrated ingredients
called "Wool foam." It has but one purpose
in life and that is to remove dirt and grease
from wools and woolens. Whether used for
cleaning sweaters, blankets, infants' wear or
any wool material or yarns, it leaves the
wool fibres of the material soft, fresh and
fluffy.
FROM the world of bob pins, we are re-
minded to take care of the ones we have,
and to buy only the very best quality pins
with a stronger grip that won't slip out.
The DeLong Bob Pin people tell us that
while the government has increased the wire
allotment this year for pins the production
will still be under what if was in 1941.
Jergens' Morning Glory Cream cologne, a
delicately pink creamy addition of the familiar
fragrant freshener. A skin "smoothy."
The new Nestle Superset, in a dry, supercon-
centrated form, duplicates the Nestle liquid
superset. Dissolves in water while you shampoo.
60
SCREENLAND
Want to be a girl wi
Rita Hay worth gives you
a tip you'll want to follow. In a
recent test of this beauty care
screen stars recommend, actu-
ally 3 out of 4 complexions im-
proved in a short time. Active-
Lather Facials are quick and
easy — and they really work!
See if Lux Toilet Soap doesn't
make your skin smoother,
softer — more adorable!
DON'T WASTE SOAP!
It's patriotic to help save soap.
Use only what you need. Don't
let your cake of Lux Toilet Soap
stand in water. After using,
place it in a dry soap dish.
Moisten last sliver and press
against new cake.
want the loveliness that wins Romance. Screen
/ stars know men always respond to the charm of skin
that's smooth, adorable. Give your precious skin gentle
Lux Toilet Soap care! You'll find it pays!
Lux Toilet Soap L A S T S... It's hard-milled! 9 oufof/O Screen Store use
SCREENLAND CI
HOLLYWOOD SAYS
"IT'S SUPER!"
GAIE STORM Feotured Ployer in
"WHERE ARE YOUR CHILDREN?"
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"My Baby and I"
Continued from page 31
some unaccountable instinct, refrain from
barking when the Little Empress is tak-
ing her nap! I don't suppose (it's kind
of frightening, you know) that there is
any one full moment of any day or night
that Cherry is not at the heart of it.
"Matter of fact," Lana laughed, "I
should be rather jealous of her Highness!
For she has certainly taken the spotlight
and the star billing away from me. Par-
ticularly with, of all people, my mother!
For before the baby came, my mother
lived her life for me, but completely
Every move she ever made, every thought,
every wish, were for me. Now, the Em-
press is inching in. Why, when Steve and
I were in New York a few months ago,
I was talking to mother on the phone
one night and as I said goodbye to her I
told her, 'I love you, Mommie, with all
my heart.' There was a slight but," Lana
grinned, "positively sinister pause and
hesitation at the Hollywood end of the
wire, then my heretical parent said, 'I
love you, too, Lannie, but not with all
my heart.' I just sat there, I couldn't be-
lieve my ears. It was the first time in 22
years, I could swear, that she had ever
said, or imagined she could say, a thing
like that. Then, as if reading my thoughts,
mother added, T never thought I could
say this, Lannie, but the baby's coming
up about even with you.' I can only re-
peat. I just sat there. Then I thought,
but why should I be so surprised, we're
all in the same cockleshell!
"Which, indeed, we are. Why, during
that trip to New York (which we couldn't
and wouldn't have made if mother hadn't
been at home with the baby) Steve and
I saw very little of the town. Especially
of the night life. We refused invitations
to the theater, skipped a number of the
night-clubs because we had to be at our
hotel so that we could telephone home
at the times the baby would be awake.
And my daughter talked to me over the
phone, too — you know, those fantastic
little coos and squeaks!
"When I went shopping it was, mostly,
for her. I'm as interested in clothes, for
myself, I mean, as I ever was. More so,
if anything, for I now have one more
reason for keeping myself looking well
At the same time, I know that She's
going to be the character with the clothes.
And it's more fun to shop for her. To
pick up those little, tiny things. We
bought the most beautiful dresses for her
in New York. One had a hand-painted
cherub on the inch-long skirt, which
matches the painted cherubs on the walls
of her nursery. She's like a little doll —
and do you know, when she sees pretty
things, she — well, she has the silliest
smile I've ever seen. Just opens her
mouth and cackles like a little, old
woman.
"It's the newness of it, I said. It is.
Even these months later, it's still the
newness of it. Steve and I will be driving
home from the studio, or from a preview,
or sitting at home reading and we'll look
at each other and say, suddenly and, very
often, simultaneously, 'We're a mother
and father!' We say it just as though no
man or woman had ever been a mother
and father before; as though we were the
first mother and father on the first day
of the world. And that's the way we feel.
Nothing. I suppose," Lana added, gravely,
"ever quite rubs the lustre off a miracle.
"At home — and as I said, we spend
most of our evenings at home now, and
many of them alone — we seldom talk for
very long about anything but her. Since
she came, too, we look forward ... I
mean, we don't plan for today or tomor-
row but for the years ahead, the years
which we must make good years, and
secure, for, her.
"Steve worries," Lana laughed, aloud,
but tenderly, too, "about how soon we
should let her have dates. T hope I'll be
a good father,' he'll say, during one of
our interminable parental conferences, 'I
may be too strict,' he'll go on, his brow
furrowed like a spring field ready for
planting, 'for I was young once, too, you
know,' he'll admonish me (at which I
die!) 'and I used to take little girls out
and not bring them home on time. Well,
I'm a pretty good shot,' he'll add, grimly,
sounding quite a bit more like Alan Ladd
than like himself! Then he'll look at me,
sort of speculatively, and say 'You went
out at 14 or 15.' 'Well,' I'll laugh, 'I
turned out all right.' Then, of course,
he'll say something sweet and flattering
and then top himself by asking me, very
seriously, 'When are we going to let her
use lipstick?'
"We start to plan things we want to
do together, trips we would like to take,
perhaps. Steve will say 'After the war,
let's go to China.' 'We can't,' I'll remind
him. 'We'll have to wait until She gets
older.' Or, 'It would be fun to live in a
different country for a year or so after
the war,' I'll say, and Steve will shake
his head. 'Can't pull up stakes,' he'll
remind me, 'while She's in school.'
"At least three or four times during
a day and evening, we creep up to the
nursery and examine every inch of her.
'Inventorying the Empress,' Steve says.
And our dialogue, with seldom a varia-
tion, goes something like this:
"Me: 'She has your eyes, Steve. From
the nose up, she's you.'
"Steve: 'Except that hers are navy
blue. Her eyes, I mean, not her nose.'
"Me: 'But with the cutest, little green
flecks in them. And remember, how when
she was first born, her hair was a mass of
wet, black curls? Now look at it. Now
it's auburn, deep auburn. Auburn hair.
Steve, and navy blue eyes — gosh!'
"Steve: 'Her eyes are a bit slanted
though, so are yours. And this ivory skin
is yours, and the rosy mouth.'
"Me: 'Well, gosh, thanks. But she
has very long legs, like her Daddy, and
small feet, thank heaven, and just a little
bottom, and beautiful shoulders.'
"Then we go downstairs again, talk
some more, only to repeat the routine,
almost verbatim, an hour or so later.
"We talk about her schooling. We
weigh the advantages versus the disad-
vantages of private and public schools,
of this or that college. We wonder
whether she will have, or want to have, a
career. In our hearts, I think, we rather
62
S GREENLAND
I listened
• Have you a clock that talks? Ours does — has ever since I married Jack.
"Hap-py . . . Hap-py . . . Hap-py!" — that's what it always said to me until
the time he left to fight. Then we — the clock and I — were
left alone . . . Since then it haunted me. "How-long? . . . How-long? . . .
How-long?" . . . it kept on ticking. How could a woman answer that?
There is a way. Not one that will set the day, month and
year when all our enemies will finally be beaten — but a way to help
make certain that the date of victory shall not be extended one single,
needless day ! . . . Work! Work in war industries ... in the armed
services ... in any one of the hundreds of essential jobs that
are begging to be filled. The jobs that must be filled. The jobs
that can't be filled unless we women do it ! . . . They tell me that
you and I and millions more of us are needed . . . that
no special skill is required . . . that the need
the clock
is desperate. To me, that's all I
need to know . . . Yesterday I got a job.
Not very glamorous. Just a job. Last
night I looked into the mirror. No outward
change. No halo. No resemblance to Joan of
\ Arc. But the clock knows the difference. It won't
frighten me now . . . Last night I heard it using Jack's
words — words spoken for millions of our men out
there who are counting on us helping here.
"Good-girl! . . . Good-girl! . . . Good-girlP"
Remember that whether or not you've
ever worked before — are skilled
or untrained — makes no difference.
In most communities there's a job waiting
for you . . . Millions of women are already
doing work that is new to them. In war
plants — in the armed services — in the hundreds
of different-type jobs in essential business — you
are needed to overcome this desperate emergency.
See the Help Wanted advertisements in your newspapers —
visit the local office of United States Employment Service or Army
and Navy Recruiting Stations — make inquiries among your friends . . .
There's work to be done — there's a war to be won !
The more
v^oraen at war
^sooner we'll vm.
PUBLISHED IN CO-OPERATION WITH THE DRUG, COSMETIC AND ALLIED INDUSTRIES BY
WORLD'S IARGEST-SEIIING EVI BEAUTY AIDS
SCREENLAND
63
hope she won't want to be a 'career girl.'
It's bad enough," Lana made a face, "that
I have to be one, for it means we can't
have as normal a life as we'd like to
have, can't be just Mr. and Mrs. Crane
as I'd like us to be. Not that I have any
plan for 'retiring.' nor that I want to,
especially, but just that I'd like to be
able to spend more time with my baby.
But until Steve, out of the Army now-,
gets started again, I shall go on facing
the cameras.
"However, if, in time, Cherry does
want a career then we are agreed that,
of course, she will have free will in the
matter.
"We want her to be able to earn her
own living. We want her to have inde-
pendence, which is so darned important
for every individual, male or female. But
if, for some reason, she is unable to earn
her own independence, we want to make
as certain as possible that she will be
safe. To ensure her safety is, in fact,
one of our major objects in life. Yester-
day," Lana said, and beamed, "I got an
unexpected bonus from a manufacturer
who puts out the 'Lana Turner' dresses,
and bought her a $1000 war bond. And
she has $143.24 in her little bank ac-
count. It's so cute and such fun to see
Cheryl C. Crane on her own little bank
book and to know7 that it's really hers.
And each month she gets $25.00 from
me and $25.00 from Steve, duly deposited
to her account.
"Oh, sure, we want her to have inde-
pendence. I just mean that I don't want
her to have a career because her mother
had one. Especially, I wouldn't want
her to have a career in pictures because
she is my daughter but only if she should
want it very much and, very especially,
only if she should be darn good.
"We want her to have dancing lessons
and music lessons, piano. Almost more
than anything, I want her to love mu-
sic. Good music. To this end, when she
is awake we play only the good music.
We play swing and jive," Lana grinned,
"only when she is asleep.
"It really is funny, you know, the way
people develop when they become par-
ents. I tell Steve I really believe it's
the child that disciplines the parents and
brings them up in the way they should
go, rather than the other way round. For
certainly, after a baby comes, you find
yourself weeding out all your little
phobias and pruning your better quali-
ties, like patience and control and so on.
For example, I can take and take and
take and stay pretty well on the beam
but then, suddenly, I blow sky high. And
then it's over like that. Steve is much
the same way, gets mad quickly, only he
holds it a little longer. Now, we are
both less explosive, noticeably more pa-
tient. Then I had a phobia about cats. I
never have liked them. I've had recurrent
dreams about them ever since I was a
child. Nightmares. And in my night-
mares, they always became big, clawing
things. But most little girls like kittens,
have a right to pets, and so I must over-
come that infantile aversion. Yes, after
a baby comes, you very definitely find
yourself trying to improve yourself. You
begin to do all kinds of better, wiser, and
more intelligent things than before.
"For example, I used to read 'murder
mysteries' by the carload. Including all
the little ten cent magazines. Now I
read medical books in an attempt to
better understand what caused the blood
condition in Cherry which necessitated
all the transfusions and so very nearly,"
Lana said, her eyes suddenly frightened,
"cost us her life.
"Also," Lana continued, relaxing again.
"I now read all the baby books, from
Cornelia Otis Skinner's 'Tiny Garments,'
which is out of this world delicious, to
very weighty and clinical volumes on
'The Care And Feeding Of — . 'The
Scientific Baby,' and such. We've de-
cided, however, that to raise a 'scientific'
baby would be to raise a piece of mech-
anism. So that's out. For while the Rag-
amuffin will not — in spite of the all-out
adoration she gets at home — be a spoiled
child, neither will she be the cut-o-
pattern product of a text-book. She'll
have her full quota of discipline, if it kills
us to administer it. She'll get a licking
when she needs one, and I hope she'll
need several. In other words, she'll be a
healthy, happy, sometimes very naughty
normal youngster, so help us!
"And that's the way we hope and mean
to bring up young Miss Crane," laughed
young and radiant Mrs. Crane. "And I've
tried to tell you how she is raising us,
what her influence is, how it affects us.
I've tried to tell you what a grave re-
sponsibility we know it to be, know her
to be — but what fun, too — and you have
a pretty good idea, haven't you," Lana
said, her voice low, her lovely eyes serene,
"how happy, how happy I am!"
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64 S GREENLAND
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Listen, Soldier!
Continued from page 24
THAT'S why they can't be at their
camp today, although they will try to
come the next time they have a week or
so off between pictures!
Listen, soldiers, and you other guys
dressed to kill — remember that it's okay
to point; it's okay to yell; it's okay to
whistle, but don't come out and say
"You were my father's favorite actress"
or "When I was a tiny kid, I used to go
and see you at the local movie." Frank-
ly, it doesn't make a girl feel good. She's
come to help build up your morale so
don't you try and break down hers!
Also, never forget that she didn't come
three thousand miles just to dance with
you. When another guy cuts in, don't
grab onto the visiting star and refuse to
let her go — give her to your buddy be-
fore she's black and blue; and don't
make with the supposedly wise and fresh
remarks at her expense just because
there are a bunch of guys around you
are trying to impress.
Ask thousands of boys who have had
Kay Francis come to their bedside and
smile, and talk with them, what they
think about Hollywood. There's a star
who will be thought about and loved for
years to come, so look here, Hollywood —
rise above that silly smearing that goes
on. Let the world know about the fifth
biggest industry's magnificent contribu-
tion to Victory — the REAL Hollywood
way!
Look here, Hollywood — you are the
last place that ought to be told not to
hide your light under a bushel. Snatch
off that bushel and tell the world on the
radio and in the press. Tell them about
the Victory Committee; about "Com-
mand Performance;" about the Holly-
wood Guild where any man in a United
Nations uniform can walk right in, get
himself a bed, go to the icebox and grab
a leg of cold chicken — for free! Tell the
world that the studios are working like
mad dubbing "Yankee Doodle" and
"Mrs. Miniver" into French and Italian
so that we can show pictures to the
starving peoples we are freeing from the
Axis, people yearning once more to see
entertainment and not propaganda. Yes,
Hollywood — don't be bashful! Tell the
world what you are doing and make
HOLLYWOOD not a word to sneer at
but a proud word — the word it deservesl
The Brian Donlevys, at New York's Stork Club.
His next picture: "America," for M-G-M.
72
Screen land
Chip Off the Old Block
Continued from page 41
the eye exercise chart and the girl's
cheeks colored in mortification. After
that it was easy for Donald to make up
for lost time. By the time they'd fin-
ished dinner it didn't take any urging at
all to lure her out to the observation
platform.
Donald had often fancied himself in
love before, but this was different. It
was his heart that was doing calisthenics
now as the girl strummed softly on her
ukulele. It must be love. Donald decided,
to make him, a jitterbug, sing sweet
music!
"Would you like to dig something
with a boogie bounce?" he asked as they
finished. Then as she looked at him
puzzled, "Dig, means listen to," he ex-
plained. "Aren't you hep to the jive?"
"I don't know what you're talking
about," she said, "but it's cute."
Donald might have known things
couldn't be that perfect. He might have
known one girl couldn't have everything .
"Miss Brent, don't tell me a pretty girl
like you is an icky!" he protested.
"I don't even know what that is,"
she smiled. "You see I've always lived
with my aunt and uncle in Honolulu.
He's a college professor there. And don't
you think you know me well enough now,
to call me Glory?"
"Glory," Donald whispered enrap-
tured. "I guess it's about the prettiest
name I ever heard."
"It's my mother's name," she said
proudly, "and my grandmother's, too.
They're famous actresses and I'm the
third Glory in our family."
Donald was more impressed than ever.
"Do you suppose," he asked eagerly,
"that Glorys One and Two would mind
if Number Three and I had a date some
time?"
"I'm not doing anything tomorrow
night," she said quickly. "But then you
probably know lots of girls in New York."
"I don't go for girls," Donald said.
"At least I never did before. I never
thought they made sense. But you're not
a girl. You're . . . you're a woman!"
"Oh," Glory said in a small thrilled
voice, "nobody ever called me that be-
fore." Then trying to sound casual, "Did
you say you were free tomorrow night?"
"Sure." Donald gulped then, remem-
bering Peggy, "Except for a ... a busi-
ness deal. But all I have to do is cancel
it. Well go dancing. I know a snazzy
spot. Will you?"
"Why, of course," Glory smiled. "I've
got to get hep to the jive some way."
Donald's head was in a whirl as he
went back to his berth. So this was
what love did to a man. he thought,
making him feel like a dizzy school kid
on his first date, turning him into an
insomniac who tossed and turned for at
least half an hour before he got to sleep.
But it was worth it, seeing Gloria the
next morning and realizing she was even
more wonderful than he had thought her
the night before.
"Remember." Donald said as they got
off the train, "I'm calling for you. . . ."
Suddenly he stiffened as a shrill voice
called his name, and he turned to see
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that little ball of energy, better known
as Peggy Flaherty, rushing up to him
exuberantly.
"Oh, Donald!" she cried putting her
all into her voice, "My precious, my only
love! To have you with me again is
heaven on earth."
"Hey, scram!" Donald whispered fran-
tically trying to extricate himself from
her embrace. He turned to Glory with
a sickly smile. "Listen, I hardly know
her. I only met her once for a few
minutes."
"You must have worked fast," Glory
said coldly.
"He did!" Peggy's voice lost all its
dramatic training in that ecstatic squeal.
"Darling, I've saved this evening for
you, like you asked me to/
"Go 'way. Get lost." Donald's voice
floundered miserably. "I can't see you
tonight. I have a date."
Gloria's eyes blazed indignantly. "Not
with me you haven't. Not tonight or
any night, you . . . you flirt!"
She turned quickly, so he wouldn't see
her indignant tears. Then the ache went
as she saw her mother, so pretty and so
young she seemed more like an older
sister. And it didn't take more than a
minute to be completely captivated by
her grandmother's salty tongue and dry
humor.
She didn't stop talking until they got
home, her gestures competing with her
tongue as she suggested plans for the
evening. Glory, Junior, interrupted with
a smile.
"Maybe Glory already has a date,"
she said.
"No," Glory tried to toss off her dis-
appointment. "I did have a date, but I
broke it. A boy I met on the train. His
name was Donald Corrigan and he was
awfully cute looking and really had a
way about him but . . ."
The Glorys, Junior and Senior, ex-
changed significant glances.
"Did ... he say anything about his
people?" Junior asked.
"Yes," Gloria nodded. "His father's
an officer in the Navy and his grand-
father was a sea captain. They used to
call him Mad Michael or something like
that."
"I knew it!" Senior smiled triumph-
antly. "The Corrigan curse is on us
again, even to the third generation. Have
nothing to do with him, my child. The
Corrigans are all alike. It's in the blood."
"You mean you know them?" Glory
asked.
"Know them!" Senior gasped. "Listen,
your mother would have been born a
Corrigan if that boy's grandfather had
kept his promise to me. And if his father
hadn't been a lying scoundrel, you'd
have been born a Corrigan too."
It was Donald's bad luck that he
picked that moment to present himself
at the Marlowes' front door, carefully
juggling the corsage he'd brought along
as a peace offering and announcing him-
self with careful carelessness to the dig-
nified butler who opened the door.
Quentin — envied by all the Marlowes'
friends as New York's most perfect but-
ler, and why shouldn't he be, having
played that role in every one of Senior
and Junior's plays, looked at him in-
credulously.
74
SCREENLAND
'CHIP OFF THE OLD BLOCK"
(A Universal Picture)
Original story by Robert Arthur.
Screenplay by Eugene Conrad and Leo
Townsend. Bernard W. Burton, asso-
ciate producer. Charles Lamont, di-
rector.
Donald Corrigan. . . .Donald O'Connor
Peggy Peggy Ryan
Glory Marlowe, 3rd Ann Blyth
Glory Marlowe, Jr Helen Vinson
Glory Marlowe, Sr. ..Helen Broderick
Quentin Arthur Treacher
Judd Corrigan Pairic Knowles
Blaney Wright . . .J. Edward Bromberg
Henry McHugli Ernest Truex
Milly Minna Gombell
Dean Manning Samuel Hinds
Professor Frost Irving Bacon
Quiz Kid Joel Kupperman
"Corrigan," he said. "Not Judd Cor-
rigan's boy!" And then as Donald nod-
ded he took the boy's hand and shook it
vigorously. "I knew your old man well,"
he said. Then suddenly remembering his
lost dignity, he drew himself up haughtily.
"I shall announce you to Miss Mar-
lowe," he said.
He was back in less than a minute.
"Miss Marlowe wishes you to know that
her interest in you is dead," he said,
relishing the lines as only an actor could.
"Dead?" Donald repeated dully. Then
he made a fast recovery. "Well, tell her
to put these on the casket." He thrust
the flowers in the other's hands. "And
say that I'll call her tomorrow about the
funeral arrangements."
But he didn't feel as chipper as he
sounded as he went back to his father's
apartment. Then a telephone call from
Peggy sent his spirits soaring again, for
she promised to square things with Glory
if he'd come over to see her right away.
Only when he got there Peggy didn't
show any signs of relinquishing her claim
on him at all.
"I'm just a woman fighting for her
man," she announced dramatically. And
then appealingly. "Other boys say I'm a
cute little dish."
"I think you're a clean little dish."
Donald said grimly, "and as far as I'm
concerned, you're all washed up. You
told me you'd fix things if I came over.
Well, I'm over!"
It wasn't any use hanging on, even
Peggy could see that. And it helped,
putting on that sad renunciation scene
as she told him she'd keep her promise
But it didn't help at all having Donald
tell her what a swell egg she was when
the words she longed to hea>- should have
come out of "Romeo and Juliet."
"You mean, I'm a swell little dope!"
she announced indignantly. "Now I'll
never get in a Broadway show. How
can I do auditions knowing you're with
her? How can I dance with lead in my
heart?"
"Gee, kid," Donald gulped unhappily.
"I don't want to ruin your career. I wish
there was something I could do."
"There is, if you've got the nerve,"
Peggy said quickly. "You could do a
couple of auditions with me. We could
run through a number right now."
There wasn't much he could do with
her snuggling up to him like that as if
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75
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it were part of the dance. But Dona)
did his best to cling to his new inde-
pendence. "Now remember," lie warned
her as he fell into step, "this is strictly
a business deal. There's nothing between
us. Nothing at all."
Everything was going to be all right
now, Donald assured himself happily, as
he called Glory the next morning. But
when he heard her voice on the wire, all
his hopes went crashing again. She told
him she was engaged and never wanted
to see him again. Even if Donald had
remembered that Glory's grandmother
had been a famous actress, he would
never have thought a nice old lady would
lie through her teeth like that and stoop
to imitating her own granddaughter's
voice. Nor did Glory realize it was her
mother who had given orders to Quentin
to tell her that Donald had phoned to
say he was leaving town. For Senior
and Junior had decided to stop this latest
Corrigan invasion before it got started.
But they hadn't counted on Donald.
There must have been Commando blood
in his veins for when he met her unex-
pectedly on the street he took her arm
and led her firmly into the nearest drug
store. "Now listen, Glory," he said mas-
terfully after he'd ordered two double
cokes, "stop pretending you don't know
me!"
"I don't." Glory stared at him indig-
nantly. "I mistook you for someone who
left town this morning. What train did
you take? The subway from Times
Square to Forty-Ninth Street?"
"I don't know what you're talking
about," Donald said loftily, "but I'm
talking about that telephone conversa-
tion we had." His voice changed to a
piercing falsetto and glaring at her, he
quoted: "I'm afraid I've led you on a
little, Donald. I'm engaged so I can't
see you anymore!"
Suddenly Glory couldn't hold back
that little giggle. "I'm not engaged and
I never was. Quentin told me you were
leaving town. Listen, I can see it all
now! You're coming right home and
meet Senior and Junior and I'll tell them
it was all a mistake about Peggy. She
. . . she called me this morning and ex-
plained."
"Gosh!" Donald said gulping his coke.
And "Gosh!" he said again as he took
her arm and they walked down the
street.
But it wasn't so easy winning over
Senior and Junior. They had plans for
Glory. Blaney Wright, who had produced
all of Junior's plays, wanted to star a
third Glory Marlowe on Broadway and
both Senior and Junior knew to their
sorrow what havoc the Corrigan charm
could play with careers. They both ex-
cluded Donald from the conversation
that day he brought Glory home and
Wright offered her the part. Donald had
never felt more superfluous in his life
until Glory turned to him.
"I don't want to be an actress." she
said softly, as if she were appealing to
him for help. "I want to work for China
Relief and I'm dividing what's left of
my time between the Red Cross and the
Army Canteen. What do you think 1
should do, Donald?"
"What does he think?" the others cried
resentfully. And Donald would have
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MODELING i
76
Screen land
"I know I'm Needed
-but how can I get a war job?"
really given with a smirk if it weren't I
for that uncertainty in Glory's eyes.
"Weil," he said slowly, "as I see it,
there's only one thing to do. You owe it
to the others to go in the show. But so
you can feel you're still giving all your |
time to war work, all the profits must [
go to China Relief, the Red Cross and J
the Army Canteen."
"You mean on opening night, of
course," Wright said, and he couldn't
help that involuntary shudder, as Don-
ald shook his head decisively.
"No, for the entire run," he said firmly, i
"All the profits, the whole works." And
then as Wright practically fainted. Junior '
flung him that amused glance and Don- j
aid knew everything was going to be all
right, that he and Glory's mother were
friends at last.
"Well," she said dryly, "are you going
to be patriotic, Blaney?"
"Or," Senior cut in sharply, "do we
call a few columnists and give 'em the I
lowdown on a low down. . . ."
"Now wait," Wright protested in an
anguished voice. "You know I've always
been all out for charity. It was just on
the tip of my tongue to suggest it
myself."
After that Donald wouldn't have had
a chance to get that audition for Peggy
if it weren't for Glory who insisted
Wright try her out. Only Glory couldn't j
quite suppress her qualms when she dis-
covered Donald was going to dance with
Peggy. Her heart would break, she de-
cided tearfully, if he should turn out to
be like the rest of those love 'em and
leave 'em Corrigans.
And then on the night of the audi-
tion, Judd Corrigan came home from the
seas. "Donald!" he called exuberantly
as he came into the apartment. "This
is a pleasure, all the Corrigans in the
home port together. Here let me look at |
you. Every time I go away you shoot I
up four inches." Then he thought of
something. "But, young man, aren't you j
supposed to be in school? Listen, you're
going back to Sperling on the first train
I can put you on."
"I can't go back right away, dad,"
Donald said uncomfortably. "You see,
I'm supposed to be at a rehearsal for
Glory's show right now. Glory Brent, I
mean. Only her stage name is Glory
Marlowe. Maybe you've heard about
them. Her mother and grandmother
were both . .
"Glory Marlowe!" Judd's face whitened
under his tan. "Yes, I know. I was once
quite a Marlowe fan. We'd better get
down there. I'm going with you." Then !
as Donald hesitated he grinned, "Get
your hat and don't talk back to your
commanding officer!"
Glory, Junior, was sitting alone in the
orchestra when they came into the the-
ater. Donald started to introduce them
and then he looked startled as he saw
how superfluous that gesture would be.
For Junior and his father were staring
at each other the way only people still
in love can stare: saying nothing, the way
people will who have a great deal to say
to each other. It wasn't until the dance
director called Donald on stage that
Glory, Junior, found her voice.
"He's a fine boy, Judd," she said softly.
"Congratulations."
"The More Women at War
—The Sooner We'll Win!"
Getting a war job is easy — in most
communities — once you've made up
your mind to help speed Victory! Mil-
lions of women are needed, at once.
Even if you've never worked before,
you can learn while you earn in a job
that's suited to you. Here's how you
can find that job . . .
Read Your Newspaper Want Ads
— and choose any available civilian job you
think you can do. Be a waitress! Drive a
bus! Help in a hotel . . . laundry . . . drug
store! Full or part time, a "home front" job
is just as essential— vital to Victory— as work-
ing on an assembly line!
Inquire at Your Local Hospital
— if you're 17 to 35 years old .. .get details
about training free, with pay, for the U. S.
Cadet Nurse Corps. Nurses are desperately
needed to replace those who are in the Ser-
vice. Help care for civilian sick or injured,
new mothers and babies! .^©^
See Your U- S. Employment Service Office
—for free advice about war plant work. If
there is a war factory in your community,
or a shipyard, or a government arsenal, there
may be just the job for you— experienced or
not. Don't delay! Remember, your work will
bring our boys home sooner!
Visit Any Army or Navy Recruiting Office
— and find out, without obligation, whether
you can qualify to join the Wacs, Waves,
Spars or Marines. As a Service woman, you'll
free a soldier for combat . . . shorten the
war. And, you'll be learning an important
job you may need, in peacetime.
Published in the interest of the ^bp^
war effort by Kleenex* Tissues £S
Paper, too, has a war-time job . . . that's
why there's not enough Kleenex Tissues to
go around. But regardless of what others
do, we are determined to maintain Kleenex
quality in every particular, consistent with
government regulations.
Screen la xd
77
R"
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by glamorous women. Famous
LA-NU brightens dull hair . . .
brings out that "hidden beauty".
For dry, oily or normal hair.
Non-alcoholic. Contains special
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nnii
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For daily care ot scalp
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Sold at Drug, Dept, & 10c Stores
LA-NU Distr. Co. 1 68 W. York St. Phila. 33 Pa
ENLARGEMENT
Just: to get acquainted, we will beautifully enlarge your favorite snap-
shot, photo, Kodak picture, print or negative to 5x7
inches, if you enclose this ad with a 3c stamp for return
mailing. Please include color of hair and eyes and get
our new Bargain Offer giving you your choice of handsome
frames with a second enlargement beautifully hand tinted
in natural lifelike colors and sent on approval. Your orig-
inal returned with your enlargement. Send today.
DEAN STUDIOS, Dept. 741, 2X1 W. 7th St., Des Moines, Iowa
STAMP
INVEST IN VICTORY
U. S. WAR SAVINGS BONDS
TEN
OAVS
v~ - iiacuvciirsa aim racn uuii, v ^ & TQI Al
«y the longer it is worn. This ,B",t
ireiiuiiie Sterling Silver ring is extra wide and beauti-
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design With two pendant hearts suitable for engraving
initials of loved ones. The ring of romance and true
SEND NO MONEY K^^SK
sent immediately and you pay postman only $!.!>.>
pins a few rents mailing cost and tax on arrival. Wear
Id days on money back guarantee. Supply limited.
EMPIRE DIAMOND CO., Dept. 27-A, Jefferson, Iowa
0 12 3 4 5 6 7 FOR RING SIZE
I Use handy ring measure
J below. Tie string around
SEND
MONEY
g
finger, cut and mark oft size on scale.
"Same to you," Judd said. "I hear
there's a new star in the Marlowe family.
And Donald. . . ." His smile twisted as
he stopped abruptly. "I know how the
boy feels," he said at last. "I was in
love with an actress myself, twenty years
ago. I wanted to marry her and she kept
asking me to wait."
"You weren't the waiting kind," Junior
looked away. "She found that out."
"No," Judd reached for her hand, "I
rushed out and married a dancer. She
died soon after Donald was born. After
that, nothing mattered too much. You
sec, I still loved the actress."
"I've waited twenty years to hear you
say that," Junior said in her husky voice.
Her hand reached out to his and held it.
"Darling, twenty years is a long time to
make up for," she whispered.
Glory caught her breath as she stood
in the wings watching them. Glory, who
felt as if her heart had broken those mo-
ments before when she had seen Donald
kissing Peggy in her dressing room. And
now, her mother was caught in the Cor-
rigan charm again. Glory felt as if she
wanted to cry as she saw Peggy and
Donald go into their dance. Only people
in love could dance so perfectly together,
she thought miserably, appalled that in
spite of everything, she still loved him.
And she knew she wouldn't be able to
hold out against the Corrigan charm
either when she joined the rest of the
cast in that spontaneous applause. But,
she decided indignantly, as Peggy threw
her arms around Donald again, she cer-
tainly didn't have to stand by and watch
him making love to someone else. Then
she heard Donald's voice and suddenly
her heart began singing again.
"Do you always have to get so
mushy?" he was demanding of Peggy.
"That wasn't mush," Peggy protested.
"That was gratitude, just like that other
kiss was for luck."
Glory didn't wait to hear anything
else. Mush, gratitude and luck! From
now on they'd be the three most beau-
tiful words in the world to her. Sud-
denly she found herself standing there
beside Peggy.
"Isn't he wonderful?" Peggy sighed.
"I never could have gone on without
him. I'd kiss him again only he gets so
sore."
"He does?" Glory smiled. Then in
sudden recklessness she went over to him,
"Well, suppose I kiss him for you."
Peggy couldn't understand it at all,
the way Donald returned Glory's kiss,
the way he held on to her, as if he were
never going to let her go again.
"And you always said you didn't like
mush," she protested.
"Yeah." Donald looked up. "Silly,
wasn't I?" he grinned. . And before
Peggy could even open her mouth again,
he was kissing Glory again. Peggy
wouldn't have believed it if she hadn't
seen it with her own eyes, a cold propo-
sition like Donald Corrigan kissing a girl
like that!
ANOTHER WAR BOND
IS ANOTHER CRACK
IN THE AXIS ARMOR
78
SCREENLANI)
One of the Millions
Continued from page 20
an assignment of vital responsibility. He's
an aerial gunnery instructor, with years of
national and international shooting rec-
ords to back up every word of the high
praise he receives daily on this job. His
work is demanding and tiring— hundreds
of green men a month — to take in. train,
and turn out — gunners. He gets so tired
he wishes he could drop on the spot
where he stands — but his aim is to do
the damndest best job in him — and that
aim is his determination. A boy. raised
in high comfort with no responsibilities
in his life, has taken to the lean com-
forts and stern duties of his job like all
V7ictory-bent Americans.
He is excessively proud of the Navy
At present, there are nine members of
his family in this branch of the service,
and there has been a member of the
family in the U. S. Navy ever since it
came into existence. Bob asks no favors.
He asks not even the privileges earned.
In all the months he has been in service,
he's had no leave, though for one year
he has been eligible to apply for one. The
truth is, he's so intensely interested in
his work, so proud of his post, that he
might even admit the reason he hasn't
made application for leave: "There's too
much happening around here — and I
don't want to take a chance on missing
a thing. Besides. I expect to end up as a
gunnery officer with a squadron of planes'
when we get enough gunners trained."
In the meantime, his friends go north
to visit him occasionally in small parties
— Henry Willson. the Jack Buetels, Jane
Russell and her husband, Dolores Moran
Sheila Ryan — and there is yet nothing
on record to indicate that any of the
young actresses Bob once dated have
turned down camp show appearances in
the direction of San Francisco. But the
gang, too. have found how Bob has
changed. There's a little of the old zest
for night clubbing and the rhumba (and
Bob has been a devotee) . "That sort of
thing would make an old man out of me
now," he'll say earnestly.
His favorite topic of conversation is
the Navy, its traditions, its glories, its
superiority to all branches of the service.
He'll have his best times arguing with
friends who are in different branches.
Stationed also near San Francisco (at
this writing) are Cesar Romero, Coast
Guard; John Carroll, Army Air Force;
Richard Quinn, Coast Guard: and Eddie
Albert, Army Air Forces. They get to-
gether in twos mostly, rarely threes —
and spend the evening "shooting the
breeze" over the old "feud" of Army vs
Navy, and vice versa.
Ask Bob what he, himself, feels about
the changes which have taken place in-
side, and he'll tell you honestly: "Does
anyone really know how they change? I
only know how I feel. I haven't got
things confused any more. I think I'm
learning to take only the big things big."
About what Bob means by the "big
things" he will talk indefinitely. Doing a
good instructing job ... his pride in
friends who are hailed as heroes . . . the
new Naval artillery, air-craft, and car-
Make ~lip created by the men who make up the
Hollywood Stars
LINDA DARNELL starring in Reno Clair's
"IT HAPPENED TOMORROW"
an Arnold Pretsburger Production
Released thru United Artists
Wolly Westmore,
Famous Hollywood
Make-up Artist
The Westmore brothers — Perc, Wall/ and Bud — not only make up
the Hollywood stars but actually create the make-up with which they
do it. And it is that very make-up you get when you buy House of
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of Westmore make-up gives you a lovely, attractive beauty — goes
on smoothly and really stays on. You will like the fine texture and
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Ac
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Bestform Brassieres
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ScREENLAND
79
TEETHING PAINS
Your
Birthstone*
tells the
month,,
*APRIL
DIAMOND
April— the month of gay, Spring finery
— when hands should be their love-
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look. Use Sofskin to keep your hands
softer, smoother, whiter than you
ever dreamed. Takes only a moment
to apply. Convince' yourself by asking
for the Sofskin courtesy application at
your beauty salon or cosmetic counter.
SOfSKIfl CIKITte
$we6f dand) and dAifL^
a in the Black
and Gold Jars
35e-60c-M.OO SIZES
SOFSXIM COMPART, FINDUY, OHIO
riers . . . flying . . . patriotism . . . pride,
pride, pride in the Navy.
"There's no chance in this job, you
know, for personal glory. I know it. The
only chance I've got is to give these kids
the best I know — and maybe a little bit
of what I've taught them will help them
beat the enemy to the draw.
"I got a letter from John Baldwin the
other day. He was one of the R.A.F.
kids who used to stay with us in Los
Angeles. So far he's knocked off five
German planes, has two probably de-
stroyed, and two more damaged, but the
best part is- — they gave him a D.F.C.
— what a guy!
"You know it isn't until a guy has
shed his own sweat over his job for this
war that he appreciates what a great
country, what a benevolent country ours
is — and he'll never again take it for
granted. I've got a perspective on that,
don't worry — but maybe I've lost one,
too. They came up here not so long ago
to make some moving pictures for a reel
of Hollywood actors in service. They
asked me to go right ahead with my
work — to act as though they weren't
around. That was sort of unnecessary,
because you can't do this work with your
mind on anything else. Someone said 1
looked too serious about it all — to give
with a big smile. And do you know, I
couldn't? I think that's when I realized
for the first time that in the Navy you
are just that — Navy — and I couldn't see
any reason to ham up the pictures of an
aerial gunnery instructor at work — with
a phoney smile.
"Sure, I used to be casual about
whether I was right or wrong. In the
Navy, you just aren't casual, period.
And in the Navy, brother, you'd better
be right! I was officer of the day when
the hills surrounding our firing range
caught on fire from our tracer bullets.
Of course, I had a full crew and we put
the damned thing out before it did any
damage. But it scares me into an icicle
every time I think what would have
happened if the barracks had caught fire
— 'that's all, Stack, you're court-mar-
tialed, see?'
"I've always gotten a terrific kick out
of winning skeet championships. But no
event I ever entered was as important
as shooting with the Navy team against
the Army. It's always been a great sport
and I've always had the will to win^
but shooting for the Navy was the only
time I knew I'd rather die than lose. I
ached to make a perfect score."
Bob helped the Navy beat the Army
team, but he was personally disap-
pointed. He only shot 99 out of 100!
We talked of lighter things the next
day while sitting around the pool at the
Officers Club. "Don't you miss the
glamor girls. Bob?"
"I can't miss 'my' glamor girls —
they're all married now," he grinned,
"but I love 'em anyway."
"You don't mean you're not interested
girls
any morer
"Hold it, sister," grinned Bob. "This
is no Western Union uniform I'm wear-
ing! I'm still a sailor!"
And make no mistake, the girls from
five to fifty are still interested in this
broad-shouldered, on-the-beam officer,
Stack. There was one small tot making
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Dr. Hand's Teething Lotion is
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Just rub it on the gums
He Said He'd
Never Marry!
Then he met this gjrl. She
had read the secrets of
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enjoy the worship and admiration of men, and
be the radiant bride of the man of your choice.
Send only 10c for the booklet, "Secrets of Fas-
cinating Womanhood." Mailed in plain wrapper.
PSYCHOLOGY PRESS, Dept. 86D, St. Louis 5, Mo.
"Weapons win battles —
War Bonds buy weapons."
YOU
CAN NOW HAVE
STUNNING EYELASHES
A Doctor's Formula
For Easy Quick Treatmen
For Luxuriant Eyelashes
IAKE YOU MOBE ATTRACTIVE
Nothing gives you such a feeling of glamour as long,
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supply, including Federal tax and postage, only $2
complete or $2.35 C.O.D. (Sorry, no samples.) If not
delighted, money back. (No C.O.D. outside of U. S.)
AVALON LANE CO., Dept. S-4
17S East Broadway, New York 2, N. Y.
80
Screen land
NO DULL
DRAB HAIR
Whan You Use This Amazing
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In one, simple, quick operation, LOVALON
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LOVALON does not permanently dye
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YOUR NAME & PHOTO
ONSTAMPS!
Send in any size picture, snapshot
or negative. Name or Initials up
to 7 ietterg on each stamp free.
Stamps are glossy, gummed, per-
forated, ready for immediate use
for personal letters, envelopes,
greeting cards, books, gifts, etc.
Original photos returned.
Enclose $2 for 100, minimum order
ANNCO SERVICE
475-5th AVE 'DEPT. M.S. HX
"A Stamp's a bullet,
A Bond's a gun.
Buy them both
Till the War is won.11
SONGWRITERS
Place your song with us. Melodies supplied WITHOUT
CHARGE by well known Hollywood composers. We
record your song and make It presentable to the pub-
lishers. Lead sheets and records furnished. Send your
song material for free examination. Write for details.
CINEMA SONG CO., Dept. 2-B, P.O. Box 670
BEVERLY HILLS, CALIF. _
PIN-UPS
25 Glamorous Beauties
that will make your heart skip a beat.
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RICHMAN. 1211 6th Ave.,
" New York 19, N. Y.
a great nuisance of herself among the
guests that afternoon at the pool — gen-
erally disturbing and gabbery, in every-
one's hair. Bob grabbed her and gave
her a piggy-back ride around the sands,
much to her delight.
"Would that all women were so easily
diverted," he grinned when he joined us
again. Just then a golden-haired miss
about five years old commenced squeal-
ing in the group next to us. Shortly,
she reached her crescendo, an unholy
blitzkrieg of one to infest the peace of
the afternoon sunshine. Bob started to
smile at her, wiggled his wrist so the sun
caught the reflection of his watch. She
came toddling over to investigate — and
he spent the next twenty minutes ex-
plaining the mechanism of his watch,
much to the grateful admiration of ev-
erybody in the place.
I boarded the train for Los Angeles
that evening, glad for having known a
boy named Robert Stack, proud for hav-
ing met the man. There was a guy — and
there was the man typical of Uncle Sam's
All-American winning team — conscien-
tious, loyal, all-heart-in-the-job, keen-
minded, strong-bodied Yankee.
He held my hand to shake good-bye,
and just all at once his face went pale.
"I don't think I'm going to be able to
take my feet off this train — I'm — I'm
home-sick," he said in a wistful voice.
For that one half second Bob had ex-
perienced the yearning of every service
man away from home — to go home, to
be home, for one short while. Just as
suddenly he pulled himself together.
"What the hell kind of a jerk am I, any-
way?" The Stack grin flashed.
"Well, so long, chum — I'll be seeing
you — after the wars." Two fingers
touched his cap in a jaunty salute. The
young officer bowed from the waist,
turned neatly. I looked after him, watched
his graceful progress down the long aisle
of the train. A man who had found him-
self by losing his personal identity. One
of the millions of reasons why America
wins her wars.
Editor's Note: As we go to press, En-
sign Stack has just earned his Lieutenant
( j.g.) stripes.
Ginger Rogers was Frank Sinatra's first
guest star on his new CBS radio show.
□ CREAM? □ POWDER? □ LIQUID?
For ordinary uses, you may prefer one
type of deodorant, your neighbor
another. But for one purpose — impor-
tant to you and to every woman —
there's no room for argument.
Use Powder for
Sanitary Napkins
For while creams and liquids are suit-
able for general use, a powder is best
for sanitary napkins. That's because
a powder has no moisture-resistant
base; doesn' t retard napkin absorption.
There is ONE Powder
. . . created especially for this purpose
— QUEST* POWDER— soft, sooth-
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Being unscented, it doesn'tmerely cover
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other. Quest Powder
destroys napkin odor
completely. It's your
lure way to avoid of-
fending. Many months
supply, only 35c.
Curb them each
month with . . .
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Take KURB tablets only as directed on the
package and see how KURB can help you I
S GREENLAND
81
Rl NG $1
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YOU CAN BUY
The Things You Want
When the War is Won . . .
If You Save Now in
War Bonds
REDUCE
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Dr. I'arrish's Easy Reducing Flan iuake<
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Here Is Dr. I'arrish's Easy Reducing
Plan EXACTLY as given over the air to
millions: For lunch take 2 teaspoonfuls of
CAL-PAR In a glass of juice, water or any
beverage. Take nothing else for lunch except
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NAME
ADDRESS.
CITY
The Gaga Saga of
Danny Kaye
Continued from page 35
chain drug store, the whole gang cele-
brated. Not without cause, it soon de-
veloped. They descended on his place of
employment to felicitate him, ordered
sundaes, floats, and milk shakes like the
veriest of plutocrats, gorged themselves,
and then vamoosed with a "Thanks,
Danny." Things went on like this for a
couple of weeks until the manager, ob-
serving a baker's dozen of contented
youths streaming out of the place with-
out so much as a nod at the cashier,
stormed over to Danny, asked him
whether he thought he was operating a
relief kitchen, and fired him.
"A guy with your gift of gab, Danny,
is a natural-born insurance salesman," his
chums told him.
Gullible, if not susceptible to flattery,
Danny agreed with his friends on the
spot, changed into his $27.50 suit, and
started making the rounds of the insur-
ance companies. He never quite man-
aged to convince a single insurance com-
pany executive that he was a demon
policy-underwriter, but he did manage
to convince an over-trusting manager
into thinking that he was a competent
clerk. He was going great guns, to all
outward appearances, when the company
auditor discovered that he had made a
$40,000 mistake on the books which
might have proved fatal. Exit Danny.
He joined his chums at the candy
store that same night — a different Danny
Kaye, a Danny with an aversion to big
business but otherwise a Danny without
a care in the world. To show his likewise
unemployed chums how good he felt, he
went into an impromptu bit of clowning
that panicked his pals so completely
that the owner of the candy store came
running out from behind the counter
to caution them: "Boys, boys! You
shouldn't break the show-cases."
A much more inspired comment came
from one of the customers, an old vaude-
villian by the name of Bert Lee. "That
ain't a bad routine, Danny," Mr. Lee
said, admiringly. "If I were you, I'd try
it out at the summer resorts."
Give a guy like Danny an inch of en-
couragement and he takes a mile of self-
confidence. Anyhow, he was calling on
top-flight booking agents almost before
sun-up the following morning with the
announcement that if they were looking
for "something different" for the coming
resort season, here he was. Naturally,
they wanted to know who he was. When
he told them, they looked bored.
In time he did manage to find a small
agent who did book him into a from-
hunger resort into the Catskills, where
all he had to do was sing, dance, act,
build scenery, comfort the lonely hearts
(most of them plump and fifty) , and
dance with wall-flowers who were posi-
tively no bargain. For services rendered
he was paid just enough to keep him in
cigarettes, odd trousers (which had a
way of wearing thin, overnight prac-
tically) and penny-ante money. Come
fall and his assets were $8.97, a half
dozen promising telephone numbers, an
82
SCREENLAND
ambition to become a great entertainer,
and a faith in himself that not even a
glacier could crush.
He needed that faith in himself, needed
it badly, as the next eight years were to
bear out. Fresh from his first season as
a one-man variety show, he swooped
down on the agents again, a little more
cocky than before, which had been
plenty. There were no takers. Un-
daunted, he muddled through somehow
until summer, landed himself another
job, outdid himself, wound up in the fall
with $88.00, and made the rounds all
over again. There still were no takers.
Arguing like a Philadelphia lawyer did
him no good. For three years he worked
summers and loafed the rest of the year
because no one would give him a job.
The fourth summer he met up with a
dance team by the name of Harvey and
Young. They caught one of his per-
formances, were delighted, and invited
him to join their act.
It was the chance he had been wait-
ing for. With not a single dance lesson
to his credit, he accepted with alacrity,
rehearsed furiously, and prepped for his
debut in Utica. It was some debut. He
had just finished executing a flashy
pirouette when he slipped and landed
ka-plop on his bottom. Stunned and
mortified, he was contemplating the dis-
aster when Harvey waltzed by and whis-
pered: "Bravo! Wait for the laugh!" He
did. and the audience practically took
the place apart. From then on his fate
was sealed; he was a comic.
The act was playing Detroit when who
should come around back stage but A. B.
Marcus, a producer of vaudeville units.
"You and the lady are terrific," he said,
"and I'd like to sign you for a new show
I'm sending out on the road. The tall
blond fellow I don't need."
But for a shining example of loyalty
a promising career would have been
nipped in the bud right then and there.
Rearing back on their heels, Dave Har-
vey and Kathleen Young informed Mr.
Marcus that Danny went with the act —
or else.
"All right," Mr. Marcus sputtered,
"the tall blond fellow can stay in the act.
But I'm not paying a cent more for
three than I'd give you for two."
"Fine," Harvey said, "it's a deal."
Mr. Marcus lived to regret his hasty
opinion of Danny. When he joined the
show at Detroit, he performed in two of
the twenty-two skits. By the time the
show hit the coast, he was the star, play-
ing in sixteen of the twenty-two skits!
A short layover at San Francisco and
the troupe sailed for the Orient, toured
China, Japan, the Philippines, Hong
Kong, and Lord knows where-all else.
He was gone two years, but he hadn't
exactly set the world on fire.
He combed Broadway and environs
with a fine-tooth comb. The best he
could do was to snag a job as stooge for
a dancer named Nick Long, a job that
took him to London. Never was stooge
more energetic, more conscientious. But
the Londoners, puzzled over the furious
young man who seemed always to be fall-
ing over himself, were not amused. He
took an early boat back to the U.S.A. —
third class.
He was renewing acquaintances on
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Broadway a few days after his return
when a pal of his happened along and
dropped the information that a pal of
his was whipping up a modest little show
with the intention of touring the sum-
mer resorts with it and why didn't he
drop by the rehearsal the next day on
the off-chance that there might be some-
thing for him in the show.
He almost didn't show up. He was
tired of playing summer resorts and get-
ting nowhere, he kept trying to tell him-
self. In the end, he did put in an ap-
pearance, just for the fun of it. He
arrived late, announced himself to the
pert brunette engrossed in some type-
written pages, "I'm Danny Kaye."
"I'm busy," she said.
"Very funny," he said, walking off.
"Very rude," she said, before he got
out of earshot.
When it came his turn, he did a couple
of numbers that wowed every performer
present. He had finished taking his bows
when the pert brunette ambled over. "I
don't especially like you," she said, "but
I think you've got loads of talent."
"1 don't especially like you," Danny
said, "but I don't know why. What did
you say the name was?"
"Fine — Sylvia Fine."
"What's your racket?"
"I write special material."
"I could use some."
"I was about to suggest we team up."
"I was about to take you up on it."
They did team up, Danny, Sylvia, and
her collaborator, a mild man of talent by
the name of Max Liebman, hieing them-
selves to another one of those eternal re-
sorts in the Catskills, with the under-
standing that the thing was Danny. Syl-
via pummeled her typewriter to death
on the young comedian and saw that he
didn't overspread himself.
The result of that summer was the
emergence of a modest little Broadway
production, authored by Max Liebman
and Sylvia Fine, called "The Straw Hat
Revue," starring Imogene Coca and dis-
playing for the first time on Broadway —
but not too prominently — an unknown
by the name of Danny Kaye. He was
still an unknown after the show opened.
Not a single critic mentioned him.
It almost broke Danny's heart. Max,
a patient soul, suggested a trip to Miami.
Danny took his bruised pride and jolted
confidence to Florida. He had been there
less than a week when he realized that
something was missing, to wit: Sylvia
Fine. He called her up, long distance.
"Why don't you hop down here,
sugar?" he asked her on the 'phone.
"What for?"
"For one thing, we could get married."
"Who's writing your material these
days, Danny? It's terribly funny."
Well, she came down with influenza a
fortnight later, and the doctor prescribed
rest and a warm climate — Florida, per-
haps. When she was well enough to make
the trip she found herself aboard a train
bound for Miami. Danny met her at the
station with a wonderful idea. Why
didn't they elope? They did.
They were back in New York less than
a week when it happened: by an act of
God Danny was booked into the flossy
night club called La Martinique. "Knock
me off something special, honey," he
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pleaded with Sylvia. "I've got to floor
'em opening night or I'm sunk."
He floored 'em opening night all right,
floored 'em with "Anatole of Paris," an
infectious bit of satire whipped up by
Sylvia lampooning a goofy designer of
hats. On hand that night were a host of
theatrical magnificoes, Gypsy Ptose Lee,
Billy Rose, Noel Coward, Milton Berle,
Dinah Shore, Eddie Cantor, and, most
importantly, Moss Hart. Moss Hart was
so taken by him that when he came to
cast his next production, "Lady In The
Dark," he offered Danny the part of the
fluttery fashion photographer. What
Danny did with that part is Broadway
history.
That did it. After twenty weeks of
"Lady In The Dark" at $400 a week,
Danny went into New York's Paramount
Theater for five weeks at $1500 a week.
Engagement over, he hopped to Holly-
wood, went into Ciro's for $2400 a week.
Came fall and he hit Broadway again,
this time as the star of "Let's Face It,"
at $2500 a week plus a percentage of the
take, for a net aggregate of something
like $3700 a week.
He was shoveling money into the
vaults of the Chase National Bank when
Samuel Goldwyn appeared on the scene,
informed him he was "a four-star genius,"
whatever that is, and begged him to sign
a contract guaranteeing him $125,000 a
picture for five years with the privilege
of passing on scripts, directors, camera-
men, and, for all anybody knows, Samuel
Goldwyn's cravats.
As a favor to Samuel Goldwyn, Danny
signed.
Shirley Scotches Those
Romance Rumors!
Continued from page 33
would please not take any pictures of me.
They were very understanding. One gen-
tleman said he had a daughter of my age
and that to try to make romantic copy
of a fifteen-year-old was sheer nonsense —
and poor taste!
"But," said Shirley, closing the sub-
ject, "when, some day, the right boy does
come along, my parents will make the
announcement for me. Because I want
a wedding with all the trimmings, and
everything. But I expect that will be a
long time off!"
Shirley suddenly gasped in recollec-
tion. A very handsome young cadet was
shortly due for dinner with the Temples
— and to escort Shirley to a dancing
party. In a flash, Shirley had excused
herself, "for just a second" — and was tak-
ing the wide, red-carpeted stairway in the
Brentwood home two steps at a time.
From upstairs came the rustling of box
lids on Shirley's dressing table. Rejoin-
ing us in the living room, Shirley exhib-
ited a small sterling silver bracelet with
a tag.
"I almost forgot to wear my present,"
she smiled at Mrs. Temple. "Jimmy would
have been disappointed."
"Little rings and pins or bracelets are
'tags' and 'crash-bracelets,' " Shirley said.
"Boys give them to the girls to wear. We
take turns wearing them. Some have tiny
tags with inscriptions like this one." Shir-
ley offered for inspection the little finger
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ring on her left hand, set with small sap-
phires clustered like a flower. A miniature
gold tag was attached. She did not ex-
pose the signature. Shirley considers such
things "strictly personal."
"No, it doesn't mean any engagement
— or anything like that!" Shirley smoth-
ered a laugh. "Wouldn't that be silly?
It just means a boy likes you. We have
too much fun to think about love or
worry about it."
Shirley will be sixteen in April. She is
as normal as any of her contemporaries
— enjoying her first chaperoned dancing
parties and movies, sandwiches at a
drive-in on week-end nights, with her girl
friends and her boy friends, and some-
times double-dating.
The Temple drawing room is a large,
airy, sun-filled room in soft greens and
beige. A life-size painting of Shirley, with
her fifty-two famous curls at the age of
six, hangs over the mantel. Two smaller
portraits of Shirley, taken when she was
the biggest box office star in the world for
four consecutive years — 1935 to 1939 —
stood on a small table. Shirley was wear-
ing a little linen dress of hibiscus red,
with two large white flowers on either
side of her auburn hair. Her face, except
for a slight dash of lipstick, hasn't
changed from the dimpled doll of ten
years back. Unless it is the deeper intel-
ligence and knowledge of a poised junior
looking out of clear unwavering brown
eyes. Quick-thinking, Shirley is never at
a loss for an answer in conversation.
She's surprisingly well informed on cur-
rent topics. As always, Mrs. Temple lets
Shirley speak for herself. Just as she did
as a very little girl, however, Shirley fre-
quently turns to her mother. And there's
a light of adoration in her eyes that must
be a far deeper reward to Mrs. Temple
than her child's fame and achievement.
Theirs is a delightful companionship.
"Little girls who are just ten go to
dancing parties for the juniors at the
country clubs," Shirley further enlight-
ened. "First we go to dancing school.
The boys from the various military acad-
emies are invited along with the boys
from other schools. They return the girls'
dancing parties. It's funny to see the
little ten-year-old girls striding across the
floor, wearing socks and shoes under their
long formals," Shirley smiled.
Van Johnson, one of Shirley's current
screen heroes, came to one of the dancing
parties, unknown to Shirley. A girl asked
Shirley if she would like to trade a dance.
Shirley, who had an exceptionally good
partner, said she'd rather not.
"I didn't know until it was too late,
that Van Johnson was her date. I'm still
mad!"
Shirley has a custom of looking out the
back window of the Temple car as it goes
along. On Wilshire, Mickey Rooney came
by in his car. His face lighted. He waved
Shirley smiled and waved back. Mickey
stepped on the gas and pulled forward.
"But he was waving at a pretty girl in
a car ahead," Shirley said. Mickey hadn't
seen her. He'll learn of his tough luck here.
"I like smooth dancing, and I don't
mind mild jitterbugging," Shirley con-
tinued. "But the way they dance you at
Hollywood Canteen — ! Is that a kick!"
Shirley giggled with a roll of her brown
eyes. "There're jitterbugs from all parts
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of the country. I expect I dance with 200
boys in a single night."
Don't think Shirley's life centers on
boys and social activities. Far from it.
She has plans for college and a stage
career. Not to mention her current pic-
ture "Since You Went Away," and radio
broadcasts. When David O. Selznick of-
fered Shirley a "come-back" seven-year-
contract, he first negotiated with her par-
ents, George and Gertrude Temple. "We
have always let Shirley decide," they said.
David Selznick, who has great belief
in Shirley, outlined what he had in mind
for her career and her future. First this
role in "Since You Went Away" — as the
tomboy daughter, Brig, who tries to aug-
ment the family income to help her
mother (played by Claudette Colbert)
while Daddy is away at war.
"I expect Shirley will marry before her
seven-year contract expires," Mr. Selznick
was heard to remark. He is not unaware
of her popularity. He doesn't intend to
rush Shirley's career. She may make one
picture a year — or more — if good stories
are found. Selznick isn't perturbed either
way, until Shirley finishes school and dis-
penses with tutors and lessons on the set.
Then he has definite plans for her, on a
grandiose scale. Shirley, too, has plans
which include college along with her
chums from Westlake school. She would
like to major in art and literature appre-
ciation.
The George Sanders
"Murder Mystery"
Continued from page 37
"It was in St. Petersburg, Russia,
where I was born. Every afternoon we
would meet in the cherry orchard. She
was my princess, my dream girl. We
planned to be married. And then — "
"And then?"
"I found another — a girl who possessed
something much more than Thais had to
offer. She had three frogs in her pool."
"???"
"Frogs were very important to me at
the time. If the murder weapon is a
boutonniere of cherry blossoms impreg-
nated with poisonous fumes, I should
definitely want Thais cross-examined."
"Why were frogs so important to you
then, Mr. Sanders?"
"Can you think of anything more en-
ticing to a boy of six?"
My leg twitched with the suspicion
that it was being pulled. "Please be seri-
ous, Mr. Sanders. Murder is serious busi-
ness."
An eyebrow lifted in sardonic amuse-
ment. "I agree wholeheartedly," he re-
plied, "especially when it is my murder
we're discussing. Would it help the inter-
view if I assumed the attitude of a
corpse? I seem to be properly attired for
the role."
He arose, smoothing the wickedly
faultless tails of the full dress clothes he
wears in "The Lodger," thrilling legend
of Jack The Ripper being recreated by a
fine group of actors, including two British
titles: Lady Korda (Merle Oberon) and
Sir Cedric Hardwicke. Surprisingly, he
does not portray the role of The Rip-
per. Laird Cregar, a super-heavy at two
hundred and forty pounds, is the killer,
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while Sanders, a scant two hundred fif-
teen, is the detective and romantic lead.
A timid cough recaptured his wander-
ing attention. "There must be a number
of promising suspects among your fellow
artists," I suggested. "Stealing scenes
and telling people the truth about them-
selves is hardly the way to win a popular-
ity contest in Hollywood."
"It didn't enhance my popularity on
Broadway, either," chuckled Mr. Sanders
reminiscently. "I had a bit of a struggle
breaking into show business. Then I got
a job understudying the star of a play.
After a while, standing in the wings and
watching him perform grew rather tire-
some. I waited for something to happen.
Then I tried to help matters along by
getting him too drunk to go on. Unfor-
tunately, my meager salary was unequal
to his remarkable capacity, but he never
really forgave me."
The name of the benighted actor went
to the top of the list. My pencil flew
faster as Mr. Sanders warmed to his sub-
ject. "We mustn't omit the Committee
To Keep George Sanders From Singing
'One Alone.' "
"How does one cross-examine a com-
mittee?" I asked, bewildered.
Mr. Sanders patted me reassuringly.
"There were four men in the group. They
occupied the rooms adjoining mine in a
theatrical hotel in Times Square. My
operatic uncle had suggested that I be-
come a singer, so I spent six months
cultivating a baritone voice, mostly by
singing 'One Alone.' I sang it at every
audition in town. Eventually it got me a
singing role in a musical revue called
'Ballyhoo.' This was my real start. It
permitted me to move from the hotel just
in time to avoid the wrath of the irate
Committee. So if I am found laid out
beside my piano, my body covered with
scraps of 'One Alone,' the Committee will
have fulfilled its sworn purpose."
"Any other suspects?" I asked.
Gray-green eyes fastened on me, nar-
rowing to slits before Mr. Sanders spoke
again. "Above all, we must not leave out
the fan magazine writer."
"Which one?"
"All of them," he said with painful
clarity. "They write lies about me — paint
me in falsely villainous colors — twist
harmless little discussions with producers
into cataclysmic battles — make my sim-
ple little observations sound like pointed
insults. Yes, if I'm murdered by a
poisoned pen, it will be the work of a fan
magazine writer."
At last I got a glimpse of the Inner
Man. Not a revealing closeup — just a
glimpse. I saw George Sanders as a fel-
low with a sense of humor so keen that it
might easily be misunderstood — so rich
that he can turn it on himself and joke
about his own murder.
As I arose to leave, I found courage to
ask a last question. "My dear Mr.
Sanders, if you were given a choice what
type of murder would you prefer?"
"I can more easily tell you which I
should fear above all others," he replied
solemnly. "All my life I have dreaded
being killed with kindness."
In answer to my blank, inquisitive
stare, George Sanders smiled with rare
charm. "If I were killed with kindness, I
shouldn't know whom to suspect!"
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"Little Lamb Chop"
Continued from page 26
be-ditjipled darlings armed with tap shoes
and vocal arrangements. One after an-
other they perform for weary casting
directors who endure this endless parade
in the hope of discovering the next great
child star. Margaret O'Brien, without a
curl or dimple, song or dance, is the first
little girl to achieve stardom on sheer
acting ability. Paradoxically, Margaret,
is the daughter of a dancer, known pro-
fessionally as Gladys Flores.
At first glance Margaret seems almost
plain. After you have been with her a
while it comes as a shock that the child
is really lovely. By that time, however,
it doesn't make any difference. You have
already been "softened up" by a pathetic
gleam in her hazel eyes that makes you
want to cry even when she smiles at you.
"I guess I've always known that Mar-
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mother reflects. "She was reared in the
glare of a spotlight. When Margaret was
born I gave up dancing, but traveled
with my sister, Marissa, who continued
her career as a solo dancer after we had
split as a team. One night at a farewell
performance in a St. Louis hotel, the ap-
plause for Marissa's encore suddenly
turned to laughter. I couldn't under-
stand the reason until I noticed that
Margaret, who had slipped away from
our table, was at Marissa's side, smiling
at the audience and taking bows. She
was a little over two at the time.
"Then there was the time Marissa was
doing her 'Poetry In Motion' act from
the stage of a Miami theater and Mar-
garet simultaneously performed the same
routine from the audience. It ruined
Marissa's performance, but indicated the
baby's talent for mimicry."
Two years ago, Margaret played her
first bit part before the cameras. It was
with Mickey Rooney in "Babes On
Broadway." She did everything the direc-
tor told her to do, and added a few little
pieces of "business" of her own. Mickey,
no mean ad-libber himself, was so en-
tranced with her performance, he chris-
tened her his "Little Lamb Chop," a pet
name he has reserved exclusively for her.
This kiss marked the start of Margaret's
love list, which has since become compli-
cated by jealousy and deep, dark intrigue.
Robert Young started it all by pre-
senting her with a bowl of roses in which
nestled a huge, white bunny. He under-
stands the feminine heart, does Mr.
Young. But he made the unforgivable
mistake of absent-mindedly calling her
"Barbara," not once, but over and over
again. When Margaret discovered that
her mysterious rival was Barbara Young,
Bob's nine-year-old daughter, she gra-
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with Barbara on condition that she be
allowed to divide her time between Bob
and Mickey.
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until Orson Welles came into her life to
play her father in "Jane Eyre." Orson's
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and back, she paced in front of him, but
nary a flicker did she get from the great
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any longer, he grinned down at her and
sonorously bellowed, "How's Maggie the
old bag today?" It was the beginning
of a beautiful friendship.
The plot thickened when James Craig
found her in "Lost Angel." This hand-
some Tennessean courted her with true
Southern chivalry. "How about my su-
gar?" was his morning greeting, and
Margaret would run across the set and
into his arms to ,be lifted up for the
"Sugar" — Southern for kiss.
Margaret might have managed nicely
with Jimmy, Mickey, Bob and Orson if
she hadn't met HIM — Van Johnson, red-
headed, freckled, and with an endearing
crooked smile. "I love men with red
hair," sighed Margaret.
"That's not his own hair," lied Jimmy
Craig outrageously, "it's a toupee." His
desperate attempt to win back Marga-
ret's heart was unavailing. She put good-
looking Van on top of her ever-growing
list, until —
She met a ghost! In his luminous grey
makeup, "Canterville Ghost" Charles
Laughton frightened her at first, but
when he explained he was a "very tired
old ghost who isn't sleeping or eating
very well," she quickly added him to her
love list. While his four rivals yelled
"unfair," Mr. Laughton lifted Margaret
onto his ample lap and proceeded to read
Kipling's "Just So Stories" to her.
In the world of make-believe, Mr.
Laughton has serious competition for
Margaret's affection in the person of
Lionel Barrymore. What Lionel lacks in
lap space he makes up in his gift for
story telling. It was Mr. Barrymore who
uttered the now famous description of
Margaret: "If she had been born two
hundred years ago, she'd have been
burned at the stake for a witch."
Despite all this adulation, Margaret
has remained sensible and unspoiled. She
lives with her mother and Aunt Marissa,
who has given up dancing to coach Mar-
garet, in an apartment in a middle-class
neighborhood. Her dearest friend is Carol
Saunders, her stand-in. Recently, when
M-G-M decided to replace Carol with a
midget, Margaret pleaded to retain her
friend. "You've just got to keep Carol
as my stand-in because she's just my size,
and when I grow up, she'll grow up, but
the midget will always stay the same
size."
Recently King George awarded Mar-
garet a medal in behalf of the people of
Canada for her performance in a screen
short to stimulate the sale of Canadian
War Bonds. Margaret has also received
the statuette of St. Bridget from the Los
Angeles Gaelic Society for the best screen
performance of the year by a person of
Irish descent.
With all this fame, she must still face
little-girl problems. The loss of her front
teeth is a great trial. A tiny bridge has
been fitted into the gap, but incoming
teeth keep pushing it out of place.
Tedious sittings in the dentist's chair
have brought bizarre excuses for a hasty
get-away.
"Please hurry," she begged the other
day. "I must get back to the set right
away. They're hanging Mr. Laughton at
two o'clock and I mustn't miss it!"
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| Name. , i • •
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everyone sees everyone else at
Hollywood's gay night spot ... the
The flags of the United Nations signal a bright welcome to the Mocambo . . . where
Hollywood dances, dines, celebrates its important goings-on . . . where
the guest list is a "Who's-Who" of screen celebrities and Hollywood's elite.
Night-life at the Mocambo is the very essence of movieland's sparkling gayety.
Manufactured and Distributed by TOBER-SAIFER SHOE COMPANY* SAINT LO
hearts surrender to a radiant, sparkling smile!
Smiles are brighter when gums are firmer. Guard against "pink tooth brush" — use Ipana and massage.
Y'OU'RE helping to end this war sooner
and you're proud and glad to be doing
it. But after hours — comes fun — comes
laughter— comes romance!
So put on your best bib and tucker.
Take a last peek in the mirror and — smile.
Hold on— was that a bright smile? Spar-
kling? The kind of smile that warms hearts ?
If you can smile like THAT— you don't
need great beauty! Just look at the popu-
lar girls you know. Many aren't beauties
at all! But we'll bet they've got a dazzling
smile! So let your smile be that kind of
smile — gleaming, alive! Just remember
sparkling teeth depend largely on firm,
healthy gums.
Never ignore "pink tooth brush"!
If your tooth brush "shows pink" see your
dentist! He may say your gums are tender
— robbed of exercise by today's creamy
foods. And, like so many dentists, he may
suggest Ipana and massage.
For Ipana is designed not only to clean
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Let Ipana and massage help you to firmer
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Start today with Ipana and massage
Your Country needs you
in a vital job!
A million women are needed to serve
on the home front — to carry on the
tasks of men gone to war— to release
more men for wartime duties.
Jobs of every kind— in offices, stores
and schools — as well as in defense
plants — are war jobs now. What can
}0U do? More than yon think!
If your finger can press a button,
you can run an elevator or a packag-
ing machine! If you can keep house,
you've got ability that hotels and res-
taurants are looking for!
Check the Help Wanted ads. Or see
your local U. S. Employment Service.
SCREENLAND
3
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*
★
Published in
this space
every month
"Gaslight" is no gentle flicker.
★ ★ ★ ★
An almost unholy light blazes about
this drama of emotional conflict which
comes to the screen by way of MGM.
★ ★ ★ ★
Charles Boyer, Ingrid Bergman and
Joseph Cotten are the incandescent
threesome. + ^ . +
And theirs is a most unusual love story,
set against a dark design for living.
For Ingrid Bergman — those bells will
toll again— with a clamour of applause.
★ ★ ★ ★
Charles Boyer, whose gleaming eye has
held many a feminine heart in mid-beat,
adds to his strong fascination, a strangely
compelling quality.
★ ★ ★ ★
Credit MGM for bringing out the sinis-
ter facet and adding to the Boyer draw-
ing power. + * * * '
And put another halo around the bril-
liant head of George Cukor for his
splendid interpretation of "Gaslight".
★ ★ ★ ★
It's the kind of direction you'd expect
from the man who guided "Philadelphia
Story", and many other MGM triumphs.
★ ★ ★ ★
Something else to look forward to:
Dame May Whitty's performance and
that of newcomer Angela Lansbury
(she's luscious but not angelic).
★ ★ ★ ★
While we're laurel-tossing, we present
one to Arthur Hornblow, Jr., producer,
and another to John Van Druten, who
adapted the screen play from the stage hit.
★ ★ ★ ★
/'Gaslight" holds the mysterious,
threatening quality of a dark thought
on a black night.
★ ★ ★ ★
The under-
currents
will sweep
you along
excitedly to
the stirring
end, says...
-lea
Paul Hunter, Publisher
Delight Evans, Editor
HOMER ROCKWELL, Executive Vice President
Elizabeth Wilson,
Western Representative
Helen Fosher,
Assistant Editor
rjffi
Frank J. Carroll,
Art Director
Anthony Ferrara,
Asst. Art Director
if J?isety J&toty a ^Teatuts! if
The Editor's Page Delight Evans 19
Hedy Lamarr's Lowdown on Love Jerry Asher 20
Van Johnson Picks His "Dream-Up Girl" Alyce Canfield 22
When Your Man Comes Home. Ida Lupino Elizabeth Wilson 26
You Should Know George. George Murphy Maude Cheatham 28
What Next For Alan Ladd? Liza 30
Hollywood Women Have Gone to War. Loretta Young. . . Gladys Hall 34
"The Adventures of Mark Twain." Complete Fictionization
Elizabeth 8. Petersen 36
Hi, Eythe! William Eythe Liza 38
The Merry Bennys. Jack Benny Mary Livingstone Benny 40
New Homespun Hero. Noah Beery, Jr May Mann 48
Tu// &oiot Pottta fa: ★ * ★
Van Johnson, seen next in M-G-M's "Two Sisters And A Sailor"
Gail Russell, soon to appear in "Our Hearts Were Young And Gay"
for Paramount; Gloria De Haven, M-G-M starlet; Lon McAllister,
in 20th Century-Fox's "Home In Indiana," Sonny Tufts, co-starring
in Paramount' s "I Love A Soldier"
Carole Landis, in "Four Jills In A Jeep" for 20th Century-Fox
PlCtWCG PtZGGi. * Mora/e Boosfers (Hazel Brooks, Lina Ro-
lf * may, Mary Ganly, Lucille Bremer, Natalie
Draper); Screenland Salutes Francis Lederer in "Voice In The
Wind;" "Curly" Grant and Company [Cary Grant); Can This Be
Bergman? (Ingrid Bergman); Can This Be Boyer? (Charles Boyer);
How NOT To Learn To Act (Eddie Bracken and Diana Lynn);
"Pin-Up's" Progress (Dolores Moran); Salute To Spring (Donna
Reed Fashions)
IPepa t tm en tA : if if if
Hot From Hollywood 6
Your Guide to Current Films Selected by Delight Evans 8
Fans' Forum 12
Beauty Duty. Julie Bishop Josephine Felts 16
Here's Hollywood. Candid photos by Jean Duval — Gossip by Weston East 54
Guide to Glamor 60
Cover Portrait of BETTY HUTTON, star of Paramount's
"Incendiary Blonde." Kodachrome by A. L. Whitey Shafer
Volume Forty Eight
Paul Hunter, President Number Seven
Homer Rockwell Executive Vice President and Advertising Manager
Lee WagneT, Circulation Manager
SCREKNLANI). Published monthly by Hunter Publications, Inc., at 205 E. 42nd Street, New York. N. Y.
Advertising Offices: 205 E. 42nd St., New York; 410 North Michigan Ave., Chicago, 111.; 427 W. 5th St..
Los Angeles, Calif. Manuscripts and drawings must be accompanied by return postage. They will receive
careful attention, but SCREENLAND assumes no responsibility for their safety. Yearly subscriptions $2.00 in
the United States, its dependencies, Cuba and Mexico; $2.50 in Canada; foreign $3.00. Changes of address
must reach us five weeks in advance of the next issue. Be sure to give both the old and new address. Entered
as second class matter, September 23, 1030, at the Post Office, New York, N. Y., under the act of March 3, 1879.
Additional entry at Chicago, Illinois. Copyright 1944 by Hunter Publications, Inc. Printed in the U. S. A.
MEMBER AUDIT BUREAU OF CIRCULATIONS
MAY, 1944
i
Screenland
DAME MAY WHITTy-ANGELA LANSMKY- BARBARA EVEREST
Screen Play by John Van £>rufen, Walter Reisch and John LBalderston • Based upon the Play by Patrick Hamilton
A Metro-Goldwyn-Mayer Picture ♦ Directed by georGe cukor. • Produced by Arthur. hornbi.c>w/W>r.
SCREBNLANO
5
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BOB PINS HAIR PINS HAIR NETS
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HOOKS 8c EYES HOOK & EYE TAPES
SNAP FASTENERS SANITARY BELTS
LJ OLLYWOOD was rocked back on its
*- heels by the domestic blow-up of
Joan Blondell and Dick Powell. Story of
the break got headway before Joan
planned it should. Reporters kept the
telephone hot: Joan and Dick were con-
sidered the happiest couple in town'
Cameramen gathered at the gate in the
high brick wall which surrounds the
Powell estate. (Ruth Chatterton built
this old English house which was bought
by the Jascha Heifetzes and in turn sold
to Fay Wray and John Monk Saunders
before Joan bought it.) It's next door
to Frances Marion's. So reporters tackled
Frances by phone and asked her to find
out what was going on with Joan.
Pay-off is all the time Joan was at
Frances' with her baby, hiding out from
the publicity hounds.
'T'RIALS without tribulations should be
*■ Arthur Hornblow's slogan. He and
ex-wife Myrna Loy *once had a trial
marriage separation. So did first ex- wife
Juliet Crosby and Hornblow. Now he's
having a "trial engagement separation"
with fiancee Bubbles Schinasi. They will
not see, write to each other, or telephone
for half a year. If they're still free they'll
marry. That's Hollywood for you.
Marjorie Reynolds and her husband, It.
Jack Reynolds, enjoy a chat with Cass
Daley at Fourth War Loan Bond rally.
I F YOU HEAR of Captain Clark Gable
' making eyes at this beauty or that,
chalk it down to sheer nonsense. He's
got both his eyes — and his heart — set on
Kay Williams.
I T'S SUPPOSED to be a thing between
* Peggy Ellis and George Raft. Holly-
wood claims quite another girl has his
heart and has been driving his motor
car since he's been away. P.S.: When
they let you burn up their tires, dearie,
it's love!
Vero-Ellen, dancing hit of
Broadway show, "A Connec-
ticut Yankee," signed with-
out a screen test by Samuel
Goldwyn. Watch for her.
8
SCREENLAND
ORDER BY MAIL FROM HOLLYWOOD!
1j/ouA, GUIDE
CURRENT FILMS
SELECTED BY
Nothing has ever equalled in movie history the ihapired
performance of Jennifer Jones as Bernadette in Franz
VVerfels moving and exalted story of the MiraCie ot
Lourdes. Most appealing is her unshakable faith in her
visions of the "Beautiful Lady" who brings forth the
spring to cure the sick, and her dignified simplicity in
convincing town politicians and religious leaders of the
I850's that the visions are not imaginary. The scenes of
her impoverished life, denied happiness in this world,
will bring tears to the eyes of many who have forgotten
how to cry. The film, directed with a sensitive touch by
Henry King, is an epic in detail and will give a spiritual
uplift to all who see it. It will leave the feelings of no
one untouched. Others in the cast who give outstanding
performances are Anne Revere as Bcrnadeltc's hard-
working mother, Charles Bickford as Father Peyramale
and William Eythe, most appealing, as Antoine Nicolau.
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J4;
UP IN ARMS—
Goldwyn-RKO Release
Danny Kaye's bow to the movie audiences in this film
based on Owen Davis' character in "The Nervous
Wreck," should make him as popular with the rest of
the country as he is with Broadway. Besides his "Mel-
ody in 4F" routine, double-talk history of a 1-A draftee
for which he is famous, he does a take-off on the movies
which will have you howling in glee at its none too
gentle satire. Add another headliner in the entertain-
ment field, Dinah Shore, and it leaves little room for
the story which takes a hypochondriac through the
throes of the draft board, on a transport with a troop
of beautiful WACs (the Goldwyn Girls), to a South
Pacific Island where our hero captures a horde of Japs
single-handed. For the romantic-minded, Dana An-
drews and newcomer Constance Dowling very nicely
fill the bill. You will want to see this team again.
IT HAPPENED TOMORROW-
United Artists
If you've ever said you'd like to know what is going to
happen tomorrow, see this picture and you'll change
your mind. Dick Powell plays a -young cub reporter
who is provided with tomorrow's newspaper which gives
him a summary of all the next day's events. His first
"advance scoop," the robbery of the opera house, lands
him in jail as an accomplice, involves the girl he loves,
a medium for a clairvoyant, who foretells her own jump
in the river to bear out the miracle. The scripters, Rene
Clair and Dudley Nichols, pile up the predicaments,
providing plenty of fun to the very end. Linda Darnell
is beautiful in the co-starring role, but the script gives
her too little to do. Jack Oakie is funny as the clair-
voyant and Edgar Kennedy does his usual stuff as the
inspector. John Philliber makes an interesting char-
acter of Pop Benson, keeper of the newspaper morgue.
BETTY CO-ED of HOLLYWOOD, Dept. 689
62S3 Hollywood Boulevard, Hollywood 28, California
Please send "Script Girl" Slack Suit, at $8.98,
Color combinations Beige and Brown ( [
Brown and Navy and Green and Red and
Aqua □ Powder □ Gold □ White □
(Mark In and 2nd cholc* of color combinatiom)
Size: 10 12 14 16 18 20 (Clreta if»)
(F1«om pfiwl n«m«. •!(.., plainly)
Name
Streei_
Grv_
"Another Betty Co-Ed offering on page 60.'
8
war
THE IMPOSTER— Universal
SCREENLANI
Jean Gabin, tagged the French Spencer Tracy to iden-
tify him to the American public when he made his first
picture, "Moontide," in 1942, will gain popularity in
Julien Duvivier's film about the fugitive murderer who
usurped the identity of a French soldier-hero and gives
it added glory and honor on the battlefields with the
Free French forces in Africa. While the story covers
this phase of the war, it is essentially a study of the
regeneration of a man who never was given an even
break through the friendship of his fellow soldiers :
Richard Whorf, Peter Van Eyck, Allyn Joslyn, John
Qualen and Eddie Quillan — all of whom give finely
etched characterizations. Ellen Drew, the only girl in
the cast, is lovely in her few brief but important scenes.
with S. Z. SAKALL • Directed by David Butler
Screen Ploy by Sam Hellman, Richard Weil, Francis Swann and James Kern* Based on Original Story by Richard Weil
1 m
JACK L.WARNER, Executive Producer
Produced by WILLIAM JACOBS
HUMPHREY BOGART in 'PASSAGE TO MARSEILLE'
IDA LUPINO and PAUL HENREID in MN OUR TIME'
V r^onierfof one' THE DESERT S0NG' in technicolor
a(loJ€ W°nw- CARY GRANT and
0 JOHN GARFIELD in 'DESTINATION TOKYO'
SCREENLAND
9
' ' OF THE
SEVEN SEAS!
The drama of the Navy's
supermen is thrilling 'the
nation! They're ready to
fight— ready to love! Have
you seen it yet? Ask the
manager of your favorite
theatre when it's playing !
ith DENNIS O'KEEFE
WIUIAM FRAWLEY • LEONID KINSKEY
J. M. KERRIGAN • GRANT WITHERS • PAUL FIX
Director, EDWARD LUDWIG
A REPUBLIC PICTURE
THE SULLIVANS— 20th Century-Fox
Saga of a splendid American family, this
true and touching screen story of the five
Sullivan brothers will appeal to anyone with
even a streak of honest sentiment in his na-
ture. After all, what is it but the story of
the boys next door — those kids who grew up
the same way as your boys, laughing and
scrapping and loving, and somewhere along
the way learning how to be heroes. "The
Sullivans" cannot be called "another war
film" at all ; being more concerned with good
will and human nature than with spectacular
exploits, it pictures the home life of this
typical Irish-American family, from boy-
hood to young manhood, with rare fidelity.
Only when the close-knit family devotion of
the five brothers leads them to enlist, to fight
and die together on the Juneau, does the pic-
ture pound home its important point, leaving
you deeply stirred and grateful for such as
the Sullivans — and for Hollywood, too, for
glorifying them honestly and decently. A
fine cast includes the likable newcomers who
play -the brothers (Edward Ryan, John
Campbell, James Cardwell, John Alvin.and
George Offerman, Jr.) and Trudy Mar-
shall, as their sister who joins the
WAVES ; Anne Baxter, giving her usual
charming and sincere performance as the
youngest boy's bride ; and Thomas Mitch-
ell and Selena Royle as Mr. and Mrs.
Sullivan.
PHANTOM LADY — Universal
Sitting on the edge of your seat watching
this thriller, you'll begin to think you're see-
ing Alfred Hitchcock's latest crime exhibit.
Well, this isn't the one and only, original
mystery maestro at work, but it's a reason-
able facsimile of the noted director's sus-
penseful style- — for the producer is none
other than Joan Harrison, who helped con-
coct some of the better Hitchcock shows.
Miss Harrison has great talent for building
breathtaking sequences and she exerts it
freely in this story of a pretty girl secretary,
who refuses to believe that her handsome
boss is a murderer and saves him from the
chair in the proverbial nick of time, by
tracking down the real criminal. Ingeniously
contrived situations hold surprises for you,
the biggest being Franchot Tone as — but
we're not going to give the plot away. That
wouldn't be fair to Ella Raines, who works
hard in the role of the loyal little secretary
and proves her case beyond a shadow of
doubt — including the fact that she's one of
the screen's important new players. Watch
her step right on up the ladder in forth-
coming films. The girl who looks so much
like Carmen Miranda is the Brazilian's
sister, Aurora. You'll like her song,
"Chick-ee-Chick."
THE PURPLE HEAR I — 20th Century-Fox
This film, produced hy Darryl Zanuck,
should go on top of every citizen's movie
list. It covers the Jap atrocities, leaving out
all the gore and hysteria. None of the value
is lost in the dignified sensible approach,
handled as a "murder" case in the civil
courts of Japan, accusing eight boys who
flew a bomber over Tokyo, with the chief of
the Black Dragon Society as judge. Though
you don't see them tortured, there is a ter-
rific emotional tug when the boys return, one
by one, from the interview with the super-
ciliously grinning General of Jap Army In-
telligence, seeking information about the
bomber's base. Of course, the case is cut-
and-dried from the very beginning, but the
deportment of our boys, as played by Dana
Andrews, Richard Conte, Farley Granger,
Kevin O'Shea, Donald Barry, Sam Levene,
Charles Russell and John Craven, will give
you great pride in their noble endurance.
PASSAGE TO MARSEILLE— Warner Bros.
This exciting adventure story about five
patriotic convicts who escape from Devil's
Island to fight for France is very deftly told
in a double flashback. Scenes in the penal
colony are as dismal as any you've seen, but
"the action becomes more lively when the
convicts, picked up by a French freighter,
overthrow a mutiny and down a German
plane. With almost the same cast as "Casa-
blanca"— Humphrey Bogart, Michele Mor-
gan, Philip Dorn, Helmut Dantine, Claude
Rains, and Sidney Greenstreet — this film does
not quite reach the same height in interest.
LADY, LET'S DANCE — Monogram
Belita's second picture parades her talent for
ballet, ballroom dancing as well as ice-skat-
ing, all of which furnishes plenty of eye-
filling entertainment worth 88 minutes of
anybody's time. She's graceful, has a fine
sense of timing and can act, too. The
film carries the usual thin thread of a story
which generally accompanies such extrava-
ganzas— a waitress-refugee falls into the lap
of opportunity which leads her to success,
while the boy who promoted her talents,
through misunderstanding, feels himself left
out, becomes a failure until — -this time he
joins the Army. James Ellison is good as
the male lead. Frick and Frack are funny.
10
SCREENLAND
CouM be they're doing —
I I A Square Dance
Q The Conga
□ A Rhumba
What is it?
^ A Sniper's Suit
I I Paratrooper's Uniform
I I A Commando Outfit
"Are you kidding?" you ask us. "Only
' a mothball wouldn't know that!" And
now, maybe you're remembering your
first Conga Line. Drums and maraccas!
Sizzling rhythm! It was out of this
world! But it's something some girls
still haven't known — because they're
out of the fun. Girls who haven't
learned how to sidestep calendar cares
— haven't discovered how confidence
follows the comfort of Kotex sanitary
napkins!
Meet the little man who isn't there!
His safety depends on concealment. So
this soldier blends with desert sands
and shrubs in his burlap Sniper's Suit.
It's an art — camouflage. Useful at home,
too. For it's sharp strategy to hide
^ your feelings at times . . . "certain"
times, especially. Then, be gay! "Dress
to kill" in your fetchingest frock! And
let Kotex help to hoodwink your pub-
lic— with those concealing, flat pressed
ends that show no outlines, tell no tales.
Is the little lady —
[~l Digging for fishing worms
I I Searching for .Treasure
HI Hoeing for Victory
Right! She's one of Uncle Sam's gar-
deners— millions who've been gleefully
munching their own home-grown vittles
all winter. They're a proud, happy
clan! And if you're an outsider — get
hep! Add your plot to the 20,000,000
Victory Gardens planted last year. For
thisyear your country needs 22,000,000,
and now's the time to start! Stay with
the job, too, come sun or cloud — or
problem days. Just remember: Kotex
stays soft while wearing!
You hear it on which radio program ?
□ Beat the Band
□ Red Skelton
□ Fibber McGee and Molly
You ought to "det a whippin' " if you
don't guess this! Yes, it's the Red
Skelton program. And for you, perhaps
the fun takes on a special glow, tonight.
Because the crowd s at your house and
the party's been swell. Games, gags,
"eats" and all. You're thankful you
didn't call things off ... on account of
the time of the month. You found
you needn't, for Kotex stays soft while
wearing . . . and that special Kotex
safety center never betrays a girl's
confidence!
Girls
in
the know choose KOTEX
Yes, more girls choose KOTEX* than all other brands of pads put together.
*T. M. Reg. U. S. Put. Off.
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STOP GUESSING! □ Check here if you're teen age and want free booklet
"As One Girl To Another." Learn do's and don'ts for difficult days.
□ Check here if you're a war worker and want free new booklet "That Day Is
Here Again." Gives facts for "problem" days.
Addreu: Pott Office Box 3434, Chicago 54, IlL
Name..
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ScREENLAND
11
□ CREAM? □ POWDER? □ LIQUID?
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Use Powder for
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a powder has no moisture-resistant
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Curb them each
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Good for headaches, too
Fans' Forum
FIRST PRIZE WINNER
$10.00
As a young girl of sixteen with two
brothers overseas, I'm getting good and tired
of the panning that most of the war pictures
get. I think they're swell and are doing a
lot of good, too. Maybe they aren't perfect
and are full of flaws as some of the soldiers
claim, but at least they show us stay-at-
homes what war is, and what our boys have
to face, and that is a good thing for many
of us.
I live several hundred miles away from
the coast. There are no camps or noticeable
war activities close by. Of course, we see
some planes and many servicemen on fur-
lough, like every other town in this country.
But we see no real war activities.
There are thousands of towns like mine.
Is it any wonder that, because of our loca-
tion, we are in danger of letting down a bit
if we aren't very careful? We need some-
thing to keep us on our toes and doing our
best to help win this war. And there isn't
anything that does this as much as many of
today's war pictures. They give us first-
hand sight of what a hell war is, even though
we know these pictures are only make-be-
lieve. I salute them for the good job they
are doing.
KAROL KAYHILL, Parkersburg, W. Va.
SECOND PRIZE WINNER
$5.00
Piled up ! That's what I call those un-
godly hairdos our stars seem to be forced to
wear. Some people call them "glamor" hair-
dos, but not me — nor thousands of others.
For a long time I wanted to see Anne
Gwynne, one of the loveliest of movie stars.
Last summer I got my wish — she and John
Garfield toured our camp — but I was very
disappointed in her. She had her hair piled
on her head and, as a result, she wasn't the
Anne Gwynne I pay to see as regularly as
one of her pictures comes to town.
Then there are lovely Susan Hayward and
Frances Langford. Susan's hair was all
piled up in "Jack London" and ruined a
marvelous picture for me. They almost let
her hair down in "The Fighting Seabees."
They almost put Frances Langford's hair
back to normal in "Career Girl." If the
movie producers would get our girls' hair
combed out so they would look natural and
sweet, we would sure enjoy our pictures
again. I don't say "piled up" hair ruins a
good screen story. It just doesn't help any.
LT. JOHN WALL, Camp Pickett, Va.
Compliments and Criticisms
Everything you have to say about
your favorite stars or movies in general
are helpful hints to the men who pro-
vide America's Number One entertain-
ment. Write your letter to Fans' Forum
now. Monthly awards for the best let-
ters published: $10.00, $5.00, and five
$1.00 prizes, all payable in War Sav-
ings Stamps. Closing date is the 25th
of the month.
Please address letters to Fans' Forum,
Scree nla nd, 205 East 42nd St., New
York 17, N. Y.
FIVE PRIZE WINNERS
$1.00 Each
It is my contention that very young chil-
dren should not be allowed to see certain
types of pictures, such as "The Glass Key,"
"Bataan," and dozens of others I could men-
tion where I have both seen and heard them
squeal in a frenzy of terror or delight.
Their nervous systems have been keyed to
such a pitch that they have visibly trembled.
The fact that many children are allowed to
stay for endless hours because their parents
neither know nor care enough to keep track
of them is a matter of gravest importance;
for the children of today are the teachers of
tomorrow, and it's a cinch you'll find more
children in the moving picture houses today
than you'll ever find in Sunday Schools.
After "Jeannie," "Seven Sweethearts,"
and such sweet little pictures (not forgetting
the picturesque symphonies of flowers and
animals so dear to children's hearts), of
which I have, seen just a few in recent years,
I have heard exclamations of pleasure and
approval all about me ; whereas other fea-
tures of the usual variety elicited signs of
restless boredom and derogatory remarks.
You well know, however, that the major-
ity of people are too indifferent to do any-
thing about it ! The answer, Mr. Producer,
is up to you and NOT to the public whose
taste can be educated to a wholesome level.
Give us pictures that are worthwhile and
actors and actresses whose private lives are
either above reproach or unknown, and you
will have performed a service to humanity
of untold magnitude. You'll also find that
12
ScREENLAND
When will the war be OVer?. • • A month after it could have been won?...
' A year longer than it should have taken?
American women must give the answer
What American woman doesn't pray with all her heart that Victory will come at the earliest possible moment?
Who wouldn't do anything to speed the day when husbands will come back to their wives . . . fathers return to
their children . . . sons to their parents? . . . Then why do so many war-time jobs remain unfilled? It must be
because some women have not understood this desperate emergency . . . The hardest part of the war
remains to be fought. The continuation of the present American war production
vital to our success. It has put a tremendous strain on our resources. The
manpower it requires, the increasing needs of our armed forces, make
imperative that more and more women go to work. Not for just a
few hours a week . . . not only in war industries . . . but in any '
essential job that you can be trained to fill ... If you don't,
this war will last longer . . . casualties will be greater . . . the number
of men returning will be fewer. Who would be willing to stanc
y and let that happen?
What you can do,..
Act! Remember that whether or not you've
ever worked before — are skilled or
untrained — makes no difference . . . Millions of
women are already doing work that is
new to them. In war plants — in the armed
services — in the hundreds of different type
jobs in essential business — they're helping
overcome this serious emergency. See the Help
Wanted advertisements in local newspapers —
visit the local office of United Slates Employment
Service or Army and Navy Recruiting Stations —
make inquiries among your friends . , . There's wort
to be done — there's a v»ar to be '.von!
The more women at warm
\M the
sooner we
11
win
PUBLISHED IN CO-OPERATION WITH THE DRUG, COSMETIC AND ALLIED INDUSTRIES BY
LAMBERT PH ARMAC AL CO., Sf. Louis, Mo., Makers of LISTERINE ANTISEPTIC
Scree x land
13
Mrs. Jack L. Warner is seen here with Gen. Henry H. Arnold and Admiral William F. Halsey at
a buffet dinner party the Warner brothers gave for Army, Navy, Civic and Industrial leaders.
your commercial returns will be even greater.
If the writers of today can't give some-
thing more substantial than we have seen in
recent years, how about turning to the
classics of other years and to the worthwhile
accomplishments of such people as Nurse
Elizabeth Kenny, George Washington Car-
ver, and those whose deeds speak for them-
selves ?
MRS. F. J. WORRALL, Brooklyn 2, N. Y.
Speaking for a good many G.I.'s, may I
register a protest against Hollywood's latest
extravaganza, "As Thousands Cheer?" As
relaxation, it's A-l entertainment with the
singing of Grayson, the acting of Kelly, the
M-G-M star parade — all definitely "on the
beam."
But the storA", psychologically false as any-
thing released this season, is a perfect exam-
ple of Hollywood's inability to understand
the soldier ! A boy who has spent his entire
life in the air is assigned a job totally for-
eign and unsuited to him ; and, unhappy and
resentful, he tells his girl about it. But does
she understand ? No ; in typical movie
fashion, she laughingly gives him something
like : "Darling, you're wonderful ! You're
such a problem !"
From there on, the film shows up how re-
bellious and misbehaved this young man is.
No attempt whatsoever is made to find out
why he acts as he does, to see things from
his angle. Then, as a topper, the scripters
drag in a nice, gushy sermon on "team-
work!" But obviously, this being cinema-
land, our hero comes to his senses and re-
forms, just in time to clasp the girl to his
bosom for the finale. Phooey !
Does Hollywood think that the only prob-
lem the soldier has to worry about is Boy
meets Girl ? I'm certainly not countenancing
insubordination and rebellion for the boy in
the picture, or for any other soldier. But it
would be nice if movieland were to turn out
just one film dealing with the average, every-
day problems which we have all had to face
since entering the service.
PVT. DAVID R. MOSS,
Fairmont Army Air Base, Geneva, Neb.
Why must many actors and actresses prove
their merit on Broadway before Hollywood
notices them? Take, for example, Mary
Martin, who sang unnoticed in a Hollywood
night club, but as soon as she appeared in a
Broadway musical Hollywood snapped her
up. A period followed when she was not
given the superior roles which she surely
deserves, so Mary had to leave for New
York again. The fact that all New York is
paying homage to her "One Touch of
Venus" speaks for itself.
Tallulah Bankhead, Mary Anderson and
William Bendix, all in the current "Life-
boat," were either discovered or rediscov-
ered by Hollywood after appearing in suc-
cessful Broadway productions. Among
others discovered in ^he same way are Gene
Kelly, Van Johnson, Dorothy McGuire and
Jack Haley. Come on, Hollywood, wake up !
FRED REESE WAGNER, Jr.,
Haddonfield, N. J.
I resented greatly the recent statement by
Frank Sinatra in a newspaper regarding
high class music or opera. Can anyone say
that this "high brow stuff" is responsible
for the increase in crime? The majority of
juvenile offenders are composed of "swing
addicts," if not Sinatra admirers. For in-
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14
SCREENLAND
stance, did you ever hear a delinquent young-
ster say he was solid for Nelson Eddy? Or
even Lawrence Tibbett? Definitely not!
Yet "The Voice" took up quick defense in
behalf of his crazed fans, then attacked
opera and its many popular artists. Opera
will continue to live long after "swing" has
passed away.
J. BARR, Newark 3, N. J.
Many people have criticized us girls who
scream and swoon whenever Sinatra sings,
and have termed us crazy sixteen year old
kids who will soon get over it when our
boys come home. I was listening to a very
humorous story a few weeks ago on one of
the news broadcasts. The story was also in
our city paper. It took place in Africa in an
auditorium where soldiers and WACs had
come to listen to a few recordings, and some
of Sinatra's were among them. And those
same WACs, the girls who are with our
boys now and who are all twenty or over,
were screaming and nearly swooning.
Naturally the soldiers didn't like it, nor do
boys anywhere, for that matter. But neither
do we girls like it when they whistle at
Betty Grable and get goo-goo eyes at the
mention of her name. They react the same
to all the glamor gals and I bet it's been
going on since Adam and Eve. It's strange
no one has' ever said anything or complained
about the boys and I see no reason why they
should complain about us. At least we have
never gone to such extremes as throwing
pennies at any glamor gal who appeared on
the stage, as a few boys did to Sinatra, and
when asked backstage to his dressing room
to settle the dispute, didn't show up. I won-
der why ! I can't see any difference between
us girls screaming and swooning over
Sinatra and boys practically everywhere
whistling and sighing over Grable. Can you ?
ALICE CHIMINIELLO, Quincy, Mass.
HONORABLE MENTION
The average movie affects me like a dou-
ble chocolate fudge marshmallow nut sun-
dae binge— the paper doll hero and heroine
are just too, too sweet and too excruci-
atingly ethical and noble. Or else, on the
other hand, it is all so outdoorsy and horsy
that it leaves me cold. But a few years ago
I saw Fredric March in "Death Takes A
Holiday" and I thrilled to his grand per-
formance. Since then I have never missed
one of his pictures. Why can't we have
more like "Death Takes A Holiday?"
STELLA PETERSON, Minneapolis, Minn. ,
MM
Lt. Commander Douglas Fairbanks, Jr., U.S.
N.R., recently received Silver Star for out-
standing service, at Stork Club with his wife.
•••Just how do you land
a Marine?"
Janet: Listen, blonde and beautiful, I've
got my eye on a Marine that I could go
for . . . but he acts as if I didn't exist! I
wish I knew how to nab him, Elsie.
Elsie: Use strategy, Janet! Leathernecks
might halt for a pretty face— but they go
"all out" for charm! You could have charm
galore— but—
Janet: But underarm odor! Why, Elsie, I
bathe every day!
Blsie: A daily bath only removes past per-
spiration. After every bath, I use Mum.
Janet: Tonight's a special date with my
Marine— so. thank goodness I learned
about Mum. Now after my bath, I've
Mum to protect future charm.
;f MUM\
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SCREENLAND
15
IN HER new picture, Warner Broth-
ers' "Rhapsody in Blue," Julie Bishop
has a springlike freshness because, as
you can see, from top to toe she is al-
ways immaculate. Like all movie stars,
she must never, never be accused of one
sloppy little habit which might ruin her
charm!
If you would be so lovely, complete
cleanliness is your beauty duty, too. Re-
member that even though you have the
most beautiful face in the world, you
can't be really attractive if you're guilty
of a single sin against good grooming.
Now, with spring in the air, it's a good
time to check on your all-over freshness.
For your . private checking, we are
asking you some very intimate questions.
Be honest. And, if you come across any
little fault — which you have foolishly
hoped nobody noticed! — do something
about it.
Are your eyes always bright and clear?
It's surprising how many girls' eyes aren't!
They allow grime and dust to gather in
the corners. They let wind and sun act
as irritants. They put makeup on un-
clean eyes. For all these beauty errors,
the use of an eyewash is both corrective
and refreshing. Wash out your eyes with
an eyecup full of eye cleansing prepara-
tion every morning just before you dash
that final cold rinse to your face scrub-
bing. Do this before your evening date,
too, particularly if you have been exposed
to dust and wind. There are many good
eyewashes — and most recommend their
daily use in the care of your optics.
When you are tired, and your eyes
show it, place cooling cotton pads soaked
in eye lotion, or witch-hazel, on your
closed eyes as you relax for ten minutes.
You'll be amazed at how starry eyed
this simple treatment will make you!
Are your teeth always spotless and
shining? We hope so — because no matter
how brilliant your smile, the slightest
{Please turn to page 80)
16
SCREKNLAND
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Only Drene with Hair Conditioner
reveals up to 33% more lustre
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to arrange, so alluringly smooth!
A bright spot on the horizon to a man far
away is the memory of his girl s lovely
hair . . . gleaming in the sun or in the
pale moonlight.
So don't dull the shining beauty of
your hair by using soap or soap
shampoos!
Instead, use Drene Shampoo with
Hair Conditioner! See the dramatic
difference after your first shampoo . . .
how gloriously it reveals all the
lovely, sparkling highlights, all the
natural color brilliance of your hair!
See, too, how the wonderful hair
■conditioner now in this new, improved
Drene leaves hair far silkier, smoother
and easier to handle . . . right
after shampooing.
Easier to comb into smooth, shining
neatness! If you haven't tried
Drene lately, you'll be amazed!
So for more alluring hair, insist on
Drene with Hair Conditioner. Or
ask your beauty shop to use it.
And remember . . . Drene gets rid of all
flaky dandruff the very first time you use it.
Drene Sh
wi
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ampoo
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Soap film dulls lustre— robs
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Avoid this beauty handicap. Switch to
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SCREENLAND
17
JOEL
MAUREEN
LINDA
McCREA • O'HARA • DARNELL
with Thomas Mitchell • Edgar Buchanan • Anthony Quinn
Directed by WILLIAM A. WELLMAN • Produced by
HARRY A. SHERMAN • Screen Play by AEneas MacKenzie, Clements Ripley and Cecile Kramer
DARRYL F. ZANUCK'S PRODUCTION OF
Directed by LEWIS MILESTONE
with
DANA ANDREWS • RICHARD CONTE • FARLEY GRANGER • KEVIN
O'SHEA • DONALD BARRY • TRUDY MARSHALL • SAM LEVENE
Written for the Screen by Jerome Cady Technical Adviser Otto Tolischus
and the
Guest Stars
CARMEN MIRANDA
WATCH FOR
Featuring
Kay Francis • Carole Landis • Martha Raye
Mitzi Mayfair with Jimmy Dorsey and His orchestra
John Harvey • Phil Silvers • DICK HAYMES
ALICE FAYE • BETTY GRABLE
CENTURY-FO
18
SCREENLAND
AN OPEN LETTER TO GARY COOPER
YOO-HOO, Skinnay!
. Look who's back with a brand new personality!
Before you left on your tour to entertain the boys in
those far-off places, it seemed to me you were getting to
be a Gloomy Gus — sort of solemn and spiritless, in spite
of your fine performances ; sleep-walking your way toward
movie immortality but not very happy about it.
Three good scouts: Bob Hope, Lamour,
Cooper. Below, Gary's
first dance with Mrs.
Cooper after his return
'from South Seas tour.
Now it's all different. Just gaze at that grin in picture
at top of page. No self-consciousness there, no standing
upon stellar dignity. Sure, it's all for sweet charity's sake,
but it's a pleasure, too, not just a lazy gesture. Perhaps
singing "Pistol Packin' Mama" to a few thousand soldiers
— daring 'em to laugh with you, and not at you ; clowning
with your fellow-troupers Una Merkel and Phyllis Brooks
(Phyllis would cheer up anybody) ; remembering messages
to deliver to the boys' families and sweethearts back home
— perhaps all these things have helped to bring you closer
to people, to make you understand the rest of the world a
little better. We may expect you to get
up and render "Mairzy Doats" any day
now, and make us like it.
Photos by Gene Lester
£ A
This is a love
story! The love
story of a teau-
tiful woman who
was rich, famous
— and lonely; of
a handsome man,
clever, sophisti-
cated— and com-
pletely disil-
lusioned. This
18 the true love
story of Hedy
and John, told
for the first
time here.
3
Photos by
Jack Woods, Warner Bros.
Those happy Loders! Exclusive photos
show Hedy Latnarr and her husband
as they start off their second year of
successful marriage. Top right, with
Bette Davis, who according to Hedy
is the one actress who has lived up to
her expectations, both on and off the
screen. M-G-M's beautiful star was
recently seen in "The Heavenly Body."
John Loder's new film for Warner
Brothers is "Passage to Marseille."
20
RECENTLY they celebrated their first year of marriage.
No bride-over-the-threshold stuff. No enchanted cot-
tage. No moonbeams for breakfast. But charming,
romantic, and idealistic for all of that.
Today, for the very first time in their colorful lives, Hedy
Lamarr and John Loder have found true love. One ingratiat-
ing year of companionship, deepening friendship, adjusting
values, has given them a togetherness that neither has known
before. Their happiness is mute evidence.
Fate brought them together on Christmas day in 1942.
Both were alone. Lonely. Both went to the Hollywood
Canteen. They have seen each other every single day since.
Briefly they had met, once before, in Paris. Strangely
enough, their respective homes were less than a block apart.
Their paths never crossed. They feel they were drawn together
on that Christmas day because they were meant to meet.
That opposites attract, there can be no question. They
were serious right from the start. John a Capricorn, steady
and plodding. Hedy a Scorpio, tempestuous as a rocket on
the 4th of July. They needed each other's resources.
"Everything was so unexpected," John will tell you. "Hedy
was so energetic. Her sense of (Please turn to page 77)
By Alyce Ccmfield
DID YOU ever see a dream walking?
Well, Van Johnson did. To be more
specific, he saw eight of them. To-
gether, they all form a picture in his
mind of the woman he wants to marry
— his "Dream-Up Girl." Which reminds
us that the girl of Van Johnson's dreams
is something a lot of little gals are inter-
ested in these days.
F'r instance! The other night at a
sneak preview of "Two Sisters And A
Sailor" the slick chicks sighed audibly
and seemed to be swooning dead away
when Van appeared on the screen. So
there, too, Frank Sinatra!
But the bobbie socks brigade had bet-
ter get their licks in, but quick, on ac-
count of — before they can say "Van
Johnson!" — that selfsame young man
will have' his mind all made up in favor
of the tempting thirties and the fascinat-
e/ease turn to page til )
Presenting the Spring
crop of cuties — several
may be stars some day
I : HAZEL BROOKS. Green-
eyed; Africa-born; former
New York model; now
in M-G-M's "Two Sisters
And A Sailor" and "Co-Ed."
2: UNA ROMAY. Band
maestro Xavier Cugat's fea-
tured vocalist. You saw her
in "Stage Door Can-
teen" — and you whistled.
3: MARY GANLY. Blonde
beauty from Brooklyn.
Daughter of a steamfitter,
she. started her career as a
dancer. Signed by M-G-M.
4: LUCILLE BREMER. Red-
head from Amsterdam,
N. Y. Danced with the
Rockettes, and in night
clubs. You'll see her in
"Meet Me In St. Louis."
5: NATALIE DRAPER.
Green-eyed blonde from
Beverly Hills. Photogra-
phers' model and manne-.
quin before signing up
for pictures with Metro.
out
26
Our exclusive story is the first — and
only — interview given by Ida Lupino
about Captain Louis Hayward. Above,
the Haywards in more carefree days.
Right, closeup of the Warner Bros,
star in an emotional moment from
her new picture, "In Our Time."
1AST WEEK some two to three
i thousand U. S. Marines, most of
them now dead or wounded, gave
the nation a name to stand beside the
Concord Bridge, the Bonhomme Richard,
the Alamo, Little Big Horn and Belleau
Wood. The name was Tarawa." TIME,
December 6, 1943.
That week I joined company with the
women behind those men. I knew the
suspense that each of those women felt,
for even if they weren't sure that their
men were at that location, they knew
they were in the South Pacific, some-
where. And every woman who knows
her man is in the South Pacific, whether
he is son, husband, or sweetheart, holds
her breath as the news comes through
on each engagement.
I was extremely fortunate. The sus-
pense I had to overcome was mercifully
relieved because the newspapers soon
carried the story of the Tarawa meeting
of two Hollywood stars: my husband,
Captain Louis Hayward, and Lieutenant
(j.g.) Eddie Albert. Thus, I knew he
was safe — for the moment. The news-
paper reports indicated that Louis had
given a splendid account of himself in
those 72 hours — and I knew the pride
which thousands of women are knowing
today when the stirring accounts about
their fighting men are put in black and
white. My own pride was muted by the
thought of the women whose men were
not coming back — those men who had
given magnificent accounts of themselves
to the "last full measure." My compas-
sion for them made me humble. I could
not put the thought of their sacrifice
from my mind. "There, but for the grace
of God "
For the first time, knowing of his
safety, I could wait patiently for word
from Louis. Ten days later I received a
letter from him — the first I'd had in ages.
He wrote in part:
"I wish you could have seen our men
going into action. I can't write about it
as my powers of expression are definitely
limited. I am amazed by the personal
courage and great gallantry of them.
Without asking a damned thing in the
way of the slightest credit they went
ahead and did stupendous, unbelievable
things. Sometime I will try and talk
about it, but my heart is too full at the
moment. . . . By some strange miracle of
God I was not touched except for a bullet
across my helmet and a slight burn from
a bomb fragment. It just scraped my
nose . . . ."
I settled down to the expectancy of
days, or weeks, or even months of silence
— waiting. But it was only three days
later, in the afternoon of a day the week
before Christmas, that the phone rang.
It was Louis! He was at the airport! In
retrospect, it seems as though I literally
leaped from the (Please turn to page 74 )
1
28
George gets even, above, for
all the teasing he took from
Gloria De Haven, who played
his kid sister in "Broadway
Rhythm." It's a treatment,
George admits, that he
should use, but doesn't, on his
small fry, Dennis Michael, 5.
By
Maude
Cheatham
FRIENDSHIP, real friendship, doesn't
come too often in anyone's life. It's
a rare experience, and it often blooms
at the most unexpected moment.
One of the outstanding friendships of
which Hollywood is justly proud is that
which exists between dance-happy George
Murphy and Carroll Tracy — Spencer's
handsome brother, who is also his man-
"It began the first day we met," ex-
plained Carroll in answer to my ques-
tion. "It was about ten years ago when
George, who had been dancing in Broad-
way's 'Roberta' and other musicals, was
brought out to Hollywood by Samuel
Goldwyn to appear with Eddie Cantor in
his movie version of 'Kid Millions.'
"One morning, arriving at the Lake-
side Country Club for our regular golf
game, I found that Adolphe Menjou and
the late Joe Penner had brought along a
new chap by the name of George Mur-
phy, and were waiting for me to tee off.
Somehow in the shuffle George and I
were teamed against the other two and
we started off in a gay humor. He proved
a good, steady player, as well as a lot of
fun, and I liked him at once. Guess it
was mutual, for before we left that day
George and I planned another game to-
gether. That's how it began — we've just
gone on from there.
"It isn't often one finds a thoroughly
congenial companion, and we are con-
genial in every way," continued Carroll.
"We talk a great deal when we're to-
gether but there are no arguments be-
cause we usually see eye to eye on every
subject. If we don't, we skip it. But we
'settle' the world's important issues,
plunge into war strategies, discuss life,
philosophy, and the ups and downs of
careers. At times, we surprise ourselves
with real eloquence. George is responsive
and enthusiastic and gives a great deal
to his friends. He doesn't look for faults,
but gives everyone the breaks.
"He's politically minded right now, and
his -grasp of foreign affairs is amazing.
Too, he has a solid knowledge of the
home front problems. He was born on
July Fourth and his feeling for the Stars
and Stripes is far deeper than mere senti-
ment.
"I'm 'Uncle Carroll' to five-year-old
Dennis Michael Murphy. He's a fine lad.
Now, there's the new baby, Melissa, but
we haven't progressed far in our palship,
as she was only born in September. But
I know I'll be proud of her in a few years
for she's bound to be a little beauty.
"Sure, George and I see each other
often," said Carroll. "When he's working
here at the Metro-Goldwyn-Mayer stu-
dio, where he's been under contract for
more than seven years, we have luncheon
together every day. Usually in his dress-
ing room, which is dubbed '21 Canal
Street' because there's always a bunch of
fellows dropping in.
"Along with Bill Grady and Trem Carr
we have a gin rummy club that meets
(Please turn to page H%)
Versatile George Murphy contributes songs,
dances, comedy, a nd romantic interestto "Broad-
way Rhythm," co-starring with Sinny Simms
JUDY GARLAND, APPEARING IN "MEET ME IN ST. LOUIS'
A METRO-GOLDWYN-MAYER PICTURE
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29
WHAT
NEXT
FOR
ALAN
■
LADD
By Liza
Paramount's fair-haired boy is really living the title of his new picture, "And Now Tomorrow.
30
IT HAD been almost a year since I had talked to Alan
Ladd. I'll never forget that year ago interview. In a few
months' time Alan's fan mail had zoomed to 12,000 let-
ters a week, which definitely established him as the top star
on the Paramount lot. Not in salary, but in popularity. I
was all set to do one of those boy-makes-good glamor stories
about Alan, and spread it on thick about his swimming
pool, his wardrobe full of suits, and his snappy high-powered
car (none of which he had, or has) . We met in a booth at
Lucey's, across from the studio, and when I could drag my
eyes away from Alan I noticed that Sue Carol — former movie
star and now Mrs. Ladd, as everybody knows — was looking
rather in the dumps. Alan had just come from the "China"
set, and looked mussed, but happy.
When I described my story ideas to Alan, he smiled, and
said, "I don't think we can get very far with that. You see,
I enlisted today. I report to Fort MacArthur for induction
in a couple of weeks." There went my story right out of
Lucey's best casement window. I joined Sue in a quiet
little cry.
Well, here it was a year later, and the three of us were
again gathering around a table at Lucey's. Stricken by a
chronic stomach complaint several months before, Alan had
received an honorable medical discharge from the Army Air
Corps. And he was now back at the studio co-starring with
Loretta Young in the screen version of Rachel Field's "And
Now Tomorrow." With the Ladds, I thought, everything
must be as rosy as a Pasadena float on New Year's Day.
So I launched into my story ideas again, the joys of civilian
life, etc., but noticed that no one seemed particularly en-
thused. "Well," said Alan with his quiet smile, as soon as
he could get a word in edgewise, "I don't think we can get
very far with that. You see, I've been notified by my draft
board that I must report for another physical examination
tomorrow. I may be back in the Army in a few weeks."
That's where we left off before. I seemed to be in a rut.
So what's next with Alan Ladd, at this sitting, is just
about as clear as a problem in calculus. Maybe one of these
fine mornings he'll receive his "Greetings" in the mail, and
have to report at Fort MacArthur again for his induction.
Maybe (and this you and I will like) he will continue to
make pictures that hit the jackpot at the box office. Maybe
in a few weeks' time he will be overseas putting on a show
for the boys as near the front as the U.S.O. will allow. A
month ago, long before he was told to report to his draft
board again, Alan and Sue volunteered to go overseas to
entertain the men in uniform. They have worked up an
"act" for both of them, after which Alan, who has a re-
markably fine voice, will give out with popular songs. After
talking to Gary Cooper, who recently returned from a tour
of the South Pacific bases with Una Merkel and Phyllis
Brooks, Alan was more determined to go out to the jungles
than ever. And he's going, too, unless, of course, Uncle Sam
wants him for a retake. "It's up to the Army to decide,"
says Alan, "whatever they want me to do is all right with
me."
Since Alan received his honorable discharge — he was at the
Santa Barbara Air Base Hospital when he received it — he
has been a very restless guy. "When I was so dead tired I
couldn't lift my foot after endless hours of drilling in the
rain," said Alan, "I used to dream of my home in Hollywood,
and think how nice it would be to stretch out in front of a
fire in the living room, with nothing more serious to worry
about than whether dinner would be at seven or seven-
thirty." But strangely enough, when Alan came home he
didn't stretch out contentedly in front of the fire, he just
sort of wandered around like a lost soul. "So I suggested
we go to Palm Springs," said Sue. "Palm Springs has always
been Alan's favorite spot in the world, and I knew it would
be a wonderful place to recuperate and get his health back.
I packed our things and prepared for a two weeks' visit
there. We stayed four days! And most of those four days
Alan was over at the El Mirador Hotel, which has been
turned into a hospital now, helping Kay Kyser put on shows
for the boys who have been brought back from battlefronts
overseas."
Back at home again, Alan was as restless as ever. Despite
the fact that Sue gave him a (Please turn to page So )
Yes, Alan is back in pictures, and everybody at Paramount is cele-
brating his return. Below, cute wife Sue Carol visits the set to wisF
Alan luck on his first day back at work; electrician Buddy Nuhn helps
the star to a cup of coffee; sound engineer Earl Layman lets Alan
listen in. At right, reading up: getting a gander through the lens by
special permission of Daniel Fapp, director of photography on "And
Now Tomorrow," and "Buzz" Boggs, camera operator; gin rummy
between scenes with co-star Loretta Young while director Irving Pichel
kibitzes; and autographing for visiting servicemen. Exclusive photos
are first to show the big part studio technicians play in a star's day.
1
GAIL RUSSELL. Poromount's brilliant new starlet, featured in "The
Uninvited," also plays leading role in "Our Hearts Were Young and Gay."
GLORIA DE HAVEN, whose singing and dancing score in M-G-M's
"Two Sisters and a Sailor," with Jimmy Durante and Von Johnson.
LON MCALLISTER. Final film for duration, "Home In Indiana," for 20th
Century-Fox. He's 1-A in the Army, as well as in movie fans' hearts.
SONNY TUFTS. Next seen with Paulette Goddard in Paramount's
comedy, "I Love A Soldier," about a corporal end a. girl welder.
r
A picture that's dramatic, that's different, Is United
Artists' "Voice In The Wind." It b rings back to the
screen Francis Lederer, a fine and sensitive actor, in a
compelling role; it presents a tense and timely theme,
imaginatively directed by Arthur Ripley (remember that
name; you'll be hearing it often); and most of a
it makes magnificent use of music, with an inspired
•core by Michel Michelet — another name to remember.
Scenes show Lederer in role of a Czech pianist whose
persecution by the Nazis unhinges his mind. He makes
his way to the isle of Guadalupe, a haven from which
refugees try to get passage to the United States. Here,
known as El Hombre, he finds an outlet for his musical
genius at the piano of a waterfront saloon. "Voice In
The Wind" is played in a highly tragic key with Sigrid
Gurie as the girl who is reunited with her lover in death.
33
By Gladys Hall
10RETTA was indignant. Loretta was furious. Boiling.
j Mad as a hornet. Embattled.
Driving from her home to the studio that morning,
Loretta had been stopped in traffic near a newsstand and had
noticed a coverline blurbed on a current magazine. It went,
she said, something like "Why Don't American Women Go
To War?" Loretta's rage, inflamed by this heretical idea and
focussed upon refuting it, was rare and red.
"I challenge the statement that American women haven't
gone to war," she said, and vehemently, pacing the pine-
panelled length of her dressing-room where we were lunching,
the chiffon pennants of her gown like white flames swirling
as she walked. "Look at the nurses — a woman like Nurse
Galloway, as a notable example, who is used to establishing
hospitals, in China, in Africa, anywhere, everywhere, and no
sooner completes one tremendous job than she is taken away
to begin another. Other nurses, thousands of them, inex-
haustible, indomitable women, all of them, often working
forty-eight hours through, without food, without sleep, under
fire — and taking it.
"Look at the women of the Red Cross units, the girls driv-
ing ambulances, the girls dealing out coffee and doughnuts to
the men at the fronts.
"Think of the WAVES, the WACS, the SPARS, and the
women Marines.
"Consider the women working in the various Canteens, just
about every woman I know. I've seen Claudette Colbert,
Paulette Goddard, Irene Dunne and dozens of others, often
on their feet whole nights through.
"What about the women who give their blood — many of
them women who already have (Please turn to page 86)
HOLLYWOOD WOMEN
Have Gone to War
A old revere
A« Americans, young «nTwa;n'{or his
5,. memory of M£ A<Jventures Of
immortal books. yeberry fnnm
Tom Sawyer. " M K,„g Ar
ik..r's Court. 1uST T" kioW his re-
Jws f.vor.J works Now ^
liable We film starring
Fredric March « , j w,te. »*
S«U Smith «? h.s devotee ^
Twain's through UpP*
sippi river boat days VlC1ty, to
manage and tranqurf * Je ee
the high honor of M ^ ,
in literature, alway confident
helpmate- At r.g" „ the
the closmg *«"es bUshed under
»art book *° «e-iust before the
W, famous "'"T^eys Comet.
re-appee'»nce
EVEN his birth was spectacular, coming as it did at just
that moment Halley's Comet flamed in the sky. It was
the only thing that made the little town of Hannibal,
Missouri, take notice of the new arrival at all, since babies
were no novelty in Judge Clemens' household. But that comet
that came only once in every seventy-five years made it
something to be remembered.
"It come out jus' de very minute dis chile was born," the
old Negro woman who was attending Mrs. Clemens said in
an awed whisper. "Like as if it brung him, fum some 'eres
clean outen de worl'."
Judge Clemens smiled as he lifted his youngest son and
carried him to the window. "Well, sir, if this isn't a night,"
he said. "I suppose people all over the country are looking
at that comet tonight. And not one soul of them all has
ever heard of little Samuel Langhorne Clemens."
There were few, just those few who were close to him,
who were ever going to hear of Samuel Clemens. But the
whole world was going to hear of Mark- Twain, that name
he took for himself years later when he began writing. And
yet there was not one of the hundred odd people who made
up the little township of Hannibal who looked upon him
as any different from the other children there, except for
those tales he was always telling with only that gleam in his
The life story of a
great American, por-
trayed for the screen
by Fredric March. A
Warner Bros, mas-
terpiece of motion
picture biography
Fictionized by
Elizabeth B. Petersen
Complete east and credits of Warner Bros.'
"The Adventures Of Mark Twain"
on Page 69
eyes to show that he was making them up even as he was
telling them. There were some who said young Sam wouldn't
know the truth if it came up and smacked him in the face.
Life was easier then, back in the first half of the nine-
teenth century, and it unfolded gently in that tiny town.
There were so many things for a boy to do, 'possum hunts
and fishing and playing pirates with his closest friends whose
names have been forgotten now, but who will live as long as
Mark Twain lives, under the names he gave them — Tom
Sawyer and Huckleberry Finn.
The Mississippi was more important than the seven seas
and the boats that plowed up and down its long waters
seemed bigger even than the ships he'd heard of that crossed
the Atlantic all the way to Europe. So it wasn't any wonder
that when the boy grew up he left his older brother's print
shop to seek new adventures piloting one of the river boats.
"The Queen Of Dixie," the boat was called, and young
Sam was very proud of her. It was all the world he wanted,
up and down that river, and he knew every inch of it, every
shoal, every hidden reef, every bend in its broad stream.
And the river words were the most beautiful he had ever
heard, and the most beautiful of them all was mark twain,
the call that meant safe water, after nights of storm and fog.
The river was his world, the only world he wanted. Let the
others listen to the far-off sounds of the west, of California
and Carson City and the Sante Fe trail, of gold and silver —
the river was enough for him. When Steve Gillis, a passen-
ger who had just come from the west, showed him the rock
sample he'd brought along and tried to interest Sam in going
back with him, Sam only laughed. (Please turn to page 68)
37
By
Liza
Bill Eythe
(pronounced
like ice- with-a-
lispl is not only
o hit as an ac-
tor in "The Eve
Of St. Mark,"
he's already
one of Holly-
wood's favor-
ite people.
You'll see why
when you read
this colorful
story of him
THAT peculiar thump-thump noise you hear out on Pico
and Olympic Boulevards isn't a secret weapon. It isn't
Betty Button, either. It's the executives at the Twentieth
Century-Fox studios slapping each other on the back. They're
pleased as punch, a good punch laced with vintage cham-
pagne, because they have William Eythe on a long-term con-
tract. And for that they have Ruth Chatterton and Mrs. Carl
S. Eythe to thank. Those two ladies, both possessing a grand
sense of humor, made an actor out of William.
In the summer of 1941 Bill was sort of floundering around
on the East Coast. He was fresh out of Carnegie Tech and
he wasn't sure whether he wanted to be an actor or a writer,
or just skip the preliminaries and be a producer. You need
funds to be a producer, and Bill was also fresh out of funds.
Someone told him that Ruth Chatterton was looking for a
juvenile for "Caprice," which play she was taking on a tour
of Canada. Bill, who had played what actors laughingly call
the Borscht Circuit (small resorts where audiences aren't
critical so long as the actors dance with them later) , managed
to wangle an interview with Miss Chatterton. He had great
admiration for her as an actress — she was a professional and
"belonged" — and when she entered the room he was scared to
death. The pimple on his nose popped out, and he almost lost
his voice. Completely awed by meeting so famous an actress
he stumbled awkwardly through the interview. It was quickly
over. The atmosphere was decidedly nippy. Miss Chatterton
gave him a cold dismissal smile, and Bill, grabbing his hat
and upsetting an ashtray, beamed sickly at her and stam-
mered, "Goodbye, Miss Chatterton. I've been delightful."
Ruth Chatterton fairly choked (Please turn to -page 63)
THE MERRY
By MARY LIVINGSTONE BENNY
Curly
GRANT
and Company
In Columbia's new comedy fantasy, Cary Grant plays the
promoter of a dancing caterpillar (we said it was fan-
tastic!) while Janet Blair is seen as a chorus girl. Young
Ted Donaldson, shown with co-stars at top right, has im-
portant role. He plays the "discoverer" of talented worm.
Charles the elegant, the debonair,
plays the meanest man of
the year in M-G-M's
Eddie Bracken, making with the mugging, with
15-year-old Diana Lynn his victim, gives a hor-
rible example of acting at its worst. His pupil,
not lacking in composure, seems unimpressed.
Kids are appearing in
Preston Sturges' "Mira-
cle of Morgan's Creek."
Eddie
Bracken
seizes the
opportunity
to instruct
newcomer
Diana Lynn
in the art of
dramatic
acting. As a
coach, Eddie
makes a very
good comic
Tfatf up the (Su/tfcrito. . .
ON THE CAVALCADE OF SHOWS AND SHOW-FOLKS!
/
Meet the fascinating folks who MADE
Broadway . . . backstage! Share their
laughs and heartaches as they sing,
dance, love and clown their way from
Burlesque to Big Time!
starring
EDDIE CANTOR
GEORGE MURPHY
JOAN DAVIS
NANCY KELLY
CONSTANCE MOORE
with Don Douglas
Directed by Edwin L. Marin
sj Exclusive photos
by Roman Freulich,
Universal Pictures.
4-4 f ||'
NEW
HOMESPUN
HERO
Heir of a famous acting clan, Noah
Beery, Jr., I comes into his own
By May Mann
Son of Noah, Sr., and
nephew of Wally, young
"Pidge" Beery is doing all
righf these days! Above,
lounging against the adobe
wall of the San Fernando
Valley house he helped
build. Left, from the Beery
family album, Noah, Jr., at
ten. Below, with his father.
IN PHYSIQUE, contour of head and profile, Noah "Pidge"
Beery, Jr., little resembles a sweater lad or a glamor boy.
Yet he deftly walked off with the one girl in "Gung Ho!"
(Grace McDonald) and left such seasoned heroes as Randy
Scott and Alan Curtis empty-armed.
If you think Frankie Sinatra has a corner on this year's stut-
ter-and-stammer sisters, consider Pidge. He's in. You can hear
fluttering signs from the swooning aggregation when he appears
on the screen.
It isn't that he's handsome, but his inimitable homespun
manner, that asserts sincerity of purpose rather than Commando
tactics, makes you glad he gets the girl. He was so swell, such
a nice guy through the picture, he'd never double-cross anyone.
Honesty shines on his face. He's so unlike
a Hollywood actor that he seems like the
boy next door.
"I hardly thought I was good looking
enough to be a leading man," Pidge said
over lunch at Universal. "I was always
just the brother of the hero or the heroine,
or I was teamed with a horse or a dog
That was easy compared with what I had
to do the other day," he chuckled.
Innately shy, Pidge swallowed before
proceeding. "For the final closeup in
'Gung Ho!' I have to kiss Grace Mc-
Donald in front of workers at an aircraft
plant. It was noon, and everyone gathered
below to watch. Everytime I kissed Grace,
Exclusive photos of the young Beerys at
home, above and right, present their pretty
daughter, nicknamed Muffet. Above center,
Noah Beery, Jr., in a scene from "Weekend
Pass," in which he co-stars with Martha
O'Driscoll, shown with him at far right.
2,000 people applauded! I had to do the
kissing scene over four times. Beads of
perspiration broke out on my forehead and
melted right down on Miss McDonald's
makeup. Whew — what a spot!"
The week before, Maxine (Mrs. Pidge
Beery) was telling about the scene. "I
looked at Pidge's script, and read: The boy
grabs the girl and bends her back a la Gable.
'Say,' I said, 'this sounds like SOME scene!
Come, let's see you do it. Practice on me!'
Well, you know how bashful Pidge is. He
took the script and put it away and said,
'Did that load of hay come up today for the
horses?' "
There was a time when the third Beery
on the screen was cited as the future succes-
sor of his father, Noah, Sr., or his Uncle
Wally. But Pidge has diverged from the
course set by the other sons of famous stars.
He hasn't followed in the parental pattern
like Douglas Fairbanks, Jr., who essayed the
adventuresome roles of Doug, Sr.; nor Lon
Chaney, Jr., who perpetrates characteriza-
tions not unlike his father, the late Lon
Chaney; nor Tyrone Power, who plays ro-
mantic leads like Ty, Sr. Pidge stands on
his own two feet. WTien you see him in,
"Weekend Pass" with Martha O'Driscoll,
you'll see an average young American, play-
ing himself.
Movie stardom fits Pidge with the non-
chalance and comfort of an old coat. Per-
haps it is because he was born into show
business. He was touring one-night stands
with his parents when he was but a few
months old. His dad had been a chorus boy
on Broadway and had obtained a job for
his younger brother, Wally, at $25 a week
singing and hoofing. • Show business was
great to these sons of a Kansas City police-
man. And when Pidge came along, they
said, "Hell carry on some day."
He was nicknamed Pidge by Josephine
Cohan, sister of George M. Cohan, "He
looks like a pert little brown-eyed pidgeon,"
she said as she (Please turn to page H^)
"See Here, Private Hargrove" — your
best girl, Donna Reed, is ready for the
new season with gay, colorful clothes
The first Spring flowers bloom on a beautifully simple black crepe
dress worn by Donna, at left. Note the ve_ry new, very short dolman
sleeves. Miss Reed's hat is a huge cartwheel of black Summer felt.
Above, heavenly blue crepe dress with clusters 'of field flowers
in pastel colors. Gowns by Jean Carol. Hats by John-Frederics.
Salute to Si
This Spring's version of the short dinner dress is the printed one,
topped by a sheer marquisette yoke with the new cap sleeves —
worn above by Donna Reed. The print is sheer black crepe strewn
with yellow pompons. The fold on the bodice, where it joins the
yoke, is finished with a soft bow, matching the bow on the belt.
Though the short dinner dress vogue is sweeping the country, the
lfin\) gown will be favored by many smart women, especially for
entertaining at home. This gay, summery one above is of white
rayon jersey, printed with red poppies. Modeled by Donna
Reed, heroine in M-G-M's "See Here, Private Hargrove."
HERE'S
jD OMANTIC camouflage by Deanna
*- Durbin has the neatest gossips up a
tree. When she and Vaughan Paul split
up, chatterers said the reason was tall,
lean and handsome; perfect for the role
only he had a wife.
Then Deanna showed marked prefer-
ence for her producer, Felix Jackson.
Gossips swore the Jacksons were divorc-
ing. So Deanna began to be conspicu-
ously affectionate with Dean Harens,
who will appear in her next picture.
Left, Joan Leslie and Bob Hope rehearse for
"Command Performance" air show; Frank
Sinatra and Dorothy Lamour at Lakeside Golf
Club's Fourth War Bond Rally. Bing Crosby,
circle, is seen in a tense play at Lakeside's Rally.
Maybe she took a leaf from Bette
Davis' book. Remember the time gos-
sips rumored romance for Bette when-
ever she appeared with a new man when
her husband was out of town? Bette
ended it by appearing at a premiere with
15 escorts. P.S. She wore fifteen orchids.
That dood it!
/~iH! OH! Such to-do at Paramount
" about that impending visit of the
stork to Rise Stevens. The tall bird raises
more cain in movieland today than the
draft. Rise was scheduled to do all the
musical roles which normally would have
fallen to Mary Martin. "The Count Of
Luxembourg" "was one. Now Rise's off
the pay-roll and the studio execs have
that dazed look which comes when the
stork settles on the lot chimney.
l^ON'T be surprised department: If
Carole Landis and Capt. William
Wallace split up in spite of loud present
denials.
If Ruth Chatterton and Ralph Forbes
merge again, after years of separation
and other marriages.
If Veronica Lake and Jean Negulesco
make it Mr. and Mrs. as soon as it's
legally possible.
If Trudy Marshall goes after that w.k.
decree from Lee Lindsay of New York
from whom she's been separated some time.
e6\p b V
^bottom, ^ oean^
bWa^r B^e- ^
inr Army, leader* —
*° A A and ^
J°a\and ^ Q-.nal
55
TALLULAH BANKHEAD'S basso
profundo and bored half-mast eyes
have been a pain in the neck to Holly-
wood directors since all the little starlets
— and some of the big ones — are copying
her. They've dropped their voices to
husky key, low-swing their eyelids and
look bored to death before the camera.
TLONA MASSEY'S Brazil-ionaire has
A hung her with soo-oo-ooo many dia-
monds she looks like the sun shining on
a Yukon break-up.
BEST STORY of the month: Irving
Hoffman's tale about Georgie Jessel.
It seems trigger-quick Jessel was asked
to speak at a big dinner. The toastmaster
rose and said: "Here is a remarkable
man; you only have to give him a dinner
and a speech comes out."
Jessel stood up: "There's nothing slow
about your toastmaster either," he said.
"Give him a speech and your dinner
comes out."
JACK TOPPING'S trip west has noth-
ing to do with seeing the scenery. The
only scenery he can see is starlet Martha
Montgomery.
RATE SMITH is one girl who ain't
bothered about reducing. She's one
of the familiar figures at Farmers' Mar-
ket, crooning over the pies and cakes.
And she goes away heavily laden, what's
WAR AND LOVE simplify every-
thing: so Eddie Lowe and Lady
Furness stroll from counter to counter
in one of Beverly Hills' smart shops,
hand in hand. Lady Furness has gone off
glamor lists of late; wears a wool wrap-
around turban like any local housewife.
JACKIE PALEY, brunette, beautiful,
" eighteen, and daughter of radioman
Jay Paley whose fortune is over the
$5,000,000.00 mark at a conservative es-
timate, goes into pictures at a $75.00 a
week salary. Says, "It's fun." Better
watch for Miss Paley; she'll go places.
BEVERLY HILLS' swankest shop
votes Ingrid Bergman most gracious,
charming and human of all the movie
girls. That's a popularity poll anyone
might envy.
The Women's Press Club voted Joan
Fontaine the least co-operative of all
Hollywood stars the day they gave an
all-out vote to Carole Landis for the
most cooperative one.
AS THIS goes to press Gregory Peck
will be wowing them in Casey Rob-
inson's "Days Of Glory." He's bowled
Hollywood moviemen over. They feel
they have a second Cary Grant-Gary
Cooper all rolled into one. He is signed
for 12 pictures already — they'll cost
about $18,000,000.00.
The bobby-socked bunch are dithering
over Peck but he's very much in love
with his tiny blonde Finnish wife, Greta.
Courted her while they both worked with
Katharine Cornell. Peck was a hit on
Broadway in "The Morning Star." Is a
typical Westerner, born at La Jolla and
studied pre-medical at University of
California, Berkeley.
ENTRYWAY to Sunset Tower was
knee-deep in red roses. Sinatra fans
got credit for the demonstration.
What really happened: a bride and
groom have a front apartment. Groom
arrived home one night to find his draw-
ing-room a mass of red roses, sent by an
enthusiastic ex-boy friend of the bride.
He heaved the roses through the nearest
Clockwise around page: Jack Benny, Judy
Garland and Sgt. "Skinnay" Ennis vocal-
izing on "Command Performance" air
show; Alan Ladd, Hedy Lamarr and hus-
band John Loder before the broadcast of
"Casablanca"; servicemen surprise Joan
Leslie with a huge birthday cake at Hol-
lywood Canteen, (left to right: Pvt.
Claude W. Wall, S 2/c Fred H. Hein,
Pvt. Walter V. Armstrong, Sgt. Ronald
W. Carnahan, M 2/c William A. Wool-
son, Pvt. John H. McCurdy;) Marilyn
Maxwell and Kay Kyser at Florentine
Gardens; Paulette Goddard in a Mexi-
can "Reboza" headgear, with William
Powell on the Screen Guild broadcast;
Dorothy Lamour and Bing Crosby re-
hearse for overseas radio service show.
57
Reading clockwise: Ann Sheridan, center of attraction at the Mocambo; Ella Raines and Alan
Curtis, also at the Mocambo; Jack Carson and wife Kay St. Germain at Warner Brothers'
dinner for Army, Navy, Civic and Industrial leaders; Teresa Wright and William Powell between
acts of Screen Guild radio show; ex-model and pin-up gal Chili Williams and Helmut Dantine
pose together at the Clover Club. No romance here, just that Chili is new girl in town.
window. And The Voice took the bows.
TT T. STEVENS visited the "Ladies
• Of Washington" set one morning to
chat with Ronald Graham, 20th's new
singing star, late of Broadway.
A dozen or more cuties who are get-
ting camera breaks in this one circled
the pair, then gathered in a knot to pass
judgment on the glamorous mink-hung
Kaytee.
Verdict: She has Park Avenue man-
ner, an unusual personality, no rival for
real beauts of the Hedy Lamarr type but
could give Hepburn a run for her money.
Then they say cuties are dumb!
SOMETHING to that stunt of Paulette
Goddard's and Carmen Miranda's.
They sew their earrings onto headbands
or hats to take the strain off the ears.
POLL among Hollywood actors and
writers would certainly get Cary Grant
an Academy Award. They think he is
the best all-round actor, carries the most
convincing sense of romance, and goes
over with men and women alike. One
star said: "I think he should get an
Oscar for sex-appeal."
NEW TWOSOMES in a flirty town:
Eulelah Griffiths and Eddie Albert.
Simone Simon and movieman Phil Jor-
dan. Lili Damita and Lieut. Terry Klyne
and howl Judy Garland and Bob Stack.
Jane Withers and Leonard Sues. Ava
Gardner and Robbie Robinson.
AN ORCHID sets the boy friend back
■fV twenty bucks in wartime Hollywood,
if it's one of those monster pure-white
ones the stars prefer. Flowers used to
be cheap out here, now are up beyond
New York prices. It's the war.
PRETTY NICE what happened to
C.P.O. Phil Reed.- He was one of 12
men from an entire base commended by
his commanding officer for "loyal and
unfailing devotion to duty in taking an
advanced naval base."
ENLISTED IN A PROUD PROFESSION— Her nurse's "white" lends a special glam-
our to Dorothy's exquisitely smooth skin. "It would be wonderful," she says,
"if high school graduates who see this would enlist as Cadet Nurses. We need
more nurses so." As a Cadet Nurse you would be given free training, a monthly
allowance. Write to U. S. Cadet Nurse Corps, Box 88, New York, N. Y.
FROM "HIM"! "Charles is as glad as I am that I'm one of the
Cadet Nurse Corps," Dorothy says. Dorothy is wearing the
official Cadet Nurse suit of gray wool. It has red epaulets
and sleeve insignia. The beret matches the uniform and
looks adorable with her soft-smooth Pond's complexion.
ASK FOR A BIG LUXURY JAR!
Save glass and man-power!
And it's so quick to dip
finger tips of both hands
into the lovely wide jar ! a
ponds
Cadet Dorothy Forrester
is studying at the California School
of Nursing in Los Angeles, not far from
her home town in Vista.
Her smooth, capable hands are learn-
ing to bring comfort at a touch. Eyes
smile gratefully after her trim young
figure in its white on-duty uniform —
especially becoming with her glorious,
dark hair and the soft, fresh-as-a-new-
day look of her lovely complexion.
"Fm a Pond's Cold Cream girl — al-
ways." Dorothy says, "I think there's
nothing half as nice as Pond's for mak-
ing your skin feel soft and clean."
Dorothy believes in a twice-over
creaming with Pond's — this way:
1. • She smooths Pond's fragrant soft-
smooth Cold Cream over her face and
throat. Pats it on briskly but gently to
soften and release dirt and make-up.
Tissues off thoroughly.
' 2. She rinses now with more snowy-
soft Pond's, working its softening
creaminess round her face with little
spiral whirls of her finger tips — over
forehead, cheeks, nose, mouth. Tissues
off again well.
Give your face this soft-smooth Pond's
complexion care that Dorothy loves.
You'll see that it's no accident en-
gaged girls like Dorothy, noted society
beauties like Mrs. Ellen Tuck Astor,
, Mrs. Ernest du Pont, Jr., and Britain's
Lady Morris use Pond's Cold Cream.
Ask for a luxurious big jar of Pond's
today. Use it every night and every
morning — and for in-between beauty
clean-ups! You'll 7ore Pond's, too!
mam/
fifaw am/ ofifel^ce- cieam at am/ foUce-.
SCRBENLAND
59
Hollywood's Answer to a
Maiden's Prayer!
CHERYL WALKER,
Starring in
Sol Lesser's
"STAGE DOOR
CANTEEN"
M
JUMPER — Trim, gorgeously tailored I Darling
Velveteen collar in the beloved "Chesterfield"
manner! Smart narrow revers — inverted pleat for
skirt freedom. Fitted waistband really slenderizes !
Beautiful, crush- resistant rayon *BETTE". Sizes
10 to 20. $7.98 plus postage.
"BOW BLOUSE"- Flattering high neck— co-
quette bow ! Long, full sleeves ! A rich rayon fabric.
White only. Sizes 32 to 38. $3.98, plus postage.
Send no mane/. We mail C. O. O.
BETTY CO-ED of HOLLYWOOD, Dept. 672
6253 Hollywood Blvd., Holly wood (28), California
IF YOU ARE NOT COMPLETELY SATISFIED. WE WILL
GLADLY REFUND YOUR MONEY.
PROMPT DELIVERY!
ORDER BY MAIL FROM HOLLYWOOD
i BETTY CO-ED of HOLLYWOOD, Dept. 672 j
j 6233 Hollywood Boulevard, Hollywood 28, California ■
j Pleat* lend *Lady Chesterfield Jumper", at $7.98, plui pottage. |
J Navy □ Red Q Grey □ Green □ Brown □ I
(Mark lit and 2nd choice) I
Size: 10 12 14 16 18 20 (Circle tl») I
I "Bow Blouse", at $3.98, |
I [?leoi« 0<int rome. ololrTlvl
I Name
Size: 32 34 36 38
I
| Street.
\ Gry_
■^iry £on* irate
"Another Betty Co-Ed offering on page 8."
60
GUIDE TO GLAMOR
Beauty and grooming suggestions to bring
added charm and sparkle to your appearance
Hampden Cream Rouge in stick form, a choice makeup item for purse and dressing table.
A DEFT touch of color on the cheeks
brings a fresh touch of color to. the
face and aids in highlighting the eyes. A
product which makes the application of
rouge a simple affair is Hampden's Cream
Rouge. It's a compact stick, shaped to smooth
easily and readily on the cheeks. It comes
in three shades, bright, light and dark. It has
a companion piece, Hampden's Powder Base
in complexion shades. This item is water-
proof and non-greasy.
TO perk up your Spring suit, cotton pique
dress or nonchalant beret, there's the new
On Guard Sword pin with your name writ-
ten out in a dramatic fashion. Because of
the design and its being executed in a gold
finish, it is a scintillating accessory.
HERE'S something new for those rough,
hard-worked hands which are in the
majority these days. It's Woodbury's Hand
Cream, formulated by skin scientists ex-
pressly to counteract the roughening effects
of heavy work, and it is made for use both
before and after. Used before contact with
grease, grime, paint, oil and harsh soaps it
helps to protect against loss of softness and
smoothness. Used after, it's a good assur-
ance that the hands can look beautifully
pampered regardless of the tasks being done.
SPEEDING up and short cuts in doing
things is paramount in our lives these
days. Now comes Overglo by Westmore
which can be applied quickly to provide a
nice finish to the skin. It's a liquid cream
foundation in six different shades, one of
which will complement your coloring. Over-
glo comes in an attractive glass bottle and it
is said that its contents lasts six months. For
application you simply shake the bottle well,
remove the cap, and turn upside down upon
a forefinger. The residue is the amount
necessary for entirely covering the face.
REVLON, noted for its lovely rose shades,
is featuring a group of rose colors : Mrs.
Miniver, Hot Hot, Rosy Future, and a rose
by another name, Bright Forecast. Assem-
bled in an engaging package will be nail
enamel, lipstick, adheron and "wind-milled"
face powder, all the essentials for finger-
tips, lips and complexion.
On Guard, a piece of jewelry to give per-
sonalized touch to one's clothes or purse.
SCREENLAND
Nestled in
package
new Revlon Tournament of Roses
are all nail beauty requisites.
MEDICAL AUTHORITIES
MOW PHILIP MORRIS
Proved less irritating to
the smoker's nose and throat!
WHEN SMOKERS CHANGED TO PHILIP MORRIS,
EVERY CASE OF IRRITATION OF NOSE OR THROAT
— DUE TO SMOKING -EITHER CLEARED UP COM-
PLETELY, OR DEFINITELY IMPROVED!
Facts reported in medical Journals on clinical tests made by
distinguished doctors.
LL FOR PHILIP MORRIS
Finer flavor... less irritation... America's FINEST Cigarette!
Van Johnson Picks His "Dream-Up Girl"
Continued from page 22
ing forties. Because ... "7 like older
women!" says Van Johnson. Just to be
difficult, no doubt!
Of course, from where he sits on the
fifty-yard line between twenty and thirty,
older doesn't have to be interpreted as
much older. Perhaps just the ripe old
age of twenty-seven or so. Still and all,
young and dashing Van, as frank as a
younger brother and as honest as the
bathroom mirror, must have a reason.
"Why?" I asked. For this I gotta hear!
"Whenever I hear of a star marrying
someone who is younger than she is, I
never wonder why HE married her, I
wonder why SHE married him! That's
my point of view."
Tall, tantalizing and terrific, Van John-
son relaxed his six feet two in the easy
chair across the room, looked out the
window with his eyes of blue, ran a care-
less hand through his red hair, and
thought a moment before he went on.
"L like older women, I guess, because
they look so young and lovely — just as
when they were twenty-five, but they've
used their few additional years to great
advantage. They've attained a mental
and spiritual growth that is satisfying.
They're not scatter-brained. They're more
settled. When I marry, it will probably
be to someone older than I am.
"A woman doesn't begin to reveal the
depth and charm and wonder of herself
until she has grown inside, and it is fairly
rare to find this sort of development in
anyone under thirty. Some women are
different. Judy Garland, for instance, is
a rare exception, and so is Lana Turner,
but this is because they have had mature
responsibilities long before the average
girl of their age has finished school."
"Do you have an ideal girl?" I asked.
"I've a lot of them," grinned Van. "I
get crushes on the girls I work with in
pictures and those I meet at parties. But.
before I ever came to Hollywood, there
was one star who was my favorite person
— Irene Dunne.
"I used to watch her pictures and won-
der if she could possibly be as grand in
person as she was on the screen. When
I came to Hollywood and got to know
her. I found out she was even finer. Dur-
ing the filming of 'A Guy Named Joe,'
I had my accident, you know. I was in
the hospital a long time. She was grand
to me.
"I think she does the industry great
credit. If ever this town sends out a good-
will ambassador, it should be Irene. She's
representative of Hollywood at its best.
In addition to her poise, humor, diplo-
macy and kindness, she's a great lady.
"You can't leave out Greer Garson
when you speak of ideals. She's so beau-
tiful! But, more than that, she has a
really brilliant mind and a scintillating
personality. She sparkles when she talks.
And, incidentally, she has the most beau-
tiful teeth and hair I have ever seen. You
don't have to talk with her five minutes
to know she is generous and womanly.
Generous in thought and generous in
deed."
I grinned at Van. "Doesn't sex ever
rear its ugly head?" I teased.
He grinned back amiably. "Well, for
sex appeal, I think Lana Turner has what
it takes. The other night at a party the
Gary Coopers gave, she and Steve came
in after most of the guests had arrived.
It was a big party celebrating Gary's
return from the high seas, and most of
Hollywood's topnotch beauties were pres-
ent. But when Lana came in, dressed in
a chalk white dinner dress, there was a
hush. I have never seen anvone so beau-
tiful.
"Since Lana is a thoroughly nice per-
son and doesn't have a mean thought in
her, women sense this and are not jealous
of her beauty. And men, well, men just
wish there were a whole lot more like
her. She has a provocative come-hither
look of which she isn't even conscious.
She's the kind of a girl you'd like to get
stranded on a desert island with!"
Van has dated lovely Judy Garland,
*o it is obvious that she must have some
of the qualities of his Dream-Up Girl
"What I love about Judy Garland." say?
Van. "is her sympathetic nature. I hav<
the weight of the world on my shoulders.
I'm a great worrier. I'm unhappy about
the war and wish I could be in it. Judy
is a wonderful listener, and something
pours out of her eyes that is so warm
and human that it makes her easy to
talk to. She is a very real and genuine
SCREENLAND
61
person. And then she's fun and a won-
derful dancer, just about any boy's
dream of a wonderful date!"
Van goes into raves over Bette Davis
because she has depth to her work. "She's
a genius," says Van, with a certain wist-
fulness, "and she must be wonderful to
work with. Think of what you could
learn working with a great actress like
Bette!"
"Who else would you like to do a pic-
ture with?" I asked.
"Well, Claudette Colbert is a great
artist, too. She has heart, and it shows
through in every word she speaks. I love
her voice. Also, she has something every
woman would do well to copy — her walk
She walks like a queen. On top of all
this, I think she has the most beautiful
eyes I have ever seen."
"Any more luscious lovelies you are
-partial to, Van?"
"Well, I like Betty Grable's love of
laughter, her complete and wonderful
honesty. I like Ann Sheridan for being
herself always. I like Ann Rutherford
and Diana Lewis because in spite of their
youth, they are mature in the ways that
count. Beauty isn't important. Intelli-
gence and character are the thing."
Now, Van! Pardon us while we smile
(oh, but ever so slightly!) because by
just the oddest of coincidences all of the
women who together compose your
Dream-Up Girl are startlingly beautiful!
But why this girl of his dreams? Why
not a real sweetheart? Well, he had his
ideal girl once, and he lost her. She was
the girl who lived next door. They were
childhood sweethearts. Van can't remem-
ber when it all began. "I guess I was
born in love with her," he says.
When they were five, they were mak-
ing mud pies together. Later he carried
her books to school. He went to her
house and they made fudge and lemon-
ade. In high school, he saved his allow-
ance for fifty cent sprees at the corner
drug store. They were both first in their
classes, equally popular. They were the
ones who got the most Valentines and
the most Christmas cards. They were
inseparable, and people got to thinking
of them as the ideal couple. All of the
people, including Van.
Her name was Christine. She was tall,
blonde and beautiful. She was immac-
ulate and well groomed. At every school
dance, he was so proud of her that he
could hardly bear it. And it simply never
occurred to him there would be a time
when they would not be together.
"Then I. really got hurt," says Van
with a wry smile. "A slightly older man
came along. Naturally I hated the guy.
Hated the fact that he had a job and
was established and could take care of
her. She didn't tell me how serious it
was at first. But I can't stand to play
love games. I had to know, so she told
me. A few weeks later they married."
Van doesn't smile any too gaily about
it even now. It is not one of those flip-
pantly told episodes he laughs about. At
the time he was so broken up that he.
left home. Now he's almost glad it hap-
pened because he might have stayed in
Newport, Rhode Island, forever and
never tried his luck at acting.
Almost glad. B e c a u s e in his secret
heart he still remembers. Not that today
he is carrying a torch in both hands. Not
that. It's just that he still remembers
what it can be like to be burningly and
wholeheartedly in love.
He can remember the torn way you
feel inside when life smashes around you.
He understands the heartache of jeal-
ousy. He remembers the ecstasy, too.
And because he knows what the real
thing can be like, he'll accept no substi-
tutes. For he believes it will come again.
When it does, it will be wonderful and
thrilling. He's looking for a love that
will tear him apart and leave him shaken.
Story book stuff. Until he finds it, he'll
string along with his memories. He's
tasted cake, and bread will not do.
That's why every date is more than a
date. He's always thinking: "Maybe this
will be IT!" Every introduction is ex-
citing. Every invitation to a social affair
is also an invitation to romance. Who
knows? She may 'be there — the girl of
his dreams. Idealist, this Van Johnson.
For Van says it will happen this way:
He'll wake up one morning, and it will
just be another day. And then, somehow,
somewhere, he'll meet her. He'll be really
bowled over.
For when he finally sees his Dream-Up
Girl, he will have a look in his eyes so
vibrant and tender and alive, a look so
expectant and filled with Stardust and
moon-lightning that when their eyes
meet, their glances will lock. And whether
she's tall or short, thin or fat, young or
mature will make no difference.
He probably won't even know the color
of her hair — until after the honeymoon!
ADVERTISEMENT
02
. Eagles on the shoulders. Pepsi-Cola on the table — <
an officer and a gentleman if I ever seen one.''''
SCREENLAND
Hi, Eythe!
Continued from page 39
with laughter. When she was able to
speak again she said, "Eythe, you're for
me! Rehearsal tomorrow." Bill learned
more about the technique of acting on
that tour than he ever thought existed.
Miss Chatterton was always helpful.
When the tour was over she phoned her
friend Jane Cowl in New York and
praised Bill to the skies. Miss Cowl ar-
ranged for him to meet Oscar Serlin who
promptly put him into "The King's
Maid" with Margo. The play flopped on
the road — but it eventually lead to Ser-
lin's production of "The Moon Is Down."
As Lieutenant Tonder, Bill was a great
hit in his first Broadway play, and was
snatched up pretty quickly by the bright
boys at Twentieth Century-Fox. Ruth
Chatterton still writes Bill, and still calls
him "Delightful Eythe."
But it was Bill's mother who literally
pushed him on the stage. Bill was brought
up in Mars, Pennsylvania, a small town
of some 1,200 souls. He was born there,
April 7, 1918. "I'm Aries," he says.
"Aries people are lucky." His father was
a contractor, and his mother was a lady
of great vitality. On Saturday afternoons
when his older brother Howard ("Dutch")
Eythe played football on the Mars ath-
letic field, Mother was right there to
cheer him on. When with the ball tucked
neatly under his arm he would charge
toward the opposing team's goal posts,
she would shout frantically, "Do it for
your mother, Dutch, do it for your
mother!" Dutch later on won AU-Amer-
ican honors as a Carnegie Tech halfback.
Young William John Joseph wasn't
exactly the athletic type, but Mother had
ideas about him too. "For nine years,"
says Bill, "I lived a perfectly normal life.
Then this business of acting showed up.
I fought against it, but I finally did it
to please Mother." Seems that Bill's class
was going to do a presentation of "Peter
Rabbit," and Bill was chosen for the
lead. "It was not a role I wanted to
play," says Bill grimly, "but Mother was
determined. She made me a Peter Rab-
bit suit, complete with cotton tail, and
shoved me on the stage. The night of
the play the auditorium was packed with
fond mamas and papas. I regret to say
that my pants split at a most inoppor-
tune moment, my cotton tail fell off, and
a large part of my anatomy was exposed
to the snickering audience. Mother
fainted. Father shook his head and
swore out loud that he'd make a house
painter of me. Miss Lulu Kaiser, my
teacher, was the only one kind enough to
come to my rescue. She modestly sewed
me up, and pinned my tail back on. A
kind, remarkable woman. Mother re-
ceived a letter from her only a few days
ago in which she said she had seen me
in 'The Song Of Bernadette.' 'You know,
Katie,' she wrote, 'our William always
did have imagination.' "
That he has. Imagination plus. It's
one of the reasons people like him so
much. Everyone on the studio lot is
crazy about him. When life is its drab-
best and dullest, and life can be both
drab and dull in a publicity department,
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a Paramount Picture
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SCREENLAND
63
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Bill can always be counted on to enter-
tain. His stories are gay and colorful
and amusing. When he's encouraged, and
he's always encouraged, he'll give an im-
personation of a night club singer he
once knew, "all gussied up, sleek form-
fitting satin dress cut down to here, caved
in cheeks," singing "Everybody Has a
Guy But I." This cheers up the publicity
department so much that they forget
that actors bore them really.
During the past year Bill has also be-
come a favorite escort with the Holly-
wood girls./ His easy, pleasant manner
and high good spirits have made him
very much in demand at Hollywood din-
ner parties. Right now Anne Baxter, with
whom he co-stars in "The Eve of St.
Mark," has the inside track to his heart.
When you ask him about girls he comes
right out with a frank, "I like Anne Bax-
ter. She's both smart and intelligent.
And she has a wonderful sense of humor.
About herself. And about life, too.
There's quite a bit of the pixie about
Anne. I'm always teasing her about liv-
ing under a toadstool. We didn't like
each other when we first met. I thought
she was a snob and badly spoiled, and
much too young to rate the success she
has had. And she thought I was too
tense about everything, including acting.
We were allergic to each other for
months.
"But the first day we worked together
on 'The Eve Of St. Mark' she was won-
derful to me. I had expected her to be
cold and stand-offish, but she was kind
and considerate. I was so nervous I was
biting my nails. And literally a button
popped off my shirt when I had to kiss
her. During the afternoon she invited me
in her dressing room on the set and we
had coffee, and we got to talking and —
well, I think Anne's swell. I wish all girls
were like Anne Baxter."
William, who is the life of a party at a
party, on the set is a deadly serious
young man. Which, after all, is the way
it should be. "On the set," says Bill
sadly, "people accuse me of being a dull
pigeon. I am. My training was such in
stock that I have a frightening awe of
the theater. I have a tremendous respect
for acting. And I still can't think of my-
self as an actor. I certainly envy those
players who can laugh and toss it off
lightly when they blow up in their lines
and hold up production. When I blow a
line it's a major tragedy. I think of all
the money I'm costing the studio. I
suffer."
Before Oscar Serlin gave him a Christ-
mas present of "The Moon Is Down" —
he gave Bill an envelope on Christmas
Eve inside of which was the first draft
of the Steinbeck play, with a note which
read, "You're Tonder, you jerk" — Bill
put through some pretty lean months in
New York. At night he wrote on his
play. "The Life of Chopin," which he
was sure was a great play and would stack
up with the works of Shakespeare, if he
could ever get it produced. Hell, he
couldn't even get anybody to read it! In
the daytime he worked as a guide in
Radio City. He would be showing a
group of gaping tourists through the
mazes of Radio City when often, too
often, one of his pals from his stock com-
pany days would join the group and dis-
G4
Scree nland
rupt everything bv whispering, "That's
Bill Eythe, isn't it? Too bad. He had
such a brilliant future. Tsch, tsch! Drink,
you know." And they'd laugh behind
their hats when Bill's ear would become
a deep crimson while he prattled on
about the marvelous architecture of Ra-.
dio City. ''Those smart characters," says
Bill with a laugh, "they almost caused
me to lose my job."
Bill always carried a copy of "The Life
of Chopin" in his pocket — just in case he
ran into someone who'd listen to him
read it. One day he was hurrying
through the halls of Radio City on his
way home when he ran into a young man
he had met casually some months before.
The young man grabbed him by the arm
and pushed him into an office and ab-
ruptly said, "Read something, Eythe."
Bill was so startled and completely be-
fuddled that he forgot all about "The
Life of Chopin" in his pocket, and in-
stead dragged out a newspaper from his
other pocket and started reading want
ads. "Fine, fine," said the young man,
after a few minutes of wanted stenog-
raphers, "you'll do. The job is yours.
Start tomorrow." When the confusion
cleared up a bit Bill discovered that he
had been testing for television. "I be-
came staff announcer for the six Long
Island housewives who had a television
set." The war closed down television
broadcasts — and Bill once more was out
of work.
In "The Moon Is Down" Bill as the
neurotic Lt. Tonder was supposed to
lapse into hysteria in one scene. A Ger-
man officer cuffs him on each cheek to
snap him out of it. When the play was
tried out in Baltimore the actor playing
the German officer misjudged his slap
and the blow punctured Bill's left ear-
drum. On the opening night in New
York the same thing happened, and Bill's
right eardrum was shattered. For two
weeks he was completely deaf, getting
his cues only through laborious lip read-
ing. In case you want to know why Bill,
voung. phvsicallv fit, and unmarried, is
4-F— that's it. After "The Ox Bow In-
cident" he tried to enlist but was turned
down because of his ears.
Bill lives in Hollywood with his mother
and father and a fourteen-year-old dog.
He hates intrigue and studio politics. He
likes people who are forthright and hon-
est. He has a sloppy sweater of many
colors which comes down to his knees
which he likes to wear around the studio.
But when he takes a girl out for an eve-
ning he slicks up like a gentleman. He's
made only one big jaux pas since coming
to Hollywood. He was having dinner
alone one night at a restaurant when he
noticed that an attractive woman at the
next table was being audibly cynical
about life in general. Bill knew he
shouldn't but he just couldn't resist turn-
ing to her and saying, "You sound like
Ida Lupino's mother." Bill had just seen
"The Hard Way" and was still impressed
by Ida's performance in it. There was a
pregnant pause. "Young man," said the
woman. "I am Ida Lupino's mother."
Bill and Connie Lupino are now the
best of friends. Of course.
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The Merry Bennys
Continued from page 41
The actual marriage ceremony was
performed in Waukegan, 111. Jack's boy-
hood pal, Julius Sinykin, had a clothing
store back there, and with family and
friends present, the ceremony took
place in the parlor of Julius' suite, or
what we can, for all practical purposes,
call the penthouse of the Waukegan Ho-
tel. We figured our lives would be spent
in hotel rooms anyway, so we thought we
might as well get married in one.
You see, Jack was playing vaudeville
then and we had to travel the circuit, so
we couldn't stay in one place too long.
We looked forward to New York because
when we got there, there were four or-
five weeks in and around town, since
there were several theaters in various
parts of Greater Manhattan that we
could play.
There were many beautiful women that
Jack worked with in his act, but that
was all part of the business and believe
me, I could admire the wardrobe of
Lilyan Tashman and Frances Williams
and the way in which they gave class to
Jack's act without being jealous of them.
HONEST!
Then came that fateful guest broadcast
that Jack did for Ed Sullivan. At the
time we were in New York on a more
permanent basis, because Jack was work-
ing in the stage production of Earl Car-
roll's "Vanities." Right from that first
broadcast there was something interest-
ing about radio to Jack, so when he got
an offer from Canada Dry to do a series
of programs, he was very pleased. To me
it meant the prospect of not having to
catch trains and break camp every week;
not to have to fly from one hotel to an-
other. Radio meant that we could stay
put in one place.
I suppose being married to a man in
vaudeville was different than being the
usual housewife. But beginning with those
first years of radio, we had our apart-
ment in New York.
Later came a series of film offers, so it
seemed that Jack had arrived in pictures,
and that his work would no longer be
confined to just radio. That meant that
we had to think of leaving New York
and settling down on a more or less per-
manent basis in Hollywood.
Still later we built our home. It was
fun for both of us. We could have so
many things that we wanted that we
never had before. Little, silly things. So,
when we built our home, we incorporated
them. Lots of tables and chairs; tables
to write on, tables to play games on. As
many telephones all over the house as
we could justifiably have. We wanted a
great big room that would have a huge
fireplace, the same room where also we
could have books and pictures, and so
many comfortable chairs that nobody
ever wanted to get up and move; with
a bar, and little corners for more of those
tables. That was the room that we
wanted to be able to camp in. Food
could be brought in to us; we could pick
up the phone and talk to the outside
world — that is, if we wanted to; and the
66
SCREENLAND
same room large enough to entertain our
friends.
It's been just as much fun living in
our house, as building it and furnish-
ing it.
We have a daughter, Joan, and the
house probably means more to her than
it does to us because she's known no
other. I'm sure she feels more possessive
about every stick of furniture or picture
than either Jack or I feel. It's California,
so we have a big yard. That's good for
Joan, too;
And it's right neighborly. Up the street
lives Eddie Cantor. We're not far from
George Burns and Gracie Allen, who are
friends of ours. Of course, one's friends
aren't limited geographically in Califor-
nia. The Gary Coopers live up in Brent-
wood. That's a smart ten minutes. Clau-
dette Colbert and her husband, Dr. Press-
man, live in Holmby Hills. That isn't far.
Annie Sothern and Barbara Stanwyck
live close enough so when the two girls
and myself want to have a hen party,
especially now, since both their husbands
are in service, it can be arranged on
short notice.
It's good for me, too, because when Jack
works late, or when he is away for long
periods of time, like when he was in
Africa last summer, getting together with
one's friends is important. Jack tells me
I had better have my friends lined up
again for next summer as he is going on
another tour. So I am glad we have the
house.
If you have ever gone on one of those
sightseeing tours in Hollywood, the driver
might have pointed out our house to you.
Then he would go up the street to Eddie
Cantor's; then he'd show you the house
where George Gershwin lived and died,
and next door where his brother Ira lives
now. Then around the corner where
Jerome Kern lives. Then he'd go up a
side street to Benedict Canyon to Hedy
Lamarr's house, and there you are.
But pretend the driver stopped at our
house and said "Mary Livingstone has
invited you to step inside." You ring the
bell. Somebody lets you in and you're
standing in the hall. You aren't an-
nounced yet. Jack and I are talking in
the living room because we don't know
anyone's there.
Jack might say, "Doll, what are we
doing tonight? Anything?"
I will say. "Well, I haven't made plans
yet, Jack. What would you like to do?"
And he'll probably answer. "Gee. I
don't want to do anything. I just feel
like staying home and playing gin
rummy."
And I'll say, "Jack, you never win.
Why do you want to play?"
"Well, I feel lucky tonight. In fact. I
bet I'll go down before the fifth card."
So Doll (that's me) and Jack are set
to play gin rummy.
Now you have had a look-see and
heard the conversation of two people who
are just like any other two people — when
it comes to living together. Sorry we
couldn't give you a performance. But
Jack wasn't in one of those jumping-on-
a-chair-and-making- faces moods!
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SCREENLANO
67
CAROLE LANDIS IN "FOUR JILLS IN A JEEP/
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"The Adventures of
Mark Twain"
Continued from page 37
"But the mountains are bustin' with
it," Steve protested, pointing out the sil-
ver in the stone. "What do you want to
go to seed on the river-for, when you can
come out west and get rich?"
"What does a river pilot want with a
million?" Sam said in his easy way, and
then he found the miniature. Charles
Langdon, one of the passengers, had lost
it as he turned away from the gambling
tables in the main saloon.
That miniature changed everything for
Sam. It was almost as if the pictured
face he stared down on was alive, as if he
could see the full lips quivering, see the
pulse quivering in the slender throat. Her
eyes were blue, blue as the river itself,
and her hair the pale gold of corn silk,
and Sam knew when he looked at her
that he would love her until he died. A
wave of relief swept over him when he
learned she was Langdon's sister and not
his wife. He came to an abrupt decision.
"I'm leaving the river," he said. "All
my life, everybody's been trying to tell
me this river was only a wet streak in
the dirt. My parents, my brother, every-
body, they broke their hearts trying to
tell me. But oh, no, I wouldn't listen. I
didn't realize there was anything a river
man could never have. But now I know
there is. You see that picture of your
sister, Langdon? That's the girl I'm go-
ing to marry."
When he left, Olivia's picture was
safely tucked away in his waistcoat
pocket and a note jokingly apologizing
for the theft left in its place. Then he
went to Steve Gillis and told him if he
still wanted a partner, he was ready.
There was silver in those western hills;
there was gold, too. But Sam and Steve
never found it. All around them men
were making lucky strikes, but the two
partners worked one claim after another
and gained nothing for all their labor.
"No grub, no place to eat," Sam said
at last. "All on earth I'm trying to do is
herd together enough money so I can go
east in decent style. That girl isn't go-
ing to wait forever, you know, without
seeing me at least." He sighed then.
So Sam got a job as reporter on Vir-
ginia City's only newspaper and began
saving his money. And then Steve came
to him with another get-rich-quick
scheme — a frog-jumping contest!
Sam bet on the wrong frog so there
was no trip east. But he could still see
the funny side of that contest. And so
one day he wrote the story and sent it to
a New York newspaper. Only he didn't
sign his own name because he didn't'
think too much of it. Instead, he sud-
denly remembered that call that meant
so much back on the river, and put the
name Mark Twain on the manuscript.
Weeks later when J. B. Pond, the fore-
most booking agent of his period, who
had seen the story of The Jumping Frog
in the newspaper and realized the for-
tune that could be made with a man who
could write humor like that, arrived at
Virginia City, no one could tell him
where he could find Mark Twain.
68
SCREENLAND
Wit,
never go back to him ... nmrf
Mother: There, there, what's Fred done to my little girl?
Wife: Nothing — that's the worst of it. He ignores me — treats me as if I weren't his wife — as if
we'd never been in love. I can't stand it another day!
"THE ADVENTURES OF
MARK TWAIN"
(A Warner Brothers Picture)
Screenplay by Alan Le May. Adap-
tation by Alan Le May and Harold M.
Sherman. Additional dialogue by Harry
Chandlee. Jesse L. Lasky, producer.
Irving Rapper, director. Music by Max
Steiner.
Samuel Clemens (Mark Twain)
Fredric March
Olivia Langdon Alexis Smith
/. B. Pond . .Donald Crisp
Steve Gillis Alan Hale
Oxford Chancellor . . .C. Aubrey Smith
Bret Harte John Carradine
Charles Langdon William Henry
Horace E. Bixby Robert Barrat
Jcrvis Langdon Walter Hampden
Mrs. Langdon ....Nana Bryant
All biographical material based on
words owned or controlled by the Mark
Twain Company and the play "Mark
Twain" by Harold M. Sherman.
"Better ask Sam Clemens," somebody
suggested. "He knows everybody."
But just as Pond got to the print shop,
Goodman, the editor, came staggering
in from the telegraph office. "Here, Sam,
quick! Grab some paper. I got to get
an extra on the street. Fort Sumter has
been fired on. The North and South
are at war and the Mississippi River is
closed."
"What?" Sam said in a stunned voice,
"the Mississippi closed?"
"Blockade," Goodman said tersely.
"Steamboat sunk at St. Louis." Then as
Sam reached for his hat he bellowed
testily, "Hey, where are you going?"
"I'm going to push the northern armies
into the sea." Sam flung back over his
shoulder. "If I can get transportation."
Pond stared after him, "Wait! What's
your name?"
"Sam Clemens, river pilot," Sam said.
"But there must be a Mark Twain
somewhere!" Pond sighed.
It wasn't until the Civil War was
over that he found him. It was when
he learned what the words mark twain
stood for that Pond remembered the
young man rushing back to his river.
But it was a few weeks after Lee's sur-
render before he caught up with "The
Queen Of Dixie."
No one would have recognized the
proud river boat in the wreck partly
buried in silt. No one would have rec-
ognized her pilot either, gazing mourn-
fully down on her.
"I'd give something to find the pilot of
that steam boat," Pond said.
Suddenly he gave Sam a penetrating
look. "I remember now!" His voice rose.
"You're Sam Clemens. This is marvel-
ous! I'll give you a contract, I'll have
you lecturing in New York within — "
"Not me," Sam said firmly. "I tried
making a speech once and I — "
"Think of the opportunity!" Pond in-
sisted. "I'll make you famous!"
"I'm not going to make you any
speech!" Sam shouted. But again his
shouting was only proof of his uncer-
tainty, and two weeks later to the day
he mounted the platform in the lecture
hall at Cooper Union.
He was scared at first, desperately
Mother: My darling, from all you've told me,
I think it's my fault. There's something I
should have explained. You know, a wife can
often lose her husband's love because of one
neglect. Most men can't forgive carelessness
— or ignorance — about feminine hygiene.
Wife: You mean — I could have avoided all this ?
Husband (sometime later) : How's about a
kiss, dream girl . . .
Wife (to herself ): TJmm, everything's wonder-
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was right about Lysol — I use it always now!
Mother: Yes, dear. Now listen to me. My
doctor always advises Lysol disinfectant for
feminine hygiene. It cleanses so thoroughly,
and deodorizes. It won't harm sensitive
vaginal tissues, either — just follow the direc-
tions. You'll find Lysol is easy and inexpen-
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ScREENLAND
69
Houseworks the Only Job I Know
— what could I do in a war job ?
"The More Women at War
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scared, and then he saw her sitting there
in the front row of the auditorium, a
slender girl in white with a lace man-
tilla partly covering the pale gold of her
hair and her blue eyes looking at him in
that interested, intent way. She was
Olivia, the girl of the miniature, and she
was smiling as if he were important to
her too.
It was easier after that. He was talk-
ing to her and he no longer fumbled for
words. He talked about the things he
knew, and always there was that irre-
sistible wit to delight his audience —
which rose as a man to its feet, applaud-
ing wildly, when he finished. Pond knew
then that Mark Twain had already be-
come a success.
But Sam wasn't interested in success
at that moment. All that mattered was
the girl, the girl whose name sounded
like music on his lips as he repeated it
after her brother had introduced them.
"I'm afraid I've been talking to you
all evening," he said. "Or did you
notice?"
The color rising in her cheeks be-
trayed her. She tried to speak but the
words came stumbling from her lips, and
her brother smiled as he rescued her.
"Sam, I hope you'll make an appear-
ance in Elmira, sometime," he said.
"We'll have to run now, to make our
train."
"Well," Sam grinned, "come on, then!
Come on!" And taking Olivia's arm he
began briskly shepherding both of them
through the stage door.
It was really the most preposterous
thing that had ever happened to him,
Jervis Langdon decided, this man sud-
denly appearing on his doorstep with
his son and daughter and staying on as
if he had been an invited guest. As the
days went on it was clear he had no in-
tention of leaving, and Langdon grew
more and more uneasy as he saw the way
Olivia looked at their uninvited guest,
for he knew his daughter well enough to
know that she had fallen in love. Every-
one knew that, everyone except Sam
himself.
"I'd better leave," he said that eve-
ning in the garden. "I just don't belong
in your world. I'm an outsider, a tramp
pilot and about the worst fraud you ever
met. I always knew that someday I'd
have to come and find you, to see if you
were real, but now — "
"Now you're disappointed," she said,
and her eyes were gently mocking.
"No," he said, and for once he was
serious. "Now that I know you, you're
so much finer, so much dearer than any-
thing I could ever dream, that I know
you can't ever marry me. So, I've got to
give you back something I've got that
doesn't rightfully belong to me." He took
the miniature out of his pocket then.
"I stole it," he said. "It's been in the
bottom of mines with me and up moun-
tains and across plains, everywhere with
me, for a long time. Pretty silly, wasn't
it? Why. I couldn't even support you.
Your father's made me see that in a
hundred different ways. And he's right."
"Mark," she looked at him quietly.
"Why did you come East?"
"To look for you," he said.
"That's what brought Sam Clemens
here,"' she said. "But why did Mark
70
SCREENLAND
Twain come East? You've forgotten
about him, haven't you?" And then as
he looked at her she went on quickly:
"I'm not going to let you forget him
again, because I'm going to be with
you. I don't care if we ever have any-
thing or, not. I just want to be with
you. I knew it the night of the lecture,
the first time I looked at you."
He stared at her incredulously. "You
can say that?" he asked. "In spite of
your family and everybody and every-
thing? Livy, I'd split the world wide
open for you to prove you're right!"
Olivia took the miniature from his
hand and tucked it back in his breast
pocket. "So this is yours now," she said.
"And you can stop all this lying and
stealing."
He couldn't believe it at first, he
couldn't do anything but stare at her.
Then with a cry he swept her in his
arms. "I give you my word I'll never
tell another lie," he whispered. Then
his low chuckle came, "Except for prac-
tice," he amended quickly.
Jervis Langdon couldn't hold back his
doubts when they told him. He didn't
have any hopes for the future of this
literary jackanapes who tossed off comic
bits for catchpenny papers. He did not
hesitate to tell the two that as they
stood waiting for his benediction. Then
he gave his daughter a slip of paper and
she caught her breath as she looked at it.
"Mark, it's a deed to a house!" she
cried. "Father's wedding gift to us!" Sud-
denly she threw herself into her father's
arms. "Why did you have to scare me
so, when all the time you meant to do
this wonderful thing?"
Langdon didn't answer for a moment.
Then he looked over her head at Mark
and his voice was grave, almost re-
signed. "Your happiness means every-
thing to me, Livy," he said.
They were happy in that new home of
theirs for the wonder of being together
never staled for them, and their happi-
ness rushed out to meet everyone cross-
ing their hospitable threshold. Mark
Twain really got down to work in the
study Livy had fixed up comfortably,
and he sat there day after day, his cat
perched on the writing desk before him.
Then in that first year of their mar-
riage came their son, and their world
could hold no more happiness.
The child was a year old that eve-
ning Sam stopped at the old toymaker's
to get presents for his birthday, and the
most important of all was the miniature
river boat he had ordered for his boy.
But there were tears in Olivia's eyes
as she met him at the door. Something
was wrong with the baby, terribly wrong.
Sam took the steps three at a time and
as soon as he looked at the child, he
knew.
Sam couldn't write after that. Day
after day he sat in his study, staring
at the toy steamboat on his desk, the
steamboat his baby hadn't even seen.
The books he had written, "Innocents
Abroad" and "Life On The Mississippi,"
mocked him as they stood on the shelf,
for the book he had planned was to have
been for the little boy.
"I can't write it, Livy," he said, look-
ing up from the blank sheets of paper
in front of him. "I wanted to take our
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little boy to the Mississippi, I wanted
to take his hand and wade with him in
the Mississippi mud. I can feel that mud
between my toes yet, I can hear the
steamboat whistles far off down the
bends. He'll never see the river now."
"No, Mark," she said gently. "Out
little boy will never see it, but you must
save those things you loved, save them
for whole generations of little boys. You
must not let those precious things be
lost."
He looked at her sorry eyes and sud-
denly it was as if he didn't see her at
all. He was looking across the years,
across a thousand miles, and then almost
as if it were a compulsion he wrote down
a title, "The Adventures of Tom
Sawyer."
The whole world thrilled to that book.
For Mark Twain had done what few
men can ever do — he had captured his
youth again, and in turn he had given
eternal youth to every living mortal who
could read a printed page. Even Wil-
liam Dean Howells, editor of the Atlantic
Monthly and the most distinguished lit-
erary critic in the country, was capti-
vated by the book and arranged a dinner
to honor the author.
The speech he had to make worried
Sam, for among the guests were Long-
fellow and Whittier and Holmes, all old
men now and so hallowed by their fame
and venerable age that they were spoken
of by everyone in the awed tones usually
reserved for the honored dead.
Sam couldn't refer to them in that
way, knowing how he would hate it if
anyone talked about him that way, and
so his speech was gay and humorous and
it didn't go over at all.
The newspapers next morning were
scathing in their denunciation of what
they called his boorish derision of the
country's most famous writers, and
there was that sense of shame, of fail-
ure as he came home to Olivia. She was
crying when he went into his study and
he hated himself for her tears.
"Oh, Livy, please don't," he whis-
pered, holding her close. "What ever on
earth persuaded you to marry an in-
sufferable idiot like me?"
Somehow Olivia forced herself to
smile. "I'm only crying because I'm so
hannv," she said. "I've been reading your
new story, 'Huckleberry Finn,' and it's
the greatest thing you've ever done. You
must hurry and write it, so it won't be
lost. Finishing it is more important than
anything else in the world. Believe me,
believe me, Mark, this is what matters!"
It was Pond who told him that Olivia
had known about those stories in the pa-
pers all the time, that she had clipped
them out in the hope that he wouldn't
see them. Sam felt an ache in his throat
as he listened.
"That girl believed in me when not one
voice, not one word was raised in my
behalf," he said slowly. "I promised my
immortal soul I would prove she was
right. I didn't know then I would have
to change myself clear down to the
roots, the way I think, the way I breathe,
the very words I know. But I can do
that too. I'll start again. I'll change the
name I write with. The Mississippi River
did this to Livy. The mud of the Mis-
sissippi is in my blood. Pond, I'm going
to get it out if it's the last thing I do!"
It took every cent of their savings but
Sam opened a printing shop and invested
in a mechanical typesetter.
"Livy," he said then, " 'Huckleberry
Finn' is the last funny book I'm going
to write. Its royalties will have to last
us a long time, so I'm going to publish
it myself. Then my hands will be free
to write something serious and good."
"But, Mark," Olivia protested, "every-
body reads your stories and loves them."
"It isn't good enough, Livy."
The country was building in those re-
construction years after the Civil War,
the nation was coming of age. Telegraph
lines raced out and tied the hemisphere
together, railroads were built, whole cities
sprang up and a continent forged ahead
like nothing ever known in the history
of man before. It made Mark Twain
restless, it made him feel that his part
in the gigantic thing that was happening
was only to think up a laugh. That
serious book hadn't even been begun yet.
Instead he was writing one funny book
after another to keep abreast with his
mounting expenses.
But even the success of "A Connecti-
cut Yankee In King Arthur's Court"
couldn't stave off the disaster his busi-
ness advisers saw coming. It was just
after he'd accepted General Grant's
memoirs for publication that he was told
the only way he could escape bankruptcy
was to go out of business at once.
The end was disaster, as everyone had
predicted it would be. He was no longer
young, and now besides Livy there were
three little daughters to think of who
never dreamed of the worries besetting
him when he romped with them, or when
he told them the stories he made up for
them alone. But somehow, he managed
to stave off bankruptcy until the chil-
dren were almost grown.
Then with his promise to pay every
creditor back a hundred cents on the
dollar he planned the world-wide lecture
tour that would bring him the money
he needed. Olivia clung to him, that day
when she saw him off, and once again
she had to reach down into her heart
for the courage to deceive him, for she
couldn't let him guess the awful secret
her doctor had told her.
"Papa," his daughter Clara said anx-
WEIL- MANICURED
CUTICLE
72
SCREENLAND
iously, "please take care of yourself.'
"Don't worry about me," Sam said
testily. "I came into this world with
Halley's Comet and I'm going to stay
here till it comes back for me!"
The big house was lonely with Sam
gone. But word came back about him
all the time. That day when it was re-
ported he had died every newspaper in
the country printed the cable he had
sent. "The report of my death is greatly
exaggerated," it said, and the country
rocked with mirth over the latest Twain-
ism. Olivia, too, laughed through the
pain that was her constant companion
now. Then the cable came asking her to
join him in Florence.
It was a changed Olivia Sam saw.
Never before had he realized she was
growing elder but in the change that had
come with her illness he guessed the
truth.
Then one evening she called him in
her weak voice and when he went into
her room he saw how little she looked
in the big bed. But her eyes shining so
tremulously were the eyes of the girl in
the miniature.
"I've got something for you, Mark,"
she said in her old teasing way. "What
would it take to make you realize that
you are the greatest American writer of
your time?" Then as she gave him a
letter her tone changed, became serious.
"It's from Oxford, Mark! You are
being given the same honorary de-
gree as was given Wordsworth and
Macauley and Robert Browning. The
name of Mark Twain is with them now."
His eyes misted with tears as he looked
down on her. As he bent over to kiss her,
she clung to him.
"I don't think any woman ever has
been as happy as I am tonight," she
whispered. "Will you sing for me, Mark,
a little while, while I go to sleep?"
It was as he sat at the piano, playing
for her, that she died. But to Sam, even
in that first sorrow, it was as if she had
not died at all. For he felt her nearness
as he received the degree at Oxford; she
walked beside him on the deck of the
steamer taking him back to America;
and afterwards she was there in the
house with him, so near he felt almost
as if he could hear her voice urging him
on as, propped up by pillows, he sat in
bed through long sleepless nights writing
the stories that had made him the
world's best-loved humorist.
The years went on but he was scarcely
aware of them. Time had ceased to exist.
"Sometime," he sighed, "I feel like
a stalk of corn left standing all alone
in the field. There's nobody left for me
to play with any more."
Even as his faltering voice spoke there
was that strange light in the sky and
there, shining clear and brave, stood
Halley's Comet, a streaming glory. And
as he stared at it, Clara knew those
words he had spoken in jest were true,
that the comet had come back for him.
Even as she stood there frozen in her
grief, she remembered that other thing
her father had said and it was almost
as if she heard him.
"My darling," he was saying gently,
"if you could only know what you look
upon as my death has been greatly ex-
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Continued from page 26
telephone to the airport — my head
crowded with surprise and anticipation.
Louis was really here, and coming home!
I might well have expected to see him
looking pale and haggard, but he actually
looked better than he had ever looked
in his life — rugged and tanned. I don't
remember what we said — yet I have an
unforgettable mental picture of my first
glimpse of him at the terminal. In the
midst of my excitement Louis was very
calm. I accepted the revelation which
came to me then — which has been, or
will be, the experience of every woman
— that these men have come through
something that women cannot share. No
matter how vivid their imagination, nor
how emotional their sympathy, nor how
dramatic their understanding. It is some-
thing that she must respect — that she
must not try to crash through. Louis
has always been a very reticent person,
jealous of personal privacy. So even if I
could remember our first words I am
sure I'd not feel they were to be shared
with anyone by repeating them here.
As we drove back to the house I felt
that here was a man I knew better than
any man in the world. He was closer to
me than anyone — and yet, here was an
utter stranger! Make no mistake about
it, war will do that to all of our men.
And I think as the time comes closer to
more of us — when more men are return-
ing from actual combat — we must keep
more strongly in mind our responsibility
to respect their silences. The thing that
impressed me most was the complete
quiet, the complete calm, of my husband.
This controlled stranger was Louis, the
volatile, restless one! Because of what he
had experienced, there was an aura of
power about him. The power which
comes from controlled emotions and
knowledge.
I felt my conversational way — uncer-
tainly— as all women will. I didn't know
if I should ask about the war. And it
seemed silly to recount the comparative
trivia of my civilian life. There we sat
— Louis and I — as husbands and wives
all over the world now sit at a time of
reunion — with the feeling of gratitude
and security for his safety at the moment
— looking at each other. No words be-
tween us. There was great comfort in
the very wordlessness.
The next day, before he reported to
Warner Brothers where he had been as-
signed to edit and cut the film he had
shot at Tarawa, we drove out to our
home in Brentwood. (When the gasoline
situation became so acute I had closed
up our home because it was such a great
distance from my studio.) Louis had
bought our home in Brentwood soon
after our marriage. While he had been
in the South Pacific I had had his room
done over the way he had always wanted
it — in burgundy and grey, with a huge
window seat, bookcases and brass lamps
and hunting prints. Modern and com-
fortable and warm.
"Perfect," he said after the slow, sharp
survey. Then he talked of the war.
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ScREENLAND
On the ride back to Hollywood, with
the walls of his silence removed, I relayed
all the local gossip and news I could
think of. I told him about the trip Rita
and I had made to March Field the week
before. We visited the hospital there,
called the "-25 acres," and we didn't miss
a patient for the entire 2.5 acres. But
coming back they put us in wheel chairs.
The boys called us the Sulfa-Drug Sis-
ters. I gave him a preview of the comedy
act — cockney stories and crazy dances I
had cooked up with Freddie Ney, a
comedian at Paramount, which I hope
to take overseas, if everything works
out to that end. And now I'm more
determined than ever to give those boys
whom Louis praises so highly one hour
of laughs.
I wanted so much to give Louis some-
thing to laugh about, too. But much of
the time, instinct seemed to still my
chatter. So now I have a little formula.
I never question him. Sometimes, sud-
denly, he will start to talk and talk, on
and on, without pause. I have noticed
when people question him that some-
times he answers them abruptly — in
monosyllables. And again, he will answer
the same question in greatest detail. My
husband is a soldier. And I am learning
that this is the way of soldiers home
from combat. The next great task for
women may be to learn how to be seen
and not heard, not just some of the time,
but a great deal of the time. Men want
to think — then talk. And think again.
Women will have to learn to listen. And
to judge the quality of a man's silence
as his thoughts are having their way
with him.
When the first newspaper accounts
came through telling of the meeting be-
tween Louis and Eddie Albert on the
beach while under fire at Tarawa, it was
perfectly natural that Eddie's mother
and I should get together in Hollywood,'
comparing letters and cables and photos.
We were strangers when the stories
broke. We were friends when we met
the next day sharing the exchanges of
thoughts and hopes for "our boys."
Louis had been home just a little while
when one night who should appear on
our doorstep but Eddie Albert. Lieu-
tenant (j.g.) Albert of the L\ S. Navy,
as a salvage officer, had gone over in the
first wave with Louis at Tarawa. Eddie
had run into Louis that first day on the
beach. As they passed each other, with
shells bursting all around them. Eddie
yelled out, "Hey. Louis, not like the
movies, eh?" And Louis, wielding a cam-
era in one hand and a pistol in the other,
yelled back, "Hell, no." Eddie. Louis
told me, was magnificent at Tarawa.
Xever lost his sense of humor, even in
the midst of the bloodiest fighting. He
kept the boys laughing and joking and
in high spirits.
With Eddie was another buddy who
had fought in what the newspapers called
"the bloodiest fight in the history of the
United States Marine Corps." Now,
again, Louis talked.
He told us about one of the great ex-
periences he had had in the battle. Be-
fore the day dawned the men were
crouched low in the Higgins boat ap-
proaching the shore, and under dreadful
fire from the enemy. Suddenly a Colonel
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75
dashed into the boat, without regard for
the murderous shell fire, gave brisk,
dynamic orders and dashed out again.
"That," whispered one of the men
hoarsely to Louis, "was the famous Col-
onel Carlson of Carlson's Raiders." Louis
was furious. His hero, and he hadn't
taken a picture of him.
Louis told us of the first night he spent
on Tarawa, how he got separated from
his men, and spent the night in a fox-
hole with fourteen dead Japs. He told
us other spine-tingling things, too. But
most of all he told us stories of the super-
human bravery of the Marines, both the
men and the officers. He said he had
never seen such a display of courage and
guts in all his life. Silently, calmly, with-
out the slightest hesitation, they waded
through the waters right into the fire of
Jap machine guns. Knowing that this
was exactly what Louis had done too, I
thought to myself, you can rave about
the courage of the other guys, but I
think you had a lot of courage too. I'm
proud to bursting of my old man.
It was almost three o'clock in the
morning before the three boys stopped
talking. "One more story," said Eddie
apologetically to me, "and I'll go home
and let you get some sleep." Then he
told us about the long, rangy Kentuckian
he had met hidden behind a clump of
trees on Tarawa. The guy had the clear-
est, keenest eyes Eddie had ever seen,
and every few seconds he would raise his
arm, fire a shot at a nearby wooded
stretch — pop — and a Jap would fall dead.
He never seemed to miss. A regular Ser-
geant York. Eddie started talking to him
and during the conversation mentioned
that in a few days he was being sent
back to the States on leave. "Yeah,"
drawled the rangy guy — pop — "I don't
think I'd like it back in the States now"
— pop — "I been over here two years" —
pop — "and I'm kind of used to it — pop,
pop — "well, maybe now it wouldn't be
too bad" — pop — "for a couple of weeks
— pop — "iffen I could go back to Kain-
tuck" — pop, pop — "git me my hound
dog, and git mc a little squirrel hunting"
— pop, pop, pop —
At this writing we do not know where
Louis' next assignment will be. The neg-
ative he took of the Tarawa battle is now
being processed in a local laboratory.
When he has edited the film it will have
to be shipped to Washington for check
by the Marine officials for final stamp of
approval before it can be generally re-
leased. I proudly quote from one of the
trade papers, "Expected that picture will
be one of the most graphic yet taken
under actual battle conditions by any of
the various services' photographic divi-
sions." Speaks right well for the Marine
Photographic Corps, doesn't it?
I am deeply grateful that I have been
fortunate among thousands of women to
have my husband back for even such a
short while. I know I must say goodbye
to him again. And as all women know,
the second farewell will demand even
more courage and prayers and convic-
tion for his safety. I have had Louis'
good counsel from the beginning, and I
shall never forget his words:
"Ida, always think of me with strength
and certainty — and remember, we shall
see each other again."
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Hedy Lamarr's
Lowdown On Love
Continued from page 20
humor was nice, not obvious and rather
tricky. She started right out by giving
me hell! And she was the first woman I
ever met in my life who could dress in
twelve minutes flat!"
"I went right off the deep end," is the
way Hedy expresses it. "John seemed so
peaceful, so philosophical. Life was too
short. Why didn't I force a little less
and get more out of it, John wanted to
know? When I learned he hated night
clubs and unnecessary publicity, I gave
him my phone number!"
During their first year of marriage,
Hedy and John were conspicuously ab-
sent from the Hollywood scene. The rea-
sons can now be told. John moved into
Hedy's house on top of an isolated hill.
The situation was obvious. At the time
John couldn't afford to buy the house he
considered worthy of his bride. At the
time, due to the housing shortage, there
were no houses at any price to be had.
The day John moved in, he took Hedy's
hand in his and said: "I must love you
very much to do this. Your salary is
larger than mine. You are a big star.
This is your home. I can pay the bills,
but I can't give you all the luxuries you
deserve."
Then, with a twinkle in his eye, he
added, "You know, people are going to
talk! They'll think I'm another actor
who has attached himself to a star more
successful and famous than himself.
They'll probably refer to me as — Mr.
Lamarr!"
Hedy laughed. She laughed because
she knew John expected her to laugh.
She also knew there was pride behind
his banter. When John accompanied her
to her own studio, it was — Miss Lamarr
this, Miss Lamarr that. One night they
dined in a Hollywood restaurant. "Your
table is right this way, Miss Lamarr,"
said the head waiter. Then — it happened.
John drove out to the studio to have
lunch with Hedy. He hesitated at the
gate to give his name. "Go right on in,
Mr. Lamarr," said the officer pleasantly.
"Your wife is expecting you."
John thought it was a very amusing
story. He told it on himself. Hedy, far
wiser and more understanding than most
women in a similar position, told him he
was giving a very bad performance. That
night after dinner, they were sitting in
front of the fireplace. In her hand Hedy
held a narrow slip of paper. She handed
it to John. On it he read: "// you refuse
to accept anything but the best, you very
often get it."
"I copied that quotation from Somer-
set Maugham." Hedy began explaining.
"I believe it. John, I want you to be-
lieve it. If we want to retain our happi-
ness, we must be equal in everything.
That is where the importance of money
comes in. A man should be the head of
his house. He should run things, pay
bills, make decisions. No woman can re-
spect a man for long and a man will lose
all his self-respect, if a woman makes him
subordinate.
"Because you had a run of mediocre
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77
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pictures, you've forgotten that you are
capable of doing better work. So nat-
urally, others forget too. You've got to
fight for better parts, John. If your stu-
dio can't give them to you, then you
must ask for a release and you will get
them someplace else. I believe in you,
John. You must believe in yourself."
The next day John went to his studio.
Franchot Tone, who was supposed to
play in "Old Acquaintance," had bowed
out of the part. John asked to make a
test. The result of that test got him the
role. When the picture was released
things began to happen. John's fan mail
went zooming. Interviews, portrait sit-
tings, radio offers — all the rewards of rec-
ognition followed. Cornelia Otis Skinner
wired him the lead in her new play.
"I was a happy man," says John. "It
vindicated Hedy's faith, which meant
more than everything else to me. Then
months went by and I only did a small
part in 'Passage To Marseille.' The
studio wasn't to blame. They just didn't
have anything lined up for me. I have
wanted to be reliable in this business.
I've wanted to be a dependable actor,
make a living at it and remain in it for
the rest of my life. If it hadn't been
for Hedy, I would have been satisfied.
"I liked it at Warners. Everyone was
nice to me. But I asked for my release.
I had to ask for it four times before I
got it. Jack Warner was wonderful. He
had to admit there wasn't any special
plan or special parts in the immediate
offing for me. Besides being an excellent
business man, he is also a good friend.
He gave me my release."
For the next four months nothing hap-
pened. Hedy watched John pace rest-
lessly around the house. It . was a trying
period for both. To cover up his misgiv-
ings, John made cracks and compared
himself to other Hollywood husbands
who were in a similar position and loving
every moment of it. Finally, one morn-
ing at breakfast, the Words Hedy hoped
she would never hear, came out.
"Tell me the truth, Hedy dear," said
John. "Do you think I made a mistake?"
Hedy never had to answer that ques-
tion. The phone rang. It was John's
agent telling him he had just been signed
for the lead in Eugene O'Neill's "Hairy
Ape." The salary was five times larger
than his last!
"My first picture at Warners was 'The
Gorilla Man,' " he said to Hedy. "Now
my first as a free lance actor is 'The
Hairy Ape.' Looks to me like — monkey
business!"
The following day John received an-
other phone call. The Silver Theater was
auditioning for its Sunday radio show.
Would John like to be master of cere-
monies? They were also considering Her-
bert Marshall and Orson Welles. John
was interested to the point of being so
doggone good, he got the job! When he
broke the news to Hedy, she just looked
at him and said: "Now you are making
more money than I am!"
There's still another side to the mar-
ried life of Hedy and John. This time
it's John who deserves the credit. Hedy
possesses all the fire, the temperament,
the enthusiasm that a woman of her
beauty should have. Occasionally it runs
away with her. Even a simple little
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SCREENLAND
thing like a phone conversation becomes
a problem. But let Hedy explain it:
"Maybe I just have a phobia for
phones. People sometimes misunderstand
my attitude. I am happy to talk to
them. My face is smiling. But I get
excited when I talk over the phone. I
like to see people's faces when I talk. So
my voice sounds rude. Now it is so sim-
ple. I let John do the dirty work! That
man really has a way with him!
"But seriously, John has helped me so
much. I am much less impulsive and
more philosophical, thanks to him. I used
to get in such a dither over tiny things.
Little disappointments assumed gigantic
proportions. I am much calmer now. I
remember the first time John came to
dinner. I wanted it to be extra nice. I
had a new cook who acted like she was
trained by Hitler. She resented her job,
the food, and one extra person to cook
for. When the dinner came in, it was
ruined.
"I wanted to go right in and fire her.
John said, 'Forget it. Wait until tomor-
row. Don't ever do a thing while you're
angry.' Many a time since I have gone
to John the next day and said, 'how right
you were.' "
Thus starts the second year of mar-
riage for John and Hedy. Recently
M-G-M offered him a term contract.
Hedy hoped he wouldn't accept it. Just
in case it might have been offered to him,
to keep her happy. She naturally is the
bigger star, having been on the lot for so
long. Why should her husband take sec-
ond place and be constantly reminded of
it? John refused it. More to his credit
Occasionally, maybe once a month,
they'll have dinner with Lily Veidt
(widow of the late Conrad) at whose
home they were married. This invitation
includes Lady and Sir Charles Mendl.
Since their marriage, Hedy and John
haven't given or attended a Hollywood
party. Twice they went to a premiere.
Invariably someone calls and says, "Let's
make a party of it." They plead a pre-
vious date so they can be alone. If they
never make plans, then they can do what
they want. This way, it's simple. This
way, no one is offended.
Call him a sentimentalist, or what you
will, John keeps a scrap book on every-
thing that has been printed or happened,
since the day they met. It includes the
bill for their two wedding rings — which
was under twenty dollars; their marriage
license; a pressed boutonniere — the first
given him by Hedy; an advertisement
sent them from a wedding chapel, on the
bottom of which was written, "See De-
anna Durbin for special recommenda-
tion!" On one page is an item by a
columnist. John has this underlined:
"Hedy Lamarr fell in love with John
Loder when he was using a carving knife
on a turkey. But if I know my Hedy,
she doesn't love turkey so much that
she'll commit matrimony. Unless I miss
my guess, gold is where she'll find it.
(She always has!) — and it's not in the
pockets of John Loder."
Their plans for the future are bright.
Hedy has another contract year to go.
Then she would like to have two chil-
dren. She wants to make pictures but
she wants pictures as part of her life,
not all of it.
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Because of their ability to laugh at
each other, they have been able to
weather the storm of Hollywood criti-
cism. They know they have been mis-
understood by so-called friends — those
who have accused them of drifting away
from everyone. Hedy and John knew
their likes and dislikes were the same,
their temperaments different. Only by
being by themselves could they work it
out.
"... And so," Hedy sums it up, "be-
cause we felt we had a very good -chance
for happiness, we drifted from friends to-
ward each other. We love our friends
but we have our best times together.
We've seen a lot, traveled a lot, speak
the same languages, have met the same
people, enjoy the same common interests.
All this gives us a head start. We don't
want to cut loose from our friends. But
right now they should understand. The
first year of any marriage has its difficult
moments. So John and I decided to stay
home and build up a solid foundation.
"Recently I read an article by Dame
May Whitty. It was beautifully written
and something to be remembered. 'A
love must be earned,' said Dame May.
That's what I believe. You cannot hope
for a mutual understanding until the two
of you think about it and work on it.
Eventually you will share if you don't
expect too much at first."
80
Beauty Duty
Continued from page 16
tooth discoloration will mar it. Lipstick
spots, nicotine stains, food particles, or
a half-clean look, are bitter enemies of
mouth beauty.
Naturally, you clean your teeth morn-
ing and night, but are you fussy about
how you clean them? Do you use two
brushes, in rotation, so that the bristles
of each have a chance to dry out and
become firm enough to scour thoroughly?
Do you use a good paste or powder that
you're sure won't scratch or mar the
enamel? Do you massage your gums to
make them stay pink and healthy?
For lipstick spots there's only one
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remove immediately any trace of red.
Food particles cling to some types of
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Is your breath sweet and fresh? You
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different color of the surrounding skin!)
Do you brush out powder that gets in
your hair? And — we hate to mention
this — do you ever allow dandruff to stay
on your shoulders?
For blackheads at the hairline and
around the ears, facial soap-and-water is
the answer — and plenty of it. Be sure to
rinse soap off carefully if you would
avoid dryness here. When flakiness does
occur from many scrubbings apply a
little cream or oil. There are little instru-
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ciently, once the spots have been soft-
ened by warm soap water. To prevent
the possibility of infection, or re-occur-
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Are your hands always soft and stain-
free? When you're working hard, this is
a pretty big order! But remember the
ways and means to lovely hands are al-
ways available. Make the application of
hand lotion or cream as matter of course
as your hand- washings. Keep a brush
and cake of stain-removing soap handy.
Are you always free of perspiration
odors? Deodorants are such a beauty
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ever neglect your under-arm care! There's
an anti-perspirant for every type of skin.
You can take your choice of effective
creams, sticks and liquids.
Are your beauty ■<• implements always
immaculate? Every time we see a dirty
puff powdering a clean skin or a messy
comb or brush touching nice hair, we
could scream a warning! Our first cry
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look so repulsive!"
Give your powder puffs many baths in
soapy flakes and luke-warm water. Shake
them well. If carefully washed, they
shouldn't stiffen. Try to keep a double
set of hair things so that one set is al-
ways clean and usable. (This is really
an economy, too, because they last so
much longer.) Remove hair from your
brush and wipe it on a cloth after every
brushing. And wash your brushes often,
dunking them up and down in suds, rins-
ing, and drying on their sides in a cool
place.
Is your unseen clothing neat and clean?
Really, most American girls deserve a
prize for the clean state of their undies!
The ever-useful box of soap flakes seems
to be on every bathroom shelf, and
housewives, business girls, and high
school youngsters take pride in frequent
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Don't forget that the insides of your
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trace of odor with a cloth dampened
with an antiseptic. This is also a good
preventive for skin germs that lurk in
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ScREENLAND
BOMTA GRANVILLE, Starring in
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Kindly send me, without charge,
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NAMEL-
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(Paste on Denny postal card and mail)
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You Should Know George
Continued from page 29
once a week at one of our homes. We
admit we're the world's worst players
and bar all experts, fearing they'll con-
taminate us with rules. George and I
take in golf tournaments, ball games, and
make frequent trips to his 450-acre ranch,
thirty miles from Medford, Oregon. And
there's always fine fishing in the Rogue
River that runs through his place.
*'Once, driving down from the ranch,
we landed at Fresno about six o'clock
and after locating an auto court started
out to find some supper. Before we knew
it, some twenty cadets had joined our
party. George never goes anywhere with-
out running into someone he knew in his
Broadway theater days, and sure enough,
a chap by the name of Clark came rush-
ing up and they went into a huddle.
When we discovered this Clark owned a
cafe in Fresno, the whole bunch moved
in and put on a show that would have
made New York jealous.
"Then there was the memorable trip
to Catalina Island. A golf tournament
was scheduled which sounded good to us
but George kept saying he didn't want
to go unless we had a yacht. Believe it
or not, along came Fred Jackson, top
movie engineer, who loaned him his boat.
There were Leon Errol, Adolphe Menjou,
Edgar Kennedy, George and myself, and
we had a continuous vaudeville show,
played rotten golf, and were about to
start home when up came one of our
California storms that marooned us for
four days. Our wives thought it was a
trick because the sun was shining on the
mainland and they couldn't understand
why the harbor master refused to let us
leave the island in the yacht.
"We all tried our art in phoning and
finally George took over, confident his
Julie would understand. His conversa-
tion went like this: 'Yes, dear. Yes. Yes.'
He had to admit he didn't get anywhere.
"George does war work and camp en-
tertaining, but does it quietly. The other
night, George and Jimmy Cagney went
down to San Pedro to help with the cere-
monies when they commissioned a sub-
chaser.
"Last summer, George and Cary Grant
went to. New York and had all the ar-
rangements made to tour the African
camps. They were actually aboard the
Lisbon Clipper when George was sum-
moned back to Hollywood for 'This Is
The Army.' With the team broken up,
Cary hastily decided to get off too, and
tour Southern camps. A couple of days
later, this same Clipper was forced down
nearing Lisbon."
Carroll insists that George Murphy is
an amazing person, which is revealed in
his versatility. A song and dance man on
the stage, his film career has covered
every imaginable characterization — even
to a series of gangster roles. He was
dramatic in "Bataan" when he went to
his death driving a flaming plane into a
bridge. In "The Navy Comes Through"
he was the grimy merchant marine gun-
ner; and in tails and white tie he whirled
and danced through the gay "Broadway
Rhythm." He's played lovers, business
SCREENLAND
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men and vaudeville headliners, and has
been daddy to Shirley Temple and Judy
Garland. In "This Is The Army" he
danced in the early scenes, then became
the gray-haired father of Ronald Reagan.
Now, he's completing a cycle. Just ten
years after he made his screen debut with
Eddie Cantor in "Kid Millions," he's
again with Cantor in RKO's elaborate
filmusical, "Show Business."
"He has a strong faith which may be
summed up like this: To do the best he
can each day, and try to follow the
Golden Rule. He has his own philosophy,
too. George believes Life has it all writ-
ten out in the book! That's the way he
expresses it. He thinks we may be able
to influence the trend of events but we
can't change the direction. This, he in-
sists, is the only explanation for the pat-
tern our life takes. His own story seems
to verify this.
"His father was the famous Mike Mur-
phy, track coach at Yale and the Uni-
versity of Pennsylvania, but an accident
during a high school football game ban-
ished all dreams George had for follow-
ing in his father's steps. He attended
Pawling and Peddie Institute, then de-
cided he wanted to be a mining engineer
and won his degree from the Sheffield
School of Science at Yale.
"Then before he got started at engi-
neering, he met Juliette Johnson, a De-
troit sub-deb, who was in' New York
studying to become a professional dancer.
They danced together and had fun, but
when she told him she was going to
Florida with a show, George blew up.
He knew he was in love, that he didn't
want her to go to Florida, and this
started a big argument with the result
that they decided to form a danc6 team
and strike out for themselves.
"Their first job was with a Chinese
cafe and their success was sudden and
overwhelming. Things moved rapidly
and soon they were the star team at the
Montmartre, then other New York night
clubs. They went to London with the
show 'Good News' in which they danced
and each had a good role. They went on
to the exclusive Mayfair Hotel, then to
Paris and Monte Carlo, and back to New
York and several popular musicals. Oh
yes, before going to England, they slipped
away by themselves and were married at
the Little Church Around the Corner,
the day after Christmas in 1927.
"When they arrived in Hollywood,
Julie decided she had had enough of a
career; she wanted to be just Mrs. George
Murphy. She reads his scripts, and he
says she's his best critic because she has
constructive ideas. She seldom goes to
the studio, and they don't talk 'shop' at
home.
"By now," laughed Carroll, "you
should really know George. I've certainly
given you his life story and told how a
would-be mining engineer turned into a
famous hoofer. Must have been written
in the book, you know.
"I'll add just this: he's loyal in all of
his associations; has an infectious sense
of humor that never fails him. And
everybody is his friend. In fact, I doubt
if George Murphy has an enemy in the
world!" Which is a pretty fine tribute
from one man to another after a ten-
year friendship.
me
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ScREENLAND
83
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New Homespun Hero
Continued from page 49
watched the Beery baby sitting in a suit-
case in the wings. So Pidge he became.
It seems Maxine's and Pidge's formula
for "boy meets girl" was a bit off the
beaten path. Maxine, like her dad, was
at home in the saddle. She admired some
of Pidge's palominos in a pasture and one
day rode over to ask about them. They
began discussing horses. Maxine, almost
fourteen, was just a kid to the rather
bashful Pidge. But her interest in horses
intrigued him. She'd be mighty pretty
when she grew up, he decided. Soon they
were on the bridle trails, and on Sundays
after a couple of hours on horseback,
they'd have waffles at Maxine's home.
Pidge was the first boy in Maxine's
young life. Perhaps she was the first girl.
Their romance continued for several
years, during which there were many
periods of separation and casual reunion.
Maxine went to Flintridge School for
Girls and traveled with her parents. Pidge
went to Europe, on location, and made
flying trips to New York. Then the Dole
Pineapple Company selected Maxine as
one of the two most beautiful models to
pose with pineapples in Honolulu.
"It was then that Pidge really missed
me," says Maxine. "It was my first trip
away from home alone and I was having
a wonderful time. Perhaps I didn't want
to marry after all.
"Pidge wrote that he was very lone-
some. He was on location near Mount
Whitney when I returned to the States.
I went up to see him. He was playing a
scene and the second the director called
'Cut!' he rushed over, said 'Hello' and
'Will you marry me?' in the same
breath."
Buck and Mrs. Jones had been mar-
ried young, too, and they thought Pidge
would be the ideal son-in-law. So Pidge
bought a lot, started building the house,
and went to work for Universal at $65 a
week.
The home to which Pidge brought his
wife started out as a two-room house in
the Valley on three acres of ground. Be-
tween picture assignments he assiduously
worked at carpentry and masonry.
When marriage to Maxine began to seem
probable, he painstakingly added on
more rooms. When they gave their house-
warming there were big oaks, sycamores
and colorful Mexican flowers and cactus,
and the tiny white stucco house of four
rooms with a special "added-on dressing
room for Maxine's clothes and big hats."
Baby Maxine Delmar Jones put in her
appearance shortly before the Pidge
Beerys' first wedding anniversary. A
blonde brown-eyed little girl, her middle
name is combined from her two grand-
mothers, Odell and Marguerite.
"My role in 'Sergeant York' helped to
pay for Muffet," Pidge smiled. "For
every major crisis, a picture would show
up to tide us over."
But those days are over. After
"Stormy," Pidge was off at a gallop to-
ward the screen success he has corralled.
Never again will he be called young
Beery who is "Noah's son" or "Wally's
nephew." He's arrived on his own.
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SCREENLAND
What Next for Alan Ladd?
Continued from page 3 1
tool kit for Christmas and- pointed out
all sorts of things that could be repaired
and built for the new playroom — for-
merly the garage. And also despite the
fact that Mr. Y. Frank Freeman, Alan's
boss, had given him one of his prize
Boxer puppies. When Mr. Freeman
parts with one of his puppies you can
be quite sure that he has the greatest
admiration for the person. The Ladds
were pleased and fluttered, of course.
At first they called the puppy, whose
family tree goes back to the Mayflower
practically, Jill. But after they got to
know her better they changed it to
Jezebel. Jezzy has been a problem child
from the beginning. She's twice as much
trouble as their year-old baby, little
Alana. Jezzy likes noise and excitement,
and she just can't seem to understand
that people prefer sleeping at night,
rather than curling up in the sun in the
daytime. Alan had the bright idea of
putting a loudly ticking clock in Jezzy's
basket, and a hot water bottle to keep
her warm. But Jezzy continues to pro-
test shrilly all through the night, until
Alan goes down stairs and brings her up
to bed with him. Jezzy is more demand-
ing than a top sergeant, but cuter.
Alan decided that the only way to
overcome his restlessness was to go back
to work. He has worked hard all- his
life, and he's not the kind of a guy who
can relax easily, even when he's ill.
(With a temperature of 104 he worked
for ten days on "This Gun For Hire" —
the picture that was to turn the tide of
his miserable career and make him the
most important discovery of 1942.)
Paramount was pleased as punch. They
didn't have a picture ready for him,
naturally, so they put him in the roman-
tic lead of "And Now Tomorrow," which
was all ready to go into production im-
mediately. This is something new for
Alan. He has always played a cold,
steely-eyed killer. Not the nice young
hero who makes pretty talk to the
heroine and winds up in a clinch. Will
his fans like him in that kind of a part?
Paramount thinks so. Alan is not so
sure.
Two recent brushes with his public
has caused him to wonder if he's making
a mistake playing a straight part. When
he was leaving the Lux broadcast re-
cently a kid grabbed him by his coat
and said, "Say, Alan, are you going to
play a gangster in your next picture?"
Alan explained that he was playing a
nice young doctor who cured people in-
stead of killing them. The kid looked
disgusted. "Aw, nuts," he said.
Well, at least Alan won't have to
wonder long. Alan's fans like to write
letters. And Alan likes to read them.
Alan got a royal welcome from the
gang at Paramount the first day he
worked. Dorothy Lamour, Bob Hope
and Bing Crosby all dropped by the set
in their "Road To Utopia" costumes to
give him the glad hand. Paulette God-
Hard and Sonny Tufts brought over a
welcome home mat. Betty Hutton, all
done up in Texas Guinan's feathers.
RONRICO"
The Rum Connoisseur contains
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Copyright 1944 'Trademarks
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DEAN STUDIOS, Dept. 712, 211 w. 7th St., Dm Moines, Iowa
STAMP
CRAMPS — Midol contains an exclusive ingre-
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MIDOL
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SCREENLAND
85
WHY YOUR PRESENT
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POEMS WANTED
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28 WOODS BUILDING
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Richard Brothers
Confidential Information on
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yelled "Hiya, Lover," across the lot, and
Loretta Young said, "Here we go again."
Loretta and Alan had co-starred in
"China," Alan's last picture before en-
listing. The grips and the electricians
gathered around to welcome him back
to civilian life. Paramount executives
were so delighted they were almost
bursting the seams of their new gabar-
dines.
But the welcome that meant most to
Alan was when DeMille grabbed him
cordially by the hand and said, "Ladd,
I'm writing a picture specially for you.
Called 'Rurales.' " You can call DeMille
whatever you like, and the New York
critics have found a lot of things to call
him, but every actor in Hollywood wants
to do a picture for DeMille. And when
the master thinks you are good enough
for him to condescend to write a part
specially for you — why, then you have
arrived indeed. Alan couldn't have been
more nattered. He could hardly wait to
get home to tell Sue.
I happened to be trying to get across
the street to the Brown Derby the night
Alan made his first appearance in Holly-
wood, after his Army discharge. He did
"China" on the Lux broadcast. Fans
were gathered from Hollywood Boule-
vard to Selma, and so thick in the mid-
dle of Vine that traffic was completely
at a standstill When Alan left the thea-
ter the crowd started screaming and yell-
ing at the tops of their voices. I'd never
heard anything like it. "Who is it?" a
little old lady asked me excitedly, "Sina-
tra?" "No " I said, "Alan Ladd." She
watched the screaming, pushing fans for
a few seconds, and said with approval,
"I don't blame them — I like Ladd, too."
Hollywood Women
Have Gone to War
Continued from page 34
given sons. Sons who are giving, or have
given, their blood. I know many such,
many.
"Are the finger-pointers forgetting the
women who work in defense, many of
them doubling in brass and caring for
their homes and families before and after
hours?
"Look at the women of our profession,
my profession. Rosalind Russell, one of
the best examples, only a few months
before her son was born, went off and
gave a party for 30,000 men stationed on
the scorching desert, brought it off tri-
umphantly and practically single-handed.
That's only one job Roz did. She never
stops. If you can persuade Martha Raye,
Carole Landis, Kay Francis to speak for
five minutes of their experiences in Africa
under fire, in fox-holes and slit-trenches,
tell me then whether American women
and especially Hollywood women are de-
pendent upon lipsticks and compacts and
night-clubs and frou-frou.
"Bette Davis isn't permitting her per-
sonal grief and not-too-good health to
keep her from her job at the Hollywood
Canteen. Gene Tierney, her young star
just rising, kissed it (and certainly the
salary that went with it) goodbye for
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SONG POEMS *
125 pa
We want song poems and lyrics on all
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arranger. Send your poem today for
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HOLLYWOOD MELODIES
P.O. Box 2168E Hollywood 28, Calif.
N
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aii indefinite period in order to be near
her husband who was in camp in Kan-
sas, and to have her baby there. So many
of the girls, Maureen O'Hara, Brenda
Marshall, Betty Grable, so many thou-
sands of other girls whose names I do
not know, wanting babies, having them,
keeping their homes intact, holding down
their jobs, too, so that when their men
come home again it will be to something
that was worth fighting for. American
women not at war!!!
"It is embarrassing to use the persona!
pronoun 'I' when one pauses to consider
the magnitude and magnificence of the
mass effort but since I risk being asked,
at this point, 'What have you done?"
I'll remark in passing that I, along with
hundreds of others, took the Red Cross
first-aid course (and received my pin for
Excellence, which makes me feel sort of
decorated or something) , go to the Hol-
lywood Canteen whenever I can manage
an early break at the studio, and have
recently done a six weeks' camp tour
Six weeks of, I must add, just visiting.
For I can't sing or dance, and I didn't
do a show. But I did find the thing I
can do best, which is simply to visit with
the boys. In the mental wards, in the
various hospitals and camps. Some of
them recognize me. Others think they
do, others have no idea who I am, what
I do, or where I come from. Which isn't
important. What matters is that I knew
I was on the right track when they said
to me, so many of them said to me, 'I
feel much better now that I've seen a
friendly face.'
"The friendly faces of women — you
think they don't help the war effort?"
"I don't care," she continued, her Voice,
habitually of the texture of silk, harsh.
"I don't care how foolish or vain or
pampered or silly a woman has been, she
is in there now wrapping bandages, doing
Nurse's Aide, dish-washing at Canteens,
selling war-stamps and bonds, in depart-
ment stores, in hotel lobbies, in stations,
doing something. When it's said, and it
has been said, that many women help
the war effort because others do and the>
want to be 'in the swim,' I don't believe
it. But even if it were true, even if it is
true of a small minority, it really doesn't
matter why they are doing it — the point
is, they are doing it.
"Our living is different, practically
every aspect of it, every phase. Our way
of thinking is different, what we want,
what we expect. We do not buy clothe.-
the way we used to (I know I don't)
because there are bonds to buy. I can
remember, just barely remember," Lor
etta laughed, "when I used to have, say
twelve to fifteen hats a year. Now I'm
down to three or, at most, four. The
whole concept of clothes has changed
It certainly has here in Hollywood
among the girls in pictures. And as wi
are supposed to be the most clothes
conscious group of females to be found
anywhere, if we've modified and cut
down. I. daresay girls everywhere arc
doing flit to.
"Speaking for myself (although, as <i
matter of fact, all of my friends in Hol-
lywood are doing the same). I'm wearing
all my old clothes and, believe me, I'm
glad to have them. You can't buy ma-
terials in quantity, or of the quality, that
Find out from your hat
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It's so easy to have scalp odor — and
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SYMBOLS OF SAFETY
CAT
RUBBER HEELS?
AND SOLES
TWIN GRIPPtRS STOP SUPPING
SCREENLAND
87
REVOLUTION over 20 Yesrs Ago!
LEADERSHIP, TODAY. . . for
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AT ALL
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Box 124 Dept. 369
Huntington Station, N. Y.
Get More
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Don't let tired, burning sensitive feet steal
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BRUSH
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HAIR
AND LOOK
IO YEARS YOUNGER
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went into dresses before the war. That
dress hanging there, which I wore to the
studio this morning," (it was a tailored,
buff blue jersey, with a side drape flounce
and a small L.L. monogram, for Loretta
Lewis, on the shoulder) , "is a year and
a half old. Which would have been an
unheard of 'true confession' coming from
an actress before the war.
"Now, too, instead of giving my used
clothes away as I once did, I work away
at alterations like a veteran village seam-
stress. Matter of fact, I'm rather natty
with a needle, thanks to the training I
received, at an early age. I've recently
made myself three rather divine peasant
dresses, hand-embroidered, with aprons
to match. And a matching peasant out-
fit, complete with apron, for my small
daughter, Judy. Last week, I spent two
evenings altering a blouse which I wore
with a three-year-old suit to a bond rally.
Re- vamped clothes, in fact, are the major
items in Mrs. Lewis' wardrobe. I utilize
everything now, plot, plan, scheme and
contrive — and it's rather fun. Long
sleeves put in a short-sleeved dress, for
example, will give you a winter's wear
out of a summer job. A blouse which
seems to be a white elephant can be
turned into a chameleon that serves
many purposes. I had one that didn't
look well with suits, too fluffy. It hung
around for months until I conceived the
bright v idea of going to Livingstone's, a
small department store in Beverly Hills,
where I bought some black cotton ma-
terial, made a long skirt, wore the blouse
with it and it was turned out for several
summer evenings. Then I had a black
velvet dinner dress, three or four years
old, and very tired. I removed the skirt,
put a little dusting ruffle of white lace
around the hem and wore it, too, with
the fluffy blouse, and felt as new as
April!
"Wonders can be worked by adding
a new veil to an old hat. Me, I use a
black veil with the old pink felt and a
pink veil with the old black felt and feel
both chic and changeful! Or you can
dispense with hats altogether and work
legerdemain with veils alone. Rosalind
Russell, as ingenious as she is untiring,
buys stiff veiling, has it wired and shaped
like a bird-cage which covers her head
and face. Peering out of those bird-
cages, she looks provocative — and dif-
ferent.
"Our attitude about food," Loretta
laughed again, "what an alteration that
has undergone! I can remember giving
dinner parties, calling the florist and or-
dering a dozen roses or a dozen garde-
nias, or both, for the table. Now I go
into the garden and clip the greens and,
if I do say so, turn out floral pieces that
definitely improve on the old roses-and-
gardenias routine. For instance, I have
a darling miniature tea-set. I place the
pot in the middle of the table with a
fusehia bud or a sprig of green thrusting
out of the spout. Then I arrange the
cups and saucers on either side, with a
violet or a pansy or a hollyhock bud in
each cup and the effect is quaint, charm-
ing!
"I can remember dinner parties, our
own and others, where hors d'oeuvres
were a matter of course and a spanking
roast, a commonplace. Such a thing as
WEDDING
AND
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EMPIRE DIAMOND CO., Dept. ST- 1 30, Jefferson, Iowa
DoYou Want 111 lit
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1930 Irving Park Rd.. Dept.A-602, Chicago, Hi.
BUY MORE WAR BONDS
REDUCE
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V-TABS CO., Dept. SU-5, Room 1302,
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Send me one month's supply of V-TABS i
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.... State
Please print plainly.
ScREENLAND
REMOVE
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hors d'oeuvres before dinner doesn't even
enter my head now and when I am din-
ing out (or in) and a roast appears I
think, awed, those POINTS! And fruit!
I haven't had a banana in the house for
ages," Loretta added, ruefully, "and I
love bananas.
"And just as all the clothes in our
house are used one way or another, so
all the food is 'done over' and consumed
In the past six months, we have had
some of the eeriest dishes! But won-
derful!
"When I am working. I usually have
my lunch in my dressing room at the
studio. Vera, my maid (who also doubles
in brass, at home and here at the studio)
brings the fixins' when she comes with
me in the morning. Most often they are
things left over from dinner the night
before which she whips into a tasty busi-
ness. Hash is an all-favorite dish. And
faithful! For if we have any meat left,
we have hash — hash in every language —
beef, ham, veal, chicken, fish, hearts,
liver and gizzards! We always have ap-
preciated ham (no snickers, please) in
our house. And now the ham-bone is a
precious thing for it's put to work pronto
for pea or bean or lentil soup. Soy bean
bread, use of vegetable shortening instead
of butter for cooking, and Judy's favorite
dish, weiners and- sauerkraut are war-
time 'regulars' in the Lewis menage. Nat-
urally, all our fats are saved for Uncle
Sam. Tin cans are crushed and saved
for the salvage collections and every
newspaper and magazine for the paper
drives.
"When you really get into the war
conservation stream of consciousness, so
to speak," Loretta said, gravely, "it per-
meates all your thinking, everything you
do. When I wear an evening dress, for
example, which isn't often, I must admit.
I don't wear stockings. Saves a few
hours' wear and tear, anyway. I haven't
a nylon to my name, by the way, and
my Judy gets my shoe ration coupons —
you know how youngsters grow out of
shoes! I never go to beauty parlors any
more, do my own hair and nails. Per-
fume, which used to be a hobby and an
extravagance — well, I'm using what I
have left and when it is all gone, will buy
colognes. What a very flattering writer
once called my 'fabulous Cadillac sedan'
has been put up for the duration. I use
a station wagon for studio transporta-
tion and Colonel Lewis gets about in a
three-year-old Mercury, and very grate-
ful we are, too, that we have four wheels
apiece!
"You find that you can, and are very
willing to dispense with almost every-
thing you once considered practically in-
dispensable or in some way dear to you.
When, some time ago, the government
called upon civilians for all available
metals, I contributed all the pots and
pans, except my antiques, odds and ends
we could possibly manage without and
added the various silver and gold tro-
phies— the cups and awards, you know,
which I've received during my profes-
sional career. Trophies for, Heavens!
'beauty,' 'diction,' 'teeth,' the 'best-
dressed.' Most of the girls in pictures are
accorded the same superlatives and are
given similar trophies at one time or
another. Still. I sort of valued mine, once
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thought I'd never, never part with them,
but did without a pang. Happily for my
self-respect, I might add, since little
Judy, also without a visible pang, up
and gave a huge box of her most fa-
vorite toys to the war veterans for their
child welfare. Judy is a splendid little
knitter, too (which I am not) , and be-
longs to the Beverly Hills Children and
Governess group which recently com-
pleted in a few weeks eighteen afghans
for war relief.
"It's good for us," Loretta said, round-
ly, "very good for us to be good about
the war effort. It brings us back to the
basic principles of simple living and to
the fresh, and rather startling realiza-
tion of how few our needs actually are.
In addition, it develops resourcefulness
in us, and ingenuity. For example, there
is a lack of closet space in our house.
And there is a lack of carpenters in
Beverly Hills. So, needing some extra
space for my long dresses, little Loretta
bought some Compo board, walled off
the bath-tub adjoining the powder-room
(which we never used for bathing any-
way) , ran a standard bar the length of
the bath compartment from which my
evening gowns, concealed and protected,
now cascade into the bath-tub!
"Even this gown," Loretta said,
smoothing the filmy bodice and flying
folds, "is — how shall I put it? — part of
the war effort. For the studio didn't
have it made for me, as is customary.
It's my own. Three years old, but my
own. One, of my favorites, too. Irene
made it for me just before Tom and I
went to Honolulu for the last long holi-
day we were to have together, so I had
lovely times in it, lovely. Now I'm wear-
ing it for a scene in 'Ladies Courageous,'
a love scene with Phillip Terry, which
is supposed to take place in 1937. Since
women's gowns, even for pictures, can't
have the yards of material that were
used for them then, Mrs. Lewis very
kindly lent Miss Young this one, which
has the pre-war yardage.
"These are the kind of things I
meant," Loretta said, "when I said that
we women are at war, even though some
of us are fighting only in our homes
or in seemingly small and inconsequen-
tial ways. But what is wrong with the
home ways and the so-called 'little' ways,
neither of which are actually, as all men
of good sense must admit, inconsequen-
tial? If we can't, for one reason or an-
other, age, perhaps, or ill-health, or small
children or economic necessity or what-
ever, do more than conserve our kitchen
fats, re-vamp our old clothes, make beds,
keep the hearth swept, the silver pol-
ished, the bedding aired and the rugs
de-mothed — well, the men can't come
home to a shambles, can they? Obvious-
ly, some among us must maintain and
keep up the homes the men are fighting
for. Or am I wrong?"
Loretta paused, then, out of breath.
I thought, wrath in white chiffon is a
fearsome sight, both frail and ferocious.
"Wrath in white chiffon" — the phrase
intrigued me and I said it aloud.
Loretta laughed, "White chiffon or
homespun," she said, "swansdown or
kitchen aprons or sun-suits, they cover
warrior hearts, for believe me, we women
are at war!"
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SCREENLAND
PRINTED IN THE U. S. A. BY THE CUNEO PRESS, INC
Very possibly, there may be other shades of nail make-up (:
that "do more" for your nails than the color you
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Name-
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COPTHIOMT 1944 ASSOCIATED DISTRIBUTORS, DJt. I K ■ UUTOR5, CHICAGO. IN SOUTH AMERICA, ADORESS CHEN TU, SANTA I L 802, 8UENOS AIRES, ARGENTINA
COPYRIGHT DEPOSIT
aulette Goddard
ICC
June
15c
'STRANGE CONFESSION"- EXOTIC LOVE
ARRING GEORGE SANDERS AND LIND
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smile is right.
So smile, Plain Girl, Smile! Not just a
ihy, uncertain smile — but a smile that
flashes with magic charm— gay, bright, en-
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smile you need sound, sparkling teeth.
And sparkling teeth depend largely on
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Never ignore "Pink Tooth Brush"
If your tooth brush "shows pink"— iff your
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SCREENLAND
3
Scree nland
Paul Hunter, Publisher
Delight Evans, Editor
HOMER ROCKWELL, Executive Vice President
Elizabeth Wilson,
Western Representative
Helen Fosher,
Assistant Editor
mpirup.fk
Frank J. Carroll,
Art Director
Anthony Ferrara,
Asst. Art Director
The Editor's Page Delight Evans 7 9
B/ng Exposes the Crosby-Sinatra "Feud" 20
Introducing Gregory Peck Jade Holland 24
"My Daughter Joan." Joan Leslie As told to Tamara Andreeva 26
Jimmy Stewart Isn't Shy Any More! Hettie Grimstead 28
She Didn't Get What She Wanted. Kathryn Grayson Bob Marden 30
"Strange Confession." Complete Fictionization . . .Elizabeth B. Petersen 33
Lynn Bari's Marriage Code for Ex-Bachelor Girls Barry Farrar 36
"I Was A Chump!" sayf John Garfield .S. R. Mook 38
Esther's No Dummy! Esther Williams Elizabeth Wilson 40
Tu// 0olo* PotttaitA: ★ ★ ★
Warner Brothers' stars: Jane Wyman, soon to appear in "Make Your
Own Bed/' Paul Henreid, next seen in "Devotion;" Irene Manning,
now appearing in "Shine On, Harvest Moon;" Errol Flynn, starring
in "Uncertain Glory"
Linda Darnell, co-starring with George Sanders in "Strange Confession"
Maria Montez, starring in Universal's "Cobra Woman"
PicttltQ ' "Mister Sinatra" From Now On!
s * (Frank Sinatra ),- She Wore A Sweater (Mar-
tha O'Driscoll); Something New For Eleanor (Eleanor Powell);
Photo Previews ("Sweet And Low-Down," "Greenwich Village");
"Shine On," Ann Sheridan! (Fashions); Spring Fling! (Ida Lupino
Fashions); Very Warm For Van (Van Johnson); Very Nice To Meet
(Lucille Ball); Screenland Salutes "The White Cliffs Of Dover"
fiejQatt/nentd: * * *
Hot from Hollywood 6
Your Guide to Current Films Selected by Delight Evans 8
Fans' Forum 7 0
Guide to Glamor 72
Here's Hollywood. Candid photos by Jean Duval — Gossip by Weston East 54
Cover Portrait of PAULETTE GODDARD, star of Paramount's
"I Love A Soldier." Kodachrome by A. L. Whitey Schafer
JUNE, 1944
Volume Forty Eight
Paul Hunter. President NUMBER EIGHT
Homer Rockwell. Executive Vice President and Advertising Manager
Lee Wagner, Circulation Manager
SCREENLANb. Published monthly by Hunter Publications. Inc.. at 205 E. 42nd Street. New York. N. Y.
Advertising Offices: 205 E. 42nd St.. New York; 410 North Michigan Ave.. Chicago. 111.; 427 W. 5th St..
Los Angeles. Calif. Manuscripts and drawings must be accompanied by return postage. They will receive
careful attention, but SCBEENLAND assumes no responsibility for their safety. Yearly subscriptions $2.00 in
the United States, its dependencies. Cuba and Mexico; $2.50 in Canada; foreign $3.00. Changes of address
must reach us five weeks in advance of the next issue. Be sure to give both the old and new address. Entered
as second class matter, September 23. 1930, at the Post Office New York, N. Y., under the act of March 3. 1879.
Additional entry at Chicago, Illinois. Copyright 1944 by Hunter Publications, Inc. Printed in the U. S. A.
MEMBER AUDIT BUREAU OF CIRCULATIONS
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Published in
this space
every month
No more stirring tribute to the daunt-
less British spirit has been written than
the vivid lines of Alice Duer Miller's
"The White Cliffs".
★ ★ ★ ★
In filming this living symbol of British
heart and heroism, the Studio which
produced the great "Mrs. Miniver"
continues a tradition — making of "The
"White Cliffs of Dover" another great
and important picture.
★ ★ ★ ★
This is magnificent MGM entertain-
ment— but it is also a contribution to
the hope of the future in the partner-
ship of nations, especially those which
share a common language.
★ ★ ★ ★
For it is a story of a way of life and
shows how that way of life dovetails
with the American Way.
★ ★ ★ ★
The canvas is large— the story is sim-
ple and personal. Centering around an
American girl — played by the charming
Irene Dunne — and the love she finds
among the stately homes of Britain,
in the person of Alan Marshal.
**._**
Adventure, excitement, bravery,
action and infinite tenderness are all
woven into "The White Cliffs of
Dover". . . in the screen play by Claudine
West, Jan Lustig and George Froeschel.
The cast of supporting players contains
names that in themselves deserve sup-
porting casts. Among them are.. .Roddy
McDowall, Frank Morgan, Van
Johnson , C . Aubrey Smith, Dame May
Whitty and Gladys Cooper.
★ ★ ★ ★
Primary credit should go to Clarence
Brown who gratified a strong ambition
in planning and directing this produc-
tion. He was admirably spurred on by
the able cooperation of a man who has
emerged as the screen's greatest pro-
ducer, Sidney Franklin.
★ ★ ★ ★
Together, they have showered loving
care on this new, momentous MGM
enterprise.
**""**
Just as "Mrs.
Miniver"
moved us, so
will "The
White Cliffs of
D o v er ". A
heart-warming
reception is its
sincere due. Paws across the sea
Screenland
5
1 COTfO//
rt£S2>
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ALAN LADD was dis-
- charged once from the
service for physical disability,
but recently was summoned
for a new physical and came
through with flying colors.
The Army will let him star in
a costume piece, "Two Years
Before The Mast," before tak:
ing over responsibility for his
future wardrobes. This, girls,
looks like your last crack at
Alan for the duration.
CAW HUMPHREY BOGART and
^ Mayo Methot when they got back
from their tour of the Italian front.
Bogie is an idol to the service men, most
of whom have seen "Casablanca." They
instinctively call him Rick. He's the
type tiger-meat those boys understand.
Bogey says a tour of the front is getting
to be like old-home week. He ran into
Lieut. Bruce Cabot and John Carroll. "It
was like dropping in at the Brown Der-
by, only different." I asked where the
chief difference came in. "In the cuisine,
you dope!" said Bogey.
WHEN KATIE HEPBURN finishes
in "Dragon Seed," she may move over
to 20th Century to play the role of Fran-
cie in "A Tree Grows In Brooklyn." Com-
petition is hot for the principal roles in
this story, so widely and lovingly read
that the public has definite feeling about
it. And can you picture Errol Flynn in
the role of a singing waiter? It may
happen if Fred MacMurray doesn't
shoulder him out. Alice Faye fans are
in for a treat, for Alice plays Aunt Cissy
— she's wanted to do a straight role for a
long time now, without a single song in it.
o
ScREENLAND
. COUNT 'EM ... 4
HEAVENLY HONEYS
(And One Lone Wolf)
In A Heavenly
Musical Laugh Hit
FROM PARAMOUNT
WITH THE STARS OF 3 GREAT
1944 PARAMOUNT COMEDIES
UNITED IN ONE SUPER SHOW!
DOROTHY LAMOUR
of "Riding High"
FRED MacMURRAY
of "No Time For Love"
BETTY HUTTON
of "The Miracle of Morgan's Creek" . . . with
Diana Lynn
Sossy Sensation of "Morgan's Creek" . . . and
Mimi Chandler
"It Could Happen To You" • "For The
First Hundred Years" • "His Rocking Horse
Ran Away" • "How Does Your Garden
Grow" • "Bluebirds In My Belfry" by
Burke & Van Heusen — 3 Other Songs
The swingy, zingy story of 4 singing sisters
and the big, bad band leader who tried
to make love to the whole darn familyl
with
RAYMOND WALBURN . EDDIE FOY, JR.
Directed by GEORGE MARSHALL
Screen Play by Melvin Frank and Norman Panama,
.Based on a story by Claude Binyon
SCREENLAND
7
that electrify
the nation!
Crowds and critics call it one of the
jp screen's most unusual dramas . . .
The strange story
of a brilliant sci-
entist lured by a
woman's beauty
to trespass on the
secrets of life and
.love!
VERA HRUBA RALSTON
RICHARD ARLEN
ERICH von STROHEIM
CURRENT FILMS
Selected S<f
GOING MY WAY— Paramount
Quiet and unassuming is this new Bing Crosby film, but
it will warm your heart and leave you asking for more.
It's a new Crosby, yet it's the old one, too, lending his
familiar talent to the role of a young curate who has
the job of putting old St. Dominic, situated on the
seamy side of New York, back on a supporting basis,
and helping its aging priest to improve the morals of
the parishioners. Barry Fitzgerald is magnificent as the
old priest. Jean Heather, a real find, and Jim Brown
play romantic parts. Rise Stevens sings the curate's
compositions as well as she does. "Carmen." See this
one for spiritual uplift as well as good entertainment.
COVER GIRL — Columbia
Take gals — the same you see on mag covers — music,
songs, and dances, roll 'em up in a nice fluffy story and
you have "Cover Girl." Rita Hayworth, that red-
headed lovely with talent, too, makes the story go round
along with Gene Kelly (Brooklyn night club owner
who believes you "get there" on your dancing feet), Lee
Bowman (Broadway theater magnate who offers our
heroine her name in lights as well as his heart), Otto
Kruger (publisher of a slick f emme mag) , Eve Arden
(his bright, wise-cracking secretary). Gene Kelly's
"Alter-Ego" dance is wonderful ! The fifteen cover girls
are seen briefly, lavishly. All in Technicolor, too.
HELENVINSON
SIDNEY BLACKMER
Based on the novel
"DONOVAN'S BRAIN"
GEORGE SHERMAN, •>> CURT SIODMAK
Director
THE WHITE CLIFFS OF DOVER — M-G-M
Irene Dunne in the role of a Yankee who marries an
English title makes a charming good-will ambassadress
in this film based on Alice Duer Miller's poem. The
story, covering her life as Lady Ashwood, her sorrow
in losing both husband and son in the two World Wars,
is guaranteed to bring a sob to anyone's throat. It also
furthers that understanding you've heard so much about
between England and America. The beautifully tender
romance that Alan Marshal provides is a welcome
respite from the overpowering sadness of the film.
Roddy McDowall is a perfect picture of the little "lord."
THE ADVENTURES OF MARK TWAIN — Warner Bros.
We hope this film will start another cycle of biographies
since the WB's have done so well by Mark Twain, giv-
ing us a picture of the man as well as a good portion
of his salty wit, delivered with unassuming grace by
Fredric March. He gives a fine portrayal, and with the
aid of remarkable make-up looks the part. The story
covers his childhood days on the Mississippi, his river
boat pilot adventures, California gold prospecting, ro-
mance, marriage and literary history. It's not all price-
less humor. There are moments of sadness, too. Alexis
Smith gives a fine characterization of his wife. Donald
Crisp, Alan Hale and William Henry are excellent.
UNCERTAIN GLORY — Warner Bros.
It may be uncertain glory in this film for Picard, a
criminal in Vichy Paris, who in a weak moment agrees
to claim to be a saboteur in order to free a hundred
French hostages. But it is certain glory for Errol
Flynn, who plays the role with all his well-known dash
and verve. It's certain glory for Paul Lukas, detective
who brings back his man ; and for Jean Sullivan, as the
young village girl whose faith in the criminal is a de-
ciding factor in his life. It's touch and go right up to
the final scenes where he — but we shouldn't tell you
how it ends. See it yourself ! {More reviews on page 16)
ScilEENLAND
4
that as we go to press, in the 200 cities known as the
nation's principal amusement centers, theatre programs have
been switched to make way for immediate special limited
engagements ahead of the regular runs later in the season!
that when it comes your
way you'll cherish it in your memory along with 'Sergeant York'
and 'Yankee Doodle Dandy' as one of the very,
very best of all WARNER BROS,
entertainments !
Screen Ploy by Alan LeMay ■ Adaptation by Alan leMay and Harold M.
Sherman • Additional Dialogue by Harry Chandlee • All biographical
material based on works owned or controlled by the Mark Twain Company,
ond the play "Mark Twain" by Harold M. Sherman • Music by Mox Steiner
SCREENLAND
This is one of the films chosen by the War Depart-
ment and provided by the motion picture industry
for showing overseas in combat areas, Red Cross
hospitals and at isolated outposts.
9
„ NUMDW T|US
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I I
Sond for Free Catalog of new California stylos
ans rorum
FIRST PRIZE WINNER
$10.00
For the past few years, the movies have
been playing up the fact that women can
compete with men in the business and pro-
fessional world (take Margaret Sullavan as
an M.D. and Roz Russell as a ten per cent
Hollywood agent) and do the job as well as
any male on two feet.
That's why I'm appealing to the movie in-
dustry to "still wield the torch" for those of
us who have made our way in the outside
world during wartime, but who resent being
told that A.V. (After Victory) women
should be booted out of industry and back
into the kitchen. What are we? Horses,
dogs, or oxen that go back to the stable
when our usefulness is over? Let's have
more pictures of women, out on top in all
fields, because, Hollywood, we need your
support ?
MRS. ADELE EDITH KARMER,
West Farms 60, N. Y.
SECOND PRIZE WINNER
$5.00
We had a showing of "The Miracle Of
Morgan's Creek" at our camp, and it was
hilarious, judging by the laughter of the
audience. In my opinion, it was an excellent
comedy, and I had a very enjoyable evening.
One of my soldier buddies sitting near me
remarked at the end of the picture : "You
know, Eddie Bracken is worse than I am."
He meant, of course, Eddie Bracken's stut-
tering. This fellow, due to some childhood
ailment, is a stutterer too, and he was
"laughing with tears in his eyes."
If pictures like this make handicapped
people forget their own troubles, as this sol-
dier did, I say we should give Hollywood a
medal of honor.
CPL. SAMUEL FITCH, Fort Story, Va.
FIVE PRIZE LETTERS
$1.00 Each
Stars come and stars go, an endless pro-
cession stretching through the years. New
starlets are ballyhooed and go all out for
leg art; older actors fade into oblivion;
stars fall from the top of the ladder and are
replaced overnight. So it goes in Hollywood.
But one star, one charming actress never
wavers. Lovely Claudette Colbert, having
once attained the greatest heights of fame,
has for years been turning in perfect per-
formances.
Claudette, the ever-charming and gracious
Say and Sway!
Movies have power to sway the
mightiest, and the power behind them
is you. Let's hear what you have to say
about movies in general and stars in
particular. Monthly awards for the best
letters published : $10.00, $5.00, and five
$1.00 prizes, all payable in War Sav-
ings Stamps. Closing date is the 25th
of the month.
Please address letters to Fans'
Forum, Screenland, 205 East 42nd St.,
New York 17, N. Y.
First Lady of Hollywood, well deserves her
title. She has garnered laurels on both stage
and screen and has proved herself one of
Hollywood's most versatile stars playing a
Park Avenue sophisticate, a bedraggled
nurse on Bataan or the heroine of a frothy
comedy with equal facility.
Her private life is happy and as normal
as a screen star's can be. She especially de-
serves credit for never having allowed a
single breath of scandal to touch her in all
the years she has remained America's favor-
ite. She is not only a beautiful woman and
a fine actress, but a real lady, of which there
are all too few.
REBECCA SHOCKLEY, Snow Hill, Md.
Most of the movie magazines remind me
of the sound a record makes when the needle
is stuck in a crack — over and over again we
hear the same old refrain : "Montez and
Aumont are married. Turner has a tot.
Flynn is still in trouble. Frank Sinatra's
hot — " and so it goes on, the news of a
certain chosen clan, ad infinitum.
Now, I'm not complaining — remember
that ! It's just that other fans are "haves"
and I'm a "have-not" in this situation. I
have a favorite star of my own and I'm tired
of hunting with a microscope through the
mags for a line or two of news about him.
It's not as if Lloyd Nolan were a new-
comer ; he's been a consistent winner for
years. But is that any reason for you to
ignore him?
His magnificent performance in "Guadal-
canal Diary" sold me bonds, regular appoint-
ments at the Blood Bank, hundreds of
(Please turn to page 14)
JO
SCHBKNI.ANP
An Instrument in the Hands of God
"As an instrument in God's hands, Lister has
wrought more for the relief of suffering, for the
security of life, for the prevention of anxiety, and
for the promotion of happiness, than any one man
who has ever trod this earth." So spoke one of
Lister's associates, a doctor of international fame.
A LMOST alone and single-handed this great, good man
the "father of antiseptic surgery,"
brought health and life out of a morass of
suffering and death.
But for his unshakeable faith in a "fan-
tastic" theory, initiated by the immortal
Pasteur, and his tireless efforts to prove its
truth in the face of derision and mockery,
the fatalities of today, both civilian and
military, might reach appalling proportions.
For it was Lister's fierce conviction that
fatal infections were caused, not by atmos-
pheric changes or mysterious conditions
set up by the wound itself, but by the
definite tiny germs carried by the air into the wound. The
world laughed at him.
And it was Lister, using the crudest kind of carbolic
acid as an antiseptic, who proved that by killing or con-
trolling these germs in sufficient numbers at every stage —
before, during and after an operation — Death could often
be averted.
Though all England rang with his fame as a surgeon.
it was years before hostile critics accepte
his practical life-giving methods, the sim
essence of which was absolute cleanli'
It was for this benefactor of m;
that Listerine Antiseptic was nam
day, as in its early years, it is re
as a dependable and delightf
providing rapid germ-killing
complete safety.
Lambert Pharmacal Cc
BECAUSE OF WARTIME restnc
be able to get Listerine Ami?
Most drug counters will,
available in some size.
FOR COUNTLESS LITTLE EMERGENCIES
LISTERINE ANTISEPTIC
SCREENLAND
SCREENLAND'S Executive Vice President, Homer Rockwell, was guest at dinner party given by
The Masquers for the Fourth Fighter Command of the Los Angeles Area. Shirley Temple,
standing beside Edward Earle, Director of The Masquers, was the charming hostess.
Fans' Forum
Continued from page
Nurse's Aide hours. Didn't it sell you
writers even one story on Lloyd, his wife,
hi} kids?
I don't mind the cracks in the records, but
I'm pleading for a new rut — one that stops
on my wonderful, talented Irish sweetheart,
Lloyd Nolan !
JEAN SHEPARD, Berkeley 4, Calif.
Recently in an article I read that Roddy
McDowall is now anxious to learn how to
sing- and jive — if I recall it right. Never-
theless, may the day never come when we
see Roddy starring in some light comedy,
cutting the rug or singing a song like "Mur-
der, He Says !" Why not leave this different
type of talent to Mickey Rooney or Donald
O'Connor? It hasn't happened yet, but I
fear it will someday. I am waiting for "The
White Cliffs Of Dover" anxiously, and
some more pictures revolving around Flicka
or Lassie would be very welcome, not only
to me but to thousands of McDowall fans
in the armed forces as well. If you, dear
producer, just remember Roddy's Hugh of
"How Green Was My Valley," Ronnie of
"The Pied-Piper" or Joe of "Lassie Come
Home," or if you have ever found yourself
between two mothers during one of Roddy's
performances, then you will understand, un-
doubtedly, what I am trying to say. Please
give us more moving, dramatic pictures with
Roddy McDowall and above all, try not to
forget that he is not a Donald or a Mickey.
You will find us soldiers standing in line at
the theater more patiently and longer than
we have ever stood in any chow-line.
CPL. HANS BOCHNER
Camp Patrick Henry, Newport News, Va.
I know you have received numerous let-
ters regarding the "rights and wrongs" of
war pictures depicting the various branches
of services. Every service seems to have
had at least three pictures, all with the same
story in mind, and it was really refreshing
to see a new type in "The Fighting Seabees."
This picture shows how this group of fight-
ing men originated and what they have done
and are continuously doing to further our
American way of living. John Wayne played
the kind of role that every girl, no matter
whether 16 or 60, hopes that her husband,
son, or boy friend is experiencing under
actual war conditions.
By this I mean he was permitted to make
mistakes. While part of the story was fan-
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SCREENLAND
tastic, for instance, where the bulldozer
pushed the tank off the cliff, which we all
know could not happen actually — John
Wayne died a hero in the sight of all au-
diences. He reflected the real spirit of all
American and Allied fighting men in that
they have to make decisions on the spur of
the moment whether afterwards they prove
to have been wise or not.
Here's hoping movie-goers will be able to
see more actors as "real true-to-life heroes"
than "movie heroes" in future pictures.
MARGIE HURT, Fort Worth 3, Tex.
I had fair warning from the reviews that
"'Jack London" placed most of its emphasis
on London's unheeded warnings against the
Japanese. But I guess I'm just an old opti-
mist, because, in spite of the reviews, I went
to the movie with high expectations and a
definite thrill that one of my favorite people
was coming to life on the screen !
My expectations were dashed. My thrill
turned to chagrin- How could they do it?
How could they make such a hash of it?
How could they take that rich, adventurous,
powerful life and make a dead, dreary flop
of a sermon of it?
Propaganda is all right — in its place. So
is "I told you so," but to go on and on and
on with an interminable preachment that
still says nothing more than "I told you so"
is folly. It killed the picture. The Jack
London who walked heavily, woodenly, life-
lessly through that picture was not my Jack
London, the lusty, vital, living man of action
as well as words ! It was London's living —
his free, courageous living— that made his
words so beautiful and so compelling.
His vital, fiery spirit was left out of the
picture. So the fact that he warned us
against Japan became, not a strong lesson
standing out in bold relief against the back-
ground of a strong man's life, but a morbid
harrowing up of regrets.
We all know that we had warnings —
plenty of them — against the coming of the
present conflict. We all regret that the warn-
ings went unheeded. But, who was it that
said that regret is only good for wallowing
in, and no good for building on? Should we
wallow in our regret? Or should we use it
as a springboard to victory? There's no
question as to what Jack London would an-
swer to that !
JUNE BARR, Oak Ridge, Tenn.
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15
Enlist in a Proud Profession!
JOIN THE
USL CADET NURSE CORPS
SERVE YOUR COUNTRY NOW IN THE
II. S.
COUPS
YOU and 65,000 high school graduates, from
17 to 35, are needed to replace nurses who
are in the Service ! Joining the U. S. Cadet Nurse
Corps is your chance to prove your patriotism
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All this— and a fascinating future, too!
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with free tuition, room, board, books, laundry,
smart new uniforms. Plus a cash allowance
monthly ! And ample time out for social life.
When you graduate, you may choose a career
in a civilian hospital, or in public health. Your
lifetime job may be in one of many specialized
nursing fields !
What to do
Ask at your local hospital about the Cadet Nurse
Corps. Or write U. S. Cadet Nurse Corps, Box
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. Today, start serving your country— establish-
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Your Guide to Current Films
FOLLOW THE BOYS — Universal
A big, star-studded show with every kind
of act for every taste, from Orson Welles
in his magic act with Marlene Dietrich, to
Donald O'Connor and Peggy Ryan. It's
another "Stage Door Canteen" in its variety
of big-time acts, but there the resemblance
ends. Old-fashioned story presents George
Raft as a vaudeville hoofer who crashes
movies by capturing Vera Zorina's fancy.
As a team they're terrific (the script says)
until the war, when Raft takes on an enter-
tainment job for Hollywood Victory Com-
mittee after his draft board has turned him
down. So far so good, but where have the
scripters been all this time to rush lovely
Zorina into hiding because of an impending
visit from Sir Stork? Haven't they heard
of Hollywood's proud glamor mamas?
Anyway, there's always another big act to
amuse you — such as Jeanette MacDonald
singing "Dreams" ; or Dinah Shore cheering
up camp audiences with sultry rhythms.
FOUR JILLS IN A JEEP — 20th Century-Fox
Based on the actual experiences of Carole
Landis, Martha Raye, Kay Francis, and
Mitzi Mayfair in their USO tour of over-
seas military camps, this is a sprightly
show with music. The Four Jills — Carole for
glamor, Martha for broad comedy, Kay for
sweet dignity, Mitzi for fast stepping —
prove a credit to their profession as they
perform under fire, pitch in to help with the
nursing, and put aside personal comfort.
They snatch romance on the wing — Mitzi
with Dick Haymes (nice, clean-cut Sinatra
threat with splendid voice), Carole with
John Harvey. Added numbers by Alice
Faye, Betty Grable and Carmen Miranda.
MY BEST GIRL — Republic
This filmusical about show business has a
novel idea. The heroine, Jane Withers in
her first adult role with eight love scenes,
doesn't want to go on the stage, though
she can dance and sing like a lark. Love
changes her mind — in this case it's Jimmy
Lydon as the boy who is in search of a
producer for the musical he's written to
feature his gang of talented friends. Jane
puts over new songs and old-timer, "Ida,
Sweet As Apple Cider," with Frank Craven.
1G
SCREENLAND
SHINE ON, HARVEST MOON — Warner Bros.
It's probably true vaudeville is dead, but
we all like to think aboutjhe good old "Big
Time." So the WB's reminisce in this film
about two of vaudeville's hcadliners, Nora
Bayes and Jack Norworth, played by Ann
Sheridan and Dennis Morgan. The story
is suspiciously like others you've seen about
show business — their act is broken up when
one is blackballed and the other finds he
can't go on without her — but nevertheless
it still draws the sympathy it always has.
It's the beloved old songs. You'll still enjoy
hearing them. Jack Carson and Marie Wil-
son sing a new comedy tune, "So Dumb But
So Beautiful," that's a lulu for our money.
KNICKERBOCKER HOLIDAY—
United Artists Release
Corrupt politics in 1650 New Amsterdam
(now known as New York) comes in for
a lot of good clean ribbing in this film ver-
sion of Maxwell Anderson - Kurt Weill
Broadway musical hit. It's all in fun —
and what fun! NeLon Eddy lends his
splendid voice to the hero's role, the honest
printer who is "taken in" by the sly schem-
ing of the new Dutch Governor, Peter Stuy-
vesant, (Charles Coburn). Both are "taken
in" by the charm of the heroine, daughter
of the chief councilman who makes his
dough on the side selling whiskey and fire-
arms to the Indians. Constance Dowling is
lovely in the feminine lead, and her dulcet
tones are pleasing. Musical score is tops.
LADIES COURAGEOUS — Universal
The first film about the Women's Auxiliary
Ferry Squadron proves the ladies cour-
ageous, but it also reaches out a little too
far in another direction and shows too
many feminine frailties. As a result, the
story, covering too much territory, has a
disjointed effect. Only Loretta Young, as
the squadron leader struggling for Army
recognition of their service, seems to be
free from foibles. Geraldine Fitzgerald
plays her sister, ex-playgirl who grand-
stands herself out of the service. Diana
Barrymore is a standout as a trouble-maker
who falls in love with another WAFS's
husband (Kane Richmond). Phillip Terry
registers nicely in brief romantic scenes.
June Vincent and Anne Gwynne are fine.
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17
THIS IS THE LOVE STORY OF G.I.JOE!
... .-
20th CENTURY-FOX PRESENTS MAXWELL ANDERSON'S
THEEtfE
with
ANNE BAXTER • WILLIAM EYTHE
MICHAEL O'SHEA
VINCENT PRICE • RUTH NELSON • RAY COLLINS
Directed by JOHN M. STAHL • Produced by WILLIAM PERLBERG • Screen Play by George Seaton
18
Screen land
AN OPEN LETTER
TO THE WINNER
(JENNIFER JONES)
AND A GOOD LOSER
(INGRID BERGMAN)
/CONGRATULATIONS. Miss- Jennifer Jones, on win-
ning Hollywood' r ^rized award for your first
motion picture p id' "The Song Of Berna-
Hp- eeply stirring perform-
a, Miss Jones; and it's good
a. nere, so frankly thrilled by the
evei . nttle humble about it.
)n't mind my saying, will you, that you're a
rl ? Think of it, and I know you are — winning
for your very first picture! Paul Lukas had
s for his award. Other fine performers are
,, and more have long since given up even
ppy winner of Academy Award for Best Actress goes to the
d O. Selzniclc discovery, Jennifer Jones, left, for "The Song
Bernadette." Above, good loser Ingrid Bergman with the winner.
hoping. It might have occurred to Ingrid Bergman that,
if Miss Jennifer Jones hadn't come along in "The Song
Of Bernadette," it might have been she, Ingrid, up there
acknowledging her Oscar instead. But there's no argu-
ment there. Miss Bergman's Oscar is only postponed,
that's all. She'll get it for "Gaslight," or for "Saratoga
Trunk," or some future Bergman masterpiece. Because a
girl who can grin so gamely when she loses just can't help
winning.
19
The Crooner writes
an Open Letter to the
Editor, and answers
those questions you've
been asking about him
and — you know who
DEAR DELIGHT: ■
After reading your "Open Letter" to me, I hardly
knew what to say. That I thought it was swell, goes
without saying. But you really make me feel rather humble
and undeserving along with it. You've been so wonderful to
me down through the years — so loyal and understanding that
I feel it is about time I took a few minutes off to write and
thank you for your friendship and to try to explain some of
the things you have commented upon from time to time and
which your writers have asked me about.
Personally, I think all this hubbub that is being stirred up
over Frank Sinatra and me is stupid and silly to the point
of inanity. Things like that breed first-class feuds, where
there is no occasion for hard feelings at all. If there were only
room for one of us I might feel differently, but in a business —
or, rather, two businesses — as vast as pictures and radio
there is certainly no occasion for one performer to be jealous
of another's success.
I can't say that Frankie is one of my intimate friends. You
know how Hollywood is. Unless you're free-lancing where you
get around to all the studios and meet everybody in the busi-
ness or unless you're working at the same studio you don't
get much chance to meet newcomers. However, I have met
Frank, and I like and admire him. I realize what a hair's
breadth divides success and failure (didn't I almost starve
when I first came out here while I was trying and hoping
for a break?) and every time I see or hear Frankie, or any
other kid who is trying to crash the portals to success, I think
"There, but for the Grace of God, go I."
I can't understand established players who try to see how
tough they can make it for someone who is just breaking in.
Fortunately, Frankie is so firmly established there is nothing
I or anyone except his sponsors and his song writers can do
for him. But if there were anything I could do I would cer-
tainly do it. No one is more sincerely happy over his success
than I am.
Getting back to this so-called "storm" that is raging over
us, I think it silly because, to use an old bromide, "It's dif-
ference of opinion that makes horse-racing." Some people
prefer Sinatra, which is their privilege, and if I am lucky
enough to have some prefer me — well, that's my good fortune.
Now, for some of the other things you've commented upon
on your Editor's Page: You have probably read I was
awarded (?) third prize by the Hollywood Women's Press
Club for being the third most un-cooperative male star in the
business. I must be slipping, because two years ago I ran
second, and in better company, too — Astaire and Colman.
I can't say with any degree of veracity that I actually
resented their decision, but it hurt a little. I don't want to
be un-cooperative and I don't mean to be. It's only that in
these parlous times none of us has very much time to himself.
We play camp shows and benefits on every possible occa-
sion. We'd be slackers if we didn't. There is a radio show to
be written every week, rehearsed, and put on.
When Hope and I make a picture together the set is a
madhouse. The public has come to expect a certain formula
from us and we try to give it to them. The script writers
give us a story but Hope, the director, the writers, and I are
constantly working on it between takes, trying to think up
funny gags or trying to adapt it to our personalities. Some-
times a scene reads all rigb* ) we rehearse it and then shoot
it. Then we discover tl mehow, it just doesn't jell. So
:times spend a whole morning
day (Please turn to page 71)
we go into a h
or afternoon or <
Checking up on C
the time he first hi
of his first son, G
kid through the Pi
latest characterize'
in which Rise Ste
page, highlights of his career from
id of his family life, from the arrival
, when he ushers the eldest Crosby
> gate. On this page, Crosby in his
tther O'Malley in "Going My Way,"
tan Opera Star, appears with him.
Sinatra is a very busy
boy these days. Mak-
ing his new RKO mo-
vie, "Manhattan Sere-
nade," is just one of
many chores. Radio
shows have included
appearances with Mari-
lyn Maxwell, clowning
with Frank at left,
and Miriam Hopkins.
At the studio he is
popular with all his
co-workers — not only
the eager beauties
shown with him below.
Call him
Mister Sinatra
from nc** on!
The bobby socks brtga
"Frankie" with more r
work, genuine charm, <
he has proved himsel
freak performer. Star
C
stter treat
y his hard
rerl talent
re than a
ake a bow!
JANE WYMAN, popular Warner player, will next be jeen
in "Make Your Own Bed," playing opposite Jack Carson.
IRENE MANNING, the singing sensation of "The Desert
Song," lends her talents to "Shine On, Harvest Moon."
PAUL HENREID, famed for his two-on-a-match scene with
Bette Davis, appears in "Devotion," with Ida Lupino.
ERROL- FLYNN'S latest starring picture for Warner Bros,
is "Uncertain Glory," with Faye Emerson in role opposite.
Be among the
first to meet
this newcom-
er, a man who
may set a new
standard in
movie actors
FOR a gent who has been in Holly-
wood only a short time, Gregory
Peck is doing all right. When he was
cast in the lead in one of Hollywood's
most unusual pictures, "Days Of Glory,"
there was a faint ripple of interest. But
when he was assigned the coveted role
of Father Chisholm in the forthcoming
"Keys Of The Kingdom," Hollywood
took off its sun glasses, looked at Mr.
Peck more closely, nodded its head, and decided that here
was someone worth watching.
Gregory Peck has achieved prominence in rapid fashion,
especially for a newcomer who has never been seen in a pic-
ture as yet and who never had a hit show on Broadway,
despite his extensive stage work. His success here is notable
for the complete reversal of the accepted Hollywood formula
for stardom. (1) He is not the handsome leading man — let's
say he has the rugged, chiseled features of a guy who looks
as though he didn't know what grease paint was; (2) No
effort is being made to make him look handsome via make-up:
(3) He is not being cast opposite an established screen star
as is the usual case — his co-star in (Please turn to page ()2 )
Below, Gregory Peck's first pic-
ture: "Days Of Glory," opposite
Toumanova, for RKO. Next, 20th
Century-Fox presents him as Father
Chisholm in "Keys Of The King-
dom," the A. J. Cronin best-seller.
"The Cadet uniform is so smart! It's for
outdoor wear, and I don't think there's
a better looking one in the women's
services; but I'm glad it's optional. It is
nice to get into an honest-to-goodness
dress now and then to remind yourself,
and the boys, that you're a girl after all.'
^ /Wj \^<uL sS^l {J^JlJL^
"I guess just about every girl has thought
at one time or another that she'd like to
be a nurse. Now 65,000 girls like me are
getting the chance this year . . . the U. S.,
Public Health Service is paying our way.
Tuition and fees, room and board and
uniforms — all are free . . . and we get a
monthly allowance besides."
"Of court*, I want to got married; but
being a nurse doesn't mean that I can't.
There are lots of chances to meet nice
men, and there's free time so we can have
dates. In many schools, a girl can marry
while she's still a student."
Free training wit h pay in the
US. CADET NURSE CORPS
"Nursing'* Hi* war job with a future! There are so
many opportunities — as an Army or Navy nurse,
a public health or industrial health nurse, in
child care, orthopedics, psychiatric nursing . . ."
"I Ilk* my school — the work is so fascinating, it's such a comfort-
able, pleasant place — and the girls are fun. You're allowed to
choose your own nursing school, you know, just as though you
were going to college."
Of A SERIES OF ADVERTISEMENTS PREPARED AND SPONSORED BY EASTMAN KODAK COMPANY, ROCHESTER, N. Y.
"It's a nic* feeling for a girl to know that
she's doing her part in the war, for even
a student nurse is soon able to help re-
lease nurses for other war service. I love
children, and can't wait to help with the
new babies."
"Our allowance keeps me in spending
money very nicely. It starts at §15
a month, then jumps to S20 after nine
months, and it's at least $30 after twenty-
one months."
Can you qualify? Are you between 17*
and 35? High school graduate or college
student? In good health? Mentally alert?
Then mail the coupon today. *Minimum
age and academic requirements vary
slightly with different schools of nursing.
Mail coupon for FREE
booklet.. . giving information about
the U. S. Cadet Nurse Corps . . . and a list
of almost 1000 approved schools of nurs-
ing from which you may choose your
school.
P. S— You girls who are
entering your Senior Class
in high school next fall are
eligible to become Cadet
Nurse Pledges if you qual-
ify. Moil the coupon.
PLEDGE PIN
oooooooooooooooooooo
U. S. Cadet Nurse Corps,
Box 88, Church St. Annex, New York, N. Y.
Please send free booklet and list of
approved schools.
Age— —High school graduate?-
Graduation date
High school graduate this June?-
High school senior next fall?
Present occupation, if any
Name
Address.
City
.State.
MY DAUGHTER
By her father
• 'i:
rmr<
0
Looking like the spirit of Spring, Joan
provec to be just that in her family circle,
as well as on the screen in such Warner
epics as "Rhapsody In Blue" — first stills,
at right, and left below. Facing page
shows Joan with her father, who tells her
story here, and with both devoted parents.
I DO NOT pretend to be a model
father. As fathers go, I'm just in
luck. I have three fine daughters,
and in my youngest, Joan, I have
realized all my own youthful am-
bitions, have seen her become what
I had wanted to become and didn't.
(The closest I ever came to acting
was appearing in a play called
"Falsely Accused," in which I por-
trayed a disreputable old man named
Blinky Brown. I was eighteen at
the time.)
Many times I've been asked if
Joan had inherited her talent from me,
from her mother, or from our mixed
English and Irish ancestry. It is hard to
tell. As for my ancestry, you be the
judge: my mother was born in Virginia,
and my father was born on St. Patrick's
day. But wherever Joanie got her talent,
she had it, all right, from the moment
she was able to toddle and talk.
She was a precocious child — began to
walk at the age of eight months, and
talk perfectly at the age of one — and
she asked a lot of questions even then.
Every night, at bedtime, she demanded
a new story. And it had to be a new
one — you could not fool Joan since she
was a year and a half old. Of course that
led to complications for me: I ran out
of characters. In a pinch I could always
refer to a mythical uncle named Uncle
Matt in whose existence Joanie believed
until she was sixteen. Uncle Matt was
supposed to have traveled from France
to China and have had a number of
horrendous adventures. Every time a
train whistle sounded in the distance, I
would say to Joanie: "There goes Uncle
Matt!" But there was a limit even to
what Uncle Matt could do. I racked my
brain for new ideas, and then one day I
lit on the idea of telling her about far-
away places. I started with the Fiji
Islands. I did not know whether rubber
trees grew there — anyway, I put them
there. The Fiji Islanders, whom I called
Fijis for short, were picturesque natives
with crossbones in their bushy hair, and
short spears which they wore handily
right in their upper hp. They used both
spears and huge trumpetlike rifles (some-
thing like Bob Burns' bazooka) from
which they shot chains at their enemies;
naturally, in this fashion, they did not
have to bother about tying the prison-
ers: they were automatically chained
together! Another cute trick the Fijis
had was tying huge blocks of soft rub-
ber to their feet. Whenever they had
to cross a stream or get atop a tree, they
just jumped up and down until the re-
silient rubber finally sent them sailing
up and across all kinds of obstacles —
something on the order of Superman.
The Fijis lasted through three winters,
but by then Joanie began to tire of them
and demand new stories. I invented new
characters, and new locales; some of
them I thought purely imaginary like
the Oke Fenokee Swamp. It was quite
a serviceable swamp — I could people it
with elves' and fairies when telling a
story, and whenever Joanie looked like
she might get temperamental, I threat-
ened to send her there. Great was my
embarrassment and the children's dis-
belief when, (Please turn to page 84)
27
STEWART ISN'T SHY
ANY MORE!
Closeup of Captain James Stewart as he is today
THEY SAY war does strange things to people's personalities and cer-
tainly it does seem to have wrought something approaching a minor
miracle in the case of James Stewart. In the halcyon days of peace,
the boyish lanky star with the engaging smile was definitely shy and
retiring, nervously uncomfortable under the limelight of publicity, only
really at his attractive best when alone with a few chosen friends. His
favorite hobbies included dodging candid cameras and going off for camp-
ing trips in the wilds with a couple of other confirmed bachelors — they
always declared Jimmy was so scared of girls nothing would persuade
him to take one out to dinner two nights running in case somebody began
to say they were engaged.
Then Jimmy joined the Army and was caught up into that mysterious
maelstrom of drafts and camps and training schemes which molds the
28
Jus* one o< n,a«Y gfifltZ .
w» fats** ^
^ ^visional crwr
Keystone Photos
raw material so effectively. For long
months neither his fans nor his personal
friends heard very much about him. (He
isn't the kind of man who waxes elo-
quently descriptive on paper!) Until one
day Captain James Stewart of the U. S.
Army Air Force climbed into a bomber
with nine other men and came across the
Atlantic to Britain non-stop, to add the
final touches to his air education here
in an actual theater of operations.
Then the world met the new Jimmy,
as different from the old one as chalk is
from cheese. Just a few hours after his
plane had touched down at a giant air-
field, not far from London, he walked
into the officers' mess and greeted the
crowd which had assembled there to
meet him with genuine self-confidence
and pleasure. With his cap tilted over
one dark eye, he laughed and talked and
posed for the newsreel cameras and
handed the ladies coffee and made so
many gay wisecracks one newspaper re-
porter said it was just like interviewing
Bob Hope all over again.
When a fellow officer ribbed him about
still being unmarried at thirty-five,
Jimmy answered promptly: "Well, I
always observe the Nine Golden Rules,"
and needed no more encouragement to
set them out. Learn to cook and sew on
your own buttons because a helpless man
is sunk. Put a brake on the flattery,
then you're not apt to skid into matri-
mony. Tell them gently but firmly about
your great need for freedom, and don't
forget to sigh sentimentally as though
you regret it. Jimmy explained his
axioms with his sunburnt face crinkled
with chuckling mischievous laughter,
while even the presiding colonel had to
smile at him.
"Do you keep all these rules of yours,
Mr. Stewart?" demanded one khaki-clad
American woman correspondent.
H"Well, I'm still a bachelor!" answered
immy sweetly. As he turned away, he
dded in mock afterthought: "I nearly
forgot to tell you the Tenth Rule, the
most important one. When you meet
That Certain Girl, just drop all this
foolish pretense!"
Maybe Jimmy already has ideas about
That Certain Girl himself because he is
frequently seen in the postoffice sending
V-letters back home, though the address
is reputably reported not to be a Holly-
wood one. One day he was also inquiring
about the handy system of sending flow-
ers by cablegram, deciding it would be
deep red roses .which seems to say a lot.
He keeps himself in social trim by
going to the dances which are held most
Saturday nights near his station. Ameri-
can WA.A.Cs and British W.A.A.Fs pro-
vide the partners there. I told one of
the Army girls — a red-head telephone
operator from Indiana- — that Captain
Stewart used to be notoriously bashful.
"So, I've heard," she said. "My, how that
man has changed!" On the dance floor
Jimmy is not only a determined per-
former but positively assertive at times.
Refer to the girl who delightedly did The
Big Apple with him until he firmly led
her into a waltz!
London v :n Jimmy going around
sev« ' weekends. Like all the
-U. a liform, he has rubber-
irn to page 80 )
L
VERONICA LAKE, STARRING IN "THE HOUR BEFORE THE DAWN,'
A PARAMOUNT PICTURE
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clinging, smoothest texture, that helps hide tiny
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29
The surprising
true story of
Kathryn Grayson
SHE DIDMT GET
Bui Sl.G Got
MOST SUCCESS stories are standardized by now. That's why meeting
Kathryn Grayson is such a pleasure. She's so different!
"I'm not at all sure happiness comes directly from aiming for what you
want. That's what they're always claiming. Experts are forever chanting — 'Make
up your mind, definitely, then full speed ahead!' It's as simple as that, according
to a popular theory. But me, I doubt it!"
As well she may. At twenty-two, Kathryn has a right to her own opinions.
From her own experiences, she knows better. At least, isn't this the moral to draw
from what she relates?
"Confidentially," she told me, "I didn't want anything I have now. I didn't
want to be in pictures. I was positive I wished to be somewhere else. I was de-
termined I wanted nothing to do with any handsome man, love, and marriage.
What I felt about cooking in a kitchen was equally strong. That wasn't for me;
I took steps to save myself, believe me."
Even when a series of startling-to-her circumstances switched her to a sidetrack
leading to fame and romance, Kathryn continued adamant. Very often, plain
stubborn. So she nearly lost what she fancied she didn't want, the very thought
of which horrifies her. That would have given her life story a sudden and sad
climax.
"I can look at myself through the wiser eyes of a young married woman now,"
WHAT SHE WAMTED
By
Bob
Marden
ome
tliincj Better
★ ★ *
she said, daring to be quite honest. "Experiences have a way of teaching all of
us plenty, if well admit we can be wrong. Of course, I wouldn't back down a bit
on my pet goals — until I had to adjust. I was a most confused little girl playing
at being a grown-up. Fortunately, I finally grew up, altered many of my ideas,
and because I'm a changed person I am as happy as anyone can be these days."
She never put up any bluff about her movie possibilities. "I said I didn't have
a Chinawoman's chance. I never once had a single, compelling dream about great
big glorious closeups. The thought of dashing to important previews, particularly
my own, never came to me. If it had, I'd have brushed it off impatiently. The
hope of becoming glamorous didn't burn deep down inside. I didn't want a
fourteen-room house — but I got it.
"If anyone is bored by dressing up, I am. I like to buy jewelry, but it's too
much trouble to wear. I hate to buy clothes, make my mother shop for me. My
pet coat isn't a mink, but an old-fashioned slicker; my favorite dress is a shirt-
waist frock. Faded slacks and too loose sweaters — I choose them. I hate to fuss
with hair styles. I say put pockets in everything, so I can keep them stuffed.
I abhor gloves, corsages — yes, even orchids! I think of a diet and automatically
of ducking it, for I prefer soda pop, hamburgers, chili, and hot fudge sundaes.
"George Montgomery used to come over to my home, when we settled in Holly-
wood, to chum with my brothers. The fact that he was (Please turn to page 67)
George Sanders
and Linda Darnell
co-star in new film
drama based on
Chekov's only full-
length novel, "The
Shooting Party"
NADINA sat there staring down on the manuscript on her
desk. It brought back the past , she had tried so des-
perately to put behind her, that other world which had
vanished with the revolution, that other lifetime which had
ended just as the Czarist reign had ended.
For years she had not heard Fedja's name mentioned. It
had been easier not hearing it, but now in the inconsequential
way important things always happen, this book he had writ-
ten had been brought to her by his closest friend. Fedja did
not know he was bringing it, the voluble Count Volsky ex-
plained, but what was the sense of writing an autobiography
unless it could bring in the money the former Judge Petroff
was in such dire need of? And besides, who had a better
right to publish it than Nadina Kalenin, now that she had
taken her dead father's place as head of his publishing com-
pany? For Nadina most certainly must be in it, though
33
m
Drama of dan^^RfTntense
desire, "Strange Confes-
sion" presents' Sanders in a
strong role, that of Fedja
Petroff, and Linda Darnell
in an entirely new charac-
terization for this beautiful
young actress — that of a
ruthlessly scheming siren who
plays havoc with his life.
Complete cast and credits
of "Strange Confession'
■will be found on Page\J$
34
Volsky was just guessing at that, to be sure, as he had
not read it.
Yes, she probably was in it, she and that girl Olga,
Nadina thought after she had sent the Count off happy
with the substantial advance she had given him. And
the sweetness and all the sorrow, the ecstasy and de-
spair, they must be in it too.
She began to read, and suddenly it was seven years
ago and it was summer, and it was almost as if she
could see the Ukranian countryside in bloom, as if she
could feel Fedja's lips on her mouth again, his arms
holding her. It was all so vivid, as if Nadina were liv-
ing over again that day in the year 1912 — only now it
was through Fedja's eyes she was seeing Olga for the
first time again, seeing her and in that moment under-
standing some of the things she had never been able
to understand before.
How disturbing she was, this girl with her sloe eyes
and black hair. She looked so small and defenseless, scarcely
more than a child as she curtsied to Nadina that Sunday
after church. But even then Fedja felt a dark, hidden quality
in her which urged him to turn away from her, back to the
safety of Nadina \s calm blue eyes, back to the safety of the
love he had already found. It was everything he wanted in
life, that love, and yet he couldn't pull his eyes away from
this girl who was staring at him as he was staring at her.
Pity was in his heart, too; that's what made it harder. Pity
for all that loveliness which was soon to be given in marriage
* . ».*
to Urbenin, the middle-aged overseer of the Count's vast estate.
"Who is she, Fedja?" Nadina asked as the girl went away
at last.
"Just a girl from the village," he said, trying to still the
turmoil in his heart that always came when he saw the
peasant girl. And he remembered that day in the forest when
he and the Count had been riding over the vast Volsky estate
and a thunder storm had driven them to a summer house for
shelter and they had found her, the woodcutter's daughter,
sleeping there.
Her beauty had stirred him strangely, her small figure so
perfectly formed that even the shapeless shift she was wear-
ing couldn't conceal it's soft curves. And when she awakened
suddenly her eyes had gone to his in startled wonder. Yes,
even that first day he had been drawn to her, and had tried
to deny it even to his own heart.
He was relieved at first when the Count told him Olga's
father had arranged her marriage to Urbenin, for the girl
seemed always to be seeking him and he thought her mar-
riage would be the end of all that.
But the Count decided it would be amusing to have the
two married in his home, with all his fashionable friends there
to witness the marriage of an overseer and a woodcutter's
daughter. As the Count's friend, Fedja was chosen to share
with him the honor of holding the gilt crowns over the bridal
couple at the ceremony: and afterwards at the wedding feast
he shuddered, even as the girl shuddered when Urbenin put
his heavy hands on her fragile shoulders and stooped to take
his bridegroom's kiss.
Suddenly she pushed him back. "I — I don't feel well," she
cried, and then before anyone could stop her she had run
from the room.
Fedja tried to think it was pity alone that made him go
looking for her there in the moon-drenched garden. He called
her name and a slow heartbreaking sob answered, and then
he saw her lying on the grass and knelt beside her.
"Olga," he said, and his voice was very gentle. '"You
mustn't do this. You don't want to hurt Urbenin, do you?"
Then as she didn't answer, "Don't you love him?"
"No!" The word was torn from her with a 'violence that
surprised him.
"But still it's your party," he said, trying to calm her
"Don't you hear? They're dancing. Shouldn't we go back to
the others?" Then as that single, explosive negative came
again, he asked. "Do you want me to go?"
"No," she said. But this time her voice came almost in a
whisper, and before he realized what she was going to do she
had thrown herself into his arms. He felt the trembling of
her slender figure as his arms closed around her and then his
mouth pressed hard against hers and time itself seemed to
stop as he held her. Then as suddenly as she had thrown
herself into them she drew away from his arms.
"Go!" she whispered passionately. "No more, or I'll have
to see you again and again and again." But as he turned to
walk away she ran after him and again threw herself into
his arms. "Fedja. Fedja, Fedja!" she cried, and his name
was wild music on her lips.
Later, when they went back to the others, a pang of guilt
shot through his heart as Nadina came over to him. He had
never loved her so much as he did at this moment. He
wanted to hold her close, to feel (Please turn to page 74)
ft
i- *t.«,„ scenes from "Strange Confession," Angelus-United Artists release, Linda Darnell is shown as an unwilling bride
e is really enamored of Sanders, whose wholesome romance with Anna Lee (above right) she heartlessly wrecks.
L
35
pictures tell
story! first, fam-
portrait of the
lid Luffs at homo,
4rs. Lift being that
-ie actress Lynn
ir! who co-stars
Edward G. Rob-
in 'Tampico"
>r 20th Century-Fox,
being noted fast
>ilot. The dog's
nama is Bolo. Next,
bones up on
ichnical aviation
hiie ha roads up
har. Than the
of the budget
is usual, she wins.
ha picks har hats,
nd she waars them.
His little number
(right) sha picked
herself and is
•waiting his approval
_-— . Keep your
at home, ad-
is ' Bride Bar! in
ir tan-point Mar-
ia Coda; there's
ning worse than
taring in public,
io far the Lufts
•van't bickered -*
II, privat*
He K
1 vnn <
IF THERE'S anyone happier than a contented
bachelor girl, it's an ex-bachelor girl who is
blissfully married to the right guy. I happen
to know because Lynn Ban told me so — and Lynn
is the walking epitome of the female who lived
alone and liked it until a certain male radically
changed her mind.
The man in the case, as you no doubt have
heard, is Sid Luft. the Douglas test pilot. He's the
culprit who ardently persuaded Lynn to ditch her
well-mapped chart for living in single blessedness.
Now she doesn't think it blessed at all. particu-
larly since she became Mrs. Luft last Nov. 28.
To this writer, Lynn represents a clinical case on
the subject of bachelorhood vs. marriage, a sort of
before-and-after specimen. It was only last Sep-
tember that she told me about her detailed formula
for a happy life outside of wedlock, calling it
"Eight Points for a Bachelor Girl." There was only
one hitch about the whole plan — if successfully
followed, it led smack into marriage. And sure
enough, it worked.
When I approached Lynn recently on the set of
"Sweet And Low-Down," her latest picture, I must
have had a "Where do we go from here?" look in
my eyes, because she immediately guessed I was
after a story — the sequel to her famous code for
bachelor girls.
"This time I'm prepared for you," she led off.
"I remember our other serious talk about love and
marriage and things like that. You caught me off-
guard that time and literally dug out of me, piece
by piece, my 'Eight Points for a Bachelor Girl.'
Well, this time I've given it some thought and I'm
ready to keep my promise to tell you my code for
a happy marriage.
"I'm warning you again, though, that you asked
for it. To be perfectly honest, I have my marriage
plan well formulated. I had it down pat even be-
fore Sid and I were married, if you want the truth,
and I haven't found it necessary to make any im-
portant changes during the five months we have
been man and wife. Remember me? I'm the girl
who subscribes wholeheartedly to the theory that
you can't live right unless you have a plan, and
that's doubly true of marriage. Where you have
to please someone else as well as find happiness
yourself."
Lynn then proceeded peeling off the points in
her brand new design for living, a set of rules she
calls her "Marriage Code for Ex-Bachelor Girls."
She seemed more serious about her precepts for a
happy marriage than she had been about her points
for a bachelor girl, and she explained the reason
for that, too.
"After all." she said, "when you are single you
have only yourself to think about. And I admit,
too, that you sometimes let yourself get away with
things because there is no one to call your hand.
But in marriage a lot of your thinking and acting
is governed by the fact that there is another person
to be considered in most of the things you do. And
in a truly successful marriage that other person,
and what he likes and dislikes, is far more impor-
tant than your own desires. It sounds a bit for-
midable put that way, but it's true — the more you
give the more you will receive in return from a
good husband. And nat- (Please turn to page 87 J
UT 1 1HE world is my oyster and Hollywood is the fork to
^ open it with," I assured myself happily as the train
jolted across the country toward California.
A picture contract at a princely salary! At least, it seemed
princely to me at the time although I realize now that — as
picture salaries go — it was a very modest one. But that has
nothing to do with the case in point.
I had just left "Having Wonderful Time," in which I had
been making $350 a week— more almost than I had ever
made before in a year. It had taken most of my salary to
pay off old debts we had incurred to keep us going for the
few years before that. Now, we were going to be able to
live like human beings instead of in one room in a tenement
with an iron Army cot as a bed for the two of us, soap boxes
for chairs, and the bathroom at the end of the hall, as we
had done when we were first married.
We could certainly put some money in the bank and —
happy thought! — if I should be lucky enough to get a few
radio engagements perhaps Robbe (my wife) could even
have a fur coat.
"What's the matter with
"This Brave
"Beyond the blue horizon waits a wonderful day," I began
singing in a voice like a crow.
Robbe looked at me in alarm,
you?" she demanded.
"It's nothing at all," I informed her airily.
New World," recalling the title of a play.
Hollywood was wonderful. The balmy air, the bright sun-
shine, flowers blooming in winter, the people at the studio
all jerking themselves into knots to be pleasant. Gee whiz!
I started work almost immediately in "Four Daughters."
The picture turned out to be one of those surprise smash hits
producers pray for and, lucky devil that I was, I clicked.
I was all set, I thought. Every actor has an abnormal
amount of ego in him or he wouldn't be an actor. Once in
a while you get a hunch that a script is bad and that nobody
could do anything with it — except maybe the trash man —
but most of the time each of us thinks all any play needs to
make it a hit is one of our sterling performances. I soon
learned different. When the second picture was finished it
wasn't so good as the first — but I still received good notices.
People on, the lot couldn't wait to say "hello" and most of
them were slapping me on the back. AH of them
were giving me all kinds of advice and I thought,
"I'm new out here. These people have been here for
years and they should certainly know the score." I
listened to all of them.
I was meeting "the press" — having interviews be-
tween almost every shot; fan magazines, newspapers,
radio commentators, high school and college publica-
tions— any sort of periodical an actor could fit into —
and loving it. Without exception, every writer I met
outdid himself trying to be nice to me.
I'm naturally of a friendly disposition and when
anyone sticks out a hand I grab it. When a person
goes out of his way to be extra nice, I immediately
begin thinking of that person in terms of old friend-
ship. We're palsy-walsy from the word "Go!"
One of the writers I met who later actually did be-
come one of my close friends was Dick Mook. We
just happened to click from the moment of our in-
troduction. As he left me after our first meeting he
said musingly, "I wonder what you'll be like a year
from now?"
It was more of a speculation than a question but
I took him up on it. "I'll be exactly the same as I
am now," I told him.
"Like hell you will!" he laughed. "I'll lay you odds
that inside a year you'll {Please turn to 'page 60)
Photos by
Floyd McCarty
and Elmer Fryer,
Warner Bros.
David Patton Garfield, named for
the famous General, it the center
of attraction in the Garfield family
group above. Reading from right:
Davie's first formal portrait with his
father — truthfully, the Garfield heir
showed no interest whatsoever in
photography, blew one indignant
bubble at the camera, turned over
and went to sleep. Next, closeup of
John from "Destination Tokyo," and
with Sidney Greenstreet in Warner
Brothers' "Between Two Worlds."
38
It takes a man of
courage and good-
will to make this
frank confession!
Garfield, once the
problem boy with a
"message," has be-
come one of Holly-
wood's happiest
citizens, and he
tells you in our
exclusive interview
how it all happened
Lovely Miss Williams
proved it when she
decided she'd rather
be a movie actress
than a dress model —
and look at her now
THERE'S a lot of shouting about a new player out Metro
way. Her name is Esther Williams, and you might as
well get acquainted because you're going to see quite a
bit of her. Esther is one of those rare people of Hollywood —
a perfectly normal person. She hasn't an inflated ego and she
hasn't an inferiority complex. Inhibitions, which gather
around most movie stars like poor relatives, have never
bothered Esther. That's why you'll like her so much. She's
fun to have around. But that wasn't why Metro ran after
her, literally, to get her name on a contract.
Esther has something else that distinguishes her from the
common run of Hollywood beauties. She's a bathing beauty
who can actually swim! Ever since one of Mack Sennett's
bathing girls nearly drowned in a swimming pool before any-
one thought to rescue her, there has been a Hollywood tradi-
tion that girls who look pretty in bathing suits never go near
the water. Esther has kicked that tradition right in the
teeth. She looks luscious in a bathing suit (women drool with
envy when they see her figure, men just drool) and she swims
like an authentic mermaid. "I ought to," says Esther with
an infectious giggle, "I've been at it long enough."
Esther Williams is a local girl who made good. Until she
married a few years ago she had always lived in a small frame
house in Inglewood, a suburban community, only a stone's
throw from the lair of Leo the Lion. Her mother, Mrs. Bula
Williams, besides bringing up five children, taught psychology
classes in Inglewood, and also found time to take an interest
in civic affairs. Mrs. Williams had campaigned assiduously
for a playground with a municipal swimming pool. The swim-
ming pool was built in time, and Mrs. Williams was asked to
take part in the dedication ceremonies. When she modestly
withdrew from the limelight, the city fathers transferred the
honor to little eight-year-old Esther. She was to be the first
to swim across the pool! The big day in her life finally
arrived. In the excitement her foot slipped on the diving
board, and the result was a most unbecoming belly-flop —
which splashed a good bit of the municipal water over the
guests. Everybody laughed heartlessly, and Esther was cut
to the quick. For her it was life's darkest moment. "I'll learn
to swim," she swore to herself, "if it's the last thing I do.
They'll never have a chance to laugh at me again." And they
didn't.
If she counted a hundred towels she could swim for an
hour free. Two hundred towels, two hours free. She went
at it with a vengeance. The guards and instructors at the
pool began to take an interest in the determined little girl.
They taught her to swim boy-fashion, with head high in the
water and a husky kick. Esther had an older brother with
whom she used to go to the beach in the summers and swim
two or three miles out in the Pacific ocean. In her efforts to
keep up with him she learned power, strength, and stamina.
In 1937, when she was in high school,- the coach at the
Los Angeles Athletic Club told her, "I can make a champ
out of you in four years." Esther replied, "That's too long."
She made it in two years, with the Olympic Games of 1940
in Helsinki, Finland, as her goal. For you who are sports
lovers: during 1938 and 1939 she [Please turn to page 81)
yVi+h Hollywood troupe, Including Errol
Flynn (below), Martha visited such
sold spots as Kodiak, Attu, Amchitka,
sntertaining our boys. Troupe flew
sntire route, sometimes giving five
;hows a day. See blue fox in Martha's
irms, presented to Flynn by enlisted
■nen whose only pet it was. Martha got
sack just in time to play herself (right)
n "Follow The Boys," Universale trib-
jte to show business' war effort.
4
4 *
J9i
SHE MM A SWEATER
Martha O'Driscoll, en USO tour, was voted official
~ Girl of the Aleutians by the servicemen
43
overronei
> Fields, S<
Something New
for Eleanor
In Andrew Stone's big new musical production, you'll
see a daring dance number in which the lithe Eleanor
performs with David Lichine. Instead of her customary
black tights, Miss Powell wears the costume pictured
here as she does her celebrated tap dance, with ballet
overtones. "Sensations Of 1945" also features W. C.
Fields, Sophie Tucker, the Herman • — •■ ■ •
Starring the screen's fascinating NEW lovers
TAMARA
TOUMANOVA
GREGORY PECK
Glory
with ALAN REED • MARIA PALMER • LOWELL GILMORE
Directed by JACQUES TOURNEUR • Produced and written for the screen by Casey Robinson
45
PHOTO PREVIEWS
MERLE OBERON
who plays Madam Sand
in Columbia's forthcoming
Technicolor Picture.
.ptt , jag >• <h
I r,
PREFERRED BY THE WOMEN
OTHER WOMEN ADMIRE...
Wear the pearls fastidious women in the fashion spotlight wear-
lustrous, flattering, irresistibly beautiful DELTAH PEARLS *
Necklaces and earrings, perfectly matched, at better jewelers.
L. HELLER & SON, INC., FIFTH AVENUE, NEW YORK.
Plaids are good — and
even better when they are
fashioned into a two-
piece frock such as Ann
Sheridan wears, at left.
See the new middy line
top, the collar faced with
gold faille to match the
plaid. Ann's hat is brown
straw and her oversized
bag of brown broadcloth.
Miss Sheridan's favorite
suits are shown at bottom
of page — both with the
popular bolero. Suit at
left, black with ruffle-
trimmed skirt, ruffly chalk
white blouse; suit at right,
soft wool violet with gay
print blouse of white and
fuchsia crepe. Center
below, the star's pet
long-sleeved cocktail
dress — slim, knee-length
skirt of heavy black crepe,
tailored top of shock-
ing pink gaily splashed
with vari-colored sequins.
Exclusive
fashion photos
by Bert Six,
Warner Bros.
Clothes
by Saks
Beverly Hills.
farming consequences
0f 9da £mphwTSk*>ppwg
J tnr a smart jacket dress: the top of
Raw silk again this t.me used fa J J ^ ^ fiHed jack ,
chamois color the gored k.rt ^ot k Y 9^ ^ dinner th
of cinnamon brown At ^ , embroidery, and a pa r of
new deep necklme banded hj ^wh-te y ^ ^ ^up.no s
fcSmfar Wa^I: ",rOurgTime." co-starring Paul Henre.d.
WHEN Theresa, Myrna Loy's former cook, served notice
on her present employers that she'd quit them soon,
bets were hot that Myrna was coming back to Holly-
wood. By autumn you'll be seeing her and Bill Powell in a
'"Thin Man" picture again. It may take a bit of rounding up
and polishing off to get this set-up back to its original shine,
but even Asta is about in this neck of the woods. She's a bit
on the fat side, but her dietary has already begun and by the
time the cameras are set, Asta will be the neat little wire-hair
with a nose for news we saw in former "Thin Man" pictures.
Myrna's coming back heart-whole and fancy-free, too.
'T'HEY'RE calling Lana Turner "Queen of the Flat Tops"
since she chucked her pompadour in favor of the new
hair-do. Lana is busily engaged in making a picture which
won't be released before late summer. And does she look
different! Her hair is now parted in the center, is perfectly
flat on top, has a suggestion of broken curls at the sides, is
long in back and caught in a snood net of human hair.
I understand Roz Russell is cracking down on that iron
pompadour she's been featuring, too. So get going, gals; you
may as well start wrecking the high hair-do's now and be on
the bandwagon, because, regardless of what the fashion books
say, Hollywood sets the style for how hair will be worn.
A UGUST will be the month for the Hollywood stork, with
Loretta Young expecting her baby then. The Gregory
Pecks say their heir to what promises to be a movie for-
tune (papa has 12 pictures lined up with an increase on each
one until the whole mounts to $4,500 a week) will arrive in
August. The Bill Princes (he's a new star of Warner's brought
Attending Academy's 16th Annual Award shindig at the Chinese
Theater Gary Cooper sports a new nonchalance for photographers,
as well as for the Missus and Paramount's V. P., Y. Frank Freeman.
on from the New York theater) will have a little stranger in
their home, too.
But Ginger Rogers has made loud, indignant denials to the
persistent rumor that old brer' stork will take her off the
screen for the usual year. Other cradle notes include a return
to the screen of Gene Tierney, who came back to her Santa
Monica home bringing baby Daria with her. Gene has been
away longer than most of the mothers, as little Daria was an
incubator baby and has required more attention and care than
most. Also Gene didn't want to travel too soon with her under
wartime conditions.
GENE KELLY, who is now known as "the Fred Astaire
with hair," has crowded Ray Bolger and other dancing
boys to the wall with his new one in "Cover Girl." Gene, who
is good-looking enough to play straight roles, is being swamped
by offers since producers caught his "Alter Ego" number which
turned out to be a sensation.
AS EVERYONE knows, Hollywood would almost sell its
soul for an Oscar — the yearly award for excellence in all
branches of movie-making. But the gremlins moved in on
Oscar winner's this year with the following results:
Jennifer Jones, who came with her agent to the Academy
Awards, forgot her statue in his car, what with the excitement
of it all. Hal Wallis and Louise Fazenda gave a couple of
soldiers a ride on the way home and one of the boys pfcked,
up Hal's Oscar with their packages by mistake. The soldier
discovered the mistake just before he took off in a plane and
had airport officials notify Wallis next morning. Donald Crisp,
who passed out the Oscar to Charlie Coburn, lost his wallet
in the crowd. It had his gas-rationing books and a lot of
membership cards in it. But Katina Paxinou took no chances:
she has been carrying her Oscar around with her ever since
in a paper bag.
GOSSIP BY TOeMo* S*4t
CANOIDS BY $e<X*t T>etwU
REGORY PECK, Hollywood's newest star, and Vincent
" Price, who has the girls running in dizzy circles, have an
interesting after-the-war plan. They want to buy a good
comedy-melodrama, cast, produce and direct it, and take it
on a round-the-world tour. Both feel there will be enough
English-speaking people to make the thing profitable, as well
as fun.
/^"EORGE RAFT will be back in movie circulation shortly
after you read this. He has a fat contract waiting on his
return from the front. He'll do the menacing type things the
girls love. Raft suffered from sinus trouble due to cold and
wet weather conditions while entertaining the troops — that
isn't all glory, you know.
'RANK SINATRA, who spends his spare time on the RKO
*- lot boxing with Bob Ryan, who is 6 feet 3, hasn't seen his
new baby as yet, although it's over two months old at this
writing. So Frank is shopping for a Hollywood home into
which he can move his family. In the old days stars were
forbidden to tell they were married; more recently were seldom
photographed with wives or children. Today the newcomers
and wives are photo-featured the country over and the girls
in bobby-socks still squeal when he gets up to sing.
Incidentally, Frank had to ask his squealing admirers to
tone down before a recent broadcast. Some of the listeners
wrote in that they didn't like the demonstration. He's a swell
guy and wants to keep everyone happy, and he's certainly
on a spot.
JOE E. BROWN tops all other Hollywood entertainers with
his recently completed service record of 250,000 miles of
travel entertaining our boys at the front. Even though Joe
is no longer the athletic lad he was in his burlesque days, he
will suffer any privation or danger to get to the most remote
Below: Frank Sinatra gives program at premiere of "The Suilivans"
a once over while Gloria De Haven looks over the audience. Right:
reading from top, at the Academy Award presentation, Jack Benny
and Mary Livingstone with Dorothy Lamour, lucky to have hubby
Capt. William Howard III in town for the occasion; The Winnahs!
Paul Lukas, Jennifer Jones, Katina Paxinou and Charles Coburn —
all terribly proud of their Oscars; at the Mocambo after the big
event, Jennifer Jones with David O. Selznick, producer of her next
picture, "Since -You Went Away;" Lana Turner and Stephen Crane
with Frank Sinatra and Gloria De Haven at the Chinese Theater.
56
post, regardless of the number of men
there. He has sneaked in a native boat
along dark jungle coasts, through waters
heavily mined, to cut capers for a small
detachment of men; has clowned about
for them when neuralgia from tropic
rains was causing him to suffer acute
agony. If that alone isn't material for a
decoration, I'd like to know what is.
He's kept on clowning to please a bunch
of lonesome kids, sometimes until he was
on the verge of collapse, and they've
never dreamed what he was enduring.
HPHERE was a time when Norma
Shearer had her toenails done in gold
leaf. And five years ago, white carpets,
pastel upholstered limousines and sable
coats were the weightiest things on a
star's mind.
But Virginia Bruce says she's serious
about going in for a political career. And
Helen Gahagan is polishing up on her
speech - making also. Citizeness Clare
Boothe started something when she went
in for Congress; looks as if the girls were
mitating her.
Joan Bennett did well with her first
book, "How to Be Attractive," and is
now embarked on her second — of all
things from a star, "How to Cook."
HTHIS YEAR'S Cinderella is Kay Hard-
J- ing of Universal, who was hired right
off a United Rubber Co.'s delivery truck.
Kay was born Jacqueleine Lou, in Tulsa,
Oklahoma. Took to truckin' — the rubber
tire kind — when she couldn't make the
movie grade through usual channels. Did
so well as the stenographer in her first
try that she'll get ingenue leads from
now on. But don't necessarily rush out
and jine the union, kids; this only hap-
pens once in a thousand years.
TWO VETERANS who can steal a
scene as slickly as anyone you please
came to grips in "The Keys Of The
Kingdom" — Roddy McDowell and Peggy
Ann Garner.
"What are you smiling about?" Direc-
tor John M. Stahl asked Peggy Ann, "I
didn't tell vqu to register amusement in
this scene."
>;
1
Opposite: Roz Russell in
snappy chapeau arrives at
Academy event, on the arm of
her husband, Capt. Fred Bris-
son; Lt. Rudy Vallee has eyes
only for his bride, the former
Bettyjane Greer in a very be-
coming Hedy Lamarr hairdo
at the Mocambo. They've Just
weathered their first tiff, suc-
cessfully putting an end to
divorce rumors. Mrs. Joe E.
Brown at the Chinese is all
smiles to have Joe E. back in
the good old U.S.A. You'll see
him soon in 20th Century-
Fox's Technicolor musical, "Pin-
Up Girl," with Betty Grable.
Below, reading from left: At
the Academy Award shindig:
the Humphrey Bogarts, just
back from entertaining the
boys; Linda Darnell adds to
new fashion notes with a big
rose for a hat and a volu-
minous satchel slung around
her shoulder, attends with
husband, Peverell Marley; the
Charles Coburns — a happy
occasion for them. At the
Mocambo authoress Carole
Landis ("Four Jills In A
Jeep") dances with Victor
Mature of the Coast Guard.
They've known each other
since "1,000,000 B.C.," their
first picture together. Capt.
Thomas C. Wallace is still the
man in Carole's life. That ru-
mored split -up wasn't true.
Peggy Ann, who was neatly wrapping
up the sequence for herself, said inno-
cently, "Well, the grown-ups are saying
some rather amusing things, aren't
they?"
Came the breakfast scene and Roddy
had his turn. The director asked him
why he was moving about so much, inci-
dentally taking attention from Peggy
Ann who was sitting next to him.
"The script says Francis is a very
hungry little boy. I've noticed when
children are very hungry, sir, they sort
of duck their heads toward the food to
get it quicker." He won!
TRENE RICH has turned her Selma
Avenue house over to the WACS, the
WAVES, the SPARS, lady Marines
and any other branch of the women's
services that happens to come along. It's
a big old-fashioned frame building for-
merly occupied by bachelor star Bill
Lundigan, and his family (pa, ma and
three brothers) before Bill went into uni-
form. Sophie Tucker once lived there,
after Irene moved to San Fernando Val-
ley. It's a gracious gesture to girls in
service which was badly needed. Plenty
was being done for the boys while the
| girls were forgotten.
ANOTHER IRENE — Irene Dunne—
- is the first star to hold open house
for service women one Sunday a month.
They can come with or without their
boy friends, dance, make merry and meet
stars. This is certainly a step in the
right direction, too.
MARLENE DIETRICH is holding
hands with husband Rudolph Sie-
ber again and such swains as Willis
Goldbeck, Jean Gabin and others have
gone their various ways. Marlene, very
much the star, had a top trousseau made
for her wartime entertaining. Clothes are
very feminine — a riot of color. As she
was allowed only 50 pounds weight, chief
bulk comes in the shoulder pads. She
chose all wrinkle-proof fabrics. The Army
is in for a treat.
YytTHEN a medium-sized, dark chap
' * walked into RKO and said, "I'm
Day," in a deep baritone voice, every-
one thought, "So what?" Nobody recog-
nized the Dennis Day from Jack Benny's
broadcasts, who sounds like a sixteen-
year-old with an ingratiating tenor. He's
going to play in "Cocktails For Two"
with Anne Shirley at RKO — and of
course he'll sing.
OONITA GRANVHXE bites her fin-
gernails; would give almost anything
to be able to grow those long, tapering
kind you see in the ads. She has ap-
pealed to her friends to help her cure the
habit. "Yell at me. Slap my hands. Do
anything!" said Bonita. Pal J. Anthony
Hughes hit on an idea. He sent Bonita
a statue of the Venus de Milo. The ac-
companying note read: "Look what hap-
pened to her and take warning."
"I don't get it," phoned Bonita. "It
must be a gag, but how does it tie in
with me?"
"She bit her fingernails," said Hughes
and hung up the phone, but quick.
HP HERE'S a secret behind that new
J- bloom on Barbara Hale and Rose-
mary La Planehe. They've gone on the
new diet dished out by RKO's Baron
Haugen. The girls calf him Alf — he's a
former ski instructor, a Swedish expert,
and he's now installed as physical direc-
tor at RKO.
Pay-off is his recipe for beauty, which
works like a charm, according to the
girls. "Eat a big breakfast, a light lunch,
a still lighter dinner. No midnight snacks.
More wrinkles and bags under the eyes
come from a starchy diet than from
worry, work, or old age."
That's one for the book — in big type,
too!
CREENIAND Salutes "The White Cliffs of Dover
This tender romance withstanding
the sorrow of two wars will live
long in your heart. Based on Alice
Duer Miller's poem, it has wrung
tears from radio audiences, too.
Irono Dunne, a charming Yankee, and Alan Marshall,
her titled English husband, find a great happiness
in the scene above — before he goes to war. It's
not the same war, but it brings her another great
sorrow when her son, played by Peter Lawford,
left, is brought backup her after a big "show."
ft
a lovelier l^omplexioiu
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SoREKNLAND 59
"I Was a Chump!"
Continued from page 38
be scrapping with the studio over salary,
parts, pictures, directors or anything
else that flits across your mind."
"'You're nuts." I replied. "I may scrap
with them over parts, but I'll never
argue over money or directors or stories.
Wait and see. Or, I'll tell you what:
you make a note of the date and a year
from now we'll have lunch together and
you tell me if I've changed."
We never had that lunch. It wasn't
necessary.
My third picture was "Dust Be My
Destiny." It wasn't exactly a smash hit
but it made money — quite a lot of
money — and I was still one of the fair-
haired boys around the Warner lot.
To show you how dumb I was about
Hollywood, I can tell you a story that
happened when I had been out here
about a year.
We had some friends up to the house
one night. We were having a swell time
and about midway of the evening Robbe
called out, "John, get out that other
bottle of Scotch." A friend pulled her
off to one side. "Don't say that other
bottle of Scotch," he suggested. "Say
another bottle of Scotch. That's the
way it's done out here." At the time I
actually thought he was right!
We both had so much to learn, and
we didn't realize it. We'd been here a
year and we thought we knew all the
ropes and angles. Everybody was hail-
fellow-well-met and we thought the
world and his wife were our friends.
Then I began making the mistake so
many other young actors I've met in the
five years I've been in Hollywood have
made. I began, unconsciously, to be-
lieve my press notices.
As we made more and more friends we
began getting more and more advice.
We couldn't always distinguish between
friends and hangers-on. If a person
cared enough about us to give us advice,
we thought he must surely be genuinely
interested in us.
People would call me aside and
bluntly ask how much I was making.
When I'd tell them, rather proudly,
they'd let out a whistle. "You're crazy!
What are you going to do — work for
peanuts the rest of your life? If you
don't get it now while you're hot you'll
never get it. Do you realize Joe Doakes,
who doesn't have half the box-office you
do, is getting five times as much moo-
lah? Does he get notices like you? Why
don't you get wise to yourself?"
At first I didn't pay much attention
to all this but, without my realizing it,
it all took root.
The theater had been the core of my
being. _ It was my life, and I was much
more concerned with parts than money.
After all, I was making more than I ever
had in my life — more than enough for us
to live better than we ever had, so my
early arguments with the studio were
all over roles.
When I first came out here I had a
clause in my contract permitting me to
return to the stage any time I wanted
to, provided I gave the studio sixty days'
notice. When I was firmly established
the studio offered me a new contract at
what, to me, seemed a fabulous salary,
provided I'd waive that clause and agree
to do only one play every second year.
I signed it.
I was helpless in the face of that
waiver but I still firmly believed there
was such a thing as artistic- integrity. I
took one suspension after another, going
without salary for long stretches rather
than essay a part I felt meant nothing.
Robbe and I both come from very poor
families and we realize, as only the very
poor can, that life isn't all beer and skit-
tles; that there is more to it than good
times and laughter. People don't like
preachments but if you can give them a
dramatic version of almost any of life's
or the world's problems they will swallow
it and often it will stir them out of them-
selves so they will get out and do things
instead of sticking their heads in the sand
and ignoring them.
That was what I was trying to do,
but I went about it in the wrong way.
It wasn't until I read an interview by
another star on the lot that I realized I
was being ridiculed — a bitter pill for any-
one to swallow. This star didn't mention
my name but the inference was obvious.
I've forgotten the point he was trying to
make but he said I had been summoned
to the front office regarding a new pic-
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ture. Without asking anything about the
director, cast or story I was said to have
demanded, "Does it have a message?"
Whereupon one of the executives was
quoted as throwing up his hands and
chortling, "He wants a message? Send
him a Western Union!"
That interview with that other star did
me more good than almost anything I
can think of. It showed me myself as
others must be seeing me.
I realized with a start that I wasn't
getting much back-slapping any more.
That, in itself, didn't bother me. It was
the connotation that worried me. Oh,
people still spoke but they didn't come
rushing up the way they used to. It
came to me with a shock that I hadn't
had an interview in a magazine or paper
for months. I went to the publicity office
and asked them to tell me frankly why.
"You've antagonized writers," they
said.
"I?" I gasped. "I haven't done any-
thing to anyone."
"No," they agreed, "but when they
come to see you, instead of discussing
what they want for their stories — the
things about you the public is interested
in knowing — you try to force them to
write about the things that interest you."
"It wasn't that," I protested. "It was
only that the things I was talking about
— world affairs and world problems —
were so much more important and inter-
esting than any petty details of my life."
"Perhaps," they said, "but if the writ-
ers don't think so, you can't force them
to yov.r wav of thinking. You're too
vef u want to preach you'd
better give up acting and get yourself a
pulpit, because that's the only way you're
ever going to get people to listen to you.
All they think now is, 'Here's a little no-
body from New York who comes out
here, hits it lucky, and immediately
starts trying to tell everybody what's
wrong with the world and how they
should live their lives.' "
"That wasn't what I meant at all," I
argued hotly.
"Perhaps not," they answered, "but it's
the impression you're giving and they
want no part of it. You won't play ball
with them so they leave you alone. When
we suggest an interview with you they
laugh in our faces. You know, it's just
barely possible you could be wrong in
your views."
Brother, that really brought me up
sharp! I began thinking back. Every
once in a while a producer will make a
picture with a "message." Almost in-
variably it is a box office failure. The
public stays away in droves. If older,
wiser and more experienced people than
I can't force a sugar-coated pill down the
public's throat, how could a young up-
start like me hope to?
I began to understand that you can't
tell other people how to lead their lives.
You have enough to do to manage your
own. All you -an do is to live yours so
as to do the most good with it.
So I started doing war work. Bette
Davis and I conceived the idea of the
Hollywood Canteen. When she was busy
I was on fhe job. When I was working
at the studio, she was working at the
Canteen. And no one will ever realize
how much work there was. Some of our
patriotic citizens tried to block it be-
cause they were afraid it might detract
from the glory attached to the particular
jobs they were doing. As though glory
matters in times like these, or as though
there weren't enough war work to go
round! It's so confounded stupid.
Then, Chico Marx, Ray Bolger, Laurel
and Hardy, Mitzi Mayfair, Jane Pickens
and I made the first overseas trip. It
was before Pearl Harbor, but it was at a
time when travel was much more dan-
gerous than it is now. We visited every
outpost and base in the Caribbean. An
Academy Award could never mean to me
what the gratitude of those boys did.
And it taught me what a much greater
spiritual reward there is in doing some-
thing for people than there is in trying
to preach to them, no matter how good
your intentions are.
You can't know what a difference in
my viewpoint — my outlook on life — this
work has made. I no longer have any
desire to return to the stage. I love
Hollywood and everything about it. I'm
the original Glad Boy these days.
And, with this changed viewpoint, I
realize how swell Warners were to put up
with me and nurse me through those first
years. Right now I could sign contracts
with two studios to take effect when my
present contract expires two years from
now. I've worked at two other studios,
though, and I know when I'm well off.
I don't think I'd ever want to work at
any other studio.
But boy, howdy! In those early days,
was I a chump!
ScREENLAND
61
"The More Women at War — the Sooner We'll Win!"
We'd like to take
War lobs- BUT
.MY HOSBAHO DOESMT
WANT ME TO WORK/
Answer : Your war job doesn't necessar-
ily mean your husband needs your finan-
cial help! It means your country needs
women — millions, like you — to keep civil-
ian services going, save fighting men's
lives. Explain this urgent need to your
husband! Read your local want ads for
war jobs that are open now!
. ARE CMUAAf JOSS
REAUy /MPORTAA/TP
dm ^ '^L* '
Answer: The humblest job in a home
front service is as important as Victory
itself! Laundries, cafeterias, hotels, stores
. . . transportation, food packing indus-
tries ... all must carry on. Help them!
Even if inexperienced. Your newspaper
want ads show where you're needed, or
see your U. S. Employment Service Office.
. . MY HOUSEWORK KEEPS
ME PLEA/TY SUSY/
Answer: Are you tying yourself to your
own apron strings — when our boys are
dying at their "jobs" ? Every day, working
women manage their homes successfully.
Let the family share your household
chores ! Or, take a part-time job. Ask your
U. S. Employment Service Office to sug-
gest a "working" plan.
.../M A/ Or THE
m/l/tary rypEf
Answer: Many a "home girl" makes
good as a WAC, WAVE, MARINE or
SPAR. They work at scores of varied, in-
terestingjobs you too can learn — if you
qualify. Free a man for front line duty
. . . help bring your man home sooner!
Today, get complete details at your near-
est Army or Navy recruiting station.
Published in the interest
of the war effort
by Kleenex Tissues*
Paper, too, has a war job . . . that's why there's not
enough Kleenex Tissues to go around. Bui: regard-
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th government regulations.
Introducing Gregory Peck
Continued from page 24
"Days Of Glory" is Tamara Toumanova,
world-famous ballerina who is also mak-
ing her screen debut.
I met Gregory first at RKO on the set
of his first picture, a film cast entirely
with unknowns, among them Allen Reed,
the famous Falstaff of the Fred Allen
radio show. Gregory struck me as quite
a hunk of man. Standing six feet two
and a half, weighing 170, he was def-
initely on the robust side. Yet he is 4-F
because of a 'spinal injury acquired in
rowing. His hair was hanging down on
his neck — all for the picture, of course.
His voice was deep and obviously a
product of the theater. But the most
impressive thing about him was his
straightforwardness and lack of pretense.
"The one thing I am grateful for
in this town," Gregory began as we were
discussing his Hollywood career, "is that
nobody is trying to make a pretty boy of
me. When I first came here, of course, I
was put through the paces. The make-up
man assumed that I would have to be
made to look handsome, so he pinned my
ears back, plastered my hair down, and
did, some extensive decorating of my fea-
tures so I would fall into the 'type.' But
Casey Robinson, the man who gave me
my chance in Hollywood and who wrote
'Days Of Glory,' nixed that deal in a
hurry. I was to be let alone to be my-
self. And that's the way I'm going to
stay"
That is no gag, dear readers. When
you see Gregory Peck on the screen and
in the movie magazines, you'll see the
real McCoy and not the product of the
makeup and retouching department.
"I don't think I'll ever forget the first
test I made for pictures in New York,"
Gregory went on. "I was told to walk
up and down and to display my profile —
both of them. I was as stiff as the pro-
verbial board. Finally, the director said,
'For Pete's sake, be casual.' So I decided
I'd look casual if I nonchalantly took a
puff of a cigarette. Well, when I saw the
test, my hand was wobbling like a loose
wheel. I don't care how much experience
on Broadway an actor may have, there's
something about the camera that makes
the nerves dance. I'm still amazed I got
a contract after that test."
When Gregory left New York to come
to Hollywood, he got the usual advice.
One of the choice pearls of wisdom
dropped in his lap by those allegedly "in
the know" was: Take the director and
the cameraman out to dinner — the sooner
the better.
"I've been here several months now,
and I haven't taken either the director
or the cameraman out to dinner," Greg-
ory commented. "And I'm still in the
picture.
"But nothing in Hollywood is quite
what you expect. For one thing, I nat-
urally thought excitement and glamor
would run rampant on every Hollywood
street corner. But when my wife and I
arrived, we had our eyes opened. Every-
thing was quiet here. In York, you see,
we had an apartment practically next
door to the theater. Near all of
62
S C K E E N L A N D
our friends. We were always doing some-
thing. Here, however, it's just the op-
posite. We have a home on a hill over-
looking the Sunset strip, and our main
excitement is our victory garden plus
our dog, cat, and our car that we re-
cently bought.
"We don't have time to go out now.
When I get home from the studio, I usu-
ally fuss around in the dark looking over
my victory garden. Then I have to water
the lawn. Greta, my wife, is cooking the
meals now, too. We used to eat out, so
this is a real change. We've even been
spending evenings working on a budget —
which is something that never worried us
before because we didn't have enough
money to budget. Now, my agent takes
my check, gives us a certain amount each
week, puts some in a checking account,
earmarks part for income tax, and saves
the rest for us for war bonds. I usually
end up — on this deal — with a couple of
bucks in my pocket and my wife gets
the checkbook. Yes, we have definitely
gone domestic, much to our surprise.
"We're funny people, though, when it
comes to finances. We used to spend so
much time trying to make a dime or a
quarter go a long way that we now quib-
ble over spending small change. But
when a big item is involved, we think
nothing at all of buying it. This is be-
cause we never had large sums of money
before, I guess. For example, I'll hedge
and hedge about buying a suit. I only
have two now. But I'll go out and buy
a phonograph — when I can find one —
without any hesitation.
"Recently, we've cut down a lot on al-
most all types of buying, however. Our
entertainment is limited to two movies
a week and the fights on Friday. You
see, we're saving for one special reason —
we're planning on starting a family in the
very near future. Then, too, we also
want to buy a ranch some day when the
war is over. My wife and I love to ride,
so we're going to have plenty of horses —
and a pony for the expected addition.
This ranch, and our family — well, that's
our dream. And it's a dream we're going
to realize!"
Gregory met Greta when he was with
Katharine Cornell in the road show of
"The Doctor's Dilemma." She was Cor-
nell's hairdresser and make-up supervisor.
Gregory took one look at her. Then an-
other. A week went by and he decided
that this hesitancy and looking weren't
getting him anywhere, so he asked her
for a date. This was in Pittsburgh.
"We had dates after that in all of the
key cities for the rest of the tour," Greg-
ory laughed. "When the show ended in
San Francisco, my home town, I felt that,
the time had come for me to put the idea
up to her, so I asked her to marry me.
She agreed. Then we both became cau-
tious and decided to wait until I had the
assurance of a hit show. We waited eight
long months.
"After 'Doctor's Dilemma' closed, I
went into Cornell's 'Rose Burke.' This
closed before it reached New York. Then
I did 'Punch and Julia' with Jane Cowl.
Tt didn't get to New York either. Sev-
•d months went by. Then I got the
1 in 'Morning Star.' I was sure this
1 be the hit and we could get mar-
Tt closed in three weeks. Finally, I
appearing in
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said to Greta, 'Look, we can't go on
being practical. We may wait for years
until I land a hit show. This waiting is
getting monotonous.' So we got married
the day after the show closed."
Two more plays on Broadway followed
— neither of them a hit — and then came
Hollywood. So the newly weds weren't
wrong in becoming — well, impulsive.
Gregory started out with every inten-
tion of becoming a doctor. His father, a
druggist in San Francisco, thoroughly
approved. So Gregory went to the Uni-
versity of California and studied — hap-
hazardly, anyway. But doctoring and
Peck didn't mix.
"I spent so much time rowing with the
crew, doing janitor work with a friend
of mine to pay for our rent, and being a
waiter in a fraternity house — what a job!
— that doctoring suffered. My career in
medicine really began to blow up, how-
ever, when a friend of mine asked me
one day to take a small part in a one-act
play that was being done on the campus.
Suddenly, I found I liked acting. I fol-
lowed this show with the part of the
leader of the chorus in 'Lysistrata' and
then with the role of Matt in 'Anna
Christie,' my first lead. I knew then I
was going to act!
"When I told my father I was giving
up medicine, he was very disappointed.
We had quite a falling out over this. In
fact, it was only recently that he re-
lented. I knew I was right, though. I
could see no point in going after some-
thing at which I would have been
mediocre — if not a complete failure.
"I decided to go to New York and
try my luck after I had graduated.
A man I knew in San Francisco gave me
a letter to a friend of his. As soon as I
reached New York, I contacted this
friend. He read the letter, 'hmmed' a
bit, and said, 'Well, all I have is a con-
cession over at the World's Fair. Maybe
I can find something for you there.'
"I wanted to ask him what he thought
I could do in a concession, but I decided
to keep my mouth shut. I was intro-
duced to the man who was running the
affair, and the first thing he said to me
was, 'Can you bark?' Not wanting to
show my complete surprise, I gulped and
very confidently said, 'Sure!'
"For the next six weeks, I roared the
virtues of the concession to all and sun-
dry, taking half an hour off whenever
possible to load myself with cough drops.
At the end of the six weeks and in spite
of the cough drops, my voice wasn't what
it had been.
"My next job was acting as a guide for
tourists through Radio Center in Radio
City. I was given two days to learn all
the details about Radio Center, quite a
job for a guy who was a complete
stranger to the town. For two days and
nights I didn't sleep. I stayed up cram-
ming all the data I could learn.
"The first trip I guided was something,
all right! I really had some weird ques-
tions thrown at me. One lady asked, 'Is
Brooklyn part of the United States?"
Another lady came up with, 'What do'
the Music Hall weigh?' I don't reme
ber what I said, for I don't think I J
ever been so dead on my feet a'
sleepy as I was on that first trip
"After walking the tourists arr
64
Screen i, and
a long time, I finally took them into
the Center Theater. Fredric March and
Florence Eldredge were playing there in
'The American Way.' I told the tourists
that they could go upstairs — where there
were some empty seats — and they could
see about five minutes of the show. It
was a matinee. They sat down. So did
I. I woke up a half an hour later. My
tourists were having a wonderful time."
During the World's Fair career and
part of the Radio Center session, Greg-
ory lived with three of his pals who had
come to New York from the University
of California. They talked about getting
jobs in the theater and ate hamburgers
and beans. One day, the Neighborhood
Playhouse was brought into a discus-
sion. The subject of the scholarships
offered there was raised. So Gregory de-
cided to audition in the hopes that he'd
be given one of the coveted scholarships.
"I was put through all kinds of tests.
First, I had to do my acting. I did
scenes from about three plays. Then I
was tested for speech — and even for
dancing. I felt like a guy being inspected
by the draft board. But I got the schol-
arship. This was the biggest break in
my entire career. I can't say enough
for this Playhouse and for the fine work
it is doing for those who have talent but
who lack the necessary money to pay
for the course."
At the end of the first year at the
Playhouse, Gregory got another break.
He was sent, on an award, to the Barter
Theater for stock.
The Barter Theater is one of the most
unusual theaters in America. It is lo-
cated in Abbington, Virginia — in a farm-
ing and mining district. It was founded
some time ago by Bob Porterfield on
the premise that farmers and miners
could see up-to-date shows by using their
barter for admission. For example, two
bushels of potatoes would be worth ap-
proximately two or three tickets; three
gallons of milk brought two tickets; a
goat, a pig, or a cow was worth a season
ticket. And the actors are paid with the
barter collected.
And how did Gregory get this chance?
Each year the Barter Theater makes an
award for the best actress on Broadway.
That year Dorothy Stickney got the
prize for her work in "Life With Father."
Besides being given a plaque, she was
given a Virginia ham, an acre of land in
Virginia, and was allowed to choose two
talented newcomers to go to the theater
for a season of stock. Gregory audi-
tioned for her and was chosen.
"It was hard work at the Barter,"
Gregory remarked, "but it was great
experience. We rehearsed a show all day,
played another at night, and often went
on tour to such neighboring towns as
Big Stone Gap and Grundee. The actors
had to do all of the moving and loading
of props, lights, and furniture, and we
had to set them all up for each perform-
ance in each town. I learned a lot in
those twelve weeks."
He went back to the Playhouse for
his next year. When he graduated, he
appeared, as was the custom, in a series
of one-act plays. This was an important
occasion, for all of the big Broadway pro-
ducers attended. On the particular .night
that Gregory graduated, Guthrie Mc-
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Clintic and Katharine Cornell were in
the audience watching the show. They
were impressed by Gregory's work as a
cowboy. The next day, McClintic sent
for him. He was offered, oddly enough,
the role of the art dealer in the road
show of "The Doctor's Dilemma."
After "Rose Burke" and "Punch and
Julia" flopped, Gregory returned east
to do some stock at Dennis. Here he did
everything from "You Can't Take It
With You," shows with Ruth Chatter-
ton, to a musical in which he "sang" —
no, he hasn't a voice — with Jimmy
Savo.
Then came the call from Martha's
Vineyard and from Guthrie McClintic.
He was to do the lead in "Morning
Star."
One night after a performance of
"Morning Star," he received word that
Casey Robinson, Hollywood scenarist
visiting New York, called him and asked
him to come to the hotel for a talk.
"I hadn't thought much about Holly-
wood," Gregory admitted frankly, "but I
was interested in what Mr. Robinson had
to say. He told me that he wanted to
use me in a picture soon, but he agreed
with me when I said I thought I wasn't
ready yet and that I should wait until
the right thing came along.
"I thought about Hollywood after that
— but not too much. I was too busy
working in two other plays after 'Morn-
ing Star' closed. The shows were 'The
Willow and I' with Martha Scott and
'Sons And Soldiers' with Geraldine Fitz-
gerald.
"Not long after my first visit with
Robinson, he called me from Hollywood
and said he had the right part for me.
He asked me to come to Hollywood to
discuss the picture, so I did. When I
learned all about the part I was to play,
I signed the contract immediately. I
hope I'm here to stay now."
There is one interesting story about
"Days Of Glory" that is worth telling.
To keep the feeling authentic, the cast
was served real Russian borscht for a
dinner scene. The scene took a week to
film. By the sixth day, the borscht was
practically nothing but grape juice and
water. So Gregory rose to the defense of
the over-borschted cast and said, "So this
tastes like grape juice and water — well,
let's have grape juice and water instead."
Just as that was settled, the cast trouped
to the cafe for lunch. The special of the
day — in honor of Tamara Toumanova —
was Russian borscht. Not a single order
was placed, much to the cafe manager's
chagrin.
Speaking personally, Gregory loves
most sports; he likes to follow politics;
he prefers steaks and salads; he likes
sloppy clothes; his choice in music runs
toward symphonies and lately even to
chamber music and soloists; he loathes
opera, "probably because I had to stand
for four and a half hours to hear my
first opera, 'Lohengrin,' " he explained
to me; his favorite actors are Gary
Cooper, Humphrey Bogart, and Jimmy
Cagney; Jean Arthur and Ingrid Berg-
man are his top actresses.
Such is Gregory Peck, a tall guy head-
ing up. A gent who is apt to blast a lot
of Hollywood formulas before he's
through.
SCREENLAND
Gene Kelly and Oeanna Durbin pose in true
tintype style for the scene just after their
wedding in Universale "Christmas Holiday."
She Didn't Get What
She Wanted
Continued from page 31
handsome was against him. I assumed
good-looking males were conceited, giv-
ing them not the slightest opportunity to
prove otherwise."
So you know what happened. Metro-
Goldwyn-Mayer found her, and insti-
tuted a new policy of super-grooming
for film stardom that is . the studio's
pace-setter for subsequent ambitious, tal-
ented young girls. Kathryn's extraordi-
nary singing voice, and the promise she
evidenced so unassumingly, swept her
into a world she hadn't even wondered
about. She's been modelled by Metro's
ace experts. At times there's been plenty
of mutual bewilderment, for Kathryn
was obviously not exceptionally eager
for the rewards offered her.
She was fond of being a rolling stone.
Still is. Hollywood wasn't necessarily
heaven to her. "I was born in the Caro-
linas. My father's business as a con-
tractor kept us moving from one state to
another. I can fit into a new neighbor-
hood quickly, and I think almost every
place has its good points. I didn't play-
act as a child. I was a tom-boy, and was
most excited when my two brothers —
Mike and Bud — let me play on their
football team. I was the blissful 'way
back!' Once, when the family was driv-
ing to Texas, there was an auto accident
and I was in a hospital for six months
But other than that, I had no drama in
my childhood. My tastes were simple,
and remain so."
At twelve she made up her mind. From
there on in she was determined to sing
at the Metropolitan Opera House. Liv-
ing in St. Louis, naturally fond of music,
she crept into the Municipal Opera House
there after rehearsals one afternoon, got
up on the stage alone, and sang to the
empty auditorium. That is, empty ex-
cept for a solitary janitor who nodded
encouragingly.
"When I thanked him he turned out
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68 SCREENLAN
to be deaf. But I'd made up my mind,
so I wasn't discouraged. The following
summer my girl friend and I lingered
outside the outdoor amphitheater when
opera was rehearsing; after everyone left
I climbed over the fence, onto the stage,
and rendered my favorite excerpts from
'Lucia de Lammermoor.' This time there
wasn't a deaf janitor."
Instead, Frances Marshall, one of the
current opera's stars, who had heard the
thrilling young voice and returned. Miss
Marshall was so impressed she promptly
gave Kathryn two weeks of private les-
sons, and arranged to send her to New
York to study under the noted Sembrich.
"But the family was moving again, and
being twelve, I naturally went with them."
She attended twenty-one schools alto-
gether. "The highlight was being pun-
ished by a teacher for putting soap chips
in the soup of one school's biggest tattle-
tale!" By her sixteenth birthday the
family was living in Los Angeles. And
she wasn't the least bit concerned about
the movies. Or dates. All her spare time
was devoted to her singing lessons, which
her parents proudly planned with her.
Call it Fate. She completely upset
Kathryn 's intentions when, in the person
of a film director's wife, she casually
heard of this young girl with the amaz-
ing" coloratura soprano. Kathryn 's range
was from G below middle C to C above
high C. I'm not exaggerating, either.
Mrs. Fate shrewdly insisted that this
gifted child sing some samples for Louis
B. Mayer.
Such an audition should have dazzled
her. Had he been the conductor at the
Metropolitan Opera she would have died
a thousand deaths, with fear. Miss Zelma
Kathryn Elizabeth Hedrick (her real
name) had to be coaxed into signing on
a dotted M-G-M line. "I think Greer
Garson and Margaret Sullavan are the
most glamorous creatures in the world,"
she said straightforwardly, "but I don't
want to be anywhere except in the Met."
Mr. Mayer, recognizing the stuff from
which great stars are made, retorted by
handing her a year's contract guarantee-
ing that for its entire time she would
not have to act. Nor take a film test.
Instead, they would pay for her singing
lessons and Mrs. Minalethe White, her
coach and close friend, was to remain as
her guide. She would transfer from public
high school to instruction on the lot,
winning her regular diploma by senior
courses in French, history, math and
English. She was to stay overtime for
classes in diction and in glamor.
It was too overwhelming to resist. Any-
how, in a year she would be that much
further along with her voice — for free.
She took the extra-curricular touches in
stride. Mr. Mayer had Jack Dawn, the
chief makeup man at Metro, give her
an extensive course in beauty. Dawn
taught her how to care for her skin
superbly, how to apply lipstick and mas-
cara. "I had to learn to eat correctly —
I mean pay attention to proper diet. I
hate routine, but I got it." The only
makeup she wears in real life is lipstick,
which she paints on. "Without a brush,
I'm sunk," she added with a smile.
"That's what Mr. Dawn taught me."
Sydney Guilaroff, the top hair stylist,
conditioned her into brushing her hair
endlessly, then evolved the most flatter-
ing coiffures. Adrian and Shoup and Irene
molded her screen wardrobe. Lillian
Burns, Metro's dramatic coach, showed
her how to enter a room, how to stand,
how to sit, how to use her hands, how
to walk and talk.
Not always has she been a joy to her
teachers. Her speaking voice is so soft
it is frequently hard to register it on the
mikes. She retains its native strength,
explaining she can't speak louder.
She managed ten hours sleep nightly,
and a sampling of tennis, badminton and
golf, during that strange year. No social
stuff, because that didn't appeal to her.
And the contract, at her persistence, ab-
solutely guaranteed no publicity. Imag-
ine!
- "At the end of the year they amazed
me. They took a screen test, and then
took up their option for another year."
For the first half of it she still didn't
have to act, or be publicized. But she
studied tap and ballet, and more con-
centrated dramatic lessons from Miss
Burns followed. Then she was cast op-
posite Mickey Rooney in a "Hardy"
comedy. Her click, as you'll remember,
was instantaneous. A triumph of star
training.
She had to stay in pictures then. She
had to accept all that went with it
Gradually she's grown up, into an ap-
preciation of the studio's fine plans for
her. She eats everything (and stays beau-
tifully slim anyhow) rather than go in for
the calorie- weighing she's been taught.
She says the dancing teacher ultimately
gave up! This past winter she heard her
first grand operas at the Metropolitan,
and now she isn't sorry she's screen-
singing still. She realizes the scope of
film musicals. Meanwhile, she's filled huge
Soldiers' Field in Chicago, with Miss
Marshall (her discoverer at age twelve)
a thrilled listener to a rendition of an
aria from "La Traviata," and she's re-
corded for the best record-making" com-
panies. She's made her concert debut on
the same stage where Pons, Jepson, Pon-
selle, Eddy and Tibbett have sung. Rise
Stevens, reigning opera star, proclaims
that Kathryn has the most promising
coloratura in the world.
What's also happened, as you prob-
ably have heard, is that Kathryn got
what she didn't want in the wray of love.
Actor John Shelton (now a lieutenant
in the Army) was the handsome man
who confounded her contention that love
was silly. She swears she overlooks his
good looks. They met in Lillian Burns's
dramatic department and sympathy was
their first bond, she confessed. With all
the sureness of seventeen, she advised
him — and he loved it.
He'd had as tough a time as hers had
been silver-plattered. Son of a Los An-
geles lawyer, he started acting in small
stock companies and then had beginning
contracts at RKO and Warners before
M-G-M noticed him. Between roles he
went into the agency business, coached
in a vocal school. He was used for all
the tests with the new girls at Metro,
enacting the parts which Gable, Tracy
and Taylor filmed. He towered above
her (she's but five foot three and he's
six foot one) and, being older and disap-
pointed in life and love, it wasn't too
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peculiar that they fell violently in love.
This not only surprised Kathryn; it
temporarily stumped her. Two years of
her "advice," and golfing, swimming, see-
ing movies, and telephoning four times
a day, and they eloped.
At nineteen she wasn't as smart about
marriage as she has since become. She
didn't want a Hollywood house, but they
got one. Its fourteen rooms were forever
filled with extremely social-minded pals
She rose in Hollywood rating, with her
career ever carefully molded, as he un-
derwent more bad luck. "The first year
was the hardest — for me, all right. Twice
I went to court to divorce Johnny."
When they quarrelled, impulsively, he'd
stay away. She charged incompatibility
and mental cruelty, now knows they
were both to blame. "We were too
moody, too spoiled, really. We both have
quick tempers. Then outsiders would
butt in with, 'Are you going to put up
with that?'"
She admitted she'd abhorred domes-
ticity. "So I never made a real home
out of that big house." He enlisted two
days after Pearl Harbor; that cinched
reunion.
"Be a 100% wife!" she recommends
fervently. The only time she has been
in Hollywood, back with her parents, is
when she couldn't follow Johnny about
the country. She lovingly recalls the
hunting trip, the first of many, during
that hectic first year together. "We got
five flat tires, a broken axle, didn't see
a deer, and stalled overnight in a snow-
storm!" Her life as a soldier's wife has
been a greater adjustment.
"At Camp Crowder — when Johnny
was there I lived in Joplin, Missouri —
we shared an apartment with another
couple. Johnny burnt his arm with hot
grease showing me how to fix his eggs.
First time I tried apple popovers, I
opened my oven, my cat skooted by, and
I dropped the darned pan on my own
leg, so I got burned that time.
"When he went to officers' training
school I was more than proud. At Clear-
water Beach, Florida, I'd get up at 6
a.m. to cook his breakfast and then as
I did my housework I enjoyed sharing
washday with my first real girl-friends,
other wives I met there. We had bikes
and rode five miles to market, lugging
supplies in the baskets on the handle
bars.
"Once I got such a tough chicken I
took it smack back to the butcher, who
swore it was all right. 'All right, then,
you eat it!' I said, and left it with him.
I've learned to wash Johnny's clothes
(and was horrified by my tattle-tale
gray results at first) and to iron. It first
took me all day to house-clean; I really
scrubbed everything, and was so awk-
ward and slow at it."
As a consequence of getting what she
didn't want, and learning to cherish it,
Kathryn's pet phrase is, "Well, that's
life!" Her favorite popular tune is
"You'll Never Know." She calls her lieu-
tenant Pops. Quite a character, don't
you think?
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SCREENLAND
Bing Exposes the
Crosby-Sinatra "Feud"
Continued from page 21
trying to find out what's wrong and doc-
tor it up. I can't say, "Gentlemen,
you'll have to excuse me. I have an in-
terview."
The only chance I have to conduct
my personal business is at lunch so I
can't give interviews then. Three or four
nights a week I make transcriptions to
broadcast to the overseas forces. One
night a week I spend with my radio
writers. The other nights I play camp
shows in this vicinity.
I haven't had an evening at home in
so long that when I occasionally barge
in for dinner, Dixie and I practically
have to be introduced to each other. I
used to try to keep the kids away from
the studio. Now, if I don't have them
over here occasionally I never get to see
them. You may glean some idea of the
straits to which I — or, rather, my leisure
time — am reduced when I tell you I have
not had a golf club in my hot little
hands for almost six months, except for
the 4th Bond Rally at Lakeside Golf
Club.
If you, or the members of the Press
Club, can tell me how I can fit inter-
views into this scheme of things I'll try
to play ball. Only, in working out the
solution, you'll have to take into con-
sideration that I cannot see one without
seeing all who want to see me.
I know some of my detractors will
point out that I have always been con-
sidered stubborn and un-cooperative —
long before the war started. Well, I
think I told you that afternoon you
spent at the house with Dixie and me
on your last visit that, even then, I
hadn't much leisure. It's human nature
to like to pick up a paper or magazine
and read stories about yourself or to see
your picture in them. I'm no exception.
I told you it wasn't the interviews I
objected to. My objection stemmed from
the fact that writers would either come
to an interview without any definite
ideas of what they wanted to talk to me
about or with some angle so personal it
couldn't be discussed. Then they wcild
hang around all afternoon, floundering
in conversation, hoping something would
come out of it. They would go home,
try to write a story, find they hadn't
enough material and then want to come
back for another try — usually with no
more success than they'd had the first
time.
William Powell once remarked to a
writer. "There's only so much copy in
any of us. When you've been in the
business eight or ten years and have had
a couple of hundred interviews, your
story value is exhausted. After that, no
matter how thin you slice it, it's still
baloney."
My racing proclivities have been writ-
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about my horses that hasn't been cov-
ered in the public prints Hope has thor-
oughly taken care of it on the radio! My
golfing activities have been under just
as microscopic a scrutiny.
There is nothing about my family life
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that hasn't been put before the public.
If Dixie coughs or I sneeze or one of the
kids cuts his finger, it's in the papers.
If one of us has to have a doctor for any
reason, almost before he leaves the house
columnists call to find out if we're "ex-
pecting" again or if it could have been
our lawyer drawing up divorce papers.
We've never cared much about night
life. I can't remember the last time
we've been in a night club. We don't
give large parties any more and if, once
in a blue moon, we go to a party there
would hardly be a story on "How it feels
to be a guest in a star's home."
So what is there for me to talk about
to writers, even if I had the time? A
more prosaic life than we lead would be
hard to imagine. If someone dubbed me
"Babbitt in Hollywood" I couldn't argue.
I am afraid I'll just have to go on
being "un-cooperative" to the end of the
chapter and be grateful, as I am, that I
have a few friends like you who are
staunch, tolerant, and understanding.
Cordially and appreciatively yours,
And now, another letter — this one from
the Hollywood writer who knows Bing
best:
Dear Delight:
In pursuance of your request for a story
on Bing, I went over to see him and he
showed me a letter he had just written
you. I'd like to put in my two bits'
worth for, without trying to make him
out a martyr, I think he is one of the
most misunderstood or, perhaps I should
say, least understood men in pictures.
Dixie remarked to me not long ago,
"When I read of all the war activities
of different stars I get so furious my
blood pressure jumps 20 points. Nobody
does more war work than Bing — but you
never see a line about it in the papers."
And she's right. Once I suggested to
Bing that we do a story about it. "Abso-
lutely no!" he exclaimed vehemently.
"But, Bing," I protested, "all the other
stars get so much publicity, and you get
none. People wonder what you're doing."
"I can't help that," he replied. "I
know what I'm doing. When I play
shows for the boys around the different
camps they know what I'm doing. And
the boys overseas know when they hear
my transcriptions. They're the only ones
who matter, and as long as they know T
don't care about the rest."
One of the papers runs a huge benefit
every Christmas to raise funds to supply
baskets to the needy. Last year the
benefit fell on the night of Bing's broad-
cast. He left his radio show with 102
fever, but he went over and played the
benefit anyhow.
On Christmas eve, when most people
are home with their families, he played
three camp shows, got home at 2:00
A.M., was up in time to watch the kids
open their presents, and then started out
on another camp tour that lasted far
into the night.
People criticize him for being self-cen-
tered and selfish. He isn't at all. Re-
cently, when Dixie was in the hospital,
I was visiting her and Bing was there.
72
SCREENLAND
Suddenly a school girl burst into the
room.
"Oh!" she gasped on spotting Bing
Then, quickly recovering herself, rushed
on: "I really came to tell Mrs. Crosby,
but now I can tell you. We had an elec-
tion at our school to see whether you or
Frank Sinatra was most popular and you
got a thousand votes and Sinatra only
got five."
"That's very flattering," Bing grinned,
"but why did you have an election?
Can't you like both of us?"
"No, we can't," the girl snapped. "We
resent Sinatra trying to steal the spot-
light from you."
"I don't think he's trying to do that,'"
Bing drawled. "He's just trying to make
a living. Mrs. Crosby and I both like
Frank. He's a nice boy, and we're both
happy he's made the hit he has. He sings
one way and I sing another. Some peo-
ple prefer one style and others the other,
so we can't see what this fuss is all
about."
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His acts of kindness are legion. A former
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where the money came from. He was
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Strange Confession
Continued from page 35
the reality of her in his arms, but even
as they began to dance a guest came up
and claimed the waltz as his own. But
Fedja smiled and took her dance card.
"I'll make sure whose dance this is,"
he smiled. "And every dance on the pro-
gram." And as he spoke he wrote the
words, / love you, over the whole card,
and Nadina flushed happily as he took
her in his arms.
"Oh, Fedja, you're so absurd," she
whispered, her voice lifting to the happi-
ness in her eyes. But afterwards when
the Count came over to them, insisting
Fedja must have one dance with the
bride, all the happiness was gone and
only that small nameless fear remained.
For all his experience with women,
Fedja felt frightened too as Olga pressed
herself so closely against him as they
danced off.
"Fedja," she said, "the Count says you
are going to marry her. Do you love
her?"
"Yes," he said.
She looked at him, unable to compre-
hend. "Don't you love me?" she asked.
Then as he nodded, her eyes darkened.
"No! You can't love me if you love her,
can you?"
"Darling, I'm insane about you!" His
lips brushed against her cheek as he
spoke. "But it can't be."
"Why?" she demanded.
"We can't discuss it here, darling," he
said uneasily. "People are watching."
But he couldn't put her off so easily.
She maneuvered it so that they danced
out of the ballroom into the small ante-
room and he had to answer the question
in her eyes. "We can never be happy to-
gether, Olenka," he said softly. "You
know it as well as I do."
"We can never be happy apart!" she
said stormily. "At least I can't. I'll
never give you up."
"But, little one," he said softly, "I'm
engaged and you — "
Her protesting voice cut sharply into
his words. "Hasn't a peasant girl as
much right to her love as a lady?" she
demanded. Then her eyes softened and
she smiled as she looked up at the mirror
behind him and saw Nadina's reflection
in it. "Fedja, darling," she whispered
persuasively, "kiss me." And as he took
her in his arms Olga could hardly re-
strain a triumphant laugh as she saw
Nadina look at them in that anguished
way, as her dance card fell from her
trembling fingers.
It was as he and Olga were leaving
that Fedja saw the card lying there on
the threshhold, and even before the
Count told him that Nadina had left he
knew that she had seen. All the next
day as he presided over the courtroom
his heart was heavy thinking of her and
wondering if she would be at their tryst-
ing place to meet him that afternoon.
And his heart lifted with elation as he
found her waiting there at the place
they had met so often to go riding.
"I thought I would go mad today," he
said, as he jumped from his saddle. "You
left so suddenly last night without say-
ing goodbye to me."
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GOODBYE MY LOVE
An Angelus Picture — United Artists release
CAST
Fedja GEORGE SANDERS
O.lga LINDA DARNELL
Nadina ANNA LEE
Count Volsky
...EDWARD EVERETT HORTON
Urbenin HUGO HAAS
Gregory ROBERT GRIEG
Mr. Kalenin ANDRE CHARLOT
Mrs. Kalenin MARY SERVOSS
Produced by Seymour Nebenzal. Di-
rected by Douglas Sirk. Film based on
Anton Chekov's novel, "The Shooting
Party."
ARTRA Cosmetics, Inc., Bloomfield, N.J.
"No, Fedja," she said calmly, and only
her hands tightening on her horse's reins
showed her turmoil. "I said goodbye to
you last night. Please don't try to ex-
plain. We are as we are, and that's all
there is to it."
Her calmness infuriated him. "You
can't tear down everything we've tried
to build, our whole future, because of
one incident, one moment of insanity!"
he protested. "I'm to be judged guilty
without being allowed one word in my
own defense! Let me tell you this, the
women I've been associated with all my
life may not have been paragons of vir-
tue, but they weren't smug and preten-
tious, and they didn't spy on me."
That uncontrollable rage that swept
over him at times, taking all reason away
with it, surged through him as he turned
and mounted his horse, and he didn't
look back so he didn't see her eyes fill
with tears as she stared after him. And
it was as if something stronger than his
will pulled him towards the Count's es-
tate and to the overseer's cottage.
It was dusk, and Olga's face looked
like a luminous white flower in the
shadows of the garden. "Do you love
me?" she asked. And then as he kissed
her, she looked up triumphantly. "What
would your Miss Kalenin say to that?"
she asked.
"Nothing," he said, and it was strange
how lonely he felt even in Olga's arms.
"Has she given you up?" Her laugh
came then, "Oh, Fedja, I'll make you
happier than she ever would. We'll go
to America where no one cares whether
I'm a peasant or you're a nobleman or
what we are."
"We need money for that," Fedja said.
"You forget I'm not a Count."
"I've forgotten everything except that
I love you," she whispered. "I'd steal
for you, Fedja. I'd do anything for you."
He never forgot the weeks that
followed, their stolen meetings, the pres-
ents he loved to bring her and the way
he tried to still the doubts in his heart
when he saw the dresses she was wear-
ing, the dresses only a Count could af-
ford to buy for his love. He was a fool,
he told himself afterwards, seeing the
fatuous way the Count would look at
the girl, not to have seen her for what
she was while there was still time.
But in those weeks nothing mattered
but the times they could be together,
and his feelings alternated between the
enchantment of being with her and the
feeling of guilt and wounded pride when-
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ever he happened to meet his once be-
loved Nadina.
Then one day Urbenin came to him,
and Fedja couldn't hold back his appre-
hension as the man spoke.
"I've come to see you about my wife,"
he said. "You've always been kind to
me, Judge Petroff, and I have no one to
turn to for advice. I know I'm not rich
and goodlooking and that I'm too old
for her, but I could have made her con-
tented. But what chance did I have
when he came along with his presents,
his fine words and promises?"
"Who?" Fedja demanded nervously.
"For heaven's sake, man, speak clearly.
Who?"
"Count Volsky, your honor," the man
said, and Fedja felt as if he could breathe
again.
Urbenin looked at him beseechingly.
"No one is as close to the Count as you
are," he said. "I thought perhaps you
might speak to him."
"No." Fedja's smile twisted. "Life is
full of strange ironies, my friend. I'm
sorry, but I'm not the man to speak in
your behalf."
The pity he had formerly felt for the
girl was there for the husband now as
Urbenin shuffled disconsolately from the
room. Then he dismissed it with a shrug
as the telephone rang, and the Count's
voice shouted on the wire.
"I've been robbed, Fedja! All the
family jewels, the rings, watches, the
pearl necklace I gave my wife, may
her soul rest in peace! And my own col-
lection of stick pins, studs and cuff links,
everything, gone. You'll have to take
charge, Fedja, immediately."
It was as if a veil had suddenly been
drawn from Fedja's eyes and he saw
Olga for what she was, not consciously
evil maybe, but the instrument of evil,
and intuitively he knew that whoever
associated with her would fall under an
evil spell. For even that loveliness of
hers couldn't entirely explain the power
she seemed to have over every man who
had once looked into her eyes. And the
enchantment was no longer in his eyes
when he went to her.
"Where are the jewels?" he asked
coldly, then as she pretended not to un-
derstand he grabbed her roughly by the
shoulders. "If you won't produce them
voluntarily, I'll search the house."
"Don't be a fool!" Her eyes narrowed.
"I took them for you. They're worth a
fortune. We could go to America. We
could live on them for years."
"On stolen money?" he asked grimly.
"But Fedja," she was all innocence
again looking up at him, "it was only
for you that I took them."
He pushed her away and began search-
ing the room and her eyes betrayed her
secret as she gave a quick, involuntary
glance toward the ikon in the corner of
the room. Even as she cried out protest -
ingly he strode over to it and found the
jewels there behind the holy image. Then
as he turned to confront her the door
opened and the Count came in followed
by the protesting Urbenin, and Olga ran
to the nobleman as if she were entreating
his protection.
"Ma chcre," the Count whispered con-
solingly. "I know you have nothing to
do with it." He turned pompously to
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Fedja. "Arrest Urbenin immediately."
"No!" Fedja gave him a stony look.
"I refuse. He is not the thief."
"Who else can be the thief?" the
Count demanded testily. "Certainly not
Olga." Then as Fedja stood there
adamant he turned furiously upon the
overseer. "Get off my property!'
There was nothing Fedja could do, and
he felt guiltier than ever as Urbenin
looked at him with dazed eyes, thanking
him for not arresting him. But his hatred
for Olga was growing as quickly as his
infatuation for her had grown and later
when she came running over to the
manor house begging the Count's protec-
tion and accusing her husband of beating
her, Fedja knew he could do nothing to
stop the Count's growing infatuation.
He sat there seeing her beguile the
older man as she had once beguiled him
with her pretty childlike ways and the
Count was so entranced that he
even overlooked her brazenness when she
came to them just before dinner arrayed
in his dead wife's most beautiful gown.
"Do you mind?" she asked prettily.
"It was there in the wardrobe. I had to
try it on." And then as the Count stared,
speechless before her loveliness, she went
on eagerly: "Can I wTear it sometimes,
darling? I mean really wear it so others
can see?"
"But it's a wedding gown!" The Count
shifted a little before her crestfallen eyes.
Then as she came closer the fatuous
smile came again. "Of course you can
wear it," he said. "As soon as we get
your divorce. You do love me, darling,
don't you?"
"Of course," she whispered. "You
should ask Fedja to be your best man."
And then, mockingly, she looked the
judge full in the eyes. "It didn't turn
out as you thought it would, did it?" she
asked.
She had won, and she couldn't contain
her triumph. It was the thing she had
set out to do from the beginning, to step
on men's hearts and mount on them to
the only thing she wanted, money and
position. And it was for this Fedja had
thrown away Nadina's love.
He stayed for the shooting party the
Count was giving the next morning, but
long before it was over he left seeking
the church in the village where Nadina
went so often to pray. He had often
smiled a little mockingly before when he
used to ask if it was for him she prayed,
but now there was no smile on his lips
when he saw her kneeling before the
altar and went over to her, kneeling be-
side her.
"Do you still pray for me?" he asked
as she rose.
"Yes, Fedja," she said in her quiet
way. And then shyly, "We're leaving for
Kharkov tonight. My father has con-
sented to allow me to read manuscripts
for him."
He looked at her and the full realiza-
tion of what he had lost was like a
weight in his heart. "Have I hurt you a
great deal?" he asked. And then as only
the tears in her eyes answered, he took
her hand. "Of course I have," he said.
"But it is not I who have made you
suffer."
"No," she said. "We are not free. An
unknown power drives us relentlessly
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toward a good or evil end. There's no
escape from one's destiny."
He raised her hand to his lips. "I still
like to know that you pray for me," he
whispered, "however lost the cause."
They stood there staring at each other
for a moment. "Goodbye," she whis-
pered. And then almost inaudibly,
"Goodbye, my love." But he made no
move toward her and he was still stand-
ing there, looking at the door she had
just passed through, when the police
came to him telling him they had found
Olga's murdered body in the copse near
the manor house, with the bloodstained
Urbenin weeping over it.
Everyone was amazed when Fedja re-
signed from the bench to take charge of
Urbenin's defense but even more they
were amazed by the vehemence of his
plea for the man's life. It was almost as
if he were pleading for someone of im-
portance, almost as if it was his own life
he was defending as he poured out those
impassioned words begging that the jury
spare the overseer's life, pointing out
that jealousy such as the man had felt
was enough to drive a man insane, and
an insane man must not be executed.
It was that plea that saved Urbenin's
life, but from the day he was sentenced
to spend the remainder of his life in an
institution for the criminally insane.
Fedja knew no peace. For he knew that
there was no going back, that a person
had to go on and on wherever his destiny
led, and that men were trapped only by
their own weaknesses.
So Fedja was driven, wading further
and further into the degradation of real-
ity, and he knew that the greatest pun-
ishment a criminal could suffer was the
unfulfilled desire to confess. He knew
that because it was he who had killed
Olga that summer's day in the copse on
the Count's estate. He had not planned
it, it was just that as he left the shoot-
ing party overwhelmed with the desire
to see Nadina, fate had ordained that he
meet Olga there in the woods.
"Why shouldn't I marry the Count?"
she had taunted. "Oh, I know he's not
very bright and he's not young, but I
can have jewels and pretty clothes and
everybody will bow down to me. For I
will be the Countess Olga Volsky and
have everything I want, everything , even
you, Fedja!"
And because he knew it was true, be-
cause he knew that though he hated and
despised her he would never be strong
enough to stay away from her, he killed
her. And it was part of the pattern of
destruction of which his life was made
that Urbenin should have come along
afterwards looking for her and been
judged guilty of her death.
The burden of his crime wouldn't leave
Fedja. He had killed a woman and sent
a man to an asylum for life and yet he
dared not confess, not even to Volsky
who was his friend and whose poverty
he had shared ever since the revolution
had beggared both of them. And it was
to ease the awful burden that he finally
wrote the strange confession he had
planned no one should ever read.
Nadina's hands were trembling as she
closed the manuscript at last.
"May God have mercy on you, Fedja,"
she whispered. And she wondered what
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she should do. For after having read it
and knowing Fedja's guilt she would be
a partner' in his crime if she did not re-
port him to the authorities.
Suddenly she tensed as she heard steps
in the passageway outside and quickly
thrust the manuscript into a drawer of
the desk. And then her heart almost
stopped beating as she looked up and
saw Fedja standing there.
"So you read it?" he asked quietly.
And then as she nodded he looked at her
desperately. "I came just as soon as
Volsky told me he had left it here. But
it was not soon enough. May I have the
manuscript?"
"No." Somehow she found the word.
Somehow she found the strength to look
at him so quietly. "Do you think I could
go on day after day knowing what that
manuscript told me and shrug it off and
say, 'well, I wasn't supposed to read it?"
No, Fedja, that's impossible." And then
as he took a quick step toward her she
shook her head wearily. "It won't do
you any good to look for it here. It's
gone. It was posted by the clerk just
before you came."
"Gone?" He looked at her with glazed
eyes. "Gone?" Suddenly he looked out
of the window and saw the postman
leaving the building and with a strangled
cry he rushed after him out on the street.
She called to him as she hurried after
him and saw him arguing with the post-
man. She called to him to wait, telling
him she had lied. But she was too late.
As he tried to wrest the postman's bag
from him. a police officer rushed over to
them and as Fedja began to run, the
man shot him.
He was lying on the street when she
reached him, his smile twisting in its old,
remembered way.
"Fedja!" she whispered frantically. "It
wasn't true. I didn't send it to the
police."
"No?" He looked at her and now the
mockery was gone from his smile, leaving
only the sweetness. "Hold me close, dar-
ling. Funny, it was you, Nadina, who
made me do the right thing by accident!"
His head fell heavily on her shoulder
and she knew he was out of his torment
at last. Then as she saw the policeman
going through the dead man's wallet, she
saw the dance card he took out of it and
she could see the way the words were
blurred on it as if a man's tears had
fallen on them. And suddenly she had
the strength to rise and go to the officer.
"Give me that card!" She tore it away
from him. "It's mine."
The policeman looked at her in amaze-
ment. "Yours, Miss?" he asked. "Then
you must have known him?"
But Nadina did not hear him. Her
thoughts were far away, and it was seven
years ago and it was summer, and Fedja
was holding, her in his arms. And now
it was her tears that fell on the words
that had been scrawled on that dance
card, the words that she had never been
able to erase from her heart.
"I love you," she whispered. And even
though it was too late, it helped saying
them: "I love you. I love you!"
Editor's Note: "Strange Confession"
will be released under the title, "Good-
bye, My Love."
SCREENLAND
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79
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Lt. William Holden finds wife Brenda Marshall
so nice to come home to — as who wouldn't?
Stewart Isn't Shy Any More!
Continued from page 29
necked at the bomb damage and groped
his way along Piccadilly in the black-out.
He has dined formally with Mr. and
Mrs. John Winant at the stately Em-
bassy in Grosvenor Square.
But all this is only the incidental side
of Jimmy's life in Britain, the brief
spells of relaxation well-deserved and
earned. Like the thousands of other
keen young Americans now in England,
he has come to do a job of work and
that is his principal preoccupation now.
It is when you see him walking out
on to the giant airfield wearing his flying
suit with his eyes serious and steady
below the helmet's rim that you under-
stand where Jimmy has gained his self-
confidence. The Air Force itself has fos-
tered it in him, as it has done in so
many other men, imbuing them with its
own grand spirit of comradeship and mu-
tual help, giving them a sense of pur-
pose and of the Tightness and justice of
their mission in the skies. Above all,
it has taught them that every man who
flies must be able to rely upon himself
implicitly, not only for the sake of his
own survival but also because the lives
of the others with him so often depend
entirely on his cool-headed judgment.
How thoroughly Jimmy Stewart has
learned this is reflected not only in his
personal manner but in the calm efficient
way he commands his craft. That mobile
mouth which twists into such an engag-
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screen is now more often a straight line
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When Jimmy talks about his job he is
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ing over here and seeing what is really
going on." He doesn't indulge in mock
heroics or high-pitched sentiment. He
knows he has dangerous days ahead of
him but he faces them calmly and
courageously.
Like all the boys in uniform, he some-
times pauses awhile to dream nostalgi-
cally of peace and what he wants it to
bring him. "I certainly mean to go back
to Hollywood. It's my home now and all
my best friends live there. Yes, I want
to act again, too, even though it may
have to be the part of Mickey Rooney's
grandfather if this war goes on long
enough. I'd like to do another role like
Mr. Smith, not necessarily with a Wash-
ington background again but something
that does hand out a bouquet to the
ordinary man. You begin to appreciate
just how swell he is when you live be-
side him in the Army." His studio con-
tract calls for him to report in Holly-
wood one month after he receives his
discharge from the U. S. Forces.
So you can still look forward to seems
Jimmy on the screen again in the future,
shy no longer but with a quietly con
fident personality that seems completely
attuned to these days in which we live,
when action molds men's character*
and gives them experience to color all
their years ahead.
Editor's Note: He's Major Jimmy
Steicart now. has made ten successful
flights over Germany.
iName
Age
■
CHy._
■
Esther's No Dummy!
Continued from page 40
was Southern California and Far West-
ern champion. Also in 1939 Esther took
the 300-meter medley national cham-
pionship, was a member of the champion
400-meter free style relay team, and set
a national record for the 100-meter breast
stroke. But when the Olympics were
called off Esther, a practical person, lost
her interest in winning cups. She was
eighteen, and it was high time she was
making her own living. She got a job
modeling clothes at Magnin's in Los An
geles. One of her best customers was
Lana Turner, who relied entirely upon
Esther's advice about her clothes.
One morning while she was parading
around in a little something tres expen-
sive for the appreciative eyes of the
Junior League, she received a phone call
from Billy Rose. Seems that Mr. Rose
was opening an Aquacade at the World's
Fair in San Francisco, and he wanted
her for one of his stars, that is, if he
liked the way she swam. He had to take
a plane out that afternoon so she had
better hop right over to the Ambassador
pool at once for a try-out. And that's
when the producers first learned that in
Esther Williams they had a girl who
could say "No." "I work at Magnin's
until five," she told the excitable Rose
"I'll be at the pool at five-thirty if you
want to wait." Billy Rose waited.
At the Ambassador pool Rose kept her
swimming for three hours, waiting for
her to tire. But that was child's play
for Esther, who was used to swimming
three to six miles in the Pacific regu-
larly. "Well," he said finally, "if you're
It's a real experience
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going to swim for me you've got to leam
to swim like a girl — what you're doing
isn't pretty." He offered her $40 a week.
Esther said thanks, but she could do bet-
ter at modeling. Rose gradually raised
the ante and Esther signed a contract to
co-star with Johnny Weissmuller at the
Aquacade in San Francisco. In the mean-
time she learned to swim like a girl.
While she was playing mermaid at the
Aquacade the news got around Holly-
wood that smart little Billy Rose had a
mighty tasty-looking dish under con-
tract. The studios sent talent scouts to
San Francisco, well equipped with con-
tracts and fountain pens. But as far as
Esther was concerned the only exciting,
and nice, thing that happened to her
during the World's Fair was her marriage
to Dr. Leonard Kovner. She met Dr.
Kovner when both of them were attend-
ing classes at U.S.C.
They decided to get married while
Esther was in San Francisco swimming
out her contract with Billy Rose. They
filed their intention to wed one weekend,
and planned to have the ceremony the
next. Then it was that Esther got her
first dose of publicity. And it made her
sick. The press agent for the Aquacade
heard about the wedding and asked her
if he could plan the ceremony. Esther,
living in a dream world all her own,
said, "All right, provided it's held in a
church. Not on the Aquacade stage." So
the aggressive young man went out and
rented the largest Catholic Chuch in San
Francisco — the fact that neither Esther
nor Dr. Kovner were Catholics didn't
seem to bother him. He also rented from
a costumer a bridal outfit for Esther,
bridesmaid costumes for twelve of the
tallest girls in the show, and white tie
and tails for Johnny Weissmuller, who
was supposed to give the bride away.
Saturday found the church swarming
with photographers, reporters, bathing
beauties, and spectators invited in off the
streets to help fill the church.
Someone tipped Esther off what was
going on, and an hour before the cere-
mony was supposed to take place she
and Dr. Kovner got in their car and
drove in the opposite direction. They
found a lovely old vine-covered church
in a nearby town, and were married
quietly by a minister with his wife and
daughter as witnesses. They ate lunch at
a country inn, and were back in time for
the 2 o'clock show at the Aquacade. The
frustrated press agent gave her the dick-
ens. He informed her that as long as she
lived she'd never get a line of publicity
in any newspaper. The next day he had
quite a jolt when he read stories in all
the papers, certainly not planted by him,
congratulating Esther on running out on
her cheap publicity wedding.
Esther had another run-in with the
publicity department of the Aquacade
while she was in San Francisco. It hap-
pened one day when there was a broad-
cast backstage and the announcer made
an ungentlemanly remark about the
bride and groom. Dr. Kovner promptly
strode across the stage and socked the
guy. It was something new in sound
effects for the open mike. Another radio
man immediately grabbed the script,
pulled Esther to the mike, and began
asking her questions. "Well, Miss Wil-
82
S C R E K N L A N D
THAT COUNTS
SONG POEMS WANTED
TO BE SET TO MUSIC
Free Examination. Send Your Poems To
J. CHAS. McNEIL
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liams," he purred forth personality, "how
do you like being the star of this won-
derful Aquacade?" "I don't like it! I'll
be glad when it's over and I can go home
and keep house for my husband," prompt-
ly replied Esther, completely ignoring her
script. ''I ended my radio career in a
hurry," says Esther with a laugh.
Well, she wasn't kidding. She did go
back to Los Angeles to keep house for
her husband. She was thoroughly dis-
gusted with show business. The contract
she had signed with Billy Rose was full
of loopholes — "none of which." she says,
"favored me." Young Dr. Kovner had
not finished his interneship so Esther
helped out by resuming her modeling at
Magnin's. Once a month a man from
Metro called her over the phone and said
politely, "Have you changed your mind
about pictures?"
Metro was particularly eager to get
Esther to play the lead in a picture they
had called "Bathing Beauty," and which
they planned to film in Honolulu. One
day the determined little man lured her
into having lunch with Louis B. Mayer —
no, she wouldn't have to sign anything;
yes, Mr. Mayer understood she didn't
want to be an actress, just lunch with
him, that's all. Well. Mr. Mayer was his
most charming and persuasive, and over
the chocolate sundae Esther heard her-
self saying, "Yes, I'd like to work for
you, Mr. Mayer, provided I can insert
my own loopholes in the contract!"
Smart girl that she is, Esther insisted
that she be given drama lessons for a
period before she would have to face a
camera. Mr. Mayer likes to introduce
his new starlets in small parts in "Andy
Hardy" pictures (Judy Garland, Lana
Turner, Kathryn Grayson, Donna Reed,
all played the Hardy circuit) so Esther
made her screen debut in "Andy Hardy
Steps Out" — wherein she wore a white
bathing suit and ran away with the re-
views. To give her more poise she ap-
peared in a brief scene in "A Guy Named
Joe"- — the scene in the canteen where she
talks to Van Johnson, while the boys in
the audience whistle. And then at long
1 ist she decided she was ready for "Bath-
ing Beauty." Her swimming in this pic-
ture, done handsomely in Technicolor, is
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"My Daughter Joan"
Continued from page 27
years later, touring through Florida, we
passed a place which actually bore the
name of Oke Fcnokee. I think Joanie was
skeptical of my fairy stories after that.
Joanie and I have been pals ever since
she could toddle. Unlike other children,
she never had to be forced to do any-
thing, but obeyed with good and gra-
cious will. Going to bed, eating spinach,
or reciting a poem had never been a
problem where Joanie was concerned.
And that unusual docility stood her in
good stead in her career. When she was
only two and a half years old, her sisters
Mary and Betty were booked in a sister
act; following them was to be a young
prima donna — all of five years — who got
temperamental on one occasion, and re-
fused to go on the stage. For nearly six
months Joanie had listened to her sing
her number: "Take Your Finger Out O'
Your Mouth, You Know You're Over
Two." It was not long before Joan knew
it verbatim — words, music, and routine.
So when the prima donna refused to ap-
pear, I told the manager Joanie could
do it. She toddled out on the stage and
sang the song, bringing down the house.
From that moment on the sister act had
three Brodel sisters in it- — Betty, Mary,
and Joanie.
It was not long before others besides
just myself and Joanie's mother began
to notice her exceptional memory and
talent. Other people noticed it too, and
predicted a bright future for her. But I
never believed in telling Joan herself
that she was in any way different from
other children — to see her become fresh
or conceited. Again and again I re-
minded her about a Catholic Sister's
jocose remark that "... most of Joanie's
education was mostly in her feet."
Joan's memory and acting ability were
good, but her talent for dancing over-
shadowed the other two at as early an
age as six and seven. I remember once
Mrs. Brodel and I took the children to
the Cotton Club in New York where
Bill Robinson was playing at the time,
0£
and told them to watch his dance steps
closely — possibly they could incorporate
them in one of their numbers some time.
When Robinson called for volunteers
from the audience to come up on the
stage and be taught a number, Joanie
went up. He showed her a few simple
steps: she followed them without a fault.
Then he showed her a few more compli-
cated ones. She repeated those, too.
Finally, exasperated, he said: "Go on
home, chile, you are too smart!"
But Robinson had noticed her, and
whenever he would see her and her two
sisters at any of his matinees, he would
always single them out from the hun-
dreds of other children; take them up on
the stage, and teach them an extra rou-
tine or two. I think he caught on —
knew the children came not only to en-
joy his show, but to learn as well.
Joanie's dancing progressed so rapidly
that at the age of 14 she was booked
by the Paradise Club in New York. Be-
tween you and me, labor laws regarding
working minors were very strict in New
York State. Anyone caught working or
employing a child would have to pay a
fine of some $500, and possibly be sent
to jail besides. All during Joanie's en-
gagement at the Paradise Club — even
though she was supposed to have been
18 — I quaked in my shoes, expecting a
detective to tap me on the shoulder any
minute, and the long arm of the law to
reach out after me. Sure enough, the
last week of Joan's engagement it came.
A plainclothesman walked up to me.
"Is that your daughter over there?"
he asked, pointing to Joan on the stage.
It was Joan's last week at the Para-
dise Club anyway, so I did not care
what I said. "Sure is," I said.
"How old is she?" the man asked.
I said nonchalantly: "Forty-two. A
midget. Good, too."
From the Paradise Club Joan danced
her way into bigger and better theatrical
spots. Of course when I speak of Joan's
climb to success, I do not mean that it
was all a bed of roses. She had her share
of disappointments and hard knocks —
but instead of hardening her character
they only gave her a better understand-
ing of human nature, mellowed her.
During our early days' vaudeville tour,
the Brodel Sisters' act was being
"crowded" by a couple of old time vau-
deville stars who considered themselves
the whole cheese. At first the family and
I took it goodnaturedly, but when I saw
one of those men pick on Joanie, I rolled
up my sleeves and told them off. I told
them that Joan was just the kind of
new blood vaudeville needed, and that if
by the time she was their age she did not
amount to moie than they did, I would
take her out in the alley and shoot 'er!
The earliest one of Joanie's "downs"
happened when she was only five and
we were playing vaudeville in Montreal.
Joan's cue came and she was nowhere
to be found. Frantically I d
back-stage; made the rounds le
dressing rooms; questioned w£ i,
electricians, and other stage hai o
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one knew where she was, no one had
seen her. She just vanished into thin
air. I ran out in the alley, climbed up
the iron stairs to the attic, searched
among the discarded scenery. No Joan.
Finally, quite by chance, I stumbled on
a heap of costumes in the corner, and
there, asleep like a cherub, was Joan.
Finding Joan, however, was only half
the battle won. Now she had to be
wakened and made aware of her lines.
The only thing that would make Joan
wake up like a shot was an ice cream
cone. I knew it and the manager knew
it. So both of us ran out of the theater
like a couple possessed, and sprinted to
the corner shouting for the ice cream
cart. Fortunately it was there. Each one
with a gooey cone in hand, we raced
back to ply Joan with ice cream. She
woke up all right, and to our surprise
and delight, she remembered her lines.
Just as the master of ceremonies was
saying: " — and last but not least — "'
Joan was coming out on stage. Never
before or since did she have such a nar-
row escape. It impressed her so that
being on time is one of her fetishes. She
not only has two alarm clocks in her
room, but makes me announce the time
every ten minutes until it is time for
her to be driven to the studios. Her Big
Ben is so loud, I am afraid half the
neighborhood gets up when Joan does.
But that one incident of falling asleep
on the job was enough for Joan. Know-
ing their sister's weakness about being
on time, her sisters gave her a double
insurance by presenting her with a coal
black cocker spaniel puppy, Cinderella.
Cindy is on Joan's bed, licking her face,
even before her alarm clock can go off.
Besides Cindy we have Mike, a vet-
eran wire-hair who had traveled with us
everywhere for years and who was with
Joan in her first screen test with
M-G-M. It was a woodland scene, and
to keep Mike from getting too close to
the proptrees and making a nuisance of
himself, I and the producer kept feeding
him liver sausage. I do not think the
poor dog was ever given so much liver
sausage before or since.
I think a great deal of the kindliness
and consideration which are part of
Joan's makeup comes from taking care
of pets. Well I remember the sad case
of her pet goose, Dundy. She won Dundy
at a raffle and we permitted her to bring
it home because we visualized it as a
gorgeous centerpiece, stuffed with celery
and apples. But after the goose had
been named, the children would not hear
of eating it. However, I must confess
where geese and turkeys are concerned,
I had no conscience, and — I lived to
regret it. After I went to the trouble of
sneaking Dundy to a butcher, no one in
my family would touch roast goose and
I had to eat it all by myself.
Pets, and her close relationship with
her sisters, and with her mother and me,
contribute toward making Joan what she
is today — a sweet, unspoiled girl. In all
of her eighteen years I have never had
to punish her or speak to her sharply;
there just wasn't an occasion. I do not
think her good disposition is entirely a
matter of heritage — I think it is due to
simple, healthy family atmosphere in
which she was brought up. In spite of
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our hectic travels and various financial
reverses, the children's study routine and
homo routine remained t lie same through-
out (he years. True, papa furnished many
a distraction by playing games and tell-
ing stories while Joanie should have
been studying, but she always seemed to
get along and remain at the head of her
class. A theatrical child has little chance
to finish schooling in any one school, and
Joanic was no exception. But in spite ot
her school credits locking like a crazy
quilt of names — she studied at St.
Benedict's in Detroit; at Our Lady of
Lourdes in Toronto; at St. Mary's in
Montreal; at St. Ambrose in Hollywood,
finishing at the Immaculate Heart High
in Los Angeles — she managed to grad
uate with honors, in spite of the pressurt
of her heavy studio schedule.
As to her home routines, Joan alway-
had helped her mother with simple
housekeeping tasks. Where cooking and
other household duties are concerned,
she was always a willing pupil. And
now. though a star, she still helps
the family with the dishes and setting
the table and all such things.
Incidentally, a dinner in our house is
an institution. It may last anywhere
from three to five hours — not because of
the quantity of food consumed, but be-
cause it is a sort of Brodel Club, a
gathering during which we each can tell
of our plans, hopes, disappointments,
accomplishments, and little excitements.
The dogs add their bit, too, and what
with all the giggling, and yelping, and
barking, and requests for second help-
ings, it is not only a lengthy, but a
pretty noisy affair as well.
As I said before, I never punished
Joanie beyond driving her to and from
work and lecturing her on life during
those little trips. I never needed to pun-
ish her because the child was always
docile. Her tastes have always been
simple. While other girls at her age
dream of beaux and mink coats, the only
extravagance Joanie will permit herself
now and then is sneaking into a Five
and Ten with me, and blowing three
dollars on some durn fool trinkets like
twenty red doorknobs for the kitchen
cabinets, or a whole counter of pots and
pans. As for outdoor recreation, she
prefers going swimming or hiking with
me to playing conventional games like
tennis or croquet.
Once, before we were members, we
went swimming in the lake on the
grounds of the Toluca Lake club. It was
a balmy, dark, summer night. Before we
could don our clothes, we saw a police
car drive up, flashing its lights in the
bushes here and there, searching for
intruders.
"Let's lead that cop a merry chase,"
I winked at Joan. Promptly we dressed
and started teasing him, now popping,
out of one bush, now disappearing in
another. I don't think Joan enjoyed her-
self as much for a long time. It was the
element of creating a game that ap-
pealed to her — just like years ago it
appealed to her to participate conver-
sationally in the exploits of the Fijis.
Perhaps these few incidents I have
told you show you my daughter Joan as
I know her — a simple, kindly, gay, faith-
ful, unassuming girl.
Can't Keep
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She's as Lively as a Youngster —
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Lynn Bari's Marriage Code
for Ex-Bachelor Girls
Continued from page 37
orally," she smiled, "I have the best
husband in the world."
It also sounded quite feminine to me
when Lynn let go with the first item in
her marriage code — Look well at all
times. But when she finished, I decided
that truer words were never spoken, and
that this first rule is about as important
as any of the following nine she was to
give me later.
"This first law is a hangover from your
single days," explained Lynn. "1 have
heard so many men admire other women
than their wives, and when I looked at
their wives I could understand. They
were sloppy, not meticulous. They had
their man and they were doing nothing
to hang on to him. In the matter of
what to wear, I think a girl should keep
her individuality, but at the same time,
she shouldn't offend her husband. If he
doesn't like her hats, for example, she
should either try to adjust her taste
more to his liking, or pleasantly try' to
convince him why she doesn't look right
in the kind of chapeau he might select.
But if the matter becomes serious and it
becomes a choice between your hats and
your husband, I think the smart wife
would keep the latter and let him have
his way.
"It so happens that Sid likes the type
of hat that suits my personality. He
even designs one for me occasionally and
they're very good, even if I do say so,"
she laughed with pride. "I have alwa\rs
found that a major trick in looking neat
at all times is to have your hair in order.
There's nothing more disgusting than a
woman with frowzy hair. And it isn't
necessary to run to a beauty parlor every
day. either. I go to one about every two
weeks, but in my business it's neces-
n
sary.
The second little number in Lynn's
Marriage Code for Ex-Bachelor Girls is
a delicate one; — Get to be a real member
of your husband's family. "When you
marry," she said, "you marry not only
the man, but in a sense, his family as
well. It therefore behooves yrou to make
every effort to learn to like them and
to have them like you. If a problem
arises with some member of his family,
sit down first with your husband and
discuss it and find out first what he
thinks you should do. And if at all pos-
sible, lay your cards on the table with
the person the problem concerns, after
you have sought the advice of your hus-
band. Ill admit that some family inci-
dents require the skill of a seasoned
diplomat in the handling, but basic hon-
esty is the best method of attack accord-
ing to my humble observation."
Lymn places her No. 3 rule — Be a
companion to your husband, not just a
sweetheart — so high on her list because
she believes -this is the one that covers
so many marital breakups when ignored.
And see for yourself if she isn't remark-
ably clear-headed on this one, consider-
ing she's only a bride. "Marriage can't
alwavs be merelv love and cooing," she
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declared, with as much matronly poise
as she could register. "Two people should
learn to share each other's enthusiasms
for common interests. They should learn
to like each other's activities and pleas-
ures, such as if you don't like football,
go and make an honest effort to enjoy
it and probably in time you will find you
do. It so happens that Sid likes golf, a
game I never played until after I met
him.
"Now I find myself looking forward to
our trips to the country club where he
belongs. I must add that he has shown
patience with me, but that is a neces-
sary virtue one mate must practice in
passing along a hobby to the other. I
also find it smart keeping up with Sid's
mental interests, particularly his reading.
It has been a lot of fun learning about
certain points of aviation, and I'm sure
this kind of mutual interest has brought
us closer together. On the other hand,
Sid is very interested in my career.
"And this leads right into my fourth
dictum for a happy marriage, especially
when there are two careers — Keep sep-
arate home and business lives. This can
be a real danger point when both hus-
band and wife work. You may find that
somehow the same competitive spirit you
experience in business creeps into the
home if you dwell too much on your
respective careers. Drop your work when
you come into the front door, I say, ex-
cept for casual discussions or decisions
of great importance. And above all, one
person should not become so absorbed
in what he or she is doing to the com-
plete neglect of interest in the other's
professional activity. I find it important
also to know my husband's friends and
to arrange for them to mix with mine.
From the conglomerate group of those
we knew before our marriage we are
gradually finding out which of our mu-
tual friends we want to go on seeing
often."
Rule No. 5, which oddly enough comes
right in the middle of Lynn's code, was
described by her as being the balance
pivot of the entire plan — Be completely
honest. "This is the one point that is
vitally essential to a happy marriage,"
she explained with great seriousness.
"And the man or wife who begins to
violate it, in my opinion, is asking for
unhappiness. When two people feel they
can trust each other implicitly, practi-
cally anything can happen and they will
still cling to each other. If one never
even entertains the thought of being un-
faithful, one never will be in fact, and I
feel that when two people are mature
enough to be married, they should be
wise enough to abide by this rule.
"My rule No. 5 also applies to the
little things, like managing the house and
taking care of accounts. Sid and I each
take the same allowances each week
from our joint account. And all our
spending is done through charge ac-
counts, so that we know exactly what is
going out as well as what is coming in
It is all a matter of record when we sit
down to figure out where we stand."
Modem women should work is Lynn's
sixth rule. But she qualifies it to suit
individual cases. "I admit I'm biased on
this one," she quickly added after she
had stated it. "Happily, Sid and I agreed
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that there was no reason why I shouldn't
have a career after we were married. I
had been a long time getting where I
am in pictures now, and when I ex-
plained to Sid that I would be happier
if I could complete the job, as it were,
he understood. But there are many other
women without home responsibilities who
could better fill their lives and become
happier if they did seek employment.
Idleness is bad for anyone, as we all
know, and right now it. is not only bad
— it is unpatriotic. Therefore, it seems
sensible right now, that if a woman
doesn't have enough work at home to
keep her busy, she should find some kind
of outside activity. And so much the
better if it helps the family income. But
those who are comfortably situated
financially can certainly find something
to do in the war effort among the vari-
ous auxiliary services assisting the war
effort."
Another important rule is Lynn's No.
7 — Have children. "I'm not very well
qualified to talk about this one," she
said with appropriate bashfulness, "bul
I think that if both husband and wife
want children they should have as many
as they can. Certainly there is no ex-
bachelor girl who has not dreamed- of
having children. Sid and I want a family
as soon as one comes along, because we
believe that marriage was instituted
mainly for that purpose and that the
happiest unions, without question, are
those where there are children.
"So far Sid and I haven't had to worry
about rule No. 8 — Settle tiffs immedi-
ately. But I'm telling you that if I ever
start brooding over some misunderstand-
ing that may arise between us, I hope
Sid whacks me over the head with some-
thing. I say this in a figurative sense,
of course, because physical violence is
one sure way of wrecking a home. But
if people are honest and sensible they
can settle differences immediately as
well as after they have dragged it out
for several days. I believe in making up
right away in case of an argument. Then
you don't have much of a chance to do
anything rash. Sid and I have promised
each other faithfully to adhere to this
rule, and I know that if we do we will
never drift very far apart."
This discussion about the seamy side
of marriage led us to edict No. 9 — Keep
your troubles at home. Lynn admitted
that by now she had begun to feel like
a Greek philosopher, but for my money
she had hewn to such a straight line of
common sense that I was certain readers
would welcome her words. I assured her
she was refreshingly intelligent and re-
minded her we were practically finished
anyway, and she let me have an elabor-
ation on the next to her last point. "If
there was ever a disgusting sight," she
said, "it is that of a husband and wife
picking on each other in public. Besides
being inconsiderate of others and very
embarrassing, it is extremely bad taste
This sort of thing can apparently be-
come a habit very easily, according to
several couples I have observed who do
it. I think a little applied thoughtfulness
can prevent it altogether. There are some
couples who actually ridicule each other
in public, but I think this is highly dan-
gerous and senseless, even in private."
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Rule No. 10 is the exact antithesis of
number 9 — Remember the things that at-
tracted you to your husband. "Praise
and admiration are two good human
foods," sagely remarked Lynn. "I think
it is very smart of a girl to recall to
mind often the things she admires most
about her husband. And she should give
voice to her admiration. It will make
her husband love her more. This isn't
just for ego. It's good for both of you
and it draws you closer in mutual love
and respect."
Having signified that this was the sum
and substance of her Marriage Code for
Ex-Bachelor Girls, Lynn expressed the
same fear she had voiced during one of
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laid down her Eight Points for a Bach-
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are now happy with their clear complexions. Don't take our
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KLEEREX CO. Dept. 47, 2005 S. Michigan, Chicago 16, III.
'Save and Lend —
To speed the end —
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Carole Landis
ONE OF THESE
ONDS TOD A
TEN YEARS 'ROM THE ISSUE OATE HEREOF WILL PAV
MR, AND MRS. AMERICA
EVERYWHERE
OYS. A. -----
ISSUE DATE i
WHICH ii, THE FIRST DAY OF |
19U
WAR SAVINGS
BOND SERIES
E
THIS BOND tS ISSUED UNDER
AS AWCMDEJ). AJ*0 IS SUBJECT,
BACK H CHECK »7 WIU BE
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TREASURY DEPARTMENT
WASHINGTON
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Scree n l a n d
3
★
★
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★
★
★
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★
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*
★
★
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★
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★
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*
★
★
★
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★
★
★
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★
★
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Published
in this |^
space ^
every
month
The
greatest
star of
the
screen!
This is our Twenty Year Anniversary.
★ ★ ★ ★
M-G-M was born in 1924. The bells
were ringing, the birds were singing and
the faint roar of a lion was heard in
the nursery.
★ ★ ★ ★
" It is a cause for celebration, they tell
us. The greatest gesture towards the
entertaining of humanity is symbolized
in those three little letters M-G-M.
★ ★ ★ ★
The stars that have risen from the
Culver City studios form a constella-
tion, the like of which has never em-
bellished a trade mark.
★ ★ ★ ★
The Big Parad-e, The Merry Widow,
Ben-Hitr, Trader Horn, Grand Hotel,
Mutiny on The Bounty, San Francisco,
The Good Earth, Boys Town, Gone With
The Wind, Mrs. Miniver, Random Har-
vest, Madame Curie — all and many more
were released under the M-G-M aegis.
★ ★ ★ ★
Truly an anniversary to celebrate.
★ ★ ★ ★
And the celebration will reach its flower
in June's end when almost every theatre
in the land — every theatre — will play
some film produced by M-G-M. Feature
pictures and short subjects will be scat-
tered onto the screens of all the houses.
★ ★ ★ *
As part of the celebration, there will be
displayed for first showing, a picture
that literally required this twenty years
of background to produce.
•k -k it if
It is "The White Cliffs of Dover".
★ ★ ★ ★
Directed by Clarence Brown, produced
by Sidney Franklin, based on the poem
by Alice Duer Miller, M-G-M presents—
★ ★ ★ ★
One of the greatest actresses of our
time in her greatest performance —
Irene Dunne.
★ ★ ★ ★
This story of love — Irene Dunne and
Alan Marshal— is played on a back-
ground that clasps hands across the
seas connecting, not dividing, America
and England.
★ ★ ★ ★
The screen play by Claudine West, Jan
Lustig and George Froeschel has skil-
fully translated this poem to the screen,
intensifying its realistic drama, impart-
ing a mightiness of action in purely
screen terms.
★ ★ ★ ★
The poem remains, a
thing apart, of great
beauty. The film emerges
as one of the most excit-
ing emotional experiences
the screen can provide.
★ ★ ★ ★
We're twenty and just a
little shaver.
★ ★ ★ ★
Next year we'll be i
twenty-one!
Paul Hunter. Publisher
Delight Evans, Editor
HOMER ROCKWELL, Executive Vice President
Elizabeth Wilson,
Western Representative
Helen Fosher,
Assistant Editor
Frank J. Carroll,
Art Director
Anthony Ferrara,
Asst. Art Director
* Surety Stotij a ^eatutel *
The Editor's Page Delight Evans 79
Laraine Day's Summer Diet 20
Mrs. Humphrey Bogart's
Hectic Life With A Movie Menace . .Elizabeth Wilson 22
Explaining "K. J." Ruth Tildesley 26
"I Want This For My Child" Michael Sheridan 28
Vivien Leigh — Today! Hettie Grimstead 30
Hail, Hodiak! John Hodiak Alyce Canfield 33
Everybody Insults Me. By Monty Woolley Hattie Bilson 36
She Breaks All The Rules. Ella Raines Barbara Flanley 38
Catching Up With Dorothy Gish Tom Wa//er 47
Hollywood, Here He Comes! Alfred Drake William Lynch Vallee 43
Attention, Teen- Age Girls! By Anne Baxter. . Gladys Hall 44
Tu// 0olo* PotttaitA: ★ ★ ★
Laraine Day, in Paramount s "The Story Of Doctor Wassell"
John Hodiak, seen next in M-G-M's "Marriage Is A Private Affair"
M-G-M stars: Gene Kelly, soon to appear in "Anchors Aweigh"
Ava Gardner, soon to appear in "Two Girls And A Sailor;" Marsha
Hunt, in "Lost Angel;" Donna Reed, next in "Mrs. Parkington"
ftictute J^aqel:
Around The Clock With Frank Sinatra; First
/ Scenes from "Wilson"; He's In The Swim
(Richard Jaeckel),Make-Be/ieve (Jennifer Jones and Robert Walker
in "Since You Went Away"); Photo Previews of the New Films;
Edison's Toy Is America's Joy Today! (50th Anniversary of
Motion Pictures); In Tune With June (Martha O'Driscoll Fashions);
Screen land Salutes The Picture of the Month ("The Hitler Gang")
&epGttnient±: it if it
Hot From Hollywood 6
Your Guide to Current Films Selected by Delight Evans 8
Fans' Forum 7 4
Midsummer Makeup (Beauty) Josephine Felts 16
Here's Hollywood . . . .Candids by Jean Duval — Gossip by Weston East 54
Guide to Glamor 70
Cover Portrait of CAROLE LANDIS, 20th Century-Fox Star
Kodachrome by Frank Powolny
Volume Forty Eight
Paul Hunter, President Number Nine
Homer Rockwell, Executive Vice President and Advertising Manager
Lee Wagner, Circulation Manager
8CREENLAND. Published monthly by Hunter Publications, Inc., at 205 E. 42nd Street,
Advertising Offices: 205 E. 42nd St., New York; 410 North Michigan Ave.. Chicago, 111.
Los Angeles. Calif. Manuscripts and drawings must be accompanied by return postage,
careful attention, but SCRKENLAND assumes no responsibility for their safety. Yearly subscriptions $2.00 in
the I'nlted States, its dependencies, Cuba and Mexico; $2.50 in Canada; foreign $3.00. Changes of address
must reach us five weeks In advance of the next issue. Be sure to give both the old and new address. Entered
as second class matter, September 23. 1930, at the Post Office, New York, N. Y.. under the act of March 3, 1879.
Additional entry at Chicago, Illinois. Copyright 1944 by Hunter Publications, Inc. Printed In the U. S. A.
MEMBER AUDIT BUREAU OF CIRCULATIONS
JULY, 1944
New York. N. Y.
; 427 W. 5th St.,
They will receive
1
SCREENLAND
SHARE THE REAL THING WITH OUR SUPER-
COMMANDOS I IN /IC7/0/V/ M£Q¥£f
O'BRIEN RYAN HUSSEY
FRANK McHUGH • BARTON MacLANE
Produced by Robert Fellows — Directed by Hprold Schuster — Screen play by Warren Duff
Another of
the great
R K O
RADIO
SCREENLAND
5
JANE WYATT
Featured in RKO's "None But The Lonely Heart"
JUMPER — Contrasting embroidery gives
sweetness and glamour to this adorable jumper.
Note the pretty pockets . . . placed to give you
hip-allure! Of rayon gabardine. g_ ,rk^e.
Sizes 10 to 16 „|„, pojlooe OeSJ©
BLOUSE — Suavely tailored long-sleeved
shirt with that Hollywood look! Pearl buttons
on the cuffs, slit pockets, saddle-stitched collar.
Rayon White only. Sizes *Q«ft
32 to 38 pl„ B0I,0O. ,3.1911
SEND MO MONEY! Wt Fill four Order COO. Prompt Delivery)
OF CALIFORNIA
DEPT. R-15
6380 HOLLYWOOD Blvd.
Los Angeles 28, California
OF rALIFOKMA.DEPT.R-15
6380 HOLLYWOOD Blvd., Loi Angelei 28. Calif.
Please send Fiesta Jumper at $5.98, plus postage.
■ed □ Navy D Aquo □ Powder □ Cold □ Green □
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Blouie ot S3. 98 plw» pcrttoge.
S.ie, 32 34 34 38 Whil. only
Nome
t ...... prinl)
Addreii-
City
pLAUDETTE COLBERT, who fin-
^ ished a ten-year stint with Para-
mount recently, was busy packing her
things for a session as a Navy wife. Dr.
Joel Pressman is stationed in Oregon and
Claudette joins him there. Tells me she'll
not sign up with any one studio, but
play the field whenever she finds a story
she likes. Has no false hopes that she's
in for a soft life while visiting her better
half. She's compared notes with Mau-
reen O'Hara, who found a stretch at
Quantico, Virginia, almost too tough for
her. Maureen had to walk more than
a mile for her groceries. Couldn't get
any laundry done. Came back minus fin-
gernails and with her disposition worn to
a frazzle. One of those hefty bags Clau-
dette packed was full of bed-linen.
OUR NEWEST restaurant serves
guests "by appointment only!" A
folder printed in gold on parchment pa-
per puts you in the position to scatter
your dough there, if you're of the elect.
It's a wee spot, formerly occupied by a
store, on the Sunset Strip. Has no sign,
but is easily recognized by its ivy-green
enamelled doors with panels of pickled
wood. There's a thumbnail street cafe,
very Paris. Has 1,000 applications for
opening night and only room for 60.
Kay Williams, N. Y. photogs' model,
shows a neat pair of gams. At left
below, first photo of Pin-Up Girl, II
— six - weeks - old Victoria Elizabeth
James with Mama Grable and Papa
James. Perry Como, swoon-crooner,
soon to make first film, "Something
for the Boys," with Mary Anderson.
Pleote Check □ Old Cuitomer □ New Customer
YOUP MONEY BACK IF NOT COMPLETELY SATISFIED
_1
Send for free Catalog of new California ttylmt
ScilEEXLANl)
as Bing tames the
toughest gang this
side of Sing Sing!
Jim Brown and Jean Heather,
whom Bing gets going together
and going his way!
BING CROSBY
BARRY FITZGERALD • FRANK McHUGH . JAMES BROWN
JEAN HEATHER • GENE LOCKHART • PORTER HALL
^ FORTUNIO BONANOVA
D i o a Q"foi/o n c famoiis Eontra,ti1 rf
Leo McCarey
Produced and Directed by
B. G. DeSYLVA, Executive Producer
Screen Play by Frank Butler and Frank Cavett
Barry Fitzgerald, as
Father Fitzgibbon who
thought the Bishop had
played a joke on him
when he sent him Bing!
I
ScREENLAND
They're no weak sisters, these
DeLong Bob Pins. Stronger, du-
rable spring . . . they last and last.
Stronger Grip
US*.'"
tyoun guide efc i
CURRENT FILMS
Selected "By
SEE HERE, PRIVATE HARGROVE — M-G-M
It's funny, but this sprightly, yet inspiring comedy,
showing the making of a soldier, is just what you need
to take your mind off the war ! It's the humanness of
Marion Hargrove's story that does it — and the boyish
appeal of Robert Walker in the star role. Between his
witless blunders which put him on K.P. — a repeated
scene which is good for a laugh every time — his all too
few romantic scenes with Donna Reed, wholesome and
charming, and the scenes with a conniving buddy (Kee-
nan Wynn), picture covers training, morale and
high ideals of our fighting men. See it — by all means !
THE HITLER GANG — Paramount
This film is a praiseworthy historical record of the Nazi
Party, born of the distorted mind of a mental case in
1918 — Coiporal Adolph Hitler — and supported by such
ego-maniacs as Goering, Hess, Himmler, Goebbels. You
know them all well, and you know the havoc they have
wrought. But it will do you good to see it all acted
out — their blood purges, their drastic campaigns, against
Jews and religion, and all the other dreadful deeds too
numerous to mention. The climax comes with Ger-
man planes in flames over England. Buy another War
Bond and write your own ending to "The Hitler Gang."
PIN-UP GIRL — 20th Century-Fox
"Legs" Grable is given plenty of lavish sets, lively
tunes, and a nice-looking new leading man (John Har-
vey), which all add up to good entertainment. The
story is frivolous, concerns a canteen belle whose vivid
imagination leads her through tricky situations of mis-
taken identity into the arms of a war hero who thinks
she is a famous musical comedy star. And sure enough,
she does become one. You'll be pleased to see Joe E.
Brown up to his old tricks again after entertaining our
boys in the various theaters of war. Martha Raye, too,
is lively addition, as a night club singer. Technicolor.
If the Store is out of DeLong Bob
Pins today, try again next time you're
in. Shipments are received regularly
but quantities are still restricted.
Quality Manufacturers for Over 50 Tears
BOB PINS HAIR PINS SAFETY PINS
SNAP FASTENERS STRAIGHT PINS
HOOKS Be EYES HOOK 8t EYE TAPES
SANITARY BELTS
AND THE ANGELS SING — Paramount
What we can't understand is why they didn't want to !
The Angel Sisters are played by Dorothy Lamour,
Betty Hutton, Diana Lynn and Mimi Chandler whose
voices — Lamour's sultry, Hutton's hotcha, Lynn's nice,
and Chandler's pleasing — are nicely blended. But that
is the story. Each sister had her separate ambition — .
and it wasn't singing — until big, tall and handsome
bandleader (Fred MacMurray) finagles their bankroll.
When they follow him to New York to collect, he coun-
ters with marriage proposals, which confuses every-
body. Situations are funny, but plot is a little flimsy.
LOST ANGEL — M-G-M
Little Margaret O'Brien does not rely entirely on her
wistful charm, though that she has in abundance, but
on her amazing acting ability to carry this appealing
comedy about a foundling raised scientifically by a
group of doctors who turn her into something of a
child prodigy. Sentiment comes pretty thick when the
youngster is told about "magic" in the world outside
the institute walls, and when she is shown the difference
between her love and the night club singer's for the
same newspaper reporter. James Craig, Marsha Hunt
and Keenan Wynn are fine— but it's Maggie's picture.
8
SCREENLAND
With ROBERT SHAYNE • Directed by PETER GODFREY • Screen Pla> by France Swann & Edmund Joseph • Adapted by Richard Weil . from a Play by Harvey J. CHigpos & Harriet Ford
PRIVATE LIFE
of a fighting, exciting man
of action. He built ships
and broke hearts... in record
time. This is his absorbing,
spectacular story . . .
Man from
Frisco
'm GENE LOCKHART
DAN DURYEA ■ STEPHANIE
BACHELOR ■ RAY WALKER
TOMMY BOND
THE STORY OF DR. WASSELL
Paramount
Based upon the heroic personal story of Commander
Corydon M. Wassell, USN (MC), as related by him and
fifteen of the wounded sailors involved with him in his
great adventure, Cecil B. DeMille's latest production
is indeed an epic, and an honest one. His first excursion
into the contemporary drama of World War II turns
out to be an admirable thriller that fills a huge canvas
with brawling action and lusty life, but emerges defi-
nitely as his most serious and earnest effort. For this
triumph of sincerity over flashy technique Gary Coop-
er's performance is partly responsible. His portrayal
of the ex-country doctor turned Navy medico seems in-
spired. Attending the wounded, evacuating brave boys
from Jap-infested Java, or winning the Navy Cross,
Cooper is quietly, superbly Dr. iVassell. In his support,
Dennis O'Keefe, Signe Hasso, exotic newcomer Carol
Thurston. Renny McEvoy, and a very promising new
lad named Elliott Reid stand out strongly. Only in the
romantic department does the picture fail to hold in-
terest— no fault of Laraine Day's ; the role lets her down.
BETWEEN TWO WORLDS — Warners
It took courage for the producers to make this fine new
version of "Outward Bound" — but then Warners have
never lacked courage. Add to that their consummate
artistry in the directing and casting departments and
you have superlative entertainment — provocative, stir-
ring, tender and humorous variations on a profound
and moving theme. What happens to a picturesque
group of people who find themselves on a strange ship,
sailing to eternity, their reactions revealing them as
they really are to the searching eye of the Examiner is
absorbing drama. See it for suspense, for flawless per-
formances by John Garfield, Sara Allgood, Sydney Green-
street and Faye Emerson; and for a spiritual uplift.
DOUBLE INDEMNITY — Paramount
The role of murderer in James M. Cain's lurid- story
about the insurance salesman who plans an almost per-
fect accident to a policy holder in order to collect the
money — and his beguiling beneficiary — is played, sur-
prisingly enough, by Fred MacMurray ! Barbara Stan-
wyck plays the woman in the case, does a good job of
holding the suspense. Edward G. Robinson registers
well in a sympathetic role. He establishes very nicely the
character of the claims investigator whose hunches fer-
ret out the dead beats — without the oft repeated "trick"
of borrowing matches. Definitely not for children.
DAYS OF GLORY — RKO-Radio
A courageous man was Casey Robinson when he cast
his picture with all newcomers to the screen. But it's
a great success, and you'll be very much interested in
the stars, whose love scenes are something to write
home about — Gregory Peck, an appealing personality,
is reminiscent of Gary Cooper, and Tamara Touma-
nova, ballet dancer, resembles both Joan Crawford and
Hedy Lamarr. The story concerns a band of Soviet
guerillas operating outside of a Nazi-held village, snip-
ing at the enemy and dynamiting ammunition trains —
until the order for counter-attack comes. Then it's an
all-out attempt, typical of Russians as we know them.
ADDRESS UNKNOWN — Columbia
Kressman Taylor's story, published in 1938 at a time
when Hitler was little more than an annoying person-
ality, has been given a classic treatment in the film
version, with photography by Rudy Mate contributing
greatly to the dramatic effect. Paul Lukas gives a
remarkable performance as the wholesome family man
who becomes a Nazi official, half crazed over verboten
code letters which motivate the plot. K. T. Stevens has
a tensely dramatic role as the Jewish actress who
speaks censored dialogue ; does very well. Peter Van
Eyck, Mady Christians and Morris Carnovsky are fine.
BROADWAY RHYTHM — M-G-M
A lot of varied talent is packed in this Technicolor
filmusical. Heading the cast are Ginny Simms and
George Murphy taking competent care of the singing
and dancing. In addition, Gloria De Haven, cute, and
Kenny Bowers, funny, team up in some lively acts.
Charles Winninger has a jam session on the trombone
with Tommy Dorsey. Lena Home sings, Hazel Scott
plays boogie-woogie, Dean Murphy imitates, "Roches-
ter" plays "Rochester," and there are many other spe-
cialty acts. The story is good enough, too, concerns a
play producer who goes too arty for his family's
taste and is brought down to earth by a movie star.
SCREENLAND
r A REPUBLIC PICTURE
Cmon, Hep Hep,
Get On Your Way!
The Big Fun Show
Is Here To Stay!
Screen land
] 1
TWENTY YEARS OF M-G-M HITS... AND*
1924 BIG PARADE
1931 TRADER HORN
1933 TUGBOAT ANNIE
1935 MUTINY ?hne BOUNTY
1925 THE MERRY WIDOW
1926 FLESH The DEVIL
1927 BEN
194i4i marks twenty years — exciting years— epic years — that
M-G-M has been producing your greatest entertainment! To
celebrate its anniversary— the studio of hits now pours into one
magnificent picture all the mastery at its command— and gives the
screen the romance that is destined to be remembered forever?
TRenJhiteQifls
of Dover
1937 GOOD EARTH
12
1938 BOYS TOWN 1939 WIZARD OF OZ
S C R E E NLA N D
NOW THE GREATEST OF THEM ALL!
HUR 1928 TELL IT tt°e MARINES 1929 BROADWAY MELODY 1930 MIN AND BILL
TOWN 1941 HONKY TONK 1942 MRS. MINIVER 1943 RANDOM HARVEST
Screen land
13
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FIRST PRIZE WINNER
$10.00
Being just a junior in high school, I
should be seen and not heard. But I have
something on my mind !
Today's high school kids wear saddle ox-
fords with names written on them, rain
coats in the same condition, skirts with
pleats, and sweaters with blouses. Their hair
may be long or short, but pretty cute. Now
on the screen when a typical teen-ager is
portrayed by, say, Gloria Jean or Jane With-
ers, they make their entrances wearing the
latest fashions from Fifth Avenue — any-
way, what looks like them — sheer $5.00 hose,
$20.00 shoes, and $30.00 dresses with acces-
sories. They look like they just came out
of a store window.
When a bunch of the gang goes to a show
like this, we feel sort of queer. We look
down at our shoes and pat our hair and
make sure we don't look like that. We're
only young once, so why grow up in too
much of a hurry?
Why doesn't Hollywood take a hint from
her biggest boosters and, when a typical
teen-age role comes along, be as authentic
in costume as they were in "Gone With The
Wind"? It's important to us.
VIOLET GAREE, Lima, Ohio.
Countersigned by Bonnie Jean Davis, Kay
Stewart, Dale Spongier, Kate Truesdale,
Van Carter, Hally Muir, Ann Townsend
and Pat Young.
SECOND PRIZE WINNER
$5.00
Quite a while ago a wonderful picture
came to the public. The picture was "For
Me And My Gal" and introduced an excel-,
lent new star, Gene Kelly. I have been an
ardent Kelly fan ever since, and I am glad
to note that he gets very good pictures. But
what happens when the reviewers start con-
densing his film efforts? The way they don't
mention his name as often as possible is
really clever. Or else his name is insultingly
near the bottom of the cast list.
"Christmas Holiday" is a film in which
Mr. K. is the co-star with Durbin, or so I
Tell It To The Stars
And to the men behind the stars ! All
your compliments and your construc-
tive criticisms (be sure they're not de-
structive) are valuable signposts to
Hollywood producers. Write your let-
ter now to Fans' Forum. Monthly
awards for the best letters published :
$10.00, $5.00, and five $1.00 prizes, all
payable in War Savings Stamps. Clos-
ing date is the 25th of the month.
Please address letters to Fans'
Forum, Screenland, 205 East 42nd
St., New York 17, N. Y.
took it, but in one story about it his name is
mentioned just once, mind you! The guy
that, wrote it must have been brilliant to do
that, considering the whole story revolves
about Gene.
I can see the advantage of dispensing with
the over-abundant publicity to let him grow
on the public through his own merits, but
it's not working well to ignore him entirely.
He's liable to go right back to Broadway,
which would be awful for me and Holly-
wood. He has more talent in his little toe
than most stars have in their whole makeup.
I've seen all of his musicals at least five
times,- just to watch him dance. He may not
look the type but when he takes on a love
scene, he outdoes Boyer — he's that good.
Mix that with darn good acting ability and
you've got dollars and sense in Hollywood.
But without all this, he could devastate me
with those creamy brown eyes and that Irish
smile. So give him an all-out chance for
fame and keep me — and lots of others —
swooning over the "dark devastator !"
JOYCE BAILEY, Binghamton, N. Y.
FIVE PRIZE WINNERS
$1.00 Each
I register protest for the way Hollywood
treats Farley Granger. This fine young actor
never appears in one "sound piece" through-
out the whole picture. In his first, "The
{Please turn to page 17)
Screenland
IP
ime alone is the measure
Leeuwenhoek, the crotchety genius who first saw germs
through the crudest of mictoscopes, found the world indif-
ferent to his thrilling revelation. Today his name is deathless.
Tireless Pasteur, devoting his life to the study of the "little
beasties" that swam befote Leeuwenhoek's eyes, fought an
uphill battle against ignorance and skepticism to prove that
they were a living source of disease and death. Now he is
immorral.
The great and good Lister, using antiseptic to control the
deadly germs that Leeuwenhoek saw and Pasteur defined,
performed his life-saving miracles in surgery before a hopeful
few and a doubting many. "An instrument in the hands of
God," he is enshrined in Westminster Abbey.
As with man so with medicine; the endless tides of Time
write the verdict to guide the world. The mediocre are for-
gotten and fail; the meritorious sutvive and succeed.
It is a matter of pride to us, that Listerine Antiseptic,
named for the great Lister, today serves humanity's needs as
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Listerine Antiseptic stands ready to aid you in a thousand
little emergencies calling for quick germ-killing action with
complete safety ... a delightful, effective solution. Make
this a "must" for your family medicine cabinet.
GOOD NEWS!
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civilian use. You should now be able to obtain Listerine Antiseptic
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Lambert Pharmacal Company, St. Louis, Missouri
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SCREENLAND
15
WRESl
M1DSUMMERMAKEUP
By Josephine felts
plexions. Ganges with the seasons,
^ As your skm chan|e=h too. That
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ioht shade ot po^ aer nem.
ic as your skm tans m J eye-beauti- ,
ally the rouge, "psticK r pale pow- \
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mer ^^nTot11 weather-put on fresh
powder and rouge ^over stale. ^ ap.
Do remove all oiQ
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L {Please turn to page 87)
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16
SCREENLAND
Fans' Forum
Continued from page 14
North Star," he was blinded by the Jerries.
In his latest, "The Purple Heart," he is tor-
tured by the Japs so that he can't talk. He
has a fine voice, strong and deep. He's hand-
some and a promising actor to boot.
So please, dear Hollywood, let him ap-
pear in at least one picture in which he
doesn't even get a scratch. Let him have a
girl, and please let him get her in that final
reel ! When Farley's around, the bobby-
socks forget that guy — what's his name?
Oh, yeh. Sinatra !
LORRAINE D. HAYES, Boston, Mass.
I've just finished reading the intimate
questions answered by Judy Garland in
Scree nla nd. I have to disagree wholeheart-
edly with her desire to become somewhat
like another Helen Hayes. I wish she
wouldn't try to accomplish that goal, be-
cause I feel there'll never be another Helen
Hayes, and I'm positive we won't have an-
other Judy Garland who chases our blues
away. She's put herself on a pedestal in our
hearts with her sunny smile and her voice
like a ray of sunshine after a rainy day.
I beg of you, Judy Garland, stay just as
you are. You're perfect. I'll be sitting in a.
front row to see your next picture, "Meet
Me In St. Louis." I'd hate to imagine a
Garland picture without your singing in it.
LOLA HEILIGER, Baltimore, Md.
"I couldn't sleep a- wink last night," but
it wasn't because I had had a silly quarrel.
No, it was because I had just come from
seeing "The Desert Song." I was quite sur-
prised to find that Nazis had invaded the
territory once travelled by that romantic
daredevil, The Red Shadow, and that his
desert was simply crawling with Germans.
Now, please, dear directors, don't inject
any Nazi spies into your forthcoming pro-
duction, "Show Boat." I really don't see
how you could fit any of the creatures into
the story, but then, look what you did to
"The Desert Song." Made it a regular
stamping ground for Nazis.
It isn't that we don't like spy pictures.
We do. But we like spies in their proper
places, which definitely isn't in our popular
American operettas.
RUTH MARX, Springfield, 111.
After reading that article about Van
Johnson in the May issue of Screenland, I
thought I would like to let you know what
I think about his "Dream-Up Girl."
But first, you asked the question in that
article : "Did you ever see a dream walk-
ing?" Well, I did see something of that
sort when I saw a guy named Van in the
motion picture, "The War Against Mrs.
Hadley." Then I saw that dream again in
"The Human Comedy" and "A Guy Named
Joe." He's really the most super-deluxe
guy a person could ever wish to see on the
screen. He is one person I would like to
meet in person, though I doubt if ever I'll
get a chance. But then, I can dream.
Now about his "Dream-Up Girl" — I don't
see why he should prefer older women. We
young girls just don't have a chance at that
rate. After reading about his ideal girl, I
feel he should have one with this descrip-
tion : light brown hair, blue eyes, five feet
six, and with a liking for the same things
small town girls like — such as hamburgers,
Sinatra, boy friends, school proms and guys
like Van.
Let us see more of him in pictures, and
maybe, someday, he may see me in Browns-
ville, Pennsylvania, and find his "Dream-Up
Girl."
MARJORIE CROUCH,
West Brownsville, Pa.
ALAN LADD speaking:
Starring in "AND NOW TOMORROW," a Paramount picture.
"Hollywood
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about
grooming-
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and should
keep teeth
immaculate
"I find it
easier ,wi
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Listen to "Stop Or Go," starring JOE E. BROWN— Thursday night, Blue Network.
Screenland 1?
Based on the Saturday Evening Post Story "The Phantom Filly" by George Agnew Chamberlain
Walter BRENNAN
Lon McCALLISTER Jeanne GRAIN
Charlotte GREENWOOD • June HAVER
Directed by HENRY HATHAWAY . Produced by ANDRE DAVEN
SCREEN PLAY BY WINSTON MILLER
-FOX!
18
SCREENLAND
DEAR "CALIFORNIA":
Might as well keep on calling you
that, since most of us know you
best as the shy, appealing character in
"Stage Door Canteen." Name suits you —
a real Native Son, born and brought up in
Los Angeles within a stone's throw of the
major studios. Leave us face it; you're
"California" for the duration. When your
buddies in the United States Army start
quizzing you about Hollywood, you'll
know all the answers.
Funny thing — of all the young actors,
you look and act the least like the one
brought up in Hollywood. You might have
come from Indiana, or Maine, or Kansas,
instead of being the grandson of a movie
studio gateman, growing up in the atmos-
phere of glamorland. You're just as down
to earth, just as homespun as any small-
town boy. And I think it's going to sur-
prise the fellows who may have you all
figured out as a spoiled movie actor to find
you're as matter of fact about your glam-
orous background as they are about their
old home town. And maybe you can tell
them a thing or two about
Hollywood that will be good
for them to know. For instance,
that it isn't all Pin-Up Girls
where you come from. (Not
that Pin-Ups aren't wonderful,
not that Hollvwood isn't the land of make-
believe; but it isn't all done with mirrors.
There's a lot of hard work mixed up in it
too.) Here are boys who have come to de-
pend upon pictures as their main source of
entertainment. They will either become the
tremendous movie-fan audience of the fu-
ture, or they will never want to see another
picture. You tell 'em Hollywood won't
let them down. "California," here you come!
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: the film's pro
Mayo Bogart, who accompanied her
husband on his recent trip to cheer up
our boys, is shown closeup, facing page,
wearing variety of insignia presented to
her during the 10,000-mile tour. On
this page, highlights of Bogarts' visit to
Mediterranean and African war theaters.
In six years of marriage to Humphrey Bogart his wife has
never been bored! In this exclusive story she tells us why
By Elizabeth Wilson
COMES the hot month of August
Hollywood's "hottest" male star
will celebrate his sixth wedding an-
niversary. When Mayo and Bogie mar-
ried half a dozen years ago, their friends
said that the marriage had no more
chance of surviving a year than a Crosby
horse had of winning the Kentucky Der-
by. Today those same friends are mak-
ing book that they'll have to kick in
with something costly in silver.
Bogie (he doesn't care whether you
spell it Bogie or Bogey, so long as you
don't spell it Humph) was having a
grand time of it as a movie menace at
the Warner Brothers workshop. He nev-
er got the girl — the Hays Office wouldn't
let him — and so he never had to shave
or wear a tie or make pretty manners.
He also didn't have to work hard. He
had weeks and weeks off between kill-
ings. Picture killings, of course. Then
one day the head of the publicity de-
partment at the studio saw him attack-
ing a chop in the Green Room and said,
"Bogie, you know what? You've got sex
appeal." (We gals could have told the
Warner boys that years ago — the guy
reeks of it.) Bogie said, "Why, Charlie,
you old so-and-so." And nearly laughed
his head off.
Anyway, in "High Sierra" Bogie got
the girl. And in "Casablanca" he even
put one over on Paul Henreid and got
Ingrid Bergman, for whom you have to
have a priority these days. "I'd like to
be a killer again instead of a glorified
Kreep," muses Bogie wistfully, "so I
could spend more time* on my boat."
Being married to a movie menace,
even one who has turned hero, isn't the
easiest thing in the world. But then it
isn't the dullest either. Mayo Bogart is
a girl who doesn't mind surprises, fallen
souffles, and five-minute packing. She's
perfect for Bogie. Mayo claims that
since the day she married Bogie she has
never been bored. Not many wives can
say that, truthfully. '
"After six vears of never-a-dull-mo-
ment," says Mayo, happily, "I have pot-
ten into such a mental state that nothing
surprises me any more. Even when Bogie
came home one evening about two
months ago and said, 'Honey, we're go-
ing to the Italian front,' just as casually
as if he were suggesting we drive into
Hollywood to the movies. Instead of
jumping with joy, or fainting dead away
with horror, I simply said 'When?' 'In
a few weeks,' he said, glancing up from
the papers. 'Doing anything tomorrow
afternoon? I guess we'd better go down
town and make our wills.' We went to
our lawyer's office the next day and were
so gay and giddy about codicils and be-
ing of sound mind that we completely
horrified the poor man. I'm afraid the
Bogarts don't take anything seriously.
Except themselves."
Mayo's first big surprise came a few
weeks after she and Bogie were married.
Quick like a flash he bought a boat. They
drove down to Balboa the first Sunday
to inspect Bogie's pride and joy. "Want
to go for a little sail?" asked Bogie, and
Mayo, thinking it was a matter of a half
hour around the Newport canals, readily
agreed. "First thing I knew," said Mayo,
"we were headed for the open sea, in a
terrific gale. We didn't return for ten
weeks." Afterwards, she learned that
Bogie had been a seaman in the first
World War, and knew more about sail-
boats than Webster about words. He
just failed to mention it to her — until
they anchored off Catalina.
"Then I knew," said Mayo with a
laugh, "what being married to Bogie "was
going to be like. Full of surprises. And
excitement. I've enjoyed every minute
of it."
Mayo had hardly recovered from her
unexpected ten weeks at sea, before she
was due for another jolt. The telephone
rang at five o'clock one cold grey dawn,
and it was Bogie jubilantly announcing
that he had just met some of the most
wonderful people in the world, and to
come to such and such an address jn
Colton and have coffee with them. Seems
that Bogie was driving home from a
studio location when he suddenly ran
out of gas. It was pitch-black dark, but
he saw a light in the kitchen of a small
house nearby, and when he peeked in
the window he saw a woman making
coffee. "Please," he said, tapping on the
pane, "may I have some?" The woman
didn't seem to be at all frightened of
HER HECTIC
LIFE
WITH A
MOVIE
MENACE
Earners' number one killer — in fact, she
never recognized him at all. While Bogie
phoned to Mayo to join them, she waked
up her husband, a brakeman on the
Southern Pacific, and the four of them
had a perfectly swell morning drinking
coffee, telling stories, and discussing
world conditions.
"Bogie," says Mayo, "has the happy
faculty of always falling in with inter-
esting people. I don't know how he does
Bogart the screen star, shown at right in two
scenes from his next Warner Brothers film,
"Conflict" — With Alexis Smith as his hero-
ine and a strong cast in support. Bogart the
man, above, contemplates his inspiring tour.
it, but he does. When he tells you that
he has just met some of the most won-
derful people in the world, the truth of
the matter is — he has. Our room in Na-
ples was no different than the living
room of our home in California. Inter-
esting, amusing people dropping in all
times of day or night. Bogie always
seems to find the right people, whether
in a brakeman's bungalow in Colton, or
(Please turn to page 68 J
iL
AROUND THE CLOCK WITH
SINATRA
His frenzied fans will welcome this chance
to keep a pictorial date with their idol
V
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Explaining
of that blonde
urn, K. T. Steven
^^^^^^T L«« with her proud
By Ruth Tildesley
26
THREE years ago, all the information I could discover
about K. T. Stevens was that she was the younger daugh-
ter of famed director Sam Wood. She had been chris-
tened Gloria; K. T. Stevens was her own idea.
"I was named for Gloria Swanson. Dad always says I was
his lucky penny because when I was born he began to get his
good breaks in pictures," smiled K. T. Stevens. "Gloria
Swanson was C. B. DeMille's big star then, and Dad was his
assistant. Jean, my sister, was ten years old and Dad had
been working in studios for five years."
Before K. T. was ten, she knew she wanted to be an actress.
Her favorite occupation during childhood was visiting her
father's sets. School — first at Third Street Grammar School
in Los Angeles, then at L. A. High School, and then at the
University of Southern California — was merely an interruption
of these visits. She couldn't get to a studio until after school
hours!
Her first — and only — year at college was a season of unrest.
K. T. knew she wanted to act; college seemed to her a waste
of time. Her drama teacher agreed (Please turn to page 65)
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Famous stars tell their fondest hopes and plans for their children
IMAGINE you are one of those Hollywood stars. You tried
to keep your yearning for children a secret, because your
studio didn't like that kind of publicity. You found your
bosses reminding you time and again that the natural gate-
way to movie fame was one through which you should proceed
alone. And for a long time you did.
There were times when you were really glad that you didn't
have a child of your own; when you wanted to do your share
of entertaining servicemen on a tour of the camps, or at the
Canteen; when your film schedule was so heavy it seemed to
fill your whole life. But the more you thought about it, the
more you were convinced that life — even a movie star's life —
simply wasn't complete without a child.
And so you embarked on the greatest adventure of all —
parenthood.
You wondered then what the problems were going to be,
and how they should be circumvented; what you could do to
make the going all the easier for your child. Or perhaps you
have it all figured out, just as it was never figured out for you.
Perhaps the very existence that you've earmarked for your
Dennis Morgan and daughter Kristin take a workout
together in Dennis' time off from Warner Studio.
son and daughter lies in your mind like
a very complete, open book, with you
merely waiting to turn the pages slowly,
carefully. If that is so, and if we were
very quiet, Bing, Hedy, Don, Jane, Alice,
Joan and Jennifer, would it be all right
if we listened, too?
Alice Faye has this to say: "The kind
of a world I want for my daughter is
one in which she can have simple fun,
and enjoy the simple pleasures; like a
thrilling date on Saturday night, the
funny papers on Sunday morning, a soda
at the corner drugstore, lots of good
friends, good books, good musie, and all
the other typical American things.
"I would like her to have the kind of
a world in which she could feel secure.
A world free of fighting and fear and
breadlines. A progressive w-orld. A free
world. The real old American way of
life — the way it was, only even more so.
"My daughter will be very much mis-
tress of her own inclinations. While she
will be allo.wed to do a great deal of her
own choosing — schools, friends, career —
she will be told gently that her mother
would like her to be an actress. But it
won't ever be in the nature of a com-
mand. In such matters we w-ill concede
that Alice Faye Harris, Jr., will have the
right to have a mind of her own!"
(Please turn to page 78)
Jane Wyman, Mrs. Ronald Reagan, with her little
daughter, Maureen. Facing page, Joan Crawford
three exclusive poses with her daughter Christina.
n
HEDY IAMARR, APPEARING IN "THE HEAVENLY BODY"
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i
Scoop! Scarlett O'Hara returns to the screen. Read up on
the lovely lady's latest activities, straight from England
By Hettie Grimstead
SHE'S been missing from the screen
since she made "That Hamilton
Woman" — lovely Vivien Leigh with
the soft black hair and the cool jade-
green eyes and the inimitable suggestion
of elegant patrician glamor. She was
right at the pinnacle of success, estab-
lished as a Hollywood star since the
world had acclaimed her as Scarlett
O'Hara, but she laid aside her make-up
box without a moment's hesitation and
stepped out of the mantle of fame se-
renely and contentedly. The reason she
did so forms the theme of a love-story
as warmly glowing and romantic as any-
thing she has ever played before the cam-
eras, a characteristic portrait of a young
British wife in this stirring year 1944.
Following their marriage in 1940, Viv-
ien Leigh and Laurence Olivier finished
their current Hollywood films and then
came home to London, anxious to help
their mother-country in her hours of
need. Two days after they landed, Larry
had registered for training with the Fleet
Air Arm, his fine physique and keen in-
terest in flying making him an ideal re-
cruit for this exacting branch of the
British Navy. Vivien offered herself with-
out salary to E. N. S. A., our equivalent
to the U. S. O., which arranges all the
shows for the British Forces.
Several British film studios promptly
suggested pictures to Vivien but she re-
fused even to consider them. Her eve-
nings were filled with her work, enter-
taining the soldiers and sailors, while her
days had an exacting but still delightful
task that was a true labor of love. She
had discovered it would be possible to
live near Larry while he was taking his
instructional course at a base in the
South of England, and to make a back-
ground of home life for her husband
seemed more important to Vivien than
anything else in the world just then.
Soon she was installed in one of the
little pink cottages at the top of the
cliffs, with a garden rambling down to a
low stone wall beside which she could
stand looking at the glittering water of
the bay and the naval aircraft taking on
and off. It was an amazingly different
home from the one she had known in
California. There was just one living-
room, with old-fashioned heavy oak fur-
niture and an open fireplace which
Vivien had to feed with logs she bought
from a local farmer. She sewed and hung
some pretty blue chintz curtains. She
pinned up photographs of Hollywood
friends on the plain white-washed walls.
She cooked and she laundered and she
tended the vegetables and the fruit-trees
in the garden herself because the war
had made it impossible to hire any help
in the district.
When Larry had a few precious hours
off-duty, he came to spend them with
Vivien, relaxing in a deep chair, reading
a book aloud to her or listening to the
radio, eating a simple dinner and help-
ing to dry the dishes afterwards, saun-
tering down with his wife to the local inn
where the fliers drank their glass of beer
and played darts.
If Larry was kept away from her dur-
ing the daytime, then Vivien rehearsed
her songs and the gay little modern
verses she gave so effectively to appre-
ciative audiences in khaki and blue. Night
after night she set out in her little car
for the lonely outposts of the "invasion
(Please turn to page 89)
Vivien Leigh, below, devoted wife of Laurence Olivier. Left,
and reading up: Vivien the actress, in costume as heroine of
George Bernard Shaw's play, "The Doctor's Dilemma" (Shaw's
favorite portrait of her); with her husband in "That Hamilton
Woman," and with Clark Sable in "Gone With The Wind.'V
By
Alyce
Canfield
After his smash hit in
"Lifeboat," Hodialc
scores as Lena's hero
in "Marriage Is A Pri-
vate Affair" — above.
I HAVE IT direct from Leo the Lion that Mr. M-G-M is
sitting on a keg of dynamite. Something like when that
time bomb exploded a few years back and out stepped
Clark Gable. For blazing across Hollywood headlines is the
name JOHN HODIAK, whose smash success in "Lifeboat"
cinched him the lead opposite Lana Turner in "Marriage Is A
Private Affair."
Lana says of her new leading man, "There's a word for
John Hodiak — it's intense. Fur- (Please turn to page 60)
9 amn9,
.Soon to Be Seen in
•Mtt> HO*
IroiainountPWuce
SWIM FOR HEALTH WEEK
JUNE 26 TO JULY 1
A Ulcc creation always creates a swimsation.
It has a way of setting off the figure beautiful-^ee
"See ^ee" in your favorite shop. Name of nearest store on request.
£cL fi/V/TU/f/tft GO ft P. i4io£h
•WILSON"
First flashes from
important new films!
Darryl Zanuck's big picture, based on the
life and times of Woodrow Wilson, will un-
doubtedly be one of the most controversial
photoplays ever screened. These first scenes
show, top, Alexander Knox in the title role,
with Ruth Nelson as the first Mrs. Wilson
and Ruth Ford, Madeleine Forbes, and Mary
Anderson as the three Wilson daughters. At
left, with his first wife; and right, with the
second Mrs. Wilson ( Gerald in e Fitzgerald).
20»H
tot
■
THERE seems to be a general im-
pression that I spend most of my
time inventing new ways to insult
people. I find myself quoted as an au-
thority on "How To Make Enemies And
Antagonize Friends," "The Fine Art Of
Palatable Umbrage" and similar sub-
jects. I have been called imperious, dia-
bolical and Machiavellian. All these and
"stinker," too. If I ever find the fellow
who started this foul rumor I shall tell
that son of a yo-yo twirler — that addle-
pated guttersnipe — that fugitive from a
Tarzan picture — that Woolley couldn't
msult anyone if he tried. As a matter
of fact, the shoe is on the other heel.
Everybody insults mel
As an example of what I have to put
up with, there was that little incident
at the Astor Hotel in New York. A
Three pictures from the Woolley family
album to prove his contention that he's
really anything but a sinister character:
baby Monty, left: small boy in amateur
theatricals, and young man Monty sport-
ing start of a smart hirsute adornment.
young woman I'd never seen before
crashed into me with the speed of a
shouting, "You think, you're hot,
stuff, don't you?" I assured her I was
definitely on the coolish side, but she
grew more incensed, releasing a stream
of invective and pounding my chest with
her fists. Finally she was "bounced" by
the hotel detective, but somehow she
managed to slip baek into the- lobby.
Next thing I knew she was on my back
like a baboon, tearing at my clothes and
shouting nasty innuendoes. Perhaps you
are wondering why I did not grab the
young woman by the nape of the neck
or put her across my knee. Had I but
raised a finger to her there would have
been a public scandal with headlines
from coast to coast: MOVIE ACTOR
ASSAULTS WOMAN IN HOTEL
BRAWL! Ugh!
I have yet to discover a successful
defense against attacks like these. I have
tried them all. The polite, fatherly re-
buff is usually mistaken for appease-
ment. The malevolent leer is definitely
ineffectual. And the direct counter-at-
tack merely serves to prolong the battle.
Only last week, while dining at Ro-
manoff's in a state of complete beatitude,
a face suddenly loomed up "at me from
across the table. A dizzy-looking blonde
had pulled up a chair, and resting her
chin in my salad hailed me like a long-
lost friend. From her garbled rush of
words I gathered she had outgrown her
bobby socks and was transferring her
affections from Frank Sinatra to me.
"More solid! That's what you are, Mr.
Woolley. That swooning stuff is all right
for kids, but me, I'm a vulture for cul-
ture. From now on you're my pigeon.
More solid!" When she halted her ob-
servations to inquire whether she was
intruding, I informed her most emphat-
ically that she was. "Well, of all the
nerve!" she yelled like a Dead End Kid-
die. "Fine thing! I wanna do you a
favor and keep you company while
you're eating and you insult me. Frankie
wouldn't insult me! Frankie wouldn't
insult nobody! If you don't wanna be
bothered, why do you come to public
places like this, huh?"
Now I ask you! Where would she
have me go? Never mind, don't answer
that, I happen to like public places. I
was born in a public place: the Bristol
Hotel in New York which my father
owned. I'm not the domestic type of
bachelor who revels in the culinary cor-
ners of a kitchenette. The thought of
standing over a hot stove with a cook
book in one hand and a separated egg in
the other leaves me cold. I prefer dining
out, and that's when most of my troubles
start. People seem to feel a proprietary
claim on movie actors. Perhaps the
mammoth screen closeups are to blame.
There isn't a line or blemish we can call
our own. Moreover, poking fun at a man
with a beard seems to be an impulse as
irresistible as throwing snowballs at a
top hat. Being a movie actor with a
{Please turn to -page 75)
IF YOU have a precedent to break, call on dynamic, green-
eyed Ella Raines!
She's had one of the craziest careers in Hollywood.
While ill in New York the slim, energetic gal signed a contract
with B-H Productions, consisting of Charles Boyer and How-
ard Hawks, the producer-director, "sight unseen." They were
in California. On the basis of three photographs, she became
the sole asset of a million dollar corporation.
Married to a flying war hero at Palm Beach, Florida, Au-
gust 11, 1942, she managed, in the face of rumor-flying Hol-
lywood, to keep that marriage secret for over a year. She
has succeeded, without public acclaim, in reaching stardom
in four pictures, starting from "Corvette K-225" in which
she played the sweetheart of Randolph Scott. She carries the
entire dramatic "load" of Universal's "Phantom Lady" prac-
tically alone, although she appears with Alan Curtis and
Franchot Tone. Without having a production released she
has made three pictures at three different studios and was
starred in a fourth — because the Hollywood brass hats had
confidence in her.
She absolutely refuses to make anything of one of the film
colony's greatest finds, comes to work in slacks, drives an
inexpensive cabriolet with a leaky top, and lives in a modest
apartment in Beverly Hills with'her mother and sister-in-law.
The thing in which she takes most pride is that she went
through a seven-minute scene for her screen test the very
first time without a mistake — the first time a job like that
has been done in film history.
And she's the first girl to put the town where she was born,
Snoqualmie Falls, 29 miles southeast of Seattle, on the map.
The population is 752. It's referred to as a suburb of Sno-
qualmie, four miles away, with a population of 250 more.
Best index to what Hollywood and stardom hasn't done to
her is found in an incident just after she started to work with
Franchot Tone and Alan Curtis in "Phantom Lady," in which
she, single-handed, solves the murder and saves the life of
the man she loves.
She was seated in Universal's Sun Room, eating lunch with
her director, Robert Siodmak, when a very vivacious young
woman joined them. Throughout the meal, the new arrival
boasted about her big part in "Phantom Lady." She was a
great actress, she intimated, and this was her biggest chance.
In fact, it was the studio's biggest break. She was building
herself up for a beautiful fall, but Ella didn't trip her. When
the girl had finished her enumeration of all her attributes, she
condescended: "I suppose you're in the picture, too."
"Yes, thank you." replied Ella, who has the starring role,
and went on eating her chef's salad.
Ella Wallace Raines is now 22 years old. The legend is
that she has had everything dumped in her lap, that she has
a silver spoon in her mouth, that everything comes easy. This
is partly true, and partly untrue. For instance, when she was
between junior and senior years at the University of Wash-
ington, where she majored in dramatics, she came to Holly-
wood to do Little Theater work.
Toward the end of the summer she tried to light the oven
in her apartment. It exploded. She was severely burned on
the face and hands and for a time it was feared that her
sight would be seriously affected. But she fought the thing
through, wound up without a scar. She had the courage to
return to the university campus with half her hair singed off,
ugly patches all over her face, and (Please turn to page 75)
Dynamic, green-eyed Ella Raines
has had one of the craziest ca-
reers in Hollywood. But if you
think Ella is crazy, read this story!
By Barbara Flanley
DAINTY WHITE BATISTE ROMANTICIZED WITH MEXICAN- PEASANT-INSPIRED EMBROIDERY
Dorothy Gish makes movie
come back after fifteen years
in Paramount's "Our Hearts
Were Young And Gay," in all-
star cast including Charles Rug-
gles (far left with Miss Gish).
Closeup, bottom of page, may
remind veteran moviegoers of
days when Dorothy was screen's
most popular comedienne.
CATCHINQ
UP WITH
DOROTHY
QISH
1
By Tom Waller
While this be-
loved little ac-
tress of silent
days catches up
with new ways
in Hollywood
"AS YOU can see, I have a small mouth," said Dorothy
Gish while delicately drawing neat netherlimbs under
her on a New York hotel divan and simultaneously
resisting Rover's emotional manifestations by giving this
Pekinese an extra pat. "Well, when I went back to Hollywood
this time, here was one of the first suggestions made to me by
a make-up man: 'Your mouth is dated. Large mouths are the
style for actresses. I will have to make your mouth fashion-
able.' So he proceeded to bring my mouth up to date. Believe
me, I had to look at myself several times before I knew it
me up there on the studio projection room screen. I am
ire fascinated by myself each time I see myself; I should
ilify that by saying I am fascinated by what that make-up
did to make my mouth 'modern.' The experience my
uth has undergone is just one of my reasons for believing
t everything has changed since I took my long vacation
<ta picture work."
Persons with only a decade's movie background had best
tinue reading this or just ask Dad about Dorothy Gish.
he was at all mo vie- wise in his
youth he will immediately associate
her with her sister, Lillian, and whim-
sicality and hearts and flowers as the
film business knew drama in those
ys. If they want to begin at Miss
h's professional beginning, Grand-
pa's memory probably would serve
better because Miss Gish was born
'ore making movies was considered
lig business. Grandpa will be cer-
tain to remember her in his favorite
(Please turn to page 84)
II
\ his CBS show, "Broadway Mat-
He," Drake has had such guest
irs as Georgia Gibbs, above.
Singing star of Broad-
way's famed musical,
"Oklahoma!" and his own
radio show, Alfred Drake
is all set to be a movie hit
DUE TO the wholly-unfair-to-us fact that Alfred Drake
has been "most recently the singing star of the Broadway
musical hit, "Oklahoma!" and before that a top-flight
leading man in a score of plays, you have been thus far denied
the chance to ogle him at your local palais de cinema.
But Columbia is taking care of that. By an artful combi-
nation of mesmerism, black arts, sleight of hand and a fat
contract, they have lured him into their fold and very soon
a camera will be trucking toward him for a two-shot. So
much the better for any of us who appreciate a young man
who can act with intelligence and, if he chooses, sing with
a beautiful baritone voice. Of interest to the ladies may be
the news that the guy is good-looking in a clean-cut, mas-
culine way.
The main purpose of this com- (Please turn to page 72)
43
Popular, pursued, yet level - headed
Anne Baxter Is a perfect example of
the sane, wholesome Hollywood star-
let of today. Left, and right, as star
(with William Eythe) of 20th Century-
Fox's "The Eve Of St. Mark." Above,
a good-night call, but no date — she
has an early studio call tomorrow.
IF YOU take my advice, teen-agers, youll take your time
about getting married. You won't rush to the altar. You
can afford to wait, and plan — so, why not? You have the
time to give to love, to test yourselves and your emotions, to
dream awhile.
Jeremy Taylor gave what is, in my opinion, the best and
truest definition of love I've ever heard when he wrote, "True
love is friendship set on fire." That rings a bell with me. For
while it doesn't take a minute to light a fire (or put it out) ,
it does take time to develop friendship, without which love
is a poor and precarious thing. I know that if I can't sit and
be calm with someone I love, I mistrust the man, the emo-
tion, and myself.
My parents had their 25th wedding anniversary last year.
They are still friends and lovers. As far as I can see, they
are as much in love now as they were on their wedding day.
That's something all too rare. It is also a very fine, but a very
stiff standard they've set me. But it's one I want very much
to maintain in my marriage; indeed, it's a "must."
Very seriously, I just do not think that anyone, at any
time, should "marry in haste." I know I want a fairly long
engagement, plenty of time in which to become friends with
the man I intend to marry.
I want time to find out whether, when things are fun, they
can be shared with the man with whom I am preparing to
share my life. I want to ask myself, "Is he more fun to be
with than anyone?" and be able to answer, unequivocally,
"YES!" For fun is important. To share laughter is very im-
portant. Someone with whom you can't laugh can rub the
lustre off the sun, moon and stars.
I want to be sure we can talk when we feel like talking, the
man I love and I. And that when we don't feel like talking,
we can share silence. I want to be sure that we have match-
ing moods, tastes and temperaments. I want to find out
whether, for instance, he, like myself, likes to stay up half
the night, stretched on the floor before an open fire, listening
to 14th Century church music, or modern music, or Crosby,
or Sinatra, or whatever, on the radio; whether he likes food
as I, a gourmet as ever was, a rabid recipe collector, certainly
do; whether he likes to read, especially humorous books;
whatever he is interested in psychology, especially in child
psychology, which is one of my major hobbies; want to make
sure he hates big, chi-chi parties, as I do; prefers small ones,
a few intimates at home, as I do; want to make very sure
that he likes the theater, likes pictures — not an actor, not
necessarily an actor, but someone in the know, in the care —
in other words, that he is at least {Please turn to page 82 )
you taw Diet at
♦ha "baby Marine"
in "Guadalcanal
Diary" you'll ba in-
terested in the latest
report on the prom-
ising lad. Scion of
New York family fa-
mous in the fur busi-
ness, Richard was
born Oct. 10, 1926,
in Long Beach, L I.
He went to school in
California, got him-
self a job on his own
as delivery boy in
the mail room at
20th Century-Fox
Studio. A smart
scout saw him, a
screen test landed
him prize part in the
war picture. But Dick
wants to get into
the Big Show, has
signed up for duty
in Merchant Marine.
Richard Jaeckel, 17-year-old
who scored in his first film,
Guadalcanal Diary," joins
the Merchant Marine upon
completion of his role in
"Queen Of The Flattops"
nor- . I I A
For Jennifer
Jones and Bob
Walker, these
tender love
scenes were
only acting
/AC
In David O. Selznick's "Since You Went Away," Jennifer Jones
and Robert Walker enact some exquisite love scenes— see right,
and above. But — it's all make-believe! Jennifer (Mrs. Walker)
and Bob had already separated when these scenes were being
enacted before the cameras. Ironical that in the new picture
they play two young people thrillingly in love — a girl and her sol-
dier boy. Candid shot at left above proves It was all just work.
naff
\
'r
SCREENLAND celebrates the
50th Anniversary of motion pic-
tures. An invention not worth
$150 for a patent in 1894 is now
one of our leading industries
jssl Jr..
EDISON'S TOY
Photo from The Museum of Modern Art Film Library
, Ruben * ^\°v£U *?S» *
, «tlnc\e * *e -tu such ° ... »n<> . v„iv
Edison's May Irwin-John C. Rice fifty-foot
kiss, viewed through a "peep show" ma-
chine, caused a great commotion in 1896.
v.\\v>
Vwe*« -cot**
-ivc»l
phot"
fro**1
■ Ill ■ J I ■■■■■■■■■■■■■
'S JOY 70V A Y!
Summer formal*, quips Martha O'Driscoll, must be as informal as possible this season.
officer's bride, like Martha, or any serviceman's wife or sweetheart, will want to look lovely for
"him" — and so the O'Driscoll starlet suggests the two numbers on this page. Below, eyelet-cut
white pique with full skirt and off-the-shoulder' line finished with deep ruffle and laced with
black velvet ribbon. Left, navy linen skirt topped with white pique jacket with eyelet-cut trim
outlining the square neck. You'll be seeing Martha, screenically speaking, in Universale "The
Ghost Catchers," with Olsen and Johnson, and in another romantic role in "Allergic To Love."
The Mocambo seems to be the favorite night spot for Judy
Garland and Peter Lawford, seen arm in arm above and top
right, with her hair down. (If you're asking for a consensus,
Judy, we like it down.) The blonde lovely, right, to whom Kay
Kyser is pointing out the sights at the Trocadero is Bobby Coleman.
54
OUT of the mystery which has sur-
rounded the Joan Fontaine-Brian
Aherne divorce — denied one day
and a fact a few days later — comes
this general belief. Nervous, underweight
Joan would have to choose between ca-
reer and home and husband. She hasn't
the physical strength to manage a house,
entertain Brian's friends and carry on
her work as a star. This time stardom
won out. Their intimates say Brian
Aherne will never give up hoping she'll
change her mind and give up the screen.
ANOTHER JOAN— Joan Blondell —
- makes her first appearance on a new
lot — 20th. where she plays Sissy in "A
Tree Grows in Brooklyn" — and in the
divorce courts soonXto fight for custody
of her children. Consensus of opinion on
this divorce is that itjvvas a flare-up be-
tween two hot-hcadefi people and got
such publicity in its iniaal stages that it
has built into a divorce without either of
the principals involved h;Wing a chance
to sit down and talk it out T^thrily.
YOU won't be seeing Alice Faye\Jor
long time now. Alice has been giVTsg:
movie men more gray hairs than any
girl in the iiitfustry. Home and husband
have been coming first with her since
she married Phil Harris. She finally
agreed to make a movie if they'd give
her the role of Sissy, for which Blondell
has been signed. But the studio couldn't
hold up production on "The Tree Grows"
until May when Alice's baby was expect-
ed. Now Alice tells them she won't
make another musical. For ten years
now she's made mostly song-stuff with
one or two departures. And until a good
dramatic role is found for Alice, she
won't talk turkey with the studio. She'll
make another picture this coming Au-
tumn if this happens. If not — she'll just
be Mrs. Phil Harris, which is, after all,
her favorite part.
pARY GRANT, that "tall, dark, and
^ handsome" discovery of Mae West's,
plays a character near to his own heart
in the Richard Llewellyn story, "None
But The Lonely Heart." Cary was born
Archie Leach in a drab end of London —
used to be a stilt walker at a beach re-
sort. Pulls down a dizzy salary now and
is married to one of the dizziest incomes
in the world, Barbara Hutton, the dime
store heiress. This should be his Acad-
emy Award role. He gets Ethel Barry-
more to play his mother. To do this, RKO
has to pay Ethel's entire company from
"The Corn is Green" — a cast of 23 people
she had under contract — to sit idle through
the 6 weeks required for Ethel to do the
role. This looks like an all-out bid for
Cary to get that Oscar next year.
MICKEY ROONEY, born Ninnian
Joseph Uhl, goes into the uniform
of an Air Force cadet shortly. Bets are
Mickey will come out of battle with a
whole skin. He's survived a marriage and
divorce from beauteous Ava Gardner.
Has gotten away with his penchant for
dancing 'with 6-foot beauts in local nite-
ries. Has even survived a knockdown
and dragout fight with his present heart,
Ramsay Ames, and is stagging it in
these, his last days of freedom. Mickey
has survived all his Hollywood ups and
downs including changing voice — a trag-
edy which shelves most boy actors.
Mickey played Puck in "A Midsummer
Night's Dream" in the Hollywood Bowl
and was signed to do the part in pic-
tures. Bv the time Warners got the
One of the last pictures of Lana Turner and Stephen Crane before
their separation (above left) was taken at Slapsy Maxie's with Frank
Sinatra and Gloria De Haven, his leading lady in "Manhattan Sere-
nade." Left, Rosalind Russell and husband. Capt. Fred Brisson, enter-
tain Sister Kenny at the Trocadero. Roz is scheduled to portray her
in RKO's "Sister Kenny." Above, Lou Costello and Bud Abbott with
Linda Darnell, guest star. Below, Joan Fontaine cuts birthday cake for
servicemen. John Charles Thomas and Charles Laughton match profiles.
; 4
CMIDIDS Br Mtt uril
4# -tf
thing readied for cameras Mickey was
speaking in a hoarse baritone, but still
had that nine-year-old look. So he spoke
his role in soprano and was a hit. War
is just an incident to him.
"T^ROPPED in to the auction rooms
where Marlene Dietrich's possessions
were being sold to the highest bidder.
When la Dietrich returns from overseas
(where she has gone with but a ward-
robe to thrill the boys) she will reset
the domestic stage. Rosalind Russell
scrapped her household about a year ago
and went in for an entirely new back-
drop— the stunt is popular in movieland.
Marlene's progression from the Joe
von Sternberg period, characterized by
ebony and silver furniture with much
vermilion velvet, is easily traced. It
moved on through the Brian Aherne
period, marked by "a satinvvood boudoir
suite with Sevres insets," to quote the
catalogue. Since the white tufted satin
suite with mirror edges was spanking
new, it seems to fall into the Jean
Gabin period. This last was a dilly, and
a lady in a mink coat and a determined
expression was bidding like mad for it
when I left.
pvIRECTOR Irving Cummings tells
me he was swamped with letters
when he put out a feeler for new tal-
ent in the shape of a story that he
will pay $125 a week to any one between
the ages of 18 and 25 he deems a good
bet for movies. Applicants were to mail
in their photos, brief listing of abilities,
experience, and so on.
"I've had 1,076 letters to date,"
grinned Irving. "The applicants are
mostly women and their ages range
from 2 years to 60. On the whole the
response is pretty intelligent — 75 were
college grads and about 100 had experi-
ence in little theaters. But some models
sent in their photos in the altogether.
And I guess all the young colored girls
see themselves as future Hattie McDan-
iels because we've been swamped with
their applications."
This contest runs for a year, girls —
just address Irving Cummings, Beverly
Hills, California, if you think you've got
what it takes.
1V/TET Jennifer Jones the other day on
J-»JI the Boulevard. She looked about
17 in a belted brown sports coat and
with her hair hanging down her back
from a part in the middle. She's got
everything now — money, fame, a big
colonial mansion in swank Bel Air, an
Academy Award, two cute kids. And an
empty heart. She's never discussed the
pro's and con's of her difficulties with
55
Er-'
Bob Walker. But some of the young
group Bob and Jennifer played around
with, tell me Hollywood parties didn't
go over as big with Jennifer as they did
with Bob. They were happy in a fourth-
floor walk-up before they made good —
Jennifer admits that. Probably would
still be together if they'd never hit mov-
ies. Bright spot in Jennifer's life are the
kids. "They weeded my garden yester-
day," she said. "Just tore all my young
plants up by the roots. They were so
happy that I didn't have the heart to
scold them."
ANN SHERIDAN of Warners may ^be
-^*-Mrs. Steve Hannagan by June. I got
the usual: "We're good friends and have
swell times, but Steve just hasn't asked
me that important question" when I in-
quired about a marriage date. But Ann,
who wears only browns and greens in her
slack suits, although she's given to the
rainbow in her party clothes, has been
trying on some negligees in our smarter
shops that will fit very well in the June
bride picture.
P> ACHELORS have to run to cover in
man - scarce Hollywood these days
or they'll be entertained to death. Bill
Eythe is one who is suffering from a
painful popularity just now which keeps
him away from the telephone. He is a
4-F by reason of an accident in his
theater days which injured his ear drums.
He tells me that recently an overly-
patriotic woman came up to him on the
street and said:
"Young man, why aren't you in the
armed services?"
"For the same reason, Madam, that
you aren't in the Follies," snapped Bill.
"Physical disability!"
DOSALIND RUSSELL, who will por-
tray Sister Kenny on the screen, has
been lunching and dining a lot with that
lady while getting the full flavor of her
personality. A lot of pictures have been
snapped of the two and a lot of wise-
cracks made about the difference in their
appearance. Sister Kenny has a com-
fortable well-upholstered look that's a
million miles away from the glamorous
Russell. Then Sister Kenny got up her
dander and cracked through with some
photos of herself at Roz's age, and the
laugh was in the other direction. She
was a dilly — nurse's cap and all — and
Roz will have to keep on her toes to
come up to the mark.
jV/TYRNA LOY, back in Hollywood for
-l""- another "Thin Man" picture, may
stage more than one merger. For not
only will she resume one of the most
popular picture teams — the Myrna Loy
and Bill Powell duo — but she's been seen
frequently dining with her ex-husband,
Arthur Hornblow. Hollywood always
liked that marriage and felt it was brok-
en up hastily on an impulse. After all,
both Arthur and Bubbles Schinazi were
loud in stating that theirs was a trial
engagement. Right now Myrna would
seem to be Bubbles's chief trial. Myrna
had a heck of a time finding a house in
Hollywood — we're in a worse" state than
Washington, D. C, even — had to take
care of three dogs for the owner when
she did find one.
pREGORY PECK, owned by four
'companies, and William Prince, now
a Warners star, used to meet at a
Broadway drugstore for a cup of coffee
and a roll in the lean Broadway days.
Peck's salary now is in four figures. In
the old days Mrs. Peck and Mrs. Prince
used to whip up little suppers in their
2-by-4 New York kitchenettes. The two
families get together of Sunday nights
now in Hollywood. They're both expect-
ing heirs. The Prince chap is due in July.
The other newcomer, already known as
Peck's bad boy, will be here in August.
Both actor's have mountain-top homes
with terraced gardens and a view fa-
mous the world over — clear to Catalina.
Such stories happen most often in Holly-
wood, where rags-to-riches tales are a
dime a dozen.
BABIES are the fashion nowadays all
over America. And many of our top
stars have had children this year, or are
expecting. They can give the country a
lesson in dressing for the event. Butcher-
boy coats of taffeta or glazed chintz
are the most popular garb. Maureen
O'Hara's are developed mostly in pale
blues. Over them she wears sports top-
coats— in pale blue wool tweeds or soft
surfaced materials — hung about her
shoulders like a cape with the sleeves
dangling. Maureen doesn't make any
fuss about having her first: "My mother
had six, as easy as that," she told me,
snapping her fingers by way of illustra-
Reading from top, right, the twosome,
Marguerite Chapman and Capt. Stan-
ley Pearson from Philadelphia, be-
come a foursome when Bob Ritchie
and Catherine Booth join their table .
at the Mocambo; Red Skelton at the f
Hollywood Canteen tried a G. I. cap
on for size and it fit! He's scheduled
to be inducted. Lou Costello and
wife attend a preview at Pantages — -
Hollywood; June Lang has a big
smile for her husband, Lt. William
Morgan, at the Hollywood Canteen.
tion. "So I tell Will not to fuss over me
or worry about me. Why should I be
any different from my mother?"
ONE shot of Virginia Mayo, leaning
against the mast of a boat gazing
up at the moon, in "Jack London,"
bowled movie audiences over completely.
Won her the lead in "Sylvester the
Great" opposite Bob Hope. Nothing
like her has been spotted on the screen
since Lucille Ball knocked the fans for
a loop with her glamor. Being Bob
Hope's lead is the slickest thing that can
happen to a girl in this town. She'll have
to deliver, though. She steps into the
place occupied by Dorothy Lamour — a
gal who has plenty, both in beauty and
talent. Before Virginia was a Goldwyn
Girl in "Up In Arms," she twinkled bright-
ly in Billy Rose's "Diamond Horseshoe."
/BARMEN MIRANDA must be- des-
^ perate about costumes for her next.
She's done about everything — wooden
chopping bowls, full of fruit, for hats;
turbans trimmed with all-day suckers,
and so on. Recently she ordered a salad
at one of our smart lunch joints. When
it came, Carmen eyed it, said: "That I
cannot eat. That I really should wear!"
THE HITLER GANG
Here they are— enemies of civiliza-
tion^— as presented in Paramount's
outstanding new film, a precise his-
tory of ego-maniacs, stepping on one
another's necks to achieve their sepa-
rate infamous goals. See this picture
and know exactly what we arefighting!
Hitler [a remarkable portrayal by
V
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SCREENLAND
59
F-
Hail Hodiak!
Continued from page 33
thermore, he's a thoroughly nice person,
honest, direct and sincere. He's straight-
forward, and I have a feeling that he is
not surface, if you know what I mean,
but fine and good all the way through,
and somehow, earthy. He's a wonderful
actor, very sensitive, with great depth.
\ ou know — there's a sense of excitement,
of being part of a living drama, in being
around someone who today is on the
threshold, but who next week or next
month will be a great star. It's like being
present at the birth of a great discovery
— like the first rumor of gold in the
Klondike."
Yes, Hollywood has gone Hodiak, and
the glamor girls have bestowed a new
sexsational crown. On you, Mr. Hodiak,
it looks good. In a word, lassies, some-
thing new has been added to the silver
screen. New is the word for it, because
Hodiak reminds you of no one but
Hodiak. He neither looks nor acts like
any other star. Tall, tanned and terrific,
he has only one danger and that is being
typed as tall, tanned and terrific. There
is a ruthless, almost brutal, quality to
his love scenes, a power and intensity
smoldering in his eyes, that is keyed to
the tempo of the times. He throws down
a challenge that is for Women Only, a
challenge that Miss America has lost no
time in picking up. Yet he is such a fine
actor, so much the rugged he-man, that
Mr. America, too, is watching him with
envious admiration.
We needed Hodiak, just like we need-
ed to get away from superficial drawing
room comedy starring the sophisticated
man-about-town. Right now, when the
whole world is up against grim reality,
we haven't a place for surface polish.
Hodiak is the marine at Bougainville,
the riveter in the defense plant, the oil
driller in the oil fields, the fighter, the
worker. Born of parents who were of
the laboring classes, bred in the confines
of the foreign settlement in the suburbs
of Detroit, John Hodiak is earthbound
by heritage and environment. It is by
no accident that he typifies the rugged
masculinity, the power and strength that
is the mark of men at war.
Strange as it seems, romantic John
Hodiak is not head over heels in ro-
mance. Not only is he not married, but
he says — rather wistfully it seemed —
that he has never really been in love.
Oh, yes — in high school, the usual kid
stuff, but not the moment supreme. "1
just haven't met hef — the right girl,"
says John. "But I expect to. And then
I want a real home, not just an apart-
ment like I have now. I love children.
I'd like to have a big family."
He probably won't marry an actress.
He doesn't seem to be so much of the
party crowd in Hollywood. His friends,
more often than not, are non-profession-
al. Or, if they are professional, they are
not actors. Watson Webb, a cutter at
Twentieth Century-Fox, is a good friend.
He also has a number of friends who
were on radio when he was broadcasting,
too, and whose friendship he has kept
through good times and bad. Because
his leisure hours are not spent at Holly-
wood parties, or escorting this glamor
girl or that one to night clubs for benefit
of the press section, he is thrown in more
with just average girls, much the same
as the man next door.
He also likes quiet good times; he likes
to sit around with a group of congenial
people and have good, solid discussions.
He likes to race to the top of a building
to see a sunset. He isn't the hey-hey
jitterbug, neither is he the night club
man-about-town. The law of averages
being what it is, the chances are, then,
that he'll meet The Right Girl in quite
the ordinary way. He may bump into
her at the corner mail box. He may meet
her at a friend's house. Because he hon-
estly isn't yet aware that he's a star, he
goes about meeting girls and dating them
just like any other attractive man. Miss
America may be glad to know that never
in the history of movieland has anyone
arrived in Hollywood so thoroughly un-
attached!
Not since Clark Gable stepped into
the limelight 'way-back-when has a new-
comer been so widely discussed. At
Grauman's Chinese Theater, where "Life-
boat" made its debut, there were whis-
pers about Hodiak. "He's terrific! Who
is he? Where did he come from?" And,
soon, at Hollywood parties you were not
in the know unless you were discussing
John Hodiak. At the Vine Street Brown
Derby, where careers are made and brok-
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en, the whispers grew into applause, but
the mystery remained. After all, who
WAS John Hodiak? Who was this man
whose fourth picture was opposite the
fabulous Tallulah Bankhead, whose fifth
was the lead opposite glamor-queen Lana
Turner?
When Walter and Ann Pogorzelliec
Hodiak, Ukrainian immigrants, watched
the first stage appearance as choir boy
in the local parish of their eleven-year-
old son, John, little did they know he
had looked into the future and written
in his mind and heart: Destination Hol-
lywood. For that's as long as Hodiak
has known that some day, some way, he
would come to Hollywood.
If it had been known, only father
Hodiak, factory worker and himself a
talented amateur actor, would have ap-
proved, because he had the soul of an
adventurer. But mother Hodiak — prac-
tical person that she was and typical of
the old country — would have most thor-
oughly disapproved.
For . . . "In Hamtramck, the suburb
of Detroit where we lived," explains
John, "the Ukrainian quarter was a
world apart. Wherever there is the for-
eign element, the laboring class predom-
inates. Unless you have a college edu-
cation, it is taken for granted that you
will be a laborer all your life like those
before you. You not only respect your
parents, but you follow in their footsteps.
And for a Ukrainian boy to break the
pattern is as unprecedented as if a genii
should appear on a magic carpet."
John would have you believe that his
story is not dramatic. He has had no
struggle with hunger and death stalking
his footsteps. And yet life and death
struggles are more of melodrama than
of drama. A quiet, determined, inward
struggle, an inward, spiritual triumph
can be more exacting, even more exciting.
And - of such drama was John Hodiak's
life spun.
For at every turn, as long as he can
remember, he was always breaking the
pattern to which he was born. He was
always making decisions that had not
been made before in his family. He was
always doing things that marked him as
strange and odd and not of the same
mold as his people.
Even in high school, he was not of a
pattern. At fourteen he wanted to study
for the priesthood. When he became ac-
tive in sports and representatives from
big league baseball teams asked if he
would like to play professional baseball,
he almost joined the St. Louis Cardinals.
Then Governor Brucker of Michigan
wanted to arrange an appointment at
West Point. He was tempted. But when
he won a scholarship in dramatics to
Northwestern University, he was glad
he waited. He hadn't forgotten Holly-
wood. He knew he had to work, to gain
experience, and he thought the scholar-
ship was the first step on the ladder.
Then came the Great Depression, and
colleges could not afford scholarships
Like hundreds of other young graduates,
John Hodiak found himself looking for
a job, any kind of a job. Brilliance was
penny - cheap. College professors were
digging ditches. Men with brains, even
with genius, were a dime a dozen. John
Hodiak thought he was lucky the day he
got a job as caddy on a golf course.
As it turned out, it was a lucky day.
For he started to caddy for the budget
director of the Chevrolet Motor Com-
pany, who eventually got John a job in
the central office. This was something
substantial. This was getting into "busi-
ness." Once again he had broken the
pattern, for this wasn't quite like just
anybody getting an office job. No, be-
cause where John came from, almost
everyone was a laborer and proud of it.
John didn't even know anyone who
wasn't a factory worker. For him to step
out and become a white collar worker
was a great achievement. John's mother
was very proud of him. The whole set-
tlement was proud of him. So far as
they could see, he had gone as far as it
was possible to go.
He used to walk down the streets.
People would point him out. Young,
sincere, industrious, for four years he
worked at Chevrolet. He had a steady
salary coming in, not subject to slack
seasons in production. He had a job
where he didn't get dirty. But although
he was the envy of all his neighbors, this
was not the alpha and omega of life for
John. He dreamed greater dreams than
a life as a white collar worker; there
were greater pinnacles than a job where
he didn't get dirty.
Those dreams led him to an amateur
audition on a local radio station. He
won the audition and was offered a staff
job as an actor on the "Lone Ranger"
program over station WXYZ. When he
accepted the job at half the salary he
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was making and left the good, steady
white collar job at Chevrolet, all the
people he knew, his mother, everyone
but his father, were bitterly opposed to
the change. It was revolutionary enough
for John not to have been a factory
worker, to have been an office worker
instead. But, radio! It smacked of car-
nivals and gypsies.
John may have gone to work for
WXYZ at half of what he was making
at Chevrolet, but the time came when
WXYZ doubled and tripled his salary
to get him to stay. But John had been
to Chicago. "Casing the town," he grins.
Four and a half years ago the "Lone
Ranger" was at the height of its popu-
larity. The program was receiving na-
tionwide publicity, John Hodiak along
with it. He felt it was the time to cash
in on the fanfare. He gave his notice,
and then he told his mother. "Mom,"
said John, "I'm going to Chicago."
He might as well have said, "Mom.
I'm going to Mars." For Mom simply
didn't understand. "Among our people,"
explains John, "kids just don't pick up
and leave. They are born, live, grow old
and die all within the foreign settlement.
Again I had to go against Mom's wishes.
But Pop, perhaps wishing for me what
he had never had, understood and said,
'O. K., son, if that's what you want.' "
So John went to Chicago with $40 in
his pocket and a lot of faith and con-
fidence. He kept telling himself that he
was right. He knew he had to get out
of Detroit because he had been playing
too many gravel-throated heavies. He
wanted to play juveniles and leading
men, even character parts. In Detroit
he was typed forever as a villain. His
faith in himself zoomed when he got a
job on the "Scattergood Baines" pro-
gram his very first day in Chicago.
That night he went to a movie. On
the way home, it seemed as if someone
were guiding him. Every turn he made
he felt was the right turn. It was an odd
path that he took to his hotel — rather
a long way 'round, and not the most
direct route. John thought it was sym-
bolical. Nothing he did that happy first
day in Chicago could be wrong.
Hodiak never starved nor encountered
real hardship, but for a long time he had
a tough deal in Chicago. "You see," says
John, "in radio business you have to
sit in lobbies and practically trip pro-
ducers in an effort to see them. You
have to humble yourself to get a job.
It's easier if you can say, 'I'm in "Scat-
tergood Baines." Listen in, and if you
have anything down my alley, call me.'
But I didn't go to see the .producers
while I was on the air. I made the mis-
take of waiting until I was out of work. ,
Then I went on the rounds. I found it
was harder just to go in and say, 'I'm
John Hodiak.' They didn't know who
Hodiak was, and they didn't care. I had
to call again and again.
"Six weeks went by. I had no money
from my family, naturally. My hotel
bill was mounting. I was so down that
I decided I was going home for Thanks-
giving, to stay. And then something
strange happened. I had been to the
movies many times since that first night
in Chicago, but I had always come home
by the most direct route. After being
(i->
Scree nland
out of work going on eight weeks, I was
discouraged and blue. I went to the
movies, and that night, almost as if I
were being led, I found myself going
back to the hotel by the path I had
traced when my luck was good. All at
once, I felt a strong identity with that
first night in Chicago. I felt if I had
been good then, I was good now. I felt
almost as if someone were tapping me
on the shoulder, helping me to make the
right turns — the right decisions — not
just toward home, but toward my future.
Superstitious? Perhaps. But when I
went to bed that night, I wasn't worried
any more. The next morning they called
me to tell me I was to play the role of
Lil Abner on the air." John created that
role over NBC, and it was a record-
breaking success. He went home for
Thanksgiving in grand style.
For three years he played Lil Abner,
and then he realized it had happened
again. Just as he had been typed as a
heavy in Detroit, he was typed as a
Lil Abner in Chicago. "Radio," says
John, "is that way." He began to cast
his eyes toward Hollywood.
But he didn't worry about it. You
see, he knew it would come. He knew
that some day he'd wind up in Holly-
wood. It was the "how" of it that he
didn't know. He and Robert Bailey —
friend and fellow radio actor, who is with
Twentieth Century - Fox now and still
John's best friend — used to spin dreams.
One night, two years ago, they sat up
in Bob's room and discussed radio. The
war was taking its toll in business as well
as lives. Because of priorities, there was
not enough of products to warrant ad-
vertising them. One by one the shows
left the air. Bob and John talked it all
out, looked at each other and said:
"Let's go to Hollywood." This wasn't
conceit. After all, they had both been
approached many times by talent scouts.
"We decided that I should go to New-
York for four days, see the talent scouts,
and find out what kind of an offer they
would make. I went, and again I heard
the same old gag, 'We'll test you some
day.' But nothing substantial was of-
fered. I went back to Chicago, my mind
made up anyway: Hollywood, here I
come!
"But back in Chicago, bags all packed,
I received a wire from Metro. It said,
'Don't make any plans. We have some
scouts coming through. We think we
have a contract for you.' It was the first
time anything had been said that was
definite. Bob and I had planned to drive
out together, but this wire changed
things. I said, 'Look, Bob, they're paying
expenses to New York for this test. I
could go to Hollywood with you, but I'm
going to New York.' And Bob was a
good enough friend to go on to Holly-
wood without me and no hard feelings.
"I went into New York. After I was
tested, I was advised by Metro that
transportation — in other words, my
ticket and money — were on the way.
They asked, 'Can you leave right away?'
I said, 'Can I have a month?'
"I took a month and drove out. I left
Chicago early in. the morning. I turned
on the news broadcast and it said the
thirty-five-mile speed limit had gone into
effect that day. So I took it easy and
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saw the country. I hit California, and
the first thing I saw was the sunshine.
It was in October and bitter-cold in Chi-
cago, and I'll never forget the marvel
of warmth and sunshine in October!
"I stayed the first few weeks with Bob
and his wife and baby, who had preced-
ed me to Hollywood. And then — in spite
of the housing shortage — luck was with
me. I was driving down the street one
day and saw the landlady put out a sign,
and I went in and rented me an apart-
ment."
Luck touched John Hodiak again,
when after a couple of roles at M-G-M,
he walked into the part of the year in
"Lifeboat." This is how it happened:
Canada Lee, the negro actor, is in that
picture, too. While in New York, Hodiak
had made a test with Canada. Metro
signed John, and the test was shelved.
Alfred Hitchcock, over at Twentieth
Century-Fox, started casting for "Life-
boat." He was looking for a negro actor,
and he had seen the test of Canada Lee,
but Kenneth Macgowan hadn't. They
sent over to M-G-M for the test, saw it
and said, "Fine! Canada Lee is o.k. Now
we have everyone but an actor to play
the role of Kovak." Bob Palmer, casting
director for Twentieth Century - Fox,
said, ' "You're looking at Kovak now."
They looked again, saw John Hodiak
and gave him the part.
It was John's big chance, and he knew
it. There he was — a newcomer — playing
in one of the biggest pictures of the year.
What happened is Hollywood history
now. Hodiak was terrific. He was so
terrific that long before the picture was
released, via Hollywood grapevine, the
news was all over his home studio. People
were saying, "If Hitchcock likes him,
he must be good."
One morning John picked up the pa-
pers to read that his next picture would
be with Lana Turner. In flippant word-
age he read: "Hodiak all set to go as
Lana's heart menace in 'Marriage Is A
Private Affair.' " Shortly after that, he
found out through regular studio chan-
nels that it was true.
Scheduled to burn up the screen with
Metro's foremost glamor girl and the
dream of Everyman, John Hodiak met
her for the first time before the wardrobe
tests were made. She was even more
breathtaking than her pictures. He took
a look at himself in the mirror after that
meeting, and said John Hodiak to John
Hodiak: "Lucky you!"
And it is lucky you, John Hodiak!
You, who Alfred Hitchcock would like
to take back to England with him when
the war is over. You, who may use your
fluent Russian to make goodwill pictures
later on. You, who have dreams of a
farm for your parents, and a fishing lodge
some day for yourself. But it isn't all
luck.
As a famous director once said: "If
you could get a man who looked every
inch a man so he would appeal to men,
but also tall and dark with a Women
Only look; if you could get a man whose
voice suggested what his eyes were say-
ing, and yet who was as tough as a prize
fighter; and if to top it all the man could
act with imagination and depth, you'd
have something!"
And here he is.
64
SCREENLAND
Explaining "K. T."
Continued from page 26
with her, but her mother certainly did not.
"Life became a long series of family
arguments," recalled K. T. "I felt that
youth was the time for me to get acting
experience. Mother not only wanted me
to finish my education but she urged
that the life of an actress was heart-
break, nothing but discouragements, dis-
appointments, tears. She wouldn't give in.
"We never quarreled in our family, so
that was a trying time. I couldn't give
in, either. Dad sympathized with me,
but naturally he knew Mother was right
about the heartbreaks.
"I had saved up some money, and
presently I decided to take a course in
a local little theater and moved over to
my sister's house. She was married and
her husband was also on my side. It was
dreadful. Dad couldn't work, Mother
cried her eyes out. But eventually things
settled down. I had a term at each of
two little theater schools here and then
went on to Poughkeepsie, New York, to
the Reginald Goode Stock Company."
All students at this stock company
paid tuition, but all parts in each play
were done by the students, with no guest
stars. K. T. — or Gloria, as she was then
— played leads for three months.
"I was pretty terrible," confessed the
young actress. "Mr. Goode belonged to
the David Belasco school of acting; he
believed in berating actors, ridiculing
them, using the sharpest kind of criti-
cism. He never let anyone talk back or
try to explain. You paid him to teaeh
you to act — if you didn't want his ad-
vice, go home! I thought he wanted us
to over-play and hated that. I used
to stand on the stage with my hands
clenched so tightly my fingernails bit into
my palms. I wouldn't answer back, but
I could hardly bear it. I kept telling
myself that I was there to learn, and this
was one school of acting. I'd take what
was valuable from it and forget the rest.
"Our last play was the 'Ghost Train.'
I played Julia, the dope fiend, and had
a wonderful hysterical scene, but when
we began to rehearse I couldn't cry. I
tried over and over. No tears. The more
I went over it, the worse I got. Mr.
Goode came down from the balcony from
which he directed — we played in a re-
modeled barn — and marched up to me.
'So you can't cry!' he said. He drew
back his arm and gave me a fearful slap
in the face. I cried then — I couldn't
stop crying.
" 'Now go into your scene!' he direct-
ed. I had to repeat my hysterics so
often I finally collapsed in a heap on
the stage. When the boys ran to pick
me up, Mr. Goode said: 'No — just leave
her there!'
"Fortunately for me, that was my last
play in Poughkeepsie. I'd learned a good
deal even though I don't believe in that
sort of directing. Dad's my idea of a
director, you see. He's always quiet and
calm. He explains the feeling of a scene,
lets you do it your way, then tells you
where you're wrong."
And so to New York, where Sam
Wood's daughter had a number of letters
ttWas our Marriage a Mistake?"
I. Like so many wartime marriages, ours had been sudden ... on the spur of the moment. At
first our happiness was dreamlike. But now Ed was becoming so indifferent, so cold. Puzzled
and heartsick, I began to wonder if we had rushed in too blindly . . .
2. One day, Mrs. S. . . . my next door neigh-
bor . . . came over for a chat and found me in
tears. Desperately, I told her the whole story.
"Why, child,'' she said, "perhaps you're at
fault . . . There's one neglect . . ." And then she
told me how a wife can lose her husband's love
through carelessness about feminine hygiene.
3. "Why don't you do as my doctor ad-
vises?" she said. "Use Lysol solution for femi-
nine hygiene." She explained how it cleanses
thoroughly and deodorizes . . . doesn't harm
sensitive vaginal tissues. "Just follow the di-
rections," she added. "It's so easy — thousands
of modern wives use Lysol."
4. I'm sore now that our marriage wasn't a
mistake! Thanks to dear Mrs. S., I use Lysol
disinfectant regularly and find it wonderfully
effective. Just as she said, it is easy to use . . .
and so inexpensive, too!
Check this
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Spreading — Lysol solutions spread and
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SCREENLAND
65
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EVERY WAR BONO YOU BUY-SHORTENS THE WAR!
S GREENLAND
to producers of Broadway plays. The
letters were remarkable because they
proved instant keys to producers' offices.
Young Gloria Wood was greeted cor-
dially by all the Big Names. "How's
Sam?" "How's Clara?" "How's Holly-
wood?" "And so you think you'd like
to be an actress! Well, well, we'll have
to see what we can do."
All the visits were like that, pats on
the arms, beaming smiles, and those
promises to "see." Visibility must have
been low, for not one producer actually
"saw."
"They didn't think I was serious,"
said K. T. "Being Dad's daughter was
a drawback, so I decided to change my
name, and get an agent. I became Kath-
arine Stevens — two a's, probably the
Hepburn influence! — and my agent sent
me down to audition for the ingenue
lead in 'You Can't Take It With You.'
No one knew who Katharine Stevens
was, and I was thrilled when they called
me to say I had the part.
"It was a George Kaufman show, and
Mr. Kaufman was one of the men who
had had a letter from Dad. He wasn't
at the rehearsals until the fourth day.
When he saw me he couldn't believe it.
" 'How did you get here?' he asked.
When I told him, he laughed and said:
'Tell your father I gave you the part!'
" 'I will not,' I replied. 'If it had been
left to you, I'd never be an actress!' "
Katharine was shortened to Katie and
wound up as K. T. K. T. Stevens is now
her legal name.
She was in the company "on the road."
Beds might be lumpy, hotels might be
poor, dressing rooms unheated and food
not up to standard, but it was all mar-
velous to K. T.
Her Broadway debut was in "The
Land Is Bright." She was Eileen in the
Chicago company of "My Sister Eileen"
and the daughter in Alexander Woollcott
version of "The Man Who Came to
Dinner."
It was while she was in Hollywood
between engagements that the director
of "St. Joan" arrived to find an actress
to play the leading role in Tucson's civic
venture. Her agent sent her to read
'for him.
"I had no idea what I was to read
when I went in. He gave me two long
speeches from the play, one of them the
speech they call 'The Bells.' I read them
at sight, he thanked me politely and I
came away thinking I'd been very bad.
I was thunderstruck when the telegram
came saying I had the role if I wanted it.
"We had been in rehearsal for two
weeks when he asked me if I cared to
know why I was chosen. He had audi-
tioned a number of young actresses in
Hollywood, some of them a lot better
known than I. It seemed that he had
decided to cast the part with whoever
read the 'Bells' speech and made shivers
go up his spine. I did."
Mr. Wood gave his daughter her first
grown-up screen role. When she was five,
she'd played opposite Jackie Coogan in
"Peck's Bad Boy"; she made her next
appearance some fifteen years later as
one of Ginger Rogers' roommates in
"Kitty Foyle."
Director William Wellman guided her
in the part of the reporter in "The Great
Man's Lady" and taught her more about
her chosen profession.
She has an insatiable appetite for
knowledge. She'd like to explore every
cranny of the acting profession. She's
worked in radio — one summer she had
parts in five "soap operas," including
the Philip Morris show, and she's filled
guest spot with Charles Boyer.
"Florence Enright is my coach," she.
told me, eagerly. "I think she's wonder-
ful. She never becomes dogmatic, never
has that my - way -is- right, what's the
matter with you? attitude. She's calm,
like Dad. Funny thing is that when 1
do a scene for Dad that I've done for
her, I find they say exactly the same
things!"
David Selznick signed K. T. to a con-
tract, but as he wasn't in production
for months he had nothing for her, and
after an interval of those heartbreaks
her mother had predicted, she obtained
her release.
Now she's signed with Columbia Stu-
dios, where she's just finished "Address
Unknown." She was so wild about her
role in this picture that you'd find her
on the set even on her day off. Sam
Wood was on the set, too, whenever he
had a moment to spare. It's his pro-
duction, although K. T. managed to get
her part before he knew she was after it.
"People wonder why I'm not nervous
when Dad's watching me," she smiled,
"but he gives me confidence. I believe
in him, and when he tells me I'm im-
proving it gives me a lift. If he has a
criticism, I know he's right. He thinks
I'm getting relaxed at last!"
Next to acting, K. T.'s favorite occu-
pation is cooking. She went into the
culinary art headlong, as she goes into
whatever engages her attention. She'd
never been intimate with a stove until
the first day she entered cooking class
at high school. After that, every time
she looked at a mouthful of food she
wondered what was in it.
The family cook- let her experiment in
the Wood kitchen and even washed the
dishes. One day, the daughter of the
house took a slice of bread and gave it
her How-do-they-make-this? once over.
Mrs. Wood recognized the expression.
"Oh darling — nobody makes br^ad!"
But before the family could get its col-
lective breath K. T. was deep in yeast
and shortening. The bread was delicious.
Today the young actress does all her
own cooking in her New York apartment
nd at the beach house in California
nven her by her proud father.
K. T. is fair-haired, dark-eyed,' tall and
slim. Her hair has a habit of falling into
her eyes when she's excited and tosses
her head, her eyes narrow into laughter
as her lips tilt at the corners with unique
effect — so that then she looks like a
glamorous billiken, if you follow me.
She's in love. In fact, she's engaged
to a young man now fighting in the
South Seas. When he comes home this
summer, they expect to marry. They've
talked it over many times, but K. T.
thought it wasn't fair to get married
while she was struggling twenty-three
hours out of twenty-four with her career.
"Marriage isn't a thing you can put
second," she observed, earnestly. "When
I go into it, it comes first!"
Are You
in the Know?
In writing your soldier, do you —
I I Rave about your dates
I I Tell him your troubles
"Talk" to him as you always did
he doing ?
ing with dolls
Studying Fashion Design
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SCREENLAND
67
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SCREENLAND
Her Hectic Life
With
a Movie Menace
Continued from page 23
in a soldier's tent, twenty miles from
Cassino. He'd chin with the boys near
the front all night long — after a wearing
day of visiting hospitals and giving
shows."
Bogie is the first to tell you that he's
nuts about his mother-in-law. Buffy used
to be a newspaper woman in Oregon,
and she and Bogie swap stories by the
hour. "Things are even more hectic in
our home when Buffy is visiting us,"
says Mayo. "She and Bogie break them-
selves up laughing at each other's corny
jokes. When we arrived from overseas
recently she sent him a wire written in
Arabic — where she picked up Arabic I'm
sure I don't know. We were a little
afraid to have it translated, but when
we did, it said, 'Greetings and love to
my son.' A simple, austere 'Welcome
home' in English was all I got!"
Mayo hasn't been married to a movie
menace for six years without catching
on to tricks. There was the snood trick.
She worked it beautifully. When she was
getting ready to go overseas with Bogie
she consulted with Frances Langford
about the hair problems. "The only way
to get your hair done," Frances told her,
"is to do it yourself. Most places in
Africa you find only a trickle of water,
hardly enough to give it a good rinsing.
The best thing is to wear a snood." Well,
it seems that the thing Bogie most hates
in all the world is a snood. When Mayo
bought a flock of them at Saks he hit
the ceiling, and swore he wouldn't be
seen with a woman who wore a snood.
So Mayo just said, "Skip it," and tucked
them away in a corner of a bag. One
night in Italy when Bogie wanted to get
out with the boys she told him that he
just had to help her with her hair. After
he had fussed with the soap, and the
water, and the towels, and the curlers,
he suddenly asked, "Whatever happened
to those snoods?" Mayo dragged them
out immediately and Bogie cheerfully
said, "I was wrong, dear. They look very
pretty on you. Why don't you wear
them the rest of the trip? Then you
won't have to worry about your hair."
"But as soon as we got home," Mayo
said sadly, "he nearly had a fit when I
put a snood on to go to the movies. He
said he never wanted to see me in a
snood again."
It came hard at first with Mayo —
who as Mayo Methot was a top-drawer
actress on Broadway, and later in Hol-
lywood— when she saw Bogie taking all
the bows. It comes hard with every
woman, whether she has been an actress
or not. But Mayo has worked out a
system. There was the day that Bogie
wanted to try out a Great Experiment
with steaks. Naturally it was in the good
old days when you could get steaks. He
had bought a special kind of broiler for
the barbecue in the yard, and he had
invited a couple of guests for dinner.
Mayo's job was to get the steaks ready.
She had to buy a special kind of coke.
The butcher had to be instructed to cut
the steaks just so. She had to buy a stop-
watch as Bogie insisted they could be
cooked so long, and not a fraction of a
second longer. She had to make a special
kind of sauce — and she had to drive into
the Farmers Market to get the special
ingredients.
The guests arrived and while Bogie pre-
pared the cocktails, and rapturously de-
scribed the gustatory pleasures to come,
Mayo sweated over the hot fire. Finally
the stage was all set for the Great Ex-
periment. Mayo dipped the steaks in
the sauce and was about to drop them
on the broiler when Bogie made his en-
trance. He took over for the last two
minutes. And he took all the bows.
"I was pretty mad with Bogie taking
the bows," said Mayo, "after I had run
myself ragged since eight o'clock that
morning getting everything prepared. I
was just about to let him have it in one
syllable words when I took a look at his
puss. He was in seventh heaven. He was
enjoying himself to the fullest. I simply
didn't have the heart to spoil his fun."
Mayo is a modest soul and insists that
she would never have had the wonderful
and thrilling experience of going overseas
to entertain the boys if it hadn't been
that she was Bogie's wife. "And I
wouldn't have missed it for anything in
the world," she says. "I'm so very grate-
ful that I had the chance to help out
just a little. The boys adored Bogie.
One night he found a shell-shocked boy
lying on his stomach and crying his
heart out. Bogie sat beside him all night,
talking to him like a big brother. When
the boy finally went to sleep he was
clinging to Bogie's sleeve."
With Don Cummings as their m. c,
and Ralph Hark as their accordion play-
er ("There never were two nicer guys,"
says Bogie) , the Bogarts traveled over
50,000 miles and spent seven weeks be-
hind (but not very far behind) the lines
in Italy and North Africa. The trip was
made entirely by plane, and Mayo is
scared to death of planes. Bogie's favor-
ite story on her is that when they board-
ed the plane in an Eastern airport and
Mayo nervously turned to the pilot and
said, "Are you sure you have enough
gas?"
"In Italy," says Mayo, "I lost the last
vestiges of glamor. It was bitter cold. _
The sheer, silk nightgowns and undies N
I had brought along hardly seemed ap-
propriate. When I found myself turning
blue I decided it was .high time to do
something about it. Bogie and I visited
the nearest PX and bought the heaviest,
wooliest union suits we could find. 'Well,
here goes romance,' I said as I slipped
into my zoot suit with the drop seat.
Bogie and I were sort of embarrassed at
first, and then we broke out in peals of
laughter. 'Alley oop,' he shouted, and we
went into an acrobatic tumbling act. It
was a little upsetting to the bed and
other furniture."
The biggest thrill of the trip was fly-
ing over New York City, the night they
returned from overseas. "Seven weeks
we had flown in utter darkness — and
then, suddenly, to see millions of lights!
I was so thrilled by it I started crying.
Bogie held my hand tight — and I think
cried a bit, too."
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SCREENLAND
69
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Summer rolls 'round and Stocking Stick, by
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70
S GREENLAND
Everybody Insults Me!
Continued from page 36
beard marks me as big game, I'm afraid.
These movie cranks are not to be con-
fused with movie fans. I enjoy chatting
with movie fans, particularly the boys
in uniform. And the girls, too. There
was one brush with the armed force*
I'd just as soon forget. It started when
a buck private insisted on buying me a
drink. "Thanks, son, but I don't feei
like a drink at the moment."
'"Wait a minute, Monty," pleaded the
soldier. "I came to Hollywood all the
way from Oregon on a three-day pass for
two things, and one of them is to buy
a drink for a movie star."
"And the other?"
"To dance with a Pin-Up Girl at the
Hollywood Canteen — and I've already
done that. What do you say? Just one."
Bather than disappoint the boy, I
agreed. One beer and he could return
happily to camp. Hardly had I placed
glass to lips when I was confronted with
two of his buddies equally eager for the
doubtful honor of buying me another
beer. I succumbed. To my horror three
sailors at my right demanded to know,
"What's the matter with the Navy?"
Down the hatch went the Navy's con-
tribution. By this time I was beginning
to bulge. Politely, but firmly, I made my
excuses and left. Barely had I reached
the door when four marines recognized
me.- "It's Monty WTOolley," they shout-
ed, slapping my back and pumping my
hands. "Come on, fellas, let's buy him
a drink!"
Picking on Monty has always been a
popular pastime. My introduction to
Hollywood was in "Live, Love and
Learn" with Bobert Montgomery and
Bosalind Bussell. The director took one
look at me and said, "You're just the
man we're looking for. You've got the
poise and dignity that'll make something
of this part." Priming myself for the
performance of my career, I strode ma-
jestically through a door as directed
There I was greeted by the contents of a
large water pitcher poised overhead.
Then came the role of Sheridan White-
side in the Broadway production of the
Kaufman-Hart play, "The Man Who
Came To Dinner." Whiteside! Now
there was a man who was the last
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Hollywood, Here He Comes!
Continued from page 43
munique is to allow you to have the
privilege of meeting the man prior to
his first screen appearance. You'll be
hearing a lot about him but this is the
complete inside lowdown from the time
he first opened his eyes in New York
City until he first opens his mouth
in Take 1, Columbia Production No.
745CA.
"I was born October 7, 1914, in the
Bronx, N. Y.," Drake said, stretching
out in a comfortable armchair in his
apartment. "Soon after that we moved
to Brooklyn where my father ran a res-
taurant around the corner to three thea-
ters. Because of this proximity the
managers were always throwing their
parties at our place and when they ran
short of money for the bills, they gave
us all season passes. See what I mean?"
He meant that from the age of five
on, young Master Alfred Capurro (his
real name) was an habitue of the thea-
ter. Devotee that he was, he had no
thought of the stage for himself, even
if, in P. S. 26, he played John Alien to
a Priscilla whose everyday name was
Evelyn but whose cute face he remem-
bers to this day. At graduation he read
the Salute To The Flag. He was merely
an ordinary student but a predilection
for words like "predilection" enabled
him to pass himself off as a smart kid.
Alfred and his older brother, Arthur,
went on to Boys' High in Brooklyn. Our
boy majored in languages — French and
Spanish, and in his last year paid heed
to his elocution teacher who advised that
he try out for the semi-annual declama-
tions. It won Alfred the gold medal. He
sang in the glee club, too, but it didn't
work out and he quit.
"My mother sang in the church choir,"
he says, "and after Arthur had followed
suit I tried my vocal chords at it. It
paid a little and helped me through
Brooklyn College."
At vacation time he applied for a job
in the chorus of "The Great Waltz." For
several days the neophyte chorus wasn't
busy and that was when Alfred learned
contract bridge. He liked the game so
well that he devoted himself to it so
exclusively that on the seyenth day,
when he still couldn't do the waltz steps,
he was prevailed upon to leave the cast,
His next was a soap opera with music
for a candy mint firm. It really was so
bad, it fell apart after seven weeks.
"During my junior year," Drake says,
"I landed a job with the Adelphi Gilbert
& Sullivan outfit as a member of the
chorus and understudy to four of the
leads. But would they get sick? The
comedy lead, whose part I coveted most
of all, fell down the stairs, wrenched his
back and simultaneously caught a bad
cold — but did he stay home? No!"
After nine weeks spent mostly dream-
ing of hundreds of wires stretched across
stairs and the possibility of injecting
cold germs into the comedy lead's choco-
late bars, he returned to college.
"It was a family superstition," says
Mr. D., "that I would end up as an Eng-
7-2
SCREENLAND
lish Lit. teacher. My idea of a real
teacher is the man who taught me all I
know of Shakespeare, Professor Bernard
Grebanier. But really fine teachers such
as he are few and far between and I
knew I wasn't made that way. I admit
that I purposely left out two courses
essential to passing the teacher's exam-
ination. I'm afraid I swindled the fam-
ily a little bit but. though I was fearful,
I wanted to break into the theatrical
game."
"White Horse Inn." a super-colossal
bit of pageantry being . cast at New
York's Center Theater, appealed to him
and he applied for a chorus job. There
were so many applicants that the direc-
tor simply lined them up and let all of
those under six feet out before he even
auditioned the remaining six-footers. Un-
fortunately, most of the tall fellows
couldn't sing and so fellows a little
shorter, such as Alfred, were called back.
"William Gaxton, the lead, was late
one day," Alfred says, "and the director
asked me to read his part. He liked the
way I handled it well enough to make
me Gaxton's understudy. I contracted
strep throat and was out for 11 days.
I hadn't been back in the show two
days before Gaxton was taken ill —
and I hadn't slipped anything into his
chocolate bars, either! We were playing
to packed houses during the Christmas
season, I was still weak and every show
tired me. The evening Gaxton didn't
appear I happened to have overslept and
was almost late in getting to the theater.
''The manager was standing out in the
cold alley. He wanted to know where in
(excessive profanity) I'd been, I was
due on-stage in Gaxton's part in ten
minutes. Now, because I'd been ill, I
hadn't had a chance to learn his part en-
tirely— / still didn't know the third act!
That, my friend, I learned between the
first and second acts- — luckily it was a
short one. ,
"Kitty Carlisle, the show's leading
lady, helped me tremendously and the
comedian, big Billy House, made a funny
speech explaining my difficulties to the
audience — the net result being a fine
hand when I finished."
His next step up was in the Rodgers
and Hart "Babes In Arms." Here he
shared a dressing room with another
aspiring young actor, Dana Hardwick,
now a Marine 1st Lieutenant somewhere
in the Pacific. 'T had 20 sides," says
Drake with a rueful smile, "all feeding
the others with jokes. But at least I was
out of the chorus, finally."
Mr. Drake, after this show closed,
was at liberty. He studied voice with
Clytie Mundy and met Earnest La
Prade. the author of "Alice In Orches-
tralia," who was producing sustaining
radio shows in the afternoons. Occasion-
ally he would throw work Alfred's way.
He'd phone Drake in Brooklyn in the
morning and say: "We're going to do the
last trio from 'Faust' and also 'Le Soir.'
Do you know them?" Whatever La
Prade mentioned, Drake knew. Wasn't
it. after all, easy enough to slip over to
the music library, get a copy of what-
ever it was and learn it on the way into
town on the subway?
Marc Connelly gave him the juvenile
role in "Two Bouquets." He was Albert
Porter, the bashful lover, in this oper-
etta. It rated good critical notices but
endured only seven weeks.
"My chance came at Suffern, N. Y.,"
says Drake. "Under Bob Ross we worked
out a show called 'One For The Money.'
It took us a while to get enough angels
to take us in to Broadway but we
made it."
Concurrently with their run, Orson
Welles was doing a very serious piece
called "The Five Kings." With Drake's
rich, sonorous voice at hand, a parody-
was too juicy to miss and Alfred's imi-
tation of the Boy Wonder was good
enough to prompt Robert Benchley to
write, in The New Yorker: "... Alfred
Drake IS Orson Welles."
After a last-minute job singing ballads
in the "Straw Hat Revue," Drake
opened in the sequel to "One For The
Money" which was, obviously, "Two For
The Show." This time they were using
featured players such as Eve Arden and
Richard Hayden and the old gang was
relegated to the background. Alfred was
glad to get back to stock, this time in
Clinton. Connecticut. As a parodied-
Hitler. he played Adolfino in a lion tam-
er's outfit in "After The Ball" by Ed-
ward Eager, who was later to be his
collaborator. It ran for a second week,
which is better than good in summer
stock. The next week he, instead of the
too-busy producer-actor, Alexander Kirk-
land, played the lead in "His Master's
Yoice."
"We followed that," he says, "with
'Little Women.' I was Professor Baer,
opposite Frances Farmer. I was also
proud of the fact that I had now played,
successively, a villain, a hero, and a man
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73
of 45 (Baer) . Next, back in New York,
I played the lead in 'Out Of The Frying
Pan,' a farce-comedy. It was my first
legitimate role on Broadway."
By now he had come to the conclusion
that he liked to sing on the radio, pre-
ferred doing it there. An occasional mu-
sical, yes, but on the legitimate stage let
it be straight acting, please. With this
credo firmly fixed in his mind, he spurned
good parts in several musicals. Heeding
a call to Marblehead, Massachusetts, he
played Mr. North in "Mr. and Mrs.
North." In "Yellow Jacket," a Chinese
fantasy, he was the hero.
Eugene Bryden, the director, saw Al-
fred in a play and promptly gave him
the lead role of Orlando in "As You Like
It." Then he was cast opposite Uta
Hagen in "The Admiral Takes A Wife."
It was a play concerned with laissez-
jaire officials at Pearl Harbor. It was
written before the fateful December 7th.
It was scheduled for its opening tryout
on December 8th. It never opened.
The Theatre Guild engaged him for
the Paul Muni "Yesterday's Magic" in
which he played opposite Jessica Tandy.
Not only was it a matter of prestige, it
was also a new type of role for Drake —
a gigolo part. It lasted eight weeks.
" 'Oklahoma!' loomed on the horizon,"
says Drake. "Richard Rodgers, its com-
poser, remembered me from 'Babes' and
mentioned me to the Theatre Guild in a
singing capacity. After this reminder
they arranged an audition for me with
Oscar Hammerstein (2nd) , who wrote
the book and lyrics. After the test I
found that I was to play Curley, the lead.
"We opened in New Haven. Some of
our best critics swore that we were a
complete flop. Even several of our back-
ers withdrew their financial support —
they're the people with the well-bitten
fingernails now! But the cast was sold
on the show and I, well, if I'd had any
spare cash I'd have bought a piece of it."
Not only is (at the time of the inter-
view) he in "Oklahoma!" he's also the
star of a successful afternoon radio
show, for Owens-Illinois Glass, called
"Broadwav Matinee." Five days a week
at 4 p.m. "(EST) over CBS.
His Columbia contract is as blithely
complicated as all movie contracts are.
One film, with ten-week guarantee. Six
months off and if his option is taken up
at the end of that time, back to the
studio for six months, and so on through
a plethora of whereases and viz's. He is
to be allowed to have his own radio pro-
gram and he will work for the Theatre
Guild in his open six-month periods as
either an actor or a director!
"The management," he says, "of 'Ok-
lahoma'! asked me to direct Bob Ken-
nedy, my understudy, and I agreed to
if I could direct all the understudies.
Bob, by the way, does a slick job. Now
I'm working on 'The Taming Of The
Shrew' with some of the kids in the show.
As to the personal side of Alfred
Drake, Esq.: He's happily married. He
reads incessantly. Listens to the radio.
Perversely, he won't listen to young
baritones. As for music, he prefers
orchestral things. Auditioned for the
Metropolitan Opera with his brother,
Arthur, now Major Arthur Kent. Both
played opera leads in an Atlantic City
opera company. Our man likes ballads
and Rodgers, Kern and Duke music. Is
no great shakes on a dance floor and
does onstage what John Murray Ander-
son calls "garbage steps." Played fair
tennis and some baseball in college. He
cannot swim. Mr. Drake is a poker man
and shoots craps with varying luck. He
won $250 with the cubes backstage at
"Oklahoma!" one night. He likes every-
thing in the way of food — French, Ital-
ian, Spanish, you name (and cook) it.
Is very fond of something called lobster
shish kebab — the lobster meat's broiled
on long skewers. He's not a night club-
ber. With Edward Eager, he's written
three musical plays, one of which was
produced at Columbia University and
which critic John Mason Brown applaud-
ed. He has a bad memory for names and
faces and astigmatism doesn't help this
any. However, on the other hand, heVa
quick study. To help producer George
Abbott out of a spot in Boston when the
lead of "Beat The Band," Jack Whiting,
fell ill, he learned Whiting's part in 36
hours. As it amounted to 40 sides and
six songs, you may well imagine his trav-
ail. Never again, he swears.
It would seemingly be obvious, from
the foregoing, that Mr. Drake is a young
man thoroughly grounded in the theater,
plus the additional gift of a fine, trained
voice. Men of such qualifications aren't
a dime a dozen even in Hollywood.
Therefore it's quite plausible that, given
the breaks and decent parts, he should
do well in the movies.
It should be duck soup to a Drake.
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She Breaks All The Rules
Continued from page 38
eye trouble. She had previously been
elected one of the six most beautiful girls
on the campus, so her courage in facing
her college mates is apparent.
"It was a hard thing to do," she de-
clared the other day. "But I was lucky.
I soon found out those who liked me for
my appearance and those who cared for
me for what I really was."
When she first announced, while in
her freshman year at Snoqualmie High
School, that she was going to be an ac-
tress, her father, Ernest N. Raines, a
dynamite engineer, and her mother, both
laughed at her. Later, when they saw
how determined she was they pleaded
with her not to go on the stage or into
pictures. But she remained adamant,
and her subsequent performances in high
school and university plays won both
her father and mother to her career.
They became her most enthusiastic fans.
In fact, her father gave her a six months'
fling at Broadway at his expense as a
graduation present when she left the
University of Washington to get married.
However, let's get chronological. Ella
went to Snoqualmie Falls Grammar
School. She made her debut as an actress
in the basement of the home of a play-
mate when nine. By the time she was
in Snoqualmie High School, she was tak-
ing singing lessons, playing the piano,
and was skilled in half a dozen different
sports, including swimming, hunting, ski-
ing, hiking, fishing and tennis.
On entering high school, Ella was at-
tracted to a lad named Kenneth Trout —
a tall, handsome lad who later played
football and distinguished himself in
other sports. She thought he was paying
no attention to her, and nursed a secret
sorrow. That is, until it rained one day
and he showed up with his father's car
to take her home. He confessed he had
had romantic ideas but had felt quite
shy about introducing himself without a
good excuse.
She and Ken had four glorious years
of high school. Came time for college,
problems developed. Ken was sure that
he wanted to be an aeronautical engi-
neer, and decided to go south where he
could find the best courses. He left for
Glendale Junior College and the Uni-
versity of California at Los Angeles. Ella
knew of the famed University of Wash-
ington dramatic school — at least four
players have come from there to Holly-
wood— and so matriculated there.
"After that," she relates today, "Ken
and I didn't see much of each other. Now
and then, he'd come home for Christmas,
or for Fourth of July, but we'd have
only a few days together twice a year."
And Ella was really knocking them
cold at the university for she won two
dramatic scholarships, appeared in leads
in such plays as "Hay Fever," "The
Tempest," "Bachelor Born," "Mr. and
Mrs. North," "A Midsummer Night's
Dream," "Help Yourself" and several
other productions. She was elected Navy
Queen and one of the six "Cinderella
Girls."
In 1940 she and Ken decided they
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weren't for each other. They agreed
that any mutual plans for the future
should be terminated. In that same
year, Ken decided that the country was
going to become involved in the world
war, and entered the Air Corps. He was
graduated as a bomber pilot from Brooks
Field in August, 1941, and was given
leave to go to Seattle before being sta-
tioned in Central or South America.
"I'd become engaged to another boy,
but when I saw Ken, tall and straight
in his new uniform, I fell like a ton of
bricks," Ella recalls. "I returned the en-
gagement ring to my erstwhile fiance
and put on a pair of silver wings. I've
worn them ever since."
While Ella was finishing her univer-
sity dramatic career, Ken was flying all
over the Americas. On August 6, 1942,
came her twenty-first birthday. Ken sent
a congratulatory telegram. He had flown
back to Texas. He'd brought a. bomber
up from the south for an overhaul. He
was going to Florida.
Ella was to graduate on August 10,
but on August 8 she received a wire from
Ken, who was now a first lieutenant,
stating that he was going overseas, and
asking her to come to Florida and marry
him. She left the next day, arrived in
Palm Beach on the day she was to have
been graduated, and on August 11 was
married to Ken. The wedding was mili-
tary, and held in a small Spanish church
The honeymoon lasted eleven days.
Ken took off for India and Burma, and
Ella went to New York City to try her
luck on the stage. While Ken was being
promoted to captain, and being given
such decorations as the Distinguished
Flying Cross, the Air Medal, and the
President's Citation, among others, Ella
was proving herself, too. She got a role
in "Oklahoma!," the' Oscar Hammerstein
musical, schedued for late fall produc-
tion. But the opening date was contin-
ued until spring, and there , she was,
without a job.
"During those days," she says, "I was
helped a lot by Jack Forester, an Amer-
ican producer who had staged several
plays in France, and Peggy Wood, the
famous actress. They introduced me to
everyone worth while."
It was while she was ill with ptomaine
poisoning in her hotel room in January.
1942, that Forester brought Charles K.
Feldman, agent and producer, to see her.
Feldman immediately demanded pictures
of her. Ella supplied them, and he air-
mailed them to Hollywood where How-
ard Hawks was looking for a feminine
lead in "Corvette K-225." Hawks was
impressed and telephoned New York,
requesting Charles Boyer, with whom
Hawks planned later to produce "Our
United Nations," to interview Ella and
wire his opinion of her as a possible lead
in the current Hawks film. Boyer wired
that he had seen, and signed, Miss
Raines to a contract, and that she was
leaving the next day for California and
Universal, arriving on February 3, 1943.
On the fourth she was screen tested and
on the fifth of February she made her
first scenes opposite star Randolph Scott.
"I was a little dizzy, but I managed
that test all right," she says. That was
the seven-minute scene she did in one
perfect take.
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The picture was held for release, so
the public didn't know how she looked
or acted, but the Hollywood grapevine
was filled with stories of the Boyer-
Hawks find and producers became sold
on her. M-G-M requested her for "Cry
Havoc!," and she went into big - time
company and did an excellent job. Para-
mount heard she was good and sent for
her to play the lead opposite Eddie
Bracken in "Hail the Conquering Hero."
Reports were so good on that one that
Universal decided she should be starrer!
in "Phantom Lady."
At the time Ella and Captain Kenneth
Trout parted after their honeymoon,
they pledged that they would make a
special prayer for each other exactly one
year, to the hour, from the time of their
wedding. They computed this and found
out that Ella should be praying for Ken
at 9 p.m. Pacific War Time. She did so,
while in a projection room at Paramount.
"And that very hour," Ella declares,
"Ken was taking off in a bomber from
Burma, heading for the United States."
So they had the latter part of August
together, more than a year after their
marriage, and part of September. "My
life seems a succession of airport visits,"
she added. "I am either going to tell
Ken goodbye or to meet him."
"Phantom Lady" was finished on the
second of November and Ella left Hol-
lywood for her first real vacation in
nearly a year of successful forays on
motion picture negative. She had a full
two months basking in the sunshine at
Orlando, Florida, where Ken was sta-
tioned. He found an apartment for her,
complete with swimming pool.
"By the time I return to Hollywood,"
Ella declared, "some of the pictures will
be released, and probably somebody will
know me." Her prophecy proved correct.
Ella would be a lot happier if there
wasn't any war — she didn't have to break
in at a time when we are all making
sacrifices. Few of the rewards which
have come to peace-time stars nave come
to her.
"But I'm happy," she says. "I have
the man I love, I do the kind of work
I love, and the reward is doing a job
well. After this is over, and freedom has
been won for the world, the other re-
wards will follow, just as surely as day
follows night."
Annabella, in benefit performance of "Jacob-
owsky and the Colonel," makes do-re-mi for
Mrs. Hal Home, Chairman of New York Wom-
en's Division of National Jewish Hospital at
Denver. Funds go to Free Medical Center for
the care and treatment of the tuberculous poor.
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I Want This For My Child
Continued from page 29
It was Joan Crawford's first day on
the Warner lot, and she was as excited
as a child herself at the beautiful new
dressing-room they had prepared for her.
Says Joan, "I'm sure that what I wish
for my children in our post-war world
is no different from that of any other
mother. Security, happiness, religious
freedom, and freedom of expression.
"The four freedoms for which we are
now fighting are expressed differently,
but I think that my desires for my chil-
dren are as all-encompassing. It is diffi-
cult to express specific items or things
which I should desire for my children,
and I feel that these four wants should
go to make up the complete and full life
"I know that I have lived my life for
these things, and I have considered them
things worth fighting for, and something
that in my zeal I should want to pass on
to my children. Isn't it true that every
parent wants to have nothing but the
best for his child? I can think of nothing
better than that my children should be
able to complete their lives under these
banners."
"I have three children," says Dennis
Morgan, "Stanley who is eight, Kristen
in the middle, little Jim, the youngest.
They are happy, healthy children. They
do not go to bed at night with terror in
their eyes — the terror that has marked
European children for generations to
come. Being born and brought up in
America, my children have not felt the
gnawing pangs of hunger. The sounds
of bursting bombs have never deafened
their ears. So there is every chance that
they will continue to grow uninterrupt-
edly into useful, normal citizens.
"Naturally, I'd like to keep them from
repeating my mistakes, and spare them
some of the grief I went through. But I
don't think that is entirely possible. I
remember my father wanted me to bene-
fit by his experience, and told me about
mistakes he had made. Yet I went right
on making my own mistakes. But I hon-
estly believe that his advice kept me
from making any bigger ones.
"Somehow I don't believe in this busi-
ness of deciding what you want your
children to be when they grow up. I
think they should be allowed to make
their own decisions when they are old
enough to realize what it is all about.
Then it is up to their parents to back
them up for all they're worth, if the de-
cisions are the right ones.
"One thing that I really hope for is
that the war won't destroy free enter-
prise. It was left out of the four free-
doms, and that worries me. To me, free
enterprise is the most important freedom
of all, and one that my children must
take full advantage of.
"They will attend public schools, so
they can mingle with all sorts of chil-
dren. After all, those children are the
people they're going to live with when
they grow up. Then I want to see them
stay in the home as long as possible. I
think it is silly to want to shove young-
sters out into the world, usually long
before they're ready. I want them to
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have the feeling of security home gives,
rather than believe that they've got to
'sink or swim' on their own.
"Finally. I would try to dissuade them
from a very early marriage, because I
really don't think people know their own
minds when they are in their teens. I'd
like to see them married in the early
twenties, because that is the best time."
Says Bing Crosby, "I don't want my
four sons to grow up in a ready-made
world in which they won't have to exert
any effort. Even though I may be able
to set aside enough money so that they
will net have to worry about financial
security. I hope they will want to work
for, to earn, all they get.
"Essentially, I guess I want them to
have pretty much the same sort of boy-
hood I had. There were seven kids in
our family, and all of us were usually
working at something, and having a
wonderful time to boot.
"I would like our children to deserve
the kind of world our men are now fight-
ing to establish. The next few years is
therefore an important sphere in their
development. They must appreciate the
value of good things, an appreciation
that is only acquired by working for
them.
"I want them to be self-reliant, well-
educated and tolerant. I'd hate them to
have any consciousness of class distinc-
tion. I hope they have a sense of humor
and a deep respect for religion and coun-
try. This seems a large order, but unless
I'm partially successful I shall feel I'm
a flop as a father."
"I hope that the future of my children
will not be affected by any differences
existing between their parents," says
Jennifer Jones. "And because today I
realize that I know so little about every-
thing. F hope that my boys' cultural
background will not be neglected.
"I would like to see them surround
themselves at an early age with music,
literature, and most of the lovely arts
without my insistence. I hope that noth-
ing that ever happens between my hus-
band and myself will influence their lives.
"Since there are only eleven months
between them — Bobby is two and a half.
Michael a little over three— I hope they
grow up together always as close as they
are now. I hope that they will find
things in common and that, long before
I am at all worried about it. they will
have reached a definite aim and purpose
in life.
"Because I would like to see them do
great, unforgetable things. I hope they
will choose important, manly careers.
Engineers, or doctors, or lawyers. I
would much rather they did not take
up acting as a profession. Although they
will have financial security. I would like
to see them able to fend for themselves.
"My father never allowed me to or-
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stalls like most girls, so I would like to
see Bobby and Michael sell magazines,
mow lawns, deliver papers like all the
other boys.
"I spent only a year in college, and
left so that I could go to dramatic
school, but I hope my boys will not do
likewise. In this way they will never
experience the sense of loss that I did.
"Because I myself was never able to
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IeT TER oET
79
STRAIGHT FACTS
ABOUT AN
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• Doctors know that even today the
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travel, I would like them to go 'round
the world in search of their own adven-
ture, knowledge and fun. I hope I will
be with them on that first trip, but I
also hope I can step back, without any
doubts that, left alone, they will be able
to stand firmly on their own two feet.
"Most of all I would want them to
capture the virtues Tand advantages of
an harmonious form of existence, irre-
spective of anything that has happened
around them."
Hedy Lamarr, who retains some of her
exquisite accent, but has otherwise com-
pletely captured the intricacies of a lan-
guage once so foreign to her, is deeply
and sincerely eloquent in her reply: "I
hope that I will have brought up my
son in the way that he will have the
understanding that, in order to live in a
world of tolerance and good fellowship,
the effort will have to start within him-
self."
Other words, Hedy has none. She feels
that in bringing up young Jamie it is
now a matter of action, rather than
words— deeply laid, well-advanced action
to. see that, when he is old enough, he
will go to the right schools, he will have
the right playmates and, above all, he
will have a sure sense of right and
wrong.
Both Hedy and John Loder are bring-
ing up Jamie to have a true knowledge
of the value of money. While they want
him to know that without it he would
have to forego a lot of the things he will
have, he must realize that financial in-
dependence isn't everything. And that,
with or without its aid, his character
must remain the same: forthright, gen-
erous, and always thankful. Hedy says,
"I want him no better, no worse than
any other child. I only ask that he be
completely real.
Don Ameche has four sons, and is
about to adopt two little girls. He is
one of movieland's proudest fathers and
has this to say to your reporter:
"I want them to have every advantage
of a good education. Both my wife,
Honore, and T strongly believe in mili-
tary education. We feel that this is the
finest type of schooling, whether in time
of peace or war. The boys learn so many
things — discipline, responsibility, co-op-
eration, resourcefulness, self-reliance.
"We feel, too, a military education
fits them better to take the harder
knocks in life later on. I hope our boys
will never have to put the military side
of their education into use, , that there
will be no repeat after this war is won.
but should they have to, they will be
well prepared. It would certainly have
been a tremendous advantage to many
of today's soldiers to have had a mili
tary education in the first place.
"Our youngsters are not pampered or
spoiled. They are just normal, average
kids. They are not given an allowance
— they earn it. We have a five-acre farm
with chickens, cows, an orchard and*
warden. There are innumerable chores
to be done. Each chore pays so much
So it is up to the boys themselves how
much they earn. Nothing is ever hand-
ed to them on a platter. It will always
be that way, too."
As for lovely Jane Wyman, she was
only too anxious to submit to Screen-
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land's grilling. Children with Jane have
always been a favorite subject of con-
versation. Now with Maureen at the
interesting, growing stage her mother
was full of thoughts on the all-important
future.
"I suppose," says Jane, "it's perfectly
natural for a mother to want her child
to have all the things she herself missed,
because of circumstances, lack of oppor-
tunity, etc. So with this premise the
fond mother speaks! Not that I for one
moment believe that it will work out
this way. I just hope it will.
"My daughter, Maureen Reagan, is
quite an individualist. Even at this early
stage she has definite ideas about things.
I'm sure she'll have them even stronger
as she grows up. They won't be dis-
couraged, I assure you. Just in case I
might not see some of them her way, I
hope I can guide her.
"Still in my early teens, I went to
work right from school. I had my living
to make. Where was I going? What was
I going to do? These serious thoughts
occupied my mind. I was rushed into
making decisions, as I hope Maureen will
never be. I want Maureen to have time
to grow up, to learn things, to study.
Time to travel and see places she has
read and heard about. Time for fun,
nice young romances — all the things I
had to miss.
"I hope Maureen will love to dance.
I started out dancing, the hard way. I
picked up a few routines myself, took a
few lessons after I had made a little
money at it. I'd like to give Maureen
lessons from the best teachers. Regard-
less of whether she would ever use
it professionally, dancing does develop
poise and self-assurance, two qualities so
very important in any walk of life.
"Not once, but literally thousands of
times, I've watched someone at a piano
with a sinking heart. 'Oh, if only I could
play,' something inside of me has said
again and again. I hope Maureen will
have a good ear for music and will want
to take lessons. I'll encourage her every
moment along the way.
"When unhappiness and problems con-
front an adult, at least he has the bene-
fit of knowledge acquired by living. It's
different with a child. A child's mind is
young, tender, inexperienced. A sad oc-
currence can mark him for life. Some of
the maladjusted people one meets in
everyday life, and especially in the ar-
tistic world, are the direct result of an
unhappy, misunderstood, perhaps too
sensitive childhood.
"I hope with all my heart that Mau-
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plexes or inhibitions. I hope she will
have a happy, healthy, normal life, and
above everything else have friends. Chil-
dren who don't fit in with other children
are the loneliest in the world. I never
want Maureen to be lonely."
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that lie ahead of them. They are not
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unusual. They are very much the hopes
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Attention, Teen-Age Girls!
Continued from page 45
interested in my interests as I, in turn,
expect to be in his.
I would want to make sure that he
has the same concept of the marriage
relationship as I have — which is, that
both husband and wife should keep up
appearances, and at top-notch, as during
the courting days; should be as mannerly
with one another as with visiting royalty;
should keep their sense of humour intact,
and in vigorous good health; should have
outside interests, whether a career, a
hobby or a philanthropy doesn't matter
so long as it's something of your own,
so long as you do not depend too com-
pletely on one another. For — and this
I KNOW — no one person should swallow
the life of another. Women who are too
dependent on their husbands, can't make
a move without them, must bore them-
selves, and their men, to suicide or homi-
cide.
I'd also want to make sure that my
husband would believe, as I do, in mari-
tal vacations taken, alone and apart, once
a year.
Certainly if, during the engagement
period, there is the desire and the time
in which to try to understand one an-
other, then after marriage the soil is pre-
pared for that understanding to put
down roots, mature and flourish.
Most of us girls from the teen-age on
are too tense about boys, dates, romance,
marriage. I can remember, when I was
13 or 14, I used to go to school dances
and whether I was popular or unpopular
with the stag line made all the difference
in my wanting to go on living or praying
that I would die young! In an attempt
to be a belle, I sweated over developing
a line which, I fervently hoped, would
wow 'em. My favorite was the well-
known high-brow routine which, I imag-
ined, made me "different." To this end,
I'd discuss psychology with boys, very
pedantically, I'm afraid, and architec-
ture (about which, thanks to my grand-
father, Frank Lloyd Wright, I had some
slight knowledge) or just Life, with a
capital "L." If I failed to impress, I'd
stand on the side-lines, cut to the quick
because no one cut in, feeling very
cynical but trying to appear condescend-
ing as I looked down my nose at those
"silly children."
I also went through the phase of want-
ing so desperately to be liked by boys
that I'd agree with anything and every-
thing the dumbest of them said. With
the result that I didn't appear to have
the mentality or the individuality of a
jelly-fish. My mistake was, of course, in
taking the boy-meets-girl business too
intensely. And so, like an actress who
is too tense on a first night, I didn't give
a good performance.
I know better now. I know that to be
sincere, to be yourself (but the best part
of yourself) and to be interested, genu-
inely interested in the boys you want to
attract, is charm enough. I certainly
believe that girls should make every ef-
fort to be as super-duper as they expect
men to be. But genuinely so, not giving
out with the fake charm, not pulling
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lines. In other words, girls always expect
him to be perfect. How about being per-
fect ourselves? I don't mean only in ap-
pearance, either, in clothes and makeup.
Clothes are important, yes, but they
don't have to be Adrian originals. What
they must be is for you, your type, the
right frame for the picture. Me, I can't
wear tweeds. I'm not an outdoor girl.
I look best in feminine things — afternoon
dresses, dinner pajamas, and, always,
flowers in my hair. Nor do we have to
be beautiful in order to be magnets to
men. Don't have to be beautiful at all.
A live face is better than a dead beauty,
any day. No, what I mean is, are we as
much fun as we expect him to be? Are
we good conversationalists? Are we
adaptable to any group? Do we work on
being interesting, or just in being inter-
ested? What, in short, have we got to
give? And I don't mean a line. For if a
girl has to pull a line in order to be at-
tractive to a boy, he isn't worth the
trouble.
Lines, by the way, can work both
ways. Men use them, too. One of the
best, usually mouthed by wolves with
long fangs, is the "You must live before
you can become a great actress." Oh,
yeah? Well, what about Laird Cregar
who gives spine - chilling portrayals of
murderers on the screen yet wThose hands
are guiltless, I am sure, of the blood of
his fellow - man. Beware, also, of the
"free soul" who doesn't "believe" in con-
ventions. Then there is the charmer who,
immediately, too immediately for sincer-
ity, likes to do the things you like to do
— "loves" those walks in the woods, fire-
sides and dogs. Be wary of the "hard-to-
get" boy. Once you get him, you may
find you haven't got anything. Also of
the "strong, silent type" who may be
strong of muscle but weak of mind.
This is what I mean when I say I want
a long engagement — time to be sure I'm
not being bemused, befooled, befuddled.
In other words, I don't believe in this
love - at - first - sight business of a man
walking into a room, eyes meeting and,
suddenly, an electric spark, a conflagra-
tion! It isn't so. At best, it's a gamble.
Anyway, that isn't the way life is.
Don't misunderstand me! I'm as ro-
mantic about love as any girl my age.
Of course I am. I've been infatuated on
occasion. But I've always been able to
diagnose my clinical symptoms for what
they were.
One of the boys with whom I thought
myself head over heels, proposed and
was rejected so many times that (this
is quite funny) he finally decided to keep
a "log" of the number of times I said No.
After scoring 25, he varied the routine,
pulled a fast one by saying suddenly,
"Would you rather have a home wedding
or a church service?" Falling into the
trap (it was a summer evening, and the
moon rode high) I murmured, dreamily,
"Church service." "Fine," he said. Then,
adding quickly, "Here is the ring,"
slipped it on my finger. It didn't stay
there long!
Nevertheless I am, I repeat, a roman-
tic. If I were not, I'd be less chary, I
believe, of hasty marriages which must,
of necessity, dispense with most of the
lovely lingerings and leisures of court-
ship. It's just that I do not hold with
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Yes, it happened at tennis — Bob looked at
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that emotional high explosive called love-
at-first-sight. Nor in Prince Charming,
who is dead. Nor in maintaining that
you always fall in love with a certain
type. (Girls who say they can only fall
in love with dark men usually marry
fair ones.) Nor do I say, any longer, that
"I'll never marry an actor." Nor any
such flat dictums of the sort.
I did make the statement, a year or
two ago, that I would never marry an
actor. And I may not. But since I've
been friends, had dates with William
Eythe (we work together in "The Eve
Of St. Mark" and Bill is a top-flight ac-
tor, wonderful sense of humor, swell per-
son) and with other boys in pictures, I
make no further predictions about my
heart.
Meantime, for me, as for all unmarried
girls, the safety-valve is work. Having
recently done two pictures simultane-
ously, I know how good work is for lone-
liness and for the dangerous indulgence
of too much introspection.
The whole answer is, not to sit and do
nothing, not to mope and moon and not
to focus on one thing, or hope for one
thing, to the exclusion of all else. For
if we just go about our business, some-
thing, or someone, will "happen!"
Anyway, Youth is a terrific thing —
enjoy it. I do. Because I do, I can wait
(I hope) — for love, for marriage, for
him!
Catching Up With
Dorothy Gish
Continued from page 41
show, "East Lynne," because she was
just five years old then — back in 1903 —
and was making her formal debut in the
role of Little Willie. But modern film-
goers who want to continue being up to
the minute on their movie and players
will have to catch up with Dorothy while
she is catching up with them after her
absence of fifteen years.
Dorothy's time lapse from the screen
does not make her a professional has-
been now on the come-back trail for the
simple reason that this long intermission
between cameras was of her own choos-
ing. During it she has been very active
in stage work. For almost three years
she has played the mother role in New
York and on the road in the show, "Life
With Father." She served a long career
in Hollywood, resisting temptations to
return to the stage until 1928. Dorothy
definitely was not one of the movie col-
ony's victims of the screen's sudden abil-
ity to articulate. If anything, her thor-
ough grounding in stagecraft made her
more valuable during the talkie transi-
tion when handsome heroes revealed pip
squeak voices and beautiful maidens
chewed or gargled their words of love.
"Don't play with him," Dorothy sud-
denly cautioned as Rover, not daring to
ask her for another pat, began sniffing
around the stranger's feet. "He's a gift
from Mary Pickford. Mother and I and
Lillian have had dogs for years and they
have all been gifts from Mary. And
that," she said with marked vivacity,
"is one of the changes in Hollywood I
really enjoy — letting us take our dogs to
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work. Everybody brings their dogs to
the studio from the head right down to
the technicians." Incidentally, Dorothy
gives Mary credit for opening film roads
to her. This was way back in 1913 just
after Mary had become Mary and no
longer Gladys — Gladys Smith. Mary
was instrumental in bringing Dorothy
and Lillian to the attention of David
Wark Griffith, for many years the big-
shot director and producer in movies.
Griffith in turn did much to make the
Gishes large marquee names, but the
girls were so similar in appearance and
manner that he had to tie pink ribbons
on one and blue on the other to keep
them apart in his own mind during the
first few productions.
"Then and now — what a difference!
But let's start with now," said Dorothy.
"Today, movie acting for actresses is a
cinch compared to what it was. An ac-
tress from the silent school, as they now
call it, finds that she has comparatively
nothing to do except to learn her lines
for the new sound track. They don't all
have to be learned at one time. AH you
have to do, really, is just move your
mouth. If your voice isn't good enough
and for some reason or other they just
want you in the picture, they can always
get some off-screen voice ev,en to read
your lines for you.
"And rehearsals? Rehearsal is a lost
word in today's Hollywood vocabulary.
You just go into a picture without know-
ing what it is all about other than what
you have gained from an advance read-
ing of the script, which you don't have
to read if you don't want to. You can
never tell what scenes will be shot until
the day you report. I realize that time
is Hollywood's costliest item today but
I also believe that if Hollywood wyould
even experiment with rehearsals it might
find them highly beneficial and even
economical. Of course, that's just my
opinion and it doesn't stack very high
when you realize the fine, big pictures
that are reaching the screen these days.
Still, I think it would be worth trying.
I'm old - fashioned enough to point to
symphony orchestras, concert and stage
people — they all rehearse. With Griffith
we never started a production before
rehearsing it. We had the whole show
in mind before a camera turned. Why I
remember we rehearsed 'Orphans of the
Storm' for two months before we shot
a single scene.
"Yes, today is a life of luxury for the
working actress compared to what it was
in the silent days. On my first day on
the sound lot I just couldn't get accus-
tomed to all the attention. Everywhere
I went there was someone to help me.
Why, there were all sorts of maids and
attendants — even one to fasten my ear-
rings, while another worked on my dress,
another made me up; and another and
another and another.
"Just as actresses seem to have every
thing done for them now, so actresses
in David Wark Griffith's time did every-
thing for themselves. We made up our-
selves and even made many of our own
costumes. Frequently Mr. Griffith would
call us into a story conference and he
would welcome suggestions we might
make for changes in the script.
"Speaking casually, and I must be-
Vicky's the Bobbie Pin Up Girl for 1944
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copy today-
SMITH fZcfoUf,
SCREENLAND
85
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just say "Santrpa/k
cause there are many fine people and
things in the movies today, it seems to
me it was a lot more fun making movies
in the old days when there were no
montage shots and we had to travel if
we wanted to get the real atmosphere
and background. And, laugh if you will,
players then seemed more individualistic
If they were fat they were just fat. There
was a marked difference among bru-
nettes, and blondes did not look alike.
Maybe streamlining everything from hu-
man forms to studio machinery is really
responsible, or maybe we are just getting
old. For example, that studio contrivance
called the 'boom.' Today it looks like
something steel and massive that belongs
on a battleship. The boom in Griffith's
days was a clumsy-looking contrivance
that was pushed about on wheels. On
the top of this thing that looked like a
couple of ladders nailed together was the
camera. I guess Griffith, too, was the
first man to dig trenches and place cam-
eras in them so that the up-turned lenses
could photograph horses jumping over-
head.
"We were like sailors and traveling
salesmen in the old days. Much of my
knowledge of America and Europe is due
to the fact montage work was then un-
known. We spent months in Italy shoot-
ing 'Romola.' It was exciting and a lot
of fun to pack up and travel from locale
to locale. Today, because of montage,
a production can be world-wide in scope
and yet players remain right within the
studio walls during the entire shooting
period. Well, if it hadn't been for mon-
tage shots I wouldn't be in this picture,
which is my first in fifteen years. If
you've read the book you know that
much of the action in 'Our Hearts Were
Young and Gay' takes place on ship
board and in France. I guess if the old
technique prevailed in times like these
they just wouldn't attempt making the
picture."
Dorothy can't remember the title of
the last picture she made back in 1928.
"I haven't the remotest idea," she said.
"I can't even remember the company
that produced it, or the name of the
leading man. I have a notoriously poor
memory. It was in a group of three pic-
tures,'! believe. I remember that it was
in England. I worked for an English
company for a year and a half.
"Mother is our greatest fan and critic.
When Lillian and I first started to real-
ize success she told us, 'You girls are like
a commodity on the stock exchange —
up today and down tomorrow. You must
scale your living with this in mind.
Don't go out now and buy Rolls Royces
and mansions.' Again, when the news-
papers started carrying big pictures of
Lillian and myself, mother, who knew
nothing about the workings of a movie
studio, said, 'Do not believe everything
that a press agent says about you.' Of
course I was excited when, as a star, I
made my first appearance at the Grand
Central station. I told mother how the
crowds followed me and that I had to be
protected by squads of policemen. Moth-
er smiled. 'You know very well that if
you were a person, totally unknown and
undistinguished, you would attract even
more attention if you were to walk down
Fifth Avenue with a ring in your nose.' "
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DAYS
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* Jefferson. Iowa
86
SCREENLAND
fx lioll/uioo J
OKOOTERS*
Midsummer Makeup
Continued from page 16
fresh face-do. You'll look much nicer
and, goodness knows, you'll feel much
better!
Don't apply leg makeup carelessly.
Do take a little time to do a neat and
lasting job.
Whether you use a liquid, cake or
cream you should start at your toes and
bring the leg paint up in broad even
strokes to well above knees, being very
careful to cover the legs completely. Let
the preparation dry, then softly rub
smooth with a puff or cloth.
Don't paint your toe - nails any old
way.
Do pedicure your toe-tips as prettily
as you do your fingers.
Scrub, shape, push cuticle back, oil.
soak again, dry. and then carefully apply
lacquer to match your fingernails. In
summer, it's wise to choose an intensified
shade of your favorite winter polish.
Very pale polish often looks insignificant
on browned hands and toes.
Don't let unsightly hair ruin your ap-
pearance in a bathing suit.
Do use* a bleach, reliable depilatory,
abrasive pad or shaving set.
Bleaching is frequently sufficient treat-
ment for a slight growth; fragrant de-
pilatory creams will remove heavier hair
from legs, arms or upper lip; abrasive
pads will rub off hair from muscular
surfaces — such as calves of legs. Lots of
girls rely on razors for underarm hair,
but shaving isn't recommended for other
spots.
Don't overexpose your skin to the sun.
Do protect yourself with sun-oil or
eream^and take your tanning by slow
degrees.
Even the hardiest complexions need a
gradual breaking in to the heat of the
sun's rays. The use of a preparation
which helps to prevent burning will also
insure a smoother coat of tan.
Don't— -if you're the non-tanning type
— let the sun cover you with freckles.
Do shade yourself and use a protective
lotion on all sunny occasions.
Lily - white skins do freckle, so take
extra pains to guard against these rav-
ages of the sun. If you want to appear
brown, why not use a darker shade of
cake makeup or foundation?
Don't let squint lines gather around
your eyes.
Do wear dark glasses and apply eye
cream at night.
Good quality sun glasses are a worth
while investment. They protect your
eyes from strain and prevent the aging
wrinkles that eyestrain causes. In sum-
mer be sure to keep the sensitive skin
around your eyes well lubricated with a
rich cream.
Don't allow the sun to dry and over-
bleach your hair.
Do give your hair some special care to
compensate for burning.
Oil shampoos and conditioning treat-
ments are excellent hair-savers in hot
weather. Brushing your hair conscien-
tiously will also help to prevent summer
dryness.
I
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Why does God permit war : Why does He per-
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Thirty years ago, in Forbidden Tibet, behind
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answers to these questions. A great mystic opened
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That Power, he says, can transform the life of
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In his own case, he was brought back to splen-
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He was about to be sent back to England to
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He wants everyone to experience the greater
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Within ten years,
he was able to retire
to this country w ith
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years later, he is still
so athletic, capable
cf so much work, so
young in appear-
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As a first step in their progress toward the
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to send the readers of this notice a 9.000-word
treatise. It is free. For your free copy, send your
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physics. 213 South Hobart Blvd., Dept.J-717
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REDUCE
T
Physicians Wife: "I lost 15 pounds in 24 days."
Mrs. C. M.. Ithaca, N. Y. : 'My hips were 53 inches, now
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Miss H,. Wash., D. C: "Had to tell the wonderful news. Reduced from 200 to
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into
losing
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health officer.
Dr Parrish's Easy Reducing Plan mak« s
reducing a pleasure because it ha- NO
STRICT DIETS. requires no exen ises
HARMLESS, too. because it calls tor nu
itd cing drugs.
Here is Dr. Parrish's Easy Reducing
Plan EXACTLY as given over the air to
millions : For lunrh take 2 teaspnonfuls o:
CAL-PAR in a glass of juice, water or any
beverage. Take nothing else for lunch except
a cup of coffee, if desired For breakfast
and dinner EAT AS VOL' USUALLY DO.
but eat sensibly. Don't cut out faty. starchy
foods — just rut down on thera. By following
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down your daily caloric intake, thus losing
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Get a SI 25 rm of CAL-PAR at health food, and drug stores.
o
5
reducing arug.
• NO EXERCISE!
• NO REDUCING DRUGS!
• ABSOLUTELY HARMLESS!
If your dealer hasn't CaL-PAK a special
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CAL-PAR Uept. 76K.
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NAME _
ADDRESS .
CITY
SCREENLAND
87
IMPROVE Your FIGURE
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7021 Santo Monica Blvd., Dept. 259. Hollywood, Calif.
Laraine Day's Summer Diet
Continued from page 20
THURSDAY : Lunch
Shredded Carrot and Apple Salad
Cottage Cheese
Melba Toast
Celery
Dinner
Consomme
2 Poached Eggs
2 Green Vegetables
FRIDAY
Lunch
Fish Salad
(No- tuna or oily fish)
Salmon, Shrimp, Crab
Hard-Boiled Egg Slices
Melba Toast
Non-Fattening Dressing
Dinner
Consomme
Broiled Fish
Stewed Tomatoes
Green Vegetables
Melba Toast
SATURDAY
Lunch
Sliced Tomatoes
Lettuce Salad
Melba Toast
I Hard-Boiled Egg
Raw Carrot Slices
Dinner
Vegetable Broth
Broiled Ground Round Steak (3 Points)
Stewed or Broiled Tomatoes
Green Vegetables
SUNDAY : Lunch
Cooked or Raw Combination
Vegetable Salad
Cottage Cheese (Small portion)
Sour Cream or Non-Fatten ing Dressing
Rye-Crisp or Melba Toast
Dinner
Consomme
% Broiled Chicken
Stewed Tomatoes
String Beans
Celery — Radishes
MONDAY
Lunch
Fruit Salad
Cottage Cheese
Celery
Melba Toast
Dinner
1 Broiled Lamb Chop (3 Points)
Sliced Tomatoes
2 Green Vegetables
Melba Toast
Editor's Note: Screenland does not
necessarily endorse Laraine Day's diet
for everyone. It was beneficial to her;
perhaps it will help you, too.
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88
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Vivien Leigh — Today!
Continued from page 30
coast." driving cautiously through the
narrow lanes in inky blackness, giving
her show in some lovely glamor gown
she had first worn in Hollywood, then
coming back again to the cottage no
matter how late the hour or how bad the
weather. She did not want to be absent
if Larry came home from the base un-
expectedly.
Magazines and occasional letters from
friends were Vivien's only contact with
the film world in which she had shone so
brilliantly, and yet she was neither dis-
satisfied nor unhappy. For all the so-
phistication of her beauty, Vivien is nat-
urally very simple and unostentatious,
retaining the modest tastes of the quiet
middle-class English country family in
which she was born and bred. As a
schoolgirl at home, before she had de-
cided to go on the stage and saved her
pocket-money for training at a London
school, she had always been accustomed
to a gentle domestic cycle of life, and
so she returned to it again quite easily
Mrs. Olivier did her own household
chores in navy slacks and a sweater or
cycled down to the village to buy the
groceries with her hair flying loosely in
the wind and an old casual camelhair
jacket across her slim shoulders. Because
Larry prefers women to be feminine in
frocks, she changed into a little shirt-
waist dress before he came in, her only
ornament the silver crest brooch of the
Fleet Air Arm which he had given her as
a keepsake birthday token.
Just as she had always made a success
of her stellar personality, with the at-
mosphere of romantic glamor and se-
renity so suited to her unusual type of
beauty, now she was as thoroughly and
tirelessly a war-time wife. It was an
event for both Oliviers when he had a
few days' leave and they travelled up to
London to see some movies and stage
shows and eat in West End restaurants
and go 'round the Mayfair stores ex-
changing absurd amusing gifts. To mark
the third anniversary of their wedding.
Larry gave his wife a rare old French
watch which he found in an exclusive
antique shop, carved gold and ebony set
in a topaz the size of a pigeon's egg.
Back to the cottage again, and then
Larry's training was complete and he
went off to sea with an aircraft carrier
for his advanced flying practice. It must
have been lonely for Vivien then, despite
the Dalmatian dog which Larry had left
her for companionship, and she toyed
with the idea of accepting a film offer.
But movie work meant she would be
tied down to a schedule of long hours
every day and that did not fit in with
Vivien's plans. She wanted to continue
her shows for the fighting men and she
did not want to have to leave her cot-
tage home completely.
So finally she compromised by signing
a West End stage contract, so that she
could commute to the theater every day
and also continue with her war service
on Sundays. She took the part of the
fashionable heroine in the revival of
George Bernard Shaw's wittily scintil-
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Screen land
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lating play about the medical profession,
"The Doctors' Dilemma," chosen by the
autocratic Shaw himself for he has al-
ways admired her essential intelligence.
So for many months Vivien Leigh was
the outstanding actress of the London
stage, sweeping elegantly in the elaborate
frills and flounces and veils of thirty-
five years ago. Her polished mature per-
formance drew the town, including hun-
dreds of U. S. service men and women
anxious to see Scarlett O'Hara.
Soon after Vivien's play opened, Larry
did come home, not just on flying leave
but to make two films which the British
Government considered so important
that they had asked the naval authori-
ties especially for his release, as the actor
outstandingly suited for the stellar parts.
First came "The Demi-Paradise," in
which he played the Russian engineer,
hopelessly bewildered on his visit to
Britain and then gradually growing to
understand our native way of living,
assisted by the English girl with whom
he had fallen in love despite his stern
principles. He had to learn some Rus-
sian speeches for the role and Vivien,
an excellent linguist, coached him tire-
lessly in them.
When she was not in the theater,
Vivien was at the studio with her hus-
band, helping him in a thousand little
ways as mentor, critic and adviser. Every
morning she would be there sitting in her
chair on the edge of the set, ready to
give her opinion when Larry turned to
her, as he did a dozen times an hour.
She looked after his mail and arranged
his publicity and acted as his secretary,
applying herself as efficiently and intel-
ligently to her husband's career as she
had done to her own. No need to ask
her if she was utterly happy — her glow-
ing eyes and quick animated smile and
the way she sat watching, chin on slim
white hand, completely absorbed in the
man before the cameras told their own
eloquently romantic tale.
As soon as "The Demi-Paradise" was.
finished, Larry had to begin work on the
even more ambitious production of Wil-
liam Shakespeare's undving plav, "Henry
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V," directing it as well as playing the
soldier King of England.
While Larry was on location she went
to Gibraltar and North Africa with a
show for the fighting men. It meant
spending hours crouched uncomfortably
on the floor of a Liberator transport,
bumping along rocky roads in a jeep,
sleeping in a tent and eating off a rough
deal table out of a mess-can and acting
anywhere that an impromptu stage could
possibly be erected. One piece of bag-
gage only was allowed each performer
but Vivien still managed to greet the
boys looking as cool and graciously glam-
orous as they expected. She gave them
Scarlett and Lady Hamilton, crooned
them witty modern lyrics, danced for
them and with them, signed autographs
and admired girl-friends' pictures.
She got back to England again a few
days after him and took up her chair on
the studio floor, to assist and advise and
encourage and relieve Larry of every
possible routine detail she could. While
she checked the gorgeous period cos-
tumes, she must have remembered a
winter afternoon on that same floor eight
years ago, .when Alexander Korda intro-
duced his new discovery, Vivien Leigh,
to a promising young actor, Laurence
Olivier, explaining they were to have
their first big screen chance as the lovers
in his coming film, "Fire Over England,"
with Flora Robson as the star. He made
them sit together on a bench near the
set and left them with instructions to
"get to know each other's personality
because you can't act romantic sequences
convincingly unless you do."
One November night Larry and Vivien
went to the grand charity premiere of
"The Demi-Paradise" at the fashionable
Odeon Cinema in Leicester Square, a
brilliant occasion attended by Mrs.
Churchill and the Russian Ambassador
and Lord and Lady Louis Mountbatten
among others. Then home to their cot-
tage by the sea for their last few precious
days together before Larry put on his
uniform again and returned to duty.
As they were setting off for a walk
along the cliffs one morning a telegram
arrived. Bernard Shaw's classic play,
"Anthony and Cleopatra," was going to
be filmed and the author insisted his
favorite actress should have the role of
the siren Queen of Egypt who died so
dramatically for love. It was Larry who
begged his wife to accept, telling her
she must not subjugate her own screen
career to his and that she owed it to
herself to act before the cameras again.
So because Larry asked her to, Vivien
Leigh is coming back to the cinema
screen again, a brilliant intelligent star
once more.
But to herself, Vivien will still be Mrs.
Olivier who goes home to her cottage
every weekend, to weed the little garden
and write her husband long descriptive
letters about his two films, now showing
all over Britain, and mentioning her own
work incidentally. When she plans for
the days of peace ahead, Vivien hopes to
realize her long-cherished dream of play-
ing with Larry again under their own
direction, acting together on that same
studio floor at Denham where they first
met and which has since been serving
to cement their romance still more.
00
SCREENLAND
PRINTED IN THE U.S. A. BY THE CUNEO PRESS, INC.
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^fnilUffjlcw Smile,..
A radiant smile wins
admiration!
COPYRIGHT DEPOSIT
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ScREENLAND
3
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King Vidor, -who directed "The Big
Parade", the first outstanding MGM pic-
ture twenty years ago, now delivers to the
same company, as an Anniversary ges-
ture, his mighty production "An
American Romance".
★ ★ ★ ★
This film is the flesh and blood story
of the American dream come true.
★ ★ ★ ★
It's about a guy called Steve Dangos,
a young immigrant who came to this
land of freedom with his bare hands
and a shining hope. (Brian Donlevy
gives all his sincerity to this role.)
★ ★ ★ ★
It's also about a girl called Anna
O'Rourke. Who shared in the struggles,
the tribulations, the dreams of her man,
as he made it the hard way, from iron
mine worker, steel puddler, factory
worker to great industrialist.
★ ★ ★ *
While their story is intimate, personal,
glowing, it is also symbolic of the fight,
the love, the surge, the drama, that
has made our way of life the wonder
of the whole, wide world.
★ ★ ★ ★
"An American Romance" is the big ad-
venture, told in wonderfully human and
exciting terms— in a robust screen play
by Herbert Dalmas and William Ludwig.
★ ★ ★ ★
It is dramatic fiction. It is also the
truth. For this story in its scope parallels
the life stories of many men who have
helped to make America great.
★ ★ ★ *
King Vidor
has found the
movie ma-
terial that
many direc-
tors have
been reaching
for ever since
the beginning of films. What he has
done with it is magnificent.
★ ★ ★ ★
"An American Romance" is photo-
graphed in perfected Technicolor. Red-
brown earth tones of Mesabi; fiery reds
and yellows of Steel Town; the bluish-
gray colors of the automobile factories;
the bright sky-blues of America's con-
quest of the heavenly skies above, fol-
low in storied sequence.
★ ★ ★ ★
"An American Ro-
mance" has caught
the mighty cadences of
the American dream.
Something o f you , your-
self, is surely in it.
★ ★ ★ ★
Presented with pardon-
able pride by
Paul Hunter. Publisher
Delight Evans, Editor
HOMER ROCKWELL, Vice President
Elizabeth Wilson,
Western Representative
Helen Fosher,
Assistant Editor
Frank J. Carroll,
Art Director
Anthony Ferrara,
Asst. Art Director
The Editor's Page Delight Evans 7 9
"Jive Baby." Betty Grable-Harry James Heiress Elizabeth Wilson 20
Lyric Lovely. Irene Manning Jessie Henderson 22
The Foibles of Fontaine. Joan Fontaine. . . . John Franchey 24
There's Another Hutton in Hollywood. Bob Hutton Liza 26
Ann Sheridan X-Rayed Alyce Can field 28
Memo to Richard Arlen Gladys Hall 32
Leo's 20-Year Cavalcade of Stars .Elizabeth Wilson 34
Tall Gals Maude Cheatham 42
Maria Montez' Advice to Movie Struck Girls May Mann 46
De-Luscious, De-Lovely De Haven. Gloria De Haven .... Vivian Cosby 48
7ull 0ol<n PottKLitl: ★ ★ ★
Robert Walker, in M-G-M's "Thirty Seconds Over Tokyo"
20th Century-Fox stars: Geraldine Fitzgerald, next seen in "Wilson;"
Dana Andrews, soon to appear in "Wing And A Prayer/' Perry
Como, popular crooner in "Something For The Boys;" Gene Tier-
ney, starring in "Laura"
ftlCtUte J^CaeA: ^n9e's °' Mercy in the Making (Dorothy
✓ * McGuire and James Brown in Vanguard's
Cadet Nurse Corps short, "Reward Unlimited"); The Boys Are
Back (Abbott & Costello); The Creepies Are Coming; Spirit of Sum-
mer '44 (Joan Leslie Fashions); Screenland Salutes June Allyson
'PepGlttnentl: ir * *
Hot From Hollywood 6
Your Guide to Current Films Selected by Delight Evans 8
Fresh As A Daisy. Deanna Durbin (Beauty) Josephine Felts 12
Fans' Forum 14
Here's Hollywood. . . .Candids by Gene Lester — Gossip by Weston East 54
Guide to Glamor. 66
Cover Portrait of ANN SHERIDAN, Warner Brothers'
Star of "Doughgirls"
Alinil^T 1 QAA volome Forty. Eiom
nuuuoi, I 7H1 Paul Hunter President Number Ten
Homer Rockwell, Vice President and Advertising Director
Lee Wagner, Circulation Manager
SCREENLAND Published monthly by Liberty Magazines. Inc., at 205 E. 42nd Street. New York, N. Y.
Advertising Office: 205 E. 42nd St., New York; 410 North Michigan Ave.. Chicago, 111.; 427 W. 5th St..
Los Angeles, Calif. Manuscripts and drawings must be accompanied by return pes. age. They will receive
careful attention, but SCREENLAND assumes no responsibility for their safety. Yearly subscriptions $2.00 in
the United States, Its dependencies, Cuba and Mexico; $2.50 in Canada; foreign $;i.00. Changes of address
must reach us five weeks in advance of the next issue. Be sure to give both the old and new address. Entered
as second class matter, September 23, 1930. at the Post Office. N. Y., under the act of March 3, 1879.
Additional entry at Chicago, Illinois. Copyright 1944 by Liberty Magazines, Inc. Printed in the U. S. A.
MEMBER AUDIT BUREAU OF CIRCULATIONS.
4
Screenland
DAVID 0.
SEIZNICK
presents:
SHIRLEY TEMPLE MONTY WOOLLEY
The screen's most distinguished cast in
Since You Went Away
The producer's first picture since
"Gone With The Wind" and "Rebecca"
SCREENLAND
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X^OU won't be seeing "Maisie" on the
*■ screen after her next picture. Ann
Sothern is temporarily retiring until her
baby is born, come next November.
Aside from their grief at the unexpected
passing of Lieut. Bob Sterling's father.
Ann and Bob couldn't be more excited
Bob has promised Ann that she is going
to have a boy! A boy is what they both
want, but if it's a girl — they'll "put up"
with her!
VER since he stopped a flying egg in
-L^ a night club brawl Errol Flynn has
had to be a good egg and take a lot of
ribbing. For once he was an innocent
victim. Two young ladies at an adjoin-
ing table decided to have it out. One
grabbed an egg off a waiter's tray and
heaved it at her pretty rival. Errol's
head got in the way! Now a local res-
taurant features eggs-a-la Flynn on the
menu. On the "Objective Burma" set,
Errol keeps finding eggs in his dressing
room, in his makeup kit, his shoes.
Heaven help the prankster if Errol ever
finds out who he is.
\T ERONICA LAKE is dividing her
* time between director Andre De Toth
and portrait photographer Paul Hesse
However, whenever we've seen her out
with either (or anyone, for that matter)
the little Lake has looked as bored as
a strip tease dancer at a Sunday school
picnic! (Please turn to page 90)
0
Screen land
JSS-OOT
Tes, it
was the kiss-off for
both of them. They
had gone too far...
they had tried to get
away with murder
and they found they
couldn't get away
from me!"
Paramount
presents
BARBARA
MacMURRAY* STANWYCK
EDWARD G.ROBINSON
tn
with PORTER HALL • JEAN HEATHER • BYRON BARR
RICHARD GAINES • JOHN PHILLIBER
Directed by BILLY WILDER
Screen Play by Billy Wilder and Raymond Chandler
SCREENLAND
Ladies and Gentlemen —
It's a Sweetheart of a Picture!
Yes! It's gay with that youthful
romantic spirit! It's reckless
with the kind of abandon that
makes for swell fun when you
join in the joy! It's a grand cast
in a grand screen treat!
Robert LIVINGSTON
and RUTH TERRY
with HENRY HULL
GRANT WITHERS
THURSTON HALL
GASLIGHT — M-G-M
This picture, co-starring Ingrid Bergman and Charles
Boyer, laid in Victorian England, is well devised to
keep you tingling with melodramatic chills — more
mental than physical. The villain of the piece is a past
master in the art of subtly, slowly driving his lovely
wife out of her mind for his own ulterior motives,
which involve a love of fabulous jewels — and murder!
Ingrid Bergman gives a nicely restrained performance
of his wife, gradually building the characterization to
the breaking point. Charles Boyer's portrayal is nothing
less than a masterpiece. Joseph Cotten is good, too.
HOME IN INDIANA — 20th Century-Fox
Two appealing kids, Lon McCallister and Jeanne Crain
in the juvenile romantic roles, will attract in this Tech-
nicolor saga of sulky racing — as well as some beauti-
fully sleek horses, romping on the greensward. How-
ever, we wish the scripters could think up a few new
tricks anent the sport of kings. We've seen most of
these before. The story concerns a twenty-year-old
feud between stable owners. One is prosperous, but a
little crooked; the other is bankrupt but honest. Of
course, "honesty is the best policy." Walter Brennan
and Charlotte Greenwood are fine in the featured roles.
SUMMER STORM — United Artist release
A large helping of Russian tragedy in the days of the
landed gentry is dished out in this film based on Anton
Chekov's novel. George Sanders' English accent is apt
to get in the way of his characterization of the bored-
playboy who decides to try marriage and becomes mixed
up with siren daughter of a lowly wood-cutter. Linda
Darnell plays the femme fatale and lays the allure on
heavily — surprising since we've always seen her as the
sweet heroine. Anna Lee plays the good woman well.
Edward Everett Horton gives a typically Horton in-
terpretation to the part of the stuffy, girl-chasing Count.
THE EVE OF ST. MARK — 20th Century-Fox
Based on Maxwell Anderson's play which takes a group
of soldiers through their "one year of service" to the
fall of Corregidor, the film has a new optimistic and
hopeful ending that makes this stand out more as a
homey, family drama than as a grim, tragic war picture.
Our hero is a nice, wholesome farmer boy whose sense of
duty outweighs his sense of self-preservation in the final
reel. Our heroine is. the neighboring farm girl who has,
secretly, always been attracted to our hero. William
Eythe and Anne Baxter are just right for these roles.
Ruth Nelson, Michael O'Shea and Vincent Price are fine.
ONCE UPON A TIME — Columbia
This filmj based on Norman Corwin's radio play, is
pure fantasy, but underneath it all there are some very
good down-to-earth, philosophical ideas that aim to give
you something to think about. It's the story of a danc-
ing caterpillar and a little boy's attachment and stead-
fast loyalty to his insect pal, when a theatrical producer
tries to exploit both of them for badly needed money.
Of course, the boy teaches him simple human kindness.
Ted Donaldson does a sincere job as the boy, and Cary
Grant is perfect as the producer. Janet Blair and
James Gleason are grand. (More reviews on page 17)
8
SCREENLAND
WORKING GIRL
NAME: Bette Davis
OCCUPATION: Actress
EMPLOYER: Warner Bros.
NATURE OF DUTIES: Helping to
maintain the Warner standard
of great entertainment.
REMARKS: We at Warner Bros, have
been proud of Bette Davis, of her
magnificent artistry and enormous talent,
ever since she came to work with us. (And
no matter how easy it looks on the screen,
"work" is the word — with a very large "W"!)
But we've never been so proud of Bette as since
we (and she) finished making MR. SKEFFINGTON!
MR. SKEFFINGTON is the enthralling story
of a very rich man and a very beautiful
woman, and of their life together . . .
and apart. A love story? We think that
even when you've seen it, you won't be sure!
But you will be sure that MR. SKEFFINGTON is
one of the finest motion pictures ever made —
by anybody, anywhere . . . and that
Bette Davis has no peer among screen artists!
You'll be sure, too, that the company
which produced MR. SKEFFINGTON
can be counted on always for
the best in entertainment!
WARNER BROS.
JACK L. WARNER
Executive Producer
EfcTTt foAV|? ^^"^^ SttFRtffflON" cumins
RICHARD WARING
GEORGE COULOURIS
MARJORIE RIORDAN
Produced by JULIUS J. & PHILIP G. EPSTEIN • Screen Ploy bv Julius J. & Philip G. Epstein ■ From Story by "Elizobeth" Music by Franz Woman Directed by VINCENT SHERMAN
SCREENLAND
9
KING VI DOR'S PRODUCTION
ANA s^*3k
ft
mem iiomance
N
starring
TECHN ICOLOR
BRIAN DONLEVY
Here is the fight, the love, the drama, the adventure that
is America! It's the story of a million guys like Steve...
and a million girls like Anna who believe in their dreams!
with ANN RICHARDS . WALTER ABEL . JOHN QUALEN . HORACE McNALLY . Photographed in perfected Technicolor
Screen Play by Herbert Dalmas and William Ludwig . Produced and Directed by KING VIDOR • A Metro-Goldwyn-Mayer Picture
it LISTEN IN: "M-G-M SCREEN TEST" ON THE MUTUAL NETWORK, MONDAY THRU FRIDAY, 9:15 P. M., EWT •&
10
SCREENLAND
»»»»>»>
The IDhite Cliffs of Dover
KATHARINE HEPBURN
Walter
Aline
Akim
Turhan
Huston ♦ MacMahon -Tamiroff • Bey
Not since "The Good Earth". . . a picture such as this! The
mighty drama of a brave people and a great love . . »flam-
ing from the pages of the novel that thrilled millions!
With HURD HATFIELD . J. CARROL NAISH . AGNES MOOREHEAD • HENRY TRAVERS . ROBERT BICE • ROBERT LEWIS . FRANCES RAFFERTY . JACQUELINE de WIT
Screen Play by Marguerite Roberts and Jane Murfin . Based on the Novel by Pearl S. Buck . Directed by JACK CONWAY and HAROLD S. BUCQUET
Produced by PANDRO S. BERMAN . A Metro-Goldwyn-Mayer Picture
SCREENLAND
11
Stronger Grip
Won't Slip Out
Try again next time if your store
is out of XkCong hob Ptni today.
We're making more now, but still
not enough to meet the demand.
DAISY
Beware the greatest hazard
to your charm— perspiration L
By Josephine Felts
ONCE upon a time, in those faraway
days when the attractive female of
the species just sat around and
looked pretty, there was an expression : "A
man sweats, a working girl perspires and
a lovely lady glows." One simply didn't
mention that the perfectly natural function
of perspiring might ruin any girl's charm !
Now, we're all "working girls" — movie
actresses, plant workers, housewives,
WACS, Waves and office workers — and we
can't dodge this disagreeable reality of per-
spiration. We can be awfully thankful,
though, that we live in an age when science
has kept up with industry and has perfected
many preparations that prevent its ravaging
effects.
Spoiled clothing, grimy skin or the slight-
est trace of odor are simply unforgivable !
And believe us when we say that any man
will stand a shiny nose or pale lips much
more readily than he'll tolerate a lack of
personal daintiness.
Of course, your daily bath is the first
Summer step to cleanliness and freshness.
Next in importance is the proper use of
your favorite anti-perspirant or deodorant.
For a final touch of allure or breezy sweet-
ness, a generous dash of scented cologne
and dusting powder is indispensable.
The bath or shower does more than wash
away the dust and dirt and odors that your
pores accumulate. A session in a tepid
tub, fragrant with bath salts, and flowery
soap cools your mind as well as your body.
It relaxes you and eases the nervous strain
that frequently increases perspiration. And,
moreover, the accumulation of perspiration
close to the skin can really only be re-
moved with a generous lather of soap.
Plain water isn't enough to rid you of it.
So much for past perspiration. But what
about the fact that those little glands be-
neath the skin are bound to give off more
wafer immediately as you become warm
A picture of fresh Summer coolness
is Deanna Durbin, now starring in
Universal's "Christmas Holiday."
again? Don't give them a chance to do
so, especially on those parts of the body
where the air doesn't have an opportunity
to dry up the excretions quickly. The un-
derarm area has very active glands and
little ventilation so naturally that's the
place where an anti-perspirant is most
necessary. (This goes for the men as well
as the girls !)
Many women — and men — find the cream
type of anti-perspirants very satisfying.
They can be used at any hour of the day
or night without risk of irritation to nor-
mal skins. Some of them are antiseptic
and can be applied immediately after shav-
ing. They won't rot dresses or lingerie.
And, added to these attractive assets, most
cream anti-perspirants are deodorants as
well.
The liquid anti-perspirants generally have
longer-lasting effectiveness but must be used
with greater care. Many of them will pre-
vent perspiration for as long as five days !
It's best to apply the liquids right after
your bath, at bedtime. They should always
be given plenty of time to dry before you
put your clothing on. In using any anti-
perspirant, our advice is : Follow the direc-
tions on the container carefully. Manufac-
turers are the best guides to the proper
use of their own products.
Although anti-perspirants are usually
deodorizers too, don't make the mistake of
confusing these with plain deodorants.
There are preparations, popular for many
years, which render odors inoffensive with-
out checking perspiration at all. These come
in powder and cream forms and are useful
on many occasions. They are also particu-
larly needed for one anti-odor purpose im-
portant to you and to every other woman.
12
SCREENLAND
Screen land
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It's Your Concern!
Movies are made for your entertain-
ment ! So isn't it natural that Holly-
wood's movie makers listen to what
you have to say about their pictures and
players ? They aim to please ! Write
your comments to Fans' Forum today.
Monthly awards for the best letters
published: $10.00, $5.00, and five $1.00
prizes, all payable in War Savings
Stamps. Closing date is the 25th of the
month.
Please address letters to Fans' Forum,
Screen land, 205 East 42nd St., New
York 17, N. Y.
FIRST PRIZE WINNER
$10.00
Since most of us are just average people,
we have never visited England, Europe and
other parts of the world — even before the
war when such journeys were possible. Con-
sequently, we are unable to really know and
fully understand the people of other lands.
How unjust it is to us average-ites to be led
to believe that the people of a certain coun-
try are like those presented in films ! Pic-
tures, which could be a wonderful medium
to link the differing world together and
bring about a fuller understanding, are bad-
ly misused. We really have very little idea
of exactly what other people are like — what
they think, what they like, and what they do.
There are so few ways we can learn these
things ; and so many people take Holly-
wood's word for it, which has led to a great
injustice. Few Americans comprehend Eng-
lishmen— they picture them as they are in
English films. And more so, the English
think our average boy is Mickey Rooney's
character, Andy Hardy; and our working
girl, Ginger Rogers' Kitty Foylc.
If Hollywood is going to present any cer-
tain class of America, why not present the
real thing so no mistaken impressions will
be given? In this world where there is so
little understanding between the "little"
people of the world — where so much hatred
springs from ignorance — why not make an
effort to help us "know" each other and get
a chance to like each other?
JUNE EDMISTON, Maywood, 111.
SECOND PRIZE WINNER
$5.00
. Why give Bette Davis, Myrna Loy and
Joan Crawford back seats in the cinema
world?
Haven't we anyone to introduce to the
screen with the loveliness and lady-like dig-
nity of Mary Pxkford? I'm tired of and
disgusted with the "Look how sophisticated
I am" type. Their very vulgarity of man-
ner detracts from any picture.
No, I'm not puritanical. But since the
teen-agers imitate personalities and manner-
isms of screen stars, why not give youth
real ladies with lady-like actions to copy;
actors with gentlemanly manners, chivalry,
and soft-spoken words?
Can't movie producers give us more sing-
ers with voices sweet, clear, and feminine
like Jeanette MacDonald's? We don't wel-
come coarse, uncouth yellings for our chil-
dren to imitate. Give us baritones like Wil-
bur Evans, singing in his dignified way,
masterpieces of musical art; not just some-
one shouting incoherent words with a silly
meaning.
Glorify dignity ! Keep it alive and let the
other type die from the cinema. Off with
the ridiculous. On with the sublime.
MRS. ERMA WEAVER, Paducah, Ky.
FIVE PRIZE WINNERS
$1.00 Each
I wish they wouldn't marry Lana ! On
screen or off. Not for the next twenty
years, anyway. It isn't every generation that
produces a lady of such fabulous potential-
ity, not necessarily as a great actress, but as
an irresistibly beautiful woman, a la Lillian
Russell.
But what happens to this dream girl, who,
according to all the best fairy stories, should
be attainable only by the Prince? In one
1 i
SCREENLAND
"Scoff, if you will, Gentlemen, but this woman will live !
SLOWLY, and with the fierce conviction and undying faith
that had marked him from the beginning, Lister, his
scalpel laid aside, the last dressing completed, addressed his
critical audience.
In the eyes of one or two he saw hope and faith to buttress
his own, but on the faces of others — some of them the
leaders of the profession — he read only doubt and disbelief.
He could almost hear the sneers of the attending nurses
whispering in the background while they yiewed the pale
and lovely woman on the table. Lister knew that they re-
garded his fanatical insistence on cleanliness, the repeated
dressings, his evil antiseptics, as the vagaries of a madman
. . . that they were awaiting the "dead-cart" to carry the
woman away, just as it had carried away countless others,
when blood poisoning followed compound fracture.
But Lister knew, also, that his radical methods, his anti-
septics aimed to keep germs out of wounds, before, during
and after every operation, must, with God's will, triumph.
And triumph they did . . . the woman lived!
So, patient by patient, case by case, day by day, Lister
piled up evidence in support of his antiseptic theory which
was to rid the world of untold suffering, and reduce the
hideous fatalities that time and time again followed even the
simplest surgical operations.
Quick Germ-Killing Action — Safely
It was for the great Lister that Listerine Antiseptic was
named, meeting the requirements of a fine antiseptic ... a
solution with a rapid germ-killing power, non-poisonous in
character, and absolutely safe to use.
Today, in literally millions of homes, Listerine Antiseptic
is the trustworthy first-aid in countless little emergencies
"until the doctor comes." Make it a "must" for your medi-
cine cabinet. Lambert Pharmacal Company, St. Louis, Mo.
GOOD NEWS! Most stores have received recent shipments of
Listerine Antiseptic for civilian use. You should now be able to obtain
it in some size at your favorite drug counter.
For countless little emergencies
LISTERINE
ANTISEPTIC
Screen land
15
picture she treads a very primrose path and
has her face slapped by a pugilistic has-
been. In another she marries a dubious
honky-tonk character and leads a rather
sordid existence. Not to mention taking up
with Johnny Eager, whose looks probabl}'
blinded her to his ethical shortcomings in
another opus.
Perhaps the idea of such a gorgeous girl
being so easy to get appeals to the male
portion of the audience. On the other hand,
maybe they, like the female contingent, pre-
fer a little rose-shaded glamor with the
heroine on at least a small pedestal, and the
hero (and the villain, too) performing deeds
of derring-do to win her in the last reel !
E. ZAGAMI, Inverness, Fla.
I enjoy seeing musicals with name bands.
My only beef is why don't they give vocal-
ists billing as they do the orchestra leaders?
About a year ago I saw "You Were Nev-
er Lovelier." Xavier Cugat and vocalist
gave out with a swell samba called "Chin
Chin." I was in the dark as to who the
beautiful Mexican vocalist was. Not so very
long ago I saw "Stage Door Canteen."
Again Xavier Cugat and the same vocalist
gave out with a terrific number called "The
Bombshell from Brooklyn." I'm still in the
dark. Recently I saw "The Heat's On."
Cugat and again the same vocalist gave out
with "Antonio" and "La Negra Lenore."
And still I didn't have the slightest idea who
she was. It wasn't until I saw Cugat in
person that I discovered that she is Lina
Romay. She is exotic and has a great per-
sonality and will go places if she gets the
right breaks.
An example of right billing was Para-
mount's "The Fleet's In," in which Helen
O'Connell and Bob Eberle got billing with
Jimmy Dorsey. Miss Romay is only one of
This month's cover star, Ann Sher-
idan, wears a new Catalina bathing
suit in a flattering shade of blue.
many vocalists who don't get their names on
the screen. So how about giving them a
chance?
JOE LOPEZ, San Fernando, Calif.
Upon learning recently that Joan Fontaine
was starring as the tempestuous heroine in
Daphne du Maurier's novel, "Frenchman's
Creek," this well-meaning bookworm, as
well as ardent movie fan, was filled with
utter horror. I, for one, just can't picture
the gentle star of "The Constant Nymph"
and "Jane Eyre" emoting on the screen as a
gorgeous hussy, a selfish noblewoman, who
forsakes her husband and children to em-
bark on a sizzling romance with a notorious
pirate. I'm sure Arturo de Cordova will be
fine as the handsome rogue. But I'm sadly
afraid that Lady Donna St. Columb will
suddenly change into a sacrificing angel with
the personality of a saint. Said fan is keep-
ing her digits crossed in an agony of sus-
pense, and will continue to hope for the best.
BETTE ROSE, St. Paul, Minn.
Walking into a theater without the slight-
est idea of what is playing, can sometimes
turn out badly. But when I walked in on
Danny Kaye, I stayed. In fact, I stayed for
five shows. He's marvelous ! He proved
himself on the stage, and it certainly didn't
take long for him to prove himself on the
screen. Evidently that is the opinion of sev-
eral hundred thousand other people. If he
doesn't make the first ten in box office ap-
peal, I'll be disappointed, not in him, but in
the fact that many people missed such a
wonderful sensation. Danny Kaye is my
choice for the comedy find of a generation.
Let's have more of him !
MARJORIE HOLDEN, Arlington, Va.
I saw "Government Girl" and "Cover
Girl" — both simply wonderful, as I have
always adored Olivia De Havilland and
Rita Hayworth. But may I offer my praises
to Jess Barker? That slim, dynamic young
man, handsome as Apollo, in my opinion,
stole the show in both pictures. He's ter-
rific— a blond second Valentino. All around
me in the theater came whispers of "Oooh,
who is he?" when he came upon the screen.
I hope the producers are thinking the
same way as I am, and will give Jess Barker
more of those romantic roles.
MRS. JULIA FOLSOM HARGRAVE,
Atlanta, Ga.
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16
SCREENLAND
Your Guide to Current Films
CHRISTMAS HOLIDAY— Universal
The first glimpse of Deanna Durbin, dressed
dramatically in slinky black satin, crooning
in a lowly New Orleans dive, in this film
is rather shocking. It's certainly a departure
from the lightness of her former roles.
Emotions she's required to register are dif-
ficult, complex — the undying love for her
weak husband who murders a bookmaker
for a bankroll, mixed with her sense of
failure, her lack of knowledge in helping
to make him into an upright character. Gene
Kelly, too, is rather surprising as the hus-
band whose mother is more than ordinarily
attached to him, but he handles the part
capably enough. Dean Hanens creates in-
terest, though he's not given much to do.
SONG OF THE OPEN ROAD —
United Artist Release
A pretty little newcomer, Jane Powell, does
remarkably well in carrying this filmusical
about the American Youth Hostel move-
ment. Her voice is fine, reminiscent of
Deanna Durbin's in "Three Smart Girls,"
and her acting ability shows great promise.
She could have had a better story for her
debut. In this she plays a juvenile movie
star so tired of it all that she runs away to
join a group of Hostelers traveling from
place to place, patriotically lending services
to pick crops. Movie Mama Powell (Rose
Hobart) catches up with her, but she's not
so stern when she sees what a lot of good
her daughter is doing. Edgar Bergen-Char-
lie McCarthy and W. C. Fields are in for
some entertaining acts. Bonita Granville
and Jackie Moran supply teen-age romance.
MAKE YOUR OWN BED — Warner Bros.
Jack Carson and Jane Wyman are teamed
up again, this time for out-and-out farce,
which deals with real and fake Nazi spies,
and a lot of other hokum that sometimes
adds up to a couple of laughs. Jack, as a
private dick, and Jane, as a secretary, posing
as servants, do their best, but can't seem to
put any logic into illogical situations. Alan
Hale is good as the big business man who
cooks up a Nazi spy story to keep his ser-
vants interested. Irene Manning, George
Tobias are fine. (More reviews on page 90)
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SCREENLAND
17
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SCREENLAND
D
EAR JUDY:
You have us worried !
By "us," I mean myself and a mil-
lion or so other fans. You're growing
up too fast to suit us !
Now wait a minute. We. know that
you have to grow up some time.
You're too smart to want to stay an
itty-bitty girl forever singing a song
to Mr. Gable. It isn't that. We just
want you to take it easy, that's all.
It's one thing to want to branch out
into a dramatic role as a relief from
too many musicals. Can't blame you
for that. It's natural artistic growth —
AN OPEN LETTER
TO JUDY GARLAND
New portrait of Judy shows the little girl is grow-
ing up— but she has never lost the wistful sweetness
which first won the hearts of movie audiences.
and you're an artist, Judy, under all
that demure sweetness. There's fire
there, and imagination, and great
depth of feeling. You're probably go-
ing to end up an Academy Award
winner, but don't make it too soon,
please. When we hear that you want
to play serious parts it worries us be-
cause, to use the words of one fan
who wrote in: "Judy, just as she is,
makes us happy. We know she can
act; so can others. But those others
can't give us the lift that Judy can
when she is singing her
heart out. I'll never forget
her in 'Me and My Gal.' £
There's only one voice like that."
We know you can't keep on making
"Me and My Gal" over and over
again. But after your next, "Meet Me
in St. Louis," and "The Clock" (the
romantic story you will soon be doing
with Bob Walker), can't you give us
another musical Garland? You have
years ahead of you to play heavy
drama. Right now the world needs
all the cheer and comfort and gaiety
it can find. You can give it. Just
be Judy.
I
1
Little Miss Victoria Elizabeth James makes
her first personal appearance under the
auspices of Mama Betty Grable and Papa
Harry James for this magazine's star re-
porter Elizabeth Wilson. The baby of the
country's number one band leader and the
Pin Up Girl is front page news. Proud father
is shown, at left, in scene from his new
M-G-M picture, "Two Girls and a Sailor,"
with June Allyson and Gloria De Haven.
WHEN Betty Grable said come on
over and meet the "most beau-
tiful and sweetest baby in the
world," I thought to myself, these little
mothers, always carrying on as if they
had invented motherhood. To me, all
babies look alike. I can't get excited
about them until, at the precocious age
of four or five, they say something funny
that wows me. I could hardly expect
little Miss Victoria Elizabeth James, at
the age of six weeks, to crack- wise with
something awfully clever.
Well, I'll have you know, she did
everything else but. I have never seen
anyone at six, sixteen, or sixty, as gra-
cious and charming and poised as Vicky
at six weeks. And under the most trying
conditions, too. Suddenly into the quiet
solitude of her lovely blue and white
nursery popped two press agents, two
cameramen, and a writer (me) . The
press agents made revolting faces and
horrible clucking noises at her (as if she
didn't know to look at the camera any-
Meet the
Betty
G r a b I e -
Harry
James
heiress!
8y Elizabeth Wilson
way) , tlie photographers Hashed bulbs
hi her eyes and dropped them noisily on
the Hoor, and the writer did as silly an
impersonation of Billie Burke as has ever
been seen outside of a nut house. Vicky
proved to be a thoroughly# good sport.
\ot once during' the long picture-shoot-
ing session did she burst into tears.
Imagine, a six- week-old baby! Not once
did she have to have a change. A perfect
little lady. Why. she even showed off a
bit. When Harry, the proud father, took
her across his shoulder and said to us,
''This is the way 1 burp her," Vicky
obligingly burped, right on cue. A born
actress, believe me.
Betty and Harry are bursting with
pride over their little heiress, of course.
But they're being so sensible about Vicky
they deserve a iot of credit. Two min-
utes after Vicky was born (a fat little
thing weighing 7 pounds and 12 ounces)
in the Cedars of Lebanon Hospital.
March 3 at 4:55 A.M., every newspaper,
magazine; and syndicate in town wanted
[Please turn to page 77)
On the screen in "Pin
Up Girl" for 20th
Century-Fox, at right;
at home just Mrs.
James and Vicky's fond
mother, below — that's
Betty Grable today.
She may limit future
movie-making to just
two films a year.
! i
r »
After "The Desert Song" the movie
public demanded more of Irene Man-
ning. You'll be seeing her in "The
Doughgjrls" on the screen, and here
are two exclusive home pictures: left,
making a recording of that lovely
voice; right, reading her fan mail.
*3
By Jessie Henderson
Irene Manning is one singer who
looks as lovely as she sounds
WHEN you first meet Irene Manning, you art
struck by three things: the deep blue of I mi
eyes, that ability to hit an E above High (
and the lady's proud request that you feel her diw
phragm. It feels like a concrete football
This is no little surprise, for Irene is blonde am
slender, but the thing comes from producing t!i<
lofty E and other vocal fireworks. Incidentally. th<
Manning diaphragm has been the despair of tlx
Warner Studio wardrobe department. After they gd
a gown just so — -Irene takes a deep breath. The dia
phragm expands two inches and, pop! go the seam.»
The mail man is about to go, pop! any instant, tm
As he toils up a hilly street in North Hollywood lie
can't figure how so many people crowd into a sing!'
small house, nor why each of them gets so main
letters. The names on the mail box are Irene Man
ning, Hope Manning, 1. Harvout. Mrs. Het Man
heim. Inez Harvot. They're all Irene Manning, who
lives there alone with a recording
machine and a yellow cal
But despite as many aliases as
k a burglar, Irene is really, of
course, a lyric soprano. The mail
comes from fans who knew her
under one name or another at
home, on the stage, in concert,
over the air, and more recently
in pictures such as "The Desert
Song" and "Shine On, Harvest
Moon." As a matter of fact,
Irene's the only star who has
changed her professional name
three times and every time made
a howling success under the new
monicker. Well, perhaps not
howling, exactly
(Please turn to page (17)
m
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Tontalne
MISS JOAN FONTAINE'S days
of cinematic dejection and de-
spair are over. No longer will
she play the mousey (if beautiful)
heroine who wanders through her pic-
tures trembling at the approach of
Boyer ("The Constant Nymph"),
cringing at the sight of Cary Grant
("Suspicion") or wincing decorously
at the crassness and boorishness of
Tyrone Power ("This Above All") .
Moss Fontaine, gay, gleaming, and
glamorous, told us all about it the
other day in her suite at the flossy St.
Regis in New York where she had
checked in for purposes of relaxation
and rest.
Miss Fontaine, please be apprised,
was brimming over with enthusiasm,
which is a wonderful state of being for
Miss Fontaine. She was as buoyant as
a birddog in hunting season, if a lady
as breathtakingly beautiful as Miss
Fontaine may be compared with a bird-
dog even for purposes of graphic illus-
tration.
We inquired how come all this sud-
den frivohty on the part of the screen's
most sedate and proper young practi-
tioner.
"Sedate and proper, indeed!" Miss
Fontaine exclaimed with a toss of her
honey-colored mane. "Sedate and prop-
er I may have been, but that was ter-
ribly long ago — long before 'French-
man's Creek,' at any rate."
The polite thing, of course, was to
ask Miss Fontaine to tell us all about
it and we did. Miss Fontaine was will-
ing.
"I don't know whether you've read
the book," Miss Fontaine opened, "but
if you haven't, the best way to describe
it is a book about a seventeenth-cen-
tury Jezebel, a red-headed five-letter
word that rhymes with ditch."
"And you played the part?" the re-
porter demanded, thoroughly awed.
"Certainly! And what's more, I loved
it — loved every minute of it, even if it
was the most gruelling job I've ever
done on the screen. I lost eleven pounds
in the process, and youll understand
why when I tell you what I do in the
picture. You see, I'm a respectably
married woman who has the ill-fortune
to be smitten by a handsome, dashing
pirate captain."
"Errol Flynn?"
"No. Arturo de Cordova. Anyhow,
as I was saying, I'm so smitten by the
pirate captain that I sign up as cabin
boy on his ship and wind up by being
trussed and carried aboard, at which
point my adventures begin. I swim
under water to cut boats loose in a har-
bor where we're about to seize a mer-
chant ship, hurl a chair across a table
at the villain, and stab him and finally
kill him by hurling an ancient shield at
him. I take part in four fights all told,
set out on a half dozen wild rides, and
wind up crawling on my hands and
knees along the face of a Cornish cliff
« while troops fire at me from above. If
that's sedate and proper behavior, I'm
Winston Churchill — although, to tell
you the truth, I rather wish I were."
"How did you find Mr. de Cordova?"
the reporter asked, by way of getting a
little light on an item bandied about in
the Hollywood press columns a few
months back.
Miss Fontaine was not caught flat-
footed. "You wouldn't, by any chance,
be referring to those dreadful rumors
to the effect that Mr. de Cordova and
I feuded all during the picture, would
you?" she twinkled. The reporter fum-
bled discreetly for a cigarette. "Here,"
Miss Fontaine said, handing him one.
(Please turn to page 70)
Joan co-it an with Arturo do Cordova (with her, loft) in
"Frenchman's Creek.'' Read what she says about "feud" with
Mexican actor. Top, Joan, farmerette, on her California ranch.
1
She's a creature of «-
price, this Joan Fontaine-
After dreamy Pf*"**1'
£ "Rebecca," "Constant
Nymph." "J«"«
she'll -ft 1
sharp characterisation ot
.reckless l-dy i" "W*
man's Creek." Paramount
director Mitch Le.sen «
right above, staged lum-
berjack party *<>. -the com-
pany at finish of the film.
By
John
Franchey
YouMHinda changed
character in this
tlever story about
Joan. You never
really knew her be-
fore, but "Rebecca
is a big girl now.
lere's that intimate,
ard-to-get Fontaine
interview you've been
waiting for. A scoop.
By Liza
VttllEi'lflW
BOB HUTTON is the kind of an actor who gets a big kick
out of meeting actors. He stares, and turns cold, and
can't think of a thing to say when he's introduced. On
him it looks good. He's terribly impressed with actors. But
not with himself — because he doesn't consider himself an ac-
tor. Warner Brothers doesn't consider him an actor, either.
They've told him that if he ever starts acting in one of their
pictures they're going to fire him quick. They want him to be
his own natural shy self. Sort of a young blond Jimmy
Stewart.
But just the same, actor or no actor, it was young Hutton
who walked off with the best reviews in his first picture,
"Destination Tokyo." And with competition from such es-
tablished actors as Cary Grant, John Garfield and Alan Hale.
The kid's good. But unless you want the studio to conk you
over the head with Sydney Greenstreet for heaven's sake
don't tell him.
Recently at a cocktail party Bob met a young actress he'd
been wanting to meet for some time. Betty Hutton. Someone
said, "Miss Hutton, Mr. Hutton," and there was a long pause
during which Bob stared, turned cold, and said nothing. But
finally he managed, "Miss Hutton, I've been wanting to meet
you to tell you — you've saved my life. I would have starved
if it hadn't been for you." Paramount's blonde bombshell was
immediately intrigued.
Well, it seems that when Bob married Natalie Thompson
last December they moved into an apartment, in Beverly Hills,
very near where Betty lived. Bob being a good husband, and
a new one, did the family shopping at a nearby market. Every
day for a week he asked for onions, bananas, butter and half-
and-half. Always he was given the brush-off chilly. But there
being no other market near, Bob decided he'd open a charge
account there in the name of Bob Hutton. The next morning
when he dropped by to do the family shopping the clerk,
charming and gracious as a Junior League hostess, asked him.
"How are you today, Mr. Hutton? And how is Betty?" Bob,
confused by this sudden cordiality, thought he meant Bette
Davis, who was working at the same studio with him. So he
said she was fine and the picture was getting along fine.
"Betty's a great girl," said the clerk, and Bob readily agreed.
"Suddenly," he told Betty Hutton, "I found I could get all
the onions, bananas, butter and half-and-half I wanted. I
even got steaks. Then one day the clerk asked me if Betty
had finished 'Incendiary Blonde' yet — and then it came over
me in a flash that it was you, not Bette Davis, that he had
been raving about all the time! He thought you and I were
related — somehow. By then I was afraid to tell him that I
didn't even know you. So, I've been wanting to meet you for
months to thank you for the onions, bananas, butter and the
half-and-half."
Bob — who eats well because he is a Hutton — is the first of
his family to turn actor. He was born in Kingston, New York.
June 11, 1920, the son of a hardware merchant. His real name
is Robert Winne. But it always caused confusion, or corny
cracks, when he left messages over the telephone. So when he
decided to become an actor he changed it to Hutton, his
mother's maiden name.
At grammar school, and later at Blair Academy in New
Jersey, Bob could easily have been voted by his classmates
the least likely to become an actor. He attracted great atten-
tion with his ability at tennis, track events, wrestling and
hockey — but when it came to play-acting he had just as
much savoir jaire as a mouse with an inferiority complex. He
wasn't stupid, just shy. Painfully, depressingly, discourag-
ingly shy.
"My first public appearance," (Please turn to page 60)
First home pictures of that nice new boy, Bob Hutton, with his pretty
wife, Natalie, not to mention their two cocker spaniels, Vic and Hut.
wood »«« , boy at
WHEN Ann Sheridan walks out on
a situation that breaks her heart,
she doesn't cry, she exits laughing.
This is her Midas touch. That's why
her Mona Lisa lips smile back from the
walls of a thousand barracks. For in spite
of photograph after photograph showing
a seductive, provocative Annie making
with the glamor on all twelve cylinders,
the boys say that it isn't the glamor alone
that gets them. No, it's also the honesty
in her face, the laughter in her eyes that
they like. They say she'd be nice to come
home to. They say she'd be easy to love.
And, besides this, they say she'd be fun
to live with. Lorelei — with a tomboyish
and slightly hoydenish heart.
Laughter does it. Since 'way back
when Eve smiled at Adam and offered
the famous apple. Life is not one merry
party. Everyone has had disappoint-
ments and tragedies that
have knocked him out for
the count of ten, but if you
don't wear your heart on
your sleeve or go around
with tear-filled eyes, your
troubles don't get anyone
down but yourself. And
that's saving a lot of man-
hours, because we haven't
time these days to listen to
sob stuff. These days,
warmhearted laughter is a
good thing to have around.
With Annie it's not a
scatter-brained gaiety. It's
a whole philosophy of liv-
ing, a way of looking at
life. Warmth and cheer
brush everything Ann Sher-
idan touches; and we don't
mean she goes around with
a Pollyanna slap-happiness,
either. But she DOES carry
laughter into every nook
and cranny of living. This
is easy enough when things
go right, but it takes a cer-
tain gallantry to smile when
things go wrong.
Ann Sheridan can remem
ber the times during her
life when it would have
been a lot easier to cry and
scream and rant and rave.
But she had that kind oi
Irish stubbornness t h a
made her hold her b
high until she was com-
pletely alone. One of these
times was the occasion of
Annie's very first party.
She was in the eighth grade.
The party was the biggest
event of the school year.
Everyone came dressed in
ume. Little Annie came dressed as
a pirate. She wore tall boots and shorts,
a bright shirt and a brilliant sash around
her waist.
She was glad she had a gay costume
because, for one thing, she had a terrific
crush on the football captain. As she
'walked to the gym where the party was
held, she hoped he would be proud of
her. She did look kinda cute — everyone
said so. The boots were so tall and black,
the shorts just the right length to show
y
Alyce
Ccmfield
dimpled knees. The blouse was her color.
She entered the gym. Bedecked with
tissue paper garlands and streamers, it
looked like a page from a story book.
Everyone was there — just everyone. The
girls that belonged to the same clubs she
did, the boys in her math class, her class-
mates and her very best friends. Ann
had been dreaming of this, her very first
party, for a long time, but it was even
better than the dream. She stepped across
the threshold into grown-up world of par-
ties and dates and fun.
"I felt pretty happy," remembers An-
nie, "and then the bomb fell. My gym
teacher told me she didn't like my cos-
tume. 'Indecently clothed!' she said, and
my face went scarlet. She said I must
either go home or dance with my coat on.
I said I'd go home.
"I was terribly embarrassed. And I
was terribly disappointed. I'd looked for-
ward to that affair for a year, and a year
is a life-time to a child. But more bitter
than this was the fact that I had been
disgraced and ridiculed in front of my
idol — the football star. I didn't see how
I could live through it. I didn't see how
I could face them all at school the next
day.
"I thought of a good line, you know,
like 'The play must go on!' I said to my-
self, 'Well, keep your chin up, kid!' Be-
cause I couldn't let the others know what
it meant to me, and I wouldn't give the
gym teacher the satisfaction of seeing
she had hurt me.
"Keep your chin up! That was a laugh!
My insides were turning handsprings. I
was just a kid, and I wanted to sink
through the floor. Worst of all was the
realization of my sudden transition from
a tomboy child into a young woman, the
sudden embarrassing awareness of my
figure. I had grown up in the space of
a few seconds, before a hundred curious
eyes. Realization of maturity didn't
come in an idealistic or pretty manner.
It was a slap in the face.
"I could have cried, I guess, and the
teacher might have changed her mind.
But I walked out as if I didn't care, up
two long flights of stairs. Theyse^med
endlessr Everyone was watching me, and
I thought they were laughing at me."
Ann didWt know it, but they weren't
laughing. To\a man they walked beside
her up that chain of steps because of
something in the>nray she held her head,
the way she turned lichen she reached the
top and flung them it last nonchalant
smile. They knew she%<wouldn't crack.
They knew she wouldn't let them down.
It was the age-old triumph of students
over faculty. And they all silently cheered
with that impregnable camaraderie of
children that brands all adults as strang-
ers in an alien world.
The teacher telephoned when Ann got
home. She spoke to Ann's mother and
apologized. Ann didn't go to the phone
She was locked in her room crying her
heart out.
The second time she cried, it was for
a cagey reason. She was merely using
her business head! Ann had come to
Paramount by way of a beauty contest,
and the dramatic coach at that studio
didn't think much of beauty contest win-
ners. One day this coach called Ann into
her office and talked with her. In clipped,
decisive speech she told Ann that she was
lazy, that she wouldn't work and that it
was her personal belief that Ann was
wasting her time in pictures.
Ann was shocked and scared. She had
been making pictures one after another
and hadn't known she was expected to
study so much on the side. She had been
counting a lot on a career in pictures,
trying hard, giving up a lot of fun. And
then bluntly this person, who seemed
qualified to know, told her with a cruel
coldness that she was wasting her time.
It's hard to lose any job, but it's doubly
hard to have your career irrevocably
(Please turn to page S3)
29
ANGELS OF MERCY
IN THE MAKING
American girf,
« worth,
career i n
»*• C«def
Nurse c«rp«
^ord U«,Ifm.
Vanguard's
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torn Aline MaeMahon, Dorothy hear* about
Cadets ' work and good times, makes a decision.
m
. . A decision that it proudly received by her
parents, played by Tom Tully, Spring Byington.
Care and handling of children is part of the
training of the student nurse — but it's fun, too.
GENE TIERNEY, STARRING IN LAURA", A FORTHCOMING
20TH CENTURY-FOX PICTURE
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stays color-true, color-fresh . . , lends
long-lasting velvet smoothness
Girls! Wear exciting Sun Peach for rose-gold glamour.
Or trv exotic Tropic Tan for darker, bronzy beauty.
Hollywood helped create all 8 Woodbury wonder shades.
Color Control blending gives them smoothest,
clinging texture to veil tiny blemishes . . . creates
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Get your exquisite Woodburv shade today.
r
YOUR MATCHED MAKE-UPI . . . Now with your big
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ALSO BOXES OF WOODBURY POWDER 50r, 25)!, IOC
MEMO * ite^?ijbu* *
1\ST summer, I had a country house
j on the North Shore of Long Island
and you came down one Sunday,
Richard, remember? None of my neigh-
bors in that quiet little community had
ever met a movie star so I invited them
to meet you at cocktail time. They came
much as they would have done if. they
had been going to the Central Park Zoo
to see the half-lion, half-tiger on exhibi-
tion there. (I hoped they wouldn't feed
you peanuts. They didn't.) You talked
antiques with Mrs. L. You walked with
her across the road to her old, white, pre-
Revolutionary house and admired the
fine, old doorway, the original floors, her
milk glass and Sheraton. You not only
admired them, you knew about them,
were interested. You talked boats with
sailing enthusiast, Mr. S., and told him
about your racing boat, a Rhodes '33,
named "The Ricky" for your ten-year-
old son. You talked P-47s (The Thun-
derbolt) with Mr. O. who helps to make
them over at the plant. And dogs with
Mr. and Mrs. G.
You amused them by saying that Hol-
lywood is just like any other small town
except that it has a fabulous name, fabu-
lous. You poked fun at yourself, saying
you have been in Hollywood for so long
that Billy Haines calls you "the oldest
altar boy in pictures." With the excep-
tion of this crack and your chance re-
mark that Gary Cooper is your best
friend and that you often play golf with
Bing Crosby and Johnny Weissmuller,
not once during the afternoon, so far as I
know, did you mention pictures, picture
people, or-^— yourself.
You looked so nice, Dick, had so much
dignity. You wore a conservative, dark
blue suit, with a heavy, old-fashioned
gold watch chain, which somehow looked
right on you, across your vest. Later,
Mrs. L. was quite rhapsodic over "that
touch of gray at the temples, that
bronzed skin, white teeth, gray eyes."
You looked healthy, fit, more a business
man than an actor and, not to be out-
done by Mrs. L., handsomer than you
did when you first came to Hollywood
(in 1920) , and you weren't exactly over-
looked then.
The men of that little North Shore set
liked you as much as the women did.
When you left, you left friends,
and there was an unanimously
admiring chorus of "I never
knew a movie star would be like
THAT!"
Some time ago, I wrote an arti-
(Please turn to page 80)
Dick is teamed with Vera
Hruba Ralston in Republic's
"Storm Over Lisbon," a
thrilling story of counter-
espionage in Portuguese cap-
ital— see scene at right.
"I never knew a
movie star could
be like THAT!" is
the admiring
chorus when
people meet
Dick. Here,
an old friend
analyzes the
durable
appeal
of down-to-
earth Arlen
32
3ERALDINE FITZGERALD. Watch for this red-haired, green-eyed beauty in
in important role in Darryl Zanuck's great new historical drama, "Wilson "
PERRY COMO. LatesfSinatra threat, just signed by 20th Century-Fox,
sings his way to screen popularity in "Something For The Boys "
DANA ANDREWS. You saw him in "The Purple Heart." Now he is compli
ing his part in "Queen of the Flat-tops," sharing honors with Don Amecl
GENE TIERNEY. Welcome her back in her first role since motherhood,
the romantic lead in "Laura," from the novel by Vera Caspar/
Metro-Gold wyn-Mayer, big-
gest studio in fifth biggest
industry, celebrates its 20th
anniversary. Leo the Lion,
world-famous trade -mark,
salutes his brilliant stars
THIS summer, Metro-Goldwyn-May-
er, the biggest studio in the fifth big-
gest industry, celebrates its twenti-
eth anniversary. Since it was founded in
1924 (Marcus Loew and Nicholas
Schenck, having parlayed a nickleodeon
into Loew's Theaters, needed good pic-
tures for their houses) M-G-M has
become the wealthiest and most influ-
ential of all Hollywood movie companies.
Its prestige and profits are head and
shoulders higher than any other studio's.
Its stars shine with 40,000-watt bril-
liance. Its pictures, actors and crafts
men have won twice as many Academy
Awards as any other studio. Its trade-
mark of a roaring lion, called Leo (de-
veloped by its number one press agent,
Howard Dietz, who swiped it from Co-
lumbia University, his alma mater) has
become the symbol of Class-with-a-cap-
ital-C pictures all over the globe.
The man who can take the deepest
bows for the sensational success of
M-G-M is Louis B. Mayer. Mr. Mayer
settled in Haverhill, Massachusetts, when
he was a young man. His first venture
in the movie business was when he
bought a small theater called the "Gem"
— but more appropriately called the
"Germ" by the neighborhood clientele —
which, when he had scrubbed it thor-
oughly witli soap and water and disin-
fectant, became the beginning of a flour-
ishing chain of theaters in New England.
Later he moved his family to Los Ange-
les and took over the old Selig studio.
Among the stars under personal contract
to him were Norma Shearer and Renee
Leo salutes June Aliyson and Bob
Walker, fast-rising stars. Pictured at
right is the stately front of Holly-
wood's greatest studio, wonderland
of motion picture art-industry.
Adoree. In 1924, when the Goldwyn
Company studio and properties were
bought out by Metro and Mr. Mayer,
he became the boss of M-G-M. For the
past seven years Mr. Mayer has been
the highest paid individual in the Unit-
ed States. But on the lengthy studio
payroll he is listed merely as "executive
in charge of production."
In the shoe-string Twenties in Holly-
wood most movie producers were busy
ducking the star system. Stars were
just beginning to demand big dough and
producers wished to nip this tendency
in the bud, quickly. One producer
smoothly announced that only authors
were important in making successful
pictures, and proceeded to sign up as
many famous authors as he could lay
hands on — many of whom did not lay
hands on pencil or typewriter during
their pleasant sojourn under the pepper
trees. Another producer said that only
directors really mattered in this business,
and went on a director-signing bender.
But Louis B. Mayer understands the
public. He was just as convinced then,
as he is now, that the public wants per-
sonalities. So to hell with the cost.
People can't idolize an author, or a di
rector, or a makeup man, no matter how
talented — but they can go hysterically
mad over a personality. Mr. Mayer was
willing to gamble everything on the star
system. He was willing to spend an un-
limited amount of money in grooming
them, teaching them, glamorizing them
— even though it took one or two years
before he considered them ready for
their big break. Mr. Mayer's stars have
never bolted on the screen half-cocked.
And once having put them on a pin-
nacle he never let them down. He saw
to it that it was a 24-karat pinnacle,
and was kept beautifully polished by the
best craftsmen in the industry. So, while
other producers were shouting "The
play's the thing" (not that they loved
writers) , Mr. Mayer had a sign swung
up over his Culver City studio which
quite blatantly announced to the world.
"More stars than there are in the heav-
ens."
Following the merger of 1934, the
stars on the M-G-M contract list were:
John Gilbert, Lon Chaney, Lionel Bar-
rymore. Renee Adoree. Lew Cody, Alice
Terry, Viola Dana, Mae Busch, Aileen
Pringle, Conrad Nagel, Mae Murray,
May McAvoy, William Haines, Buster
Keaton, Claire Windsor and Lewis Stone.
The new company immediately be-
came the acknowledged leader of the
industry soon after the release of their
first "super-colossal" film. "Ben Hur."
Quickly followed by the never-to-be-for-
gotten "The Big Parade." Ramon No-
varfo and May McAvoy were the popu-
lar stars of ''Ben Hur." Tn the cast in
a minor part was a young, freckled-
faced girl from Montana, who, some
years later, would make a mint of money
for the studio. The girl, Myrna Wil-
liams (she changed later to Loy) , was
rhosen from a group of extras to play
the Madonna, but when the director,
Christy Cabanne, saw the day's rushes
he hastily replaced her with Betty
Bronson. He gave Myrna the part of a
fallen woman. But M-G-M made
Below, the beautiful
rving Thalberg Build-
ing, Metro-Goldwyn-
Mayer's administra-
tion headquarters
dedicated to the late
great producer. Left,
new star Van John-
son. Closeup on fac-
ing page, Gloria De
Haven, one of Leo's
most promising
young players.
amends ten years later by establishing
her forever as "the ideal wife."
"The Big Parade," starring John Gil-
bert and Renee Adoree, was voted by
the nation's critics for three successive
years as one of the "ten best pictures."
Handsome John Gilbert quickly became
the most popular star in the country.
His fan mail was staggering. "John,"
said one of the older employees at the
studio, "really typifies a movie star. He
would have his gay days when he was
on top of the world. Then someone
would hurt his feelings — or (iarbo would
refuse to see him — and he'd become low-
er than a snake's belly. When he'd have
his tits of depression he'd go over to
Buster Keaton's bungalow, and Buster
would do all his tricks and impersona-
tions for him until John got out of his
mood. The Great Lover always turned
to the Great Comedian when he was
blue."
"The Merry Widow." starring dashing
John and Mae Murray of the bee-stung
lips, was another early M-G-M box of-
fice success. It is interesting to note
that one of the extras carrying a spear
in one sequence of the lavish film was
an earnest young man, who had former-
ly been a farmer, an oil worker, a lum-
berman, and a hop picker, by the name
of Clark Gable. He looked so awkward
as a spear carrier that Director Von
Stroheim promptly fired him off the pic-
fure. Shortly after that Gable was look-
in" lor work on the Warner lot wheii
Mervyn Leroy, now one of Metro's high
est paid producer-directors, saw him and
asked the front office to give him a
screen test. "The guy's got something,"
insisted Mervyn. "Yeah," said Warners,
"he's got something, all right — big ears!
No, thanks." Mr. Mayer wasn't so fin-
icky about big ears when he saw Gable
a few years later. He signed Gable on a
long term contract for enough dough to
choke a horse
Soon after Mr. Mayer became boss of
M-G-M he began looking for a good
comedienne to counterbalance his glam-
or stars. Well-loved Marie Dressier had
been a sensation in "Tillie's Punctured
Romance" and other Mack Sennett com-
edies. Mr. Mayer teamed her with Polly
Moran and their comedies promptly be-
came big money makers. Lon Chaney
was one of Miss Dressler's staunches)
admirers on the Metro lot. and he was.
always taking tests of her. One day
he went to Clarence Brown, one of
M-G-M's top directors (and incidentally
the director of "The White Cliffs Of
Dover" which has been selected as the
studio's twentieth anniversary picture)
and said to him. "Marie Dressier is
being wasted as a slapstick comedienne.
She is a great dramatic actress." Clar-
ence Brown looked at Chaney 's test, and
was so impressed he gave her a highly
dramatic part in "Anna Christie." This
picture was publicized with banners pro-
claiming to the waiting world the glad
tidings. "Garbo Talks." But to Miss
Dressler's friends on the lot. "Anna
Christie" was chiefly important because
it firmly established Marie Dressier as a
fine dramatic actres>
"Everybody loved Marie Dressier."
said one of the men who had worked on
many of her pictures. "She used to cook
lunch in her bungalow for the entire
crew of the picture. Her specialty was
"Garbo Talks!"
Scene from mem-
orable "Anna
Christie" with
the great G.G.
"A Family Af-
fair" started pop-
ular Andy Hardy
series starring
Mickey Rooney.
J
Team of Mickey
Rooney and Judy
Garland got off
to good start in
"Babes In Arms."
SpencerTracywon
Academy Award
for his great
performance in
"Boys Town."
37
"A Guy Named
Joe" is still talked
about: Irene
Dunne with
Yen Johnson.
Now "The White
Cliffs Of Dover"
is impressing
the movie - 90-
i n 9 public.
wm
what she called 'tail steak.' She said everybody
else threw away the tail part of a steak, when
really it was the best part. She'd grind it up with
onions, mix in eggs and bread crumbs, and it was
delicious. You hadn't lived until you had had
some of Marie's tail steak. Marie was a very
frank, outspoken person, and when she didn't like
you she didn't hesitate to let you know. One day
Walter Winchell came on the set when we were
making 'Min and Bill.' Marie didn't approve of
Winchell's gossip column. 'Come here, you bad
boy,' she shouted at him, and before he knew
what was happening she had him across her lap
vigorously applying her slipper."
In 1925 Harry Rapf, a former stage producer
who joined Mayer as an associate when the com-
pany was founded, wired the publicity department
to meet a Lucille Le Sueur, a New York showgirl
he had signed on a picture contract. Mr. Mayer
hastily dispatched one of his bright young men
to meet Miss Le Sueur. Said young man only
knew two things about New York showgirls, viz.,
they were haughty and they always traveled with
wolf hounds. No one like that got off the train. He
was about to return to the studio when he saw a
bushy-haired girl, in a plaid skirt, hanging on
tightly to a dinky make-up case, crying her eyes
out. Seems she'd been told that she'd be met by
a brass band in Hollywood. Lucille Le Sueur, as
the world knows, eventually became Joan Craw-
ford (she was listed in the 1925 Studio year book
as "Miss No Name") and one of the most glam-
orous stars in Hollywood.
"First time I saw Joan Crawford," a camera-
man recalled, "she was playing a small part in a
picture called 'Pretty Ladies.' Norma Shearer was
the star. We went on location to San Bernardino
and most of the cast lived on a train that had
been borrowed. Every morning Joan would put on
her shorts — first time we had seen shorts in Cali-
fornia, and it was indeed a pleasant sight — and
take her morning exercises running up and down
the railroad tracks. Another girl who was playing
a bit part in the picture was Myrna Williams,
now Loy."
Norma Shearer, a Canadian girl who had come
to Hollywood after a hard struggle in New York,
was under personal contract to Mr. Mayer when
the merger took place in 1924. Norma had been
playing nice little wives and nice little secretaries
in a series of films, and was getting no place. Om
morning she called the publicity department and
insisted she wanted some sex photographs of her
self. George Hurrell. who was doing amazing
things with lights and shadows, was picked to
make the sitting. Norma pulled her hair down
ovei one eye (guess who did this some years
later?) and threw herself on a couch with a goodly
part of anatomy revealed — much more than tin
Hays Office would okay now. She took her hot
art to the office of the studio's young producer
genius, Irving Thalberg, and said. "I'm the girl
you want for 'A Free Soul.' " Mr. Thalberg agreed
Building up his roster of stars, Mr. Mayer, in
1925. saw a young and beautiful Swedish actress
in a picture called "Gosta Berling." He promptly
signed both the star and the director, Mauritz
Stiller, and invited them to continue their careers
!n Hollywood. When she arrived at the studio in
ulver City, Greta Gustafson, who had worked as
a clerk in the Bergstrom department store in
Stockholm, spoke no English, was self-conscious,
awkward, and completely confused by everything,
especially publicity. There were those at the studio
who shook their heads sadly and said that Mr.
Mayer had made a big mistake. But when "The
Torrent" was released a few months later they
promptly ate their words. Miss Garbo on the
screen was the quintessence of glamor, sex, and
romance — what did it matter if she wore flat-
heeled shoes and an old slouch hat off the screen!
And when "Flesh And The Devil" was released in
193? practically the entire world became Garbo
fans. The Garbo-Gilbert love scenes were hot
stuff; nothing like them on the screen, before or
since. This number one Hollywood love team
would probably have (Please turn to page 86)
ONCE upon a time, the film heroine
was petite, definitely the cuddly
type, and studio gates slammed
with a bang if there was an extra inch
of height. Now, in these streamlined
times, the tall girl comes into her own.
Watching these above-the-average fem-
inine stars, one wonders how they've al-
ways felt about their height. Did they
consider it a cross when they were grow-
ing up? Did they hunch and slump and
resort to tricks to camouflage it?
There's Rosalind Russell. Reared in a
family of husky brothers and sisters, the
independent Roz took no thought of the
inches piling up, and the very first ink-
ling that she was tall came during plans
for a school pageant. A gorgeous costume
had been secured for the Queen to wear
in the parade, and as the girls stood
around admiring it, the teacher sudden-
If you're a tall girl and like to refer to your-
self as a "Glamazon" — M-G-M's smart word
for a looming lovely — be sure you can measure
up! Helen O'Hara, right, illustrates a few
requirements necessary to rate. Above, Glam-
azon group remembered in "Thousands Cheer"
and "Broadwjay Rhythm." Left, another stately
lady, Maria Montez: tali, but so terrific!
ly exclaimed, "Rosalind must wear it.
She's so tall that she'll look impressive!"
"You see how lucky I was," said Rosa-
lind. "This conditioned me, as it were,
for the first consciousness of my unusual
height — I'm five feet, six inches — came
with the joy of being chosen Queen of
the pageant. It was a cause for elation,
not unhappiness. With this cheery boost
I accepted being tall as something desir-
able, and never tried to lessen the effect.
I always seemed to draw escorts suitable
for my height, and my husband, Freddie
Brisson, towers above me, so I never ex-
perienced any embarrassment. On the
screen I've played with tall men — Cary
Grant, , Fred MacMurray, Ray Milland,
Brian Aherne, Willard Parker."
Alexis Smith, blonde, five feet, seven
and a half inches, has the poise and con-
fidence of a young goddess. Her height
never presented problems. She began
dancing lessons at ten, attaining an erect
carriage and body control, thus avoiding
the awkward complex that hampers
many growing girls.
An early incident left its imprint. A
school friend asked, "You're so tall,
Alexis, what are you going to do about
dates?" She had never thought about
this but promptly replied, "Go with tall
men, of course." Suddenly she realized
she was several inches above average —
and she liked it! Then and there she be-
gan developing her own technique to
make the most of it.
"Now that I'm in pictures," said
Alexis. "I consider every inch an advan-
( Please turn to page 62)
After an absence of fifteen months due to Lou Costello's severe illness, the most popular comedy team in
the screen's history return to make "Lost In A Harem" at M-G-M. It's a mad melange of gags and gals, with
Hat in his best form — though Marilyn Maxwell in her harem costume is keen competition. These pictures
show the team at work (?). Blonde: Miss Maxwell. Director, Charles Reisner. That's all you need to know.
THEMATIC of Maria Montez is
success! Had Universalis Techni-
color Triumph interested herself in
the chapeaux business, Maria would
have been nothing less than a Dache.
Maria's mind works that way. Maria
"must be tops or nothing." She'll work
for those results.
With an accent to alter, and the com-
petition of innumerable beauties of equal
amuletic charm, Maria's war for movie
stardom was waged in a revolutionary
manner. Its success, which diverges
from the legendary pattern, marks Maria
as the shining exponent of shrewd in-
genuity. A movie-career-minded girl,
whom other girls with like ambition may
well emulate.
''Movie stardom is a matter of com-
plete concentration, just like success in
any endeavor," Maria says. "Concen-
tration, and undivided energetic appli-
cation. There are many theories of how
to get into pictures. Mine are based
solely on my own experience. If I were
to start all over again, I would follow
exactly the same plan.
"I always make plans. Nothing of
great importance 'just happens' to me. I
plan it that way. That is why I am not
going to give the usual weary advice:
'Stay home and if you're discovered all
is well. Play in home dramatics and
pray that a talent scout from Hollywood
is in the audience!'
"I'm not going to say that careers
spell heartbreak and all of that non-
sense. For stardom in motion pic-
tures can be, and to me is, the most
fascinating and completely compen-
sating business in the world. But it
takes logical planning.
"Consider: Are you a likely can-
didate for Hollywood? Ascertain
definitely whether you are. That
you have at least three assets that
mark you for stardom: 1. An un-
usual photogenic personality, 2. A
driving force of energy coupled with
ambition. 3. Talent and aptitude
for acting. And of course, beauty
helps.
"Now, be surprised! Never, never
come to Hollywood for a picture
contract. Hollywood is crowded with
every pretty girl who thinks she
46
should be in pictures. In New York, a
girl with a pretty face and nice manners
is always acceptable. In New York the
competition for attention is perhaps 10
to 1. In Hollywood, 1000 to 1.
"Try New' York first. That is the
short cut. Try either the stage, or be
like me and do it quickly. Dress to be
eye-attracting. Be so compellingly dif-
ferent from every girl you see, that you
will naturally cause people's eyes to turn
to you.
"You must be seen. To be seen you
must use showmanship). Go to all of the
right places wi$i the wrong man! By
that I mean, go with the young men
about town, the wolves who like to be
seen at the smart night spots and cafes
with a new and attractive girl. They will
keep you circulating to '21,' the Stork
Club, El Morocco — where the motion
picture producers and agents from Hol-
lywood gather on New York visits. With
these well known men-about-town (who
may be far from your own conception of
'Mr. Right' in a personal romantic
sense) , you are certain to be photo-
graphed for the magazines and news-
papers. Your name will be mentioned
with theirs in the columns. Over-night
( Please turn to page 72)
Even more than her movie success Maria val-
ues her marital happiness with Jean Pierre
Aumont, now fighting for the free French. Be-
low, the Aumonts just before he sailed overseas.
Right, Maria composing a letter to her love.
Some steps to screen success illus-
trated in exclusive photos by Maria,
star of Universale "Cobra Woman"
and "Gypsy Wildcat." Cooperate
with your fellow-workers. Be a good'
citizen (Maria signs up for a bond
with Emil Epstein, self-appointed
bond salesman at the studio). Be
gracious to interviewers, to every-
body. Attract attention with dash-
ing Dache hats, glamorous gowns.
Rare p*^
AT A FRANK SINATRA broadcast
Gloria De Haven sat among a group
of swooning girls. She was to be
Sinatra's leading lady in RKO's "Step
Lively," and as she had never seen
Sinatra she had come for purely profes-
sional reasons. But if she could have
looked into the future she would have
swooned too. For in the picture Frankie
was to take her in his arms and kiss her.
And as if that was not enough he was
going to give her a diamond and ruby
ring in appreciation of her work.
Like all good things in life this lovely
state of affairs happened quite by acci-
dent. One evening Gloria was preparing
to retire at seven o'clock. She makes a
ove, Gloria with Frankie Sinatra in "Step
e!y." Right, studio lunch with The Voice.
Other pictures, from M-G-M's "Two Girls And
Sailor," co-starring Gloria with June Allyson.
habit of doing this once a week. The
phone rang. It was someone from the
Hollywood Canteen, saying they were
short of girls and asking Gloria to come
over. She agreed.
As she was entering the canteen
she bumped into Ben Piazza, the casting
director for RKO Studio, who had been
a neighbor when she was a little girl. He
was amazed how she had grown up into
a beautiful young lady. Outside of the
fact that she was glad to see Ben again,
Gloria thought no more of the meeting
and went about entertaining the service
men. To her amazement the next day
she was notified she was to be Sinatra's
leading woman.
Being the daughter of Mr. and Mrs.
Carter De Haven of musical comedy and
vaudeville fame, Gloria comes naturally
by her talent, although Mrs. De Haven
never planned that her youngest child
should ever be in show business.
When Gloria was born in Los Angeles,
eighteen years ago, Mrs. De Haven de-
cided to abandon her career. This new
baby would have a different life than
her other children, Marjorie and Carter,
Jr. Most all of their young lives had been
spent travelling about the country, living
in hotels and playing backstage in vari-
ous theaters. Little Gloria was not going
to have the bottom drawer of a wardrobe
trunk for a crib. She was going to lead a
normal life.
The famous theatrical team of Mr. and
Mrs. Carter De Haven was dissolved and
when Gloria was eighteen months old the
separation became permanent in real life
< Please turn to page 64 J
no
he
t'e.
The CREEPfES
I Are Coming
In fact, they're here— and a million or more
movie fans are going to spend a million or
more a year to thrill and chill at horror films
Universal Pictures must know what the public wants. They sponsored Deanna Durbin,
Donald O'Connor, Peggy Ryan, Abbott and Costello. And now they call our attention
to the fact that they are first and foremost — in quantity, if not quality — in the produc-
tion of chiller-diller movies. Take your pick: "The Scarlet Claw," latest in the Sherlock
Holmes series with Basil Rathbone and Nigel Bruce; "Jungle Woman," with pretty
Lois Collier registering terror and sultry Acquanette (right) just registering.
Left, bare midriff play dress
in red and white checked
seersucker — that wonderful
easy-to-launder fabric. Be-
low, lovely two-piece print
dress of chalky white with
leaf motif in black. From
Saks, Beverly Hills. All ex-
clusive fashion photos of
Miss Leslie by Bert Six,
Warner Bros. Studio, where
Joan is making "Rhapsody
In Blue," based on the life
story of George Gershwin.
it
1* M
Miss America, today, selects smart and sensible play clothes. Few frills, forever remem-
aring that even her midsummer mood of fun and sun is no excuse for extravagant
stail. Joan Leslie, typical 19-year-old, picked red and white seersucker play suit on
opposite page for its bare midriff, simple ruffle of white organdy. Above, two-piece
suit of a California Authentic print in a Toltec design, from Louella Ballerino. Below,
two perfect little Summer suits for days in town: left, red linen with double-breasted
closing and cutaway section: right, black faille with bolero jacket and sheer white linen
blouse with flattering gilet and wrist ruffles — both from Saks, Beverly Hills.
■
I
HERE'S HOLLYWOOD
AS FAR AS the Lana Turner-Steve Crane
ZV divorce proceedings are concerned, Steve is
■L J*-only interested in one thing. He worships
his little daughter, Cheryl. He sees her every day
at Lana's house between the hours of five and six-
thirty. He wants to make sure that he will always
be able to see his daughter, which certainly doesn't
seem to be asking too much. Regardless of rumors
and gossip, he has nothing but the nicest things
to say about his estranged wife.
ONE SPECIAL love scene between the exquisite
Toumanova and handsome Gregory Peck in
"Days Of Glory" was so torrid the Hays office
began to smoke under the collar. Finally they got
around it by dubbing in the line, "Are you there,
comrade?'* — which Peck called out. All of which
implied that the great lovers were not alone. Which
further implied (to the Hays office, anyway) that
those happy, hectic, hot moments were all just
good clean wholesome fun!
HAIR the color of fresh Spring carrots seems to
be a popular shade in Hollywood. Greer Gar-
son started it. Lucille Ball was next in line. Now
Joan Crawford is trying it out. Typical of Joan who
always does the unusual, she's wearing a bright
pink cabbage rose on the top of her head. The con-
trast is startling and effective, to say the least.
ONCE again Ilona Massey is a free woman, but
not for long if that South American millionaire
has a convincing sales talk. Her ex-husband, Alan
Curtis, has been getting around a bit, too. Almost
daily his car can be seen in front of that apartment
building at the west end of Beverly Hills. Weston
East can't divulge names right now because we
54
Joe E. Brown gives dazzling blonde Lucille
Ball, a dazzling smile when she and Sgt.
Dezi Arnoz stop to talk at the Mocombo.
At the top of the page, cameraman Gene
Lester catches Judy Garland and Frankie
Sinatra in a tense moment before a broadcast.
The two stunning masterpieces in chapeaux are worn
at the Lily Dache party by brunette Maria Montez
and blonde Joan Fontaine. Top: Deanna Durbin,
who plays a tensely dramatic role in her next pic-
ture, "Christmas Holiday," attends "Meet the Peo-
ple" show at the Music Box with Felix Jackson.
Clark Gable, who'll be wearing a maple l«
on his shoulder from now on, is introduc
at Country Carnival by m. c. Mort Grec
Top: Among the impressive stellar turn«
at "Belle of the Yukon" party are Be
Hutton, Mr. and Mrs. Edward G. Robins-
promised Alan to keep it a secret. The young lady
in question is going places and with her will and
way, why shouldn't she!
PERSONAL to Weston East from Gig Young:
"I will appreciate it if you will thank all those
loyal fans for their letters. I have very little time
to write. Besides I've had an infected right hand.
Even though I am not so far away. Hollywood
seems so remote these days. How I long to get back
in pictures. The Coast Guard is wonderful but I
miss everyone so much. Give them all my greetings.
Especially Bette Davis. I'll never forget her kind-
ness to me."
THEY still can't believe their ears out M-G-M
way. Laraine Day. who has always been a
model young lady, has suddenly taken a stand.
She doesn't want to be in "The WACs," Lana
Turner's next picture. Laraine doesn't think the
part is right for her. nor that it will in any way
further her career. So that's that. She told them
nicelv but firmlv. What's more, thev listened.
PRODUCER Walter Wanger loves his wife-
Joan Bennett's daughter. Diana Bennett
Markey. enough to petition the court for the right
to adopt her legally. The girl's real father is John
Marion Fox. When Joan married Gene Markey
she had Diana's name changed from Fox to
Markey. Then she divorced Markey and married
Wanger. Catch on? To celebrate the occasion
Wanger is having his lovely wife painted by the
celebrated portrait artist. Paul Clemens.
DINAH SHORE has certainly blossomed out
since she became Mrs. George Montgomery.
At a dinner party given by Loretta Young and
Major Tom Lewis recently, Dinah wore an ice-blue
satin gown that was really a victory model. We
mean, the material was certainly rationed! Fortu-
nately for Dinah she didn't sing. One good high
note might have caused serious complications.
DONNA REED has to play the bass viol in
"Music for Millions." At least she has to look
like she's playing it. So she had the studio send the
huge instrument to her house where she could
practice on it at odd moments. Bill Tuttle. her
husband, says it's the stiffest competition he's had
since he first fell in love with Donna and married
her!
IF HER second baby had been a boy. Alice Faye
wanted to name him after his father. Phil
Harris. The stork, being no respector of famous
parents, delivered another girl. Alice almost had
her way. anyway. She named the babv Phvllis.
Merle Oberon was escorted to the premiere
by T/S^t. Vance E. Van Duien of Eagle, Ida.
Clair* Trevor made it « charming evening
for Pfc. Frank Grave» from St. Louis, Me.
CRAIG STEVENS, who may be mar-
ried to Alexis Smith by the time
you read this, is playing her hus-
band in "Doughgirls." Sort of a "dress
rehearsal," as it were. When he was
given a medical discharge from the
Army Air Corps, Craig went to one of
the Warner Bros, and said he wanted to
direct. With leading men as scarce as
those proverbial hen's teeth, you can
imagine how much encouragement he re-
ceived. They're grooming him for big
things and whether he wants it or not,
he's destined to be a movie star.
IT'S AN unverified rumor but from
such an authentic source we can't ig-
nore it. According to the whispering
chorus, a prominent Hollywood social
leader, famous for her parties, is on the
payroll of a studio executive. The reason,
and it's only hearsay, is to give social
prestige to Gypsy Rose Lee. If true,
Gypsy must be having a terrific laugh
all by herself. With that sense of humor
and her genuine forthright quality, she
should be collecting wonderful copy for
her next book!
AT RKO they are so crazy about
George Murphy, they asked M-G-M
to loan him for the fourth time. "We'll
even loan you Frank Sinatra in return,"
they bargained. "You'd have to if you
want George," came- the answer. And
the deal was made.
T^OLORES MORAN, who is dead set
on being the sultry siren type, has
worked on her voice until she now
sounds like the poor man's Tallulah
Bankhead. It's all most becoming ex-
cept for one thing. When Dolores uses
the telephone, people invariably say
"Yes, sir," instead of "Yes, ma'am." If
only they could see who they were talk-
ing to!
TJELMUT DANTINE has a tempo-
rary deferment because of his eyes.
All of which has nothing to do with his
not being able to see any other girl but
K. T. Stevens. They met at a cocktail
party and have been dating steadily ever
since. Local columnists are trying to
dream up a romance between Helmut
and Myrna Loy. Actually, he was taken
to her house just once. Later on a group
went dancing. Helmut whirled Myrna
around the fldor and very nicely, too.
In Hollywood, that evidently means
they're practically on their way to
Yuma!
f^N ONE of her rare public appear-
ances these days, Bette Davis was
dining quietly with a few friends in an
inconspicuous tea room. At an adjoining
table sat a blond, red-faced young man,
whose discomfiture was so apparent
everyone noticed it. "I wonder what's
bothering him," whispered Bette. If only
he could have told her! The young man
in question was none other than Van
Johnson, whose name had been linked
with Bette's as the newest woosome two-
some. This was the first time they had
ever even seen each other in person.
JEFFREY LYNN, formerly of Holly-
wood, who is now Lt. Ragnar Lind,
is proving himself quite a guy in Italy.
Quoting from a letter sent by a brother
"Looey": 'Jeff is doing a wonderful job.
.You'd never recognize him as the shy,
rather unhappy person he seemed to be
in Hollywood. He has lots of confidence
and is an excellent officer. Those Sinatra
fans we hear about have nothing on our
Signorinas when Jeff walks down the
street! They swoon in this language,
too!"
i «
'I
********
Reading from top: Lucille Ball with Edward Stokes,
Waterbury, Conn.; Martha O'Driscoll and Jane Wyatt
pote with Lt. Benjamin L Finnell of Redmond, Ore.,
and Jerry Detmer of Rome, N. Y.; movie chatter is a
diversion for Lucille Ball's escort and Lana Turner's,
Fred Newland of Denver, Colo., seen again right, when
a buddy horns in to be photographed with his "data."
57
r
Kitty's beauty is softly romantic — her night-black hair, the magnolia texture of her skin.
SHES ENGAGED!
SHE'S LOVELY! SHE USES POND'S!
Charming Navy worker
Catherine M. Clark of Washington,
fiancee of Robert Tate Brouillette
of Philadelphia, an Officer in
the Army of the United States
LJERENELY lovely Kitty Clark
is another engaged girl with that
adorable soft-smooth "Pond's
look" in her face.
"There's something about a
Pond's Cold Creaming that makes
you feel lots prettier — and so
luxurious,'" Kitty says.
This is how she uses Pond's to
help give her skin its soft, peach-
bloom look:
She smooths the fragrant white
coolness of Pond's Cold Cream
over her face and throat, then pats
it on briskly to soften and release
grime and make-up. Tissues off.
She rinses with more satin-soft
Pond's — sending her cream-
covered fingers all around her face
in quick little whirls. This is for
extra cleansing, extra softening.
Tissues off again.
Her Exquisite Ring
A sparkling diamond, dewdrop
clear, with a small diamond set
on either side \ The band is gold.
A Commander's Secretary — Kitty receives Navy Civil-
ian Service pin from Commander Walter Karig, USNR.
The Navy needs civilian workers in Washington. Living
quarters assured. If you are not in a war job, ask your
local Civil Service or Post Office how you can qualify.
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SCREENLAND
59
There's Another Hutton In Hollywood!
Continued from page 26
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says Bob, "was a definite flop. I was sup-
posed to recite a poem about Easter in
Sunday School. Mother coached me for
weeks, and I was letter perfect. But
Easter Sunday, when I stood up in front
of dozens of other little kids, I opened
my mouth, and to my horror, nothing
came out of it! At five I was a tragic
failure."
While he was in school Bob decided it
was high time he did something about
overcoming his self - consciousness. He
was sick and tired of being a Tarzan
character. "I loved movie magazines," he
says, "and I used to read in them how
such-and-such an actor had conquered
his shyness. It gave me great hope. I
forced myself to talk in front of people,
even though I sounded jerky and silly
I suffered, I still suffer, but I forced my-
self to talk. By the time I was sixteen
I had gathered up enough courage to get
a job as a juvenile with several of the
little strawhat theaters in the East. 1
played everything from gangling kids to
tottering old men."
After Pearl Harbor Bob did everything
he could to enlist in the Army. But
every where he was turned down on ac-
count of his eyes. Agent Louis Schurr
arranged a test for him with Warner
Brothers, and he was summoned to the
Coast for "Destination Tokyo."
"I was scared stiff on the 'Destination
Tokyo' set," he says with a smile. "Here
I was with a lot of big name professional
actors — I knew I'd never be able to blurt
out my lines when it came time for my
scenes. Cary Grant and John Garfield
and Alan Hale always had the set in an
uproar over their jokes. One day I de-
cided I'd better tell one — before they
dismissed me as a moron. While I was
telling the story they just stared at me
with blank faces. When I came to the
punch line I laughed heartily — but no one
else did! It was my most embarrassing
moment, since the age of five. I was
mad, too, because when they told jokes I
was always gentleman enough to laugh —
whether I thought them funny or not.
From then on every time I came on the
set Cary or John would yell at me.
'Know any more funny stories, kid?' In
time I learned they were ribbing me. In
fact, Cary became one of my best friends,
and when I married at the end of the
picture he was one of my ushers."
As the picture progressed Bob began
to gain courage. He haunted the local
movie theaters every night, and he saw
every picture made by the screen's great
"I noticed that all the big name male
stars had little mannerisms," he says. "I
thought I should have some, too." So in
his last scene in the picture, when he
thought Director Delmar Daves might
not notice, he slipped in a "bit of busi-
ness." When the "take" was over Direc-
tor Daves looked at his watch, and
solemnly said, "It's exactly 11:30 on
November 2, 1943. I want you to re-
member the day. It's the day Bob Hut-
ton began to act." The scene was
quickly re-taken, while Bob blushed
seven shades of red.
Bob has strict instructions not to try
any "acting" again. In "Janie," his most
recent picture, the great Mike Curtiz,
who won the Academy Award this year
for his direction of "Casablanca," kept
telling him, "Dun't ect, anyone can ect!"
Though he may be shy when it comes
to an audience, or a camera, there doesn't
seem to be anything shy about our young
hero when it comes to love in bloom
Bob met Natalie Thompson, a Los
Angeles girl, and daughter of a wealthy
doctor, at a friend's house on a Tuesday.
They got engaged the following Sunday
Both kids are crazy about dancing, so on
their first date Bob took Natalie to the
Mocambo. "But somehow we lost in-
terest in dancing," says Bob. "We sat
out on the balcony and I found myself
talking a blue streak. I talked about
what I expected in my wife. Then when
I stopped to draw a breath Natalie
talked about what she expected in a
husband. 'Why, I'm exactly like that,' I
kept saying to myself."
On their second date Bob took Natalie
to a highbrow concert at the Hollywood
Bowl. The canvas chair gave way under
him, and he took an unexpected fall.
Natalie had the niceness not to laugh. "I
wasn't enjoying the concert at all,
frankly," he says. "I thought the music
rather heavy, and I don't like heavy
music. But I was willing to endure it be-
cause I thought Natalie was enjoying it.
But during the intermission she said she
thought the music rather heavy, too — so
we went to the Mocambo and talked."
The following Sunday they drove to
Tia Juana. "On the way back I got a
scared feeling, and next thing I knew I
was proposing."
They couldn't get married until they
found an apartment, something that's
scarcer to find in Hollywood than the
proverbial hen's teeth. After months of
desperate hunting, they finally found ex-
actly what they wanted in the apartment
house section of Beverly Hills. But the
landlady tersely informed them that
there were forty-five people on her wait-
ing list. "But I can't get married with-
out an apartment," said Bob wistfully.
The landlady sighed dreamily, and put
his name at the head of the list.
Natalie had a contract at Metro,
but she gave up her career when she
married. Now she goes to cooking school,
and Mr. H. fondly proclaims her bis-
cuits are "out of this world." In fact, he
has only one criticism of his bride. She
lets him sleep in the mornings. Seems
that Bob's worst habit is not being able
to wake up in the mornings. After a
couple of sour looks from Director Daves
he bought an alarm clock. When it
rings it doesn't wake him up, but it
wakes Natalie up. She looks at her hus-
band, sleeping so peacefully, says to her-
self, T haven't the heart to wake him,'
and goes back to bed. So now Bob has
to pay for a special phone service — sim-
ply because the operator will call him
at six every morning when he's working
and keep talking to him until he wakes
up. Expensive. But effective.
CO
SCREENLAND
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ScitEENLAND
61
Lovely Hair made him
wanf me for keeps
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I'd like to feel that the girl with the
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How happy I was — and how I thanked
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HAIR LAC
Tall Gals
Continued from page 43
tage, for I can play gracefully with any
actor. Too, I believe a tall girl can wear
clothes with an extra flair — and I fell in
love with a tall man, Craig Stevens. So
my height brings me only happiness."
Irish, an all-out tomboy, and continu-
ally battling a flock of stalwart brothers,
Maureen O'Hara says she had to grow
tall in self-defense. She's five feet, seven,
and a half inches, and wouldn't lop off
one tiny fraction. She confesses that
during her girlhood in Dublin, whenever
she met a promising young man it wasn't
how handsome he was, or the excellence
of his character that intrigued her at-
tention. Instead, she'd sidle up to him
to see how tall he was. If he was shorter
than she, the acquaintance ended.
Maureen believes being tall gives a girl
a special stamina that routes obstacles.
In some mysterious manner it builds
courage and independence. "Imagine a
tall clinging vine!" she exploded.
Five feet, seven and a half inches, wil-
lowy and with natural blonde-gold hair,
Louise Allbritton decided against the
screen when two casting directors claimed
she was too tall for their leading men.
She was packing her trunks to barge
onto Broadway when Universal had a
change of heart and signed her. Four
months later, she was given the exciting
task of vamping Marlene Dietrich's man
away from her in "Pittsburgh."
"I've always been proud of my height,"
explained Louise. "One big advantage
the tall girl has, especially if she is an
actress, is that she can dramatize her
clothes as a shorter girl never can. And
we all know the tremendous influence
clothes have on the emotions, how they
place moods, and explain actions. A
drama creates illusions. So the actress
must interpret the emotions of her char-
acter through her costumes as well as
mannerisms and speech."
"I owe a vote of thanks to whoever
started the vogue for tall girls on the
screen," said Lynn Bari. "For years, pro-
ducers said I was too young to play lead-
ing roles, and too tall for ingenues. But
today, my five feet, six and a half inches
seem just right."
According to Yvonne Wood, 20th Cen-
tury-Fox stylist, Lynn has the perfect
figure, aristocratically slim and alluring-
ly rounded. She weighs 117 pounds, has
a twenty-five inch waist, and a thirty-
five inch bust, with all other measure-
ments to match. The only trouble the
studio wardrobe department has with
Lynn is that a simple $10 dress looks
like a $500 creation.
The father and brothers of Maria
Montez were six-footers and she was
taught to be proud of her height, to ac-
cept it as a mark of superiority, and to
carve her life accordingly. Born in the
Dominican Republic twenty-three years
ago, Maria is five feet, seven inches tall,
weighs 120, and has all the luscious
curves. She piloted her film career to
stardom through confidence and talent,
and she firmly believes had she consid-
ered her height a barrier, it would have
defeated her.
"Once at a party in New York," said
Maria, "I was sitting on a divan when
I was introduced to a charming young
millionaire. He hovered about me most
of the evening and was what you call,
fascinated. Then I stood up. He gave
me one horrified look, exclaiming, 'Heav-
ens! You're a giant!' Was I offended?
No! He was short, so I just laughed."
The lovely Georgia Carroll, who is
soloist for Kay Kyser's band, and ap-
pears in all of his films, is a real six-
footer. A former Powers model, she
considers her height her greatest asset.
As a child she was told: Walk Proudly!
This so impressed her that it became
her guide.
"In school," confided Georgia, "my
first boy friend said he liked to dance
with me because he could see my face.
Usually, he saw only the top of the girl's
head. Trivial as this incident is, it gave
me early poise and confidence."
Three six-foot beauties, Helen O'Hara,
Bunny Waters and Dorothy Ford have
been given term contracts by Metro-
Goldwyn-Mayer Studios. Already, they
have appeared in several films.
Bunny Waters became an actress be-
cause she could swim. Johnny Weiss-
muller was training her for the 1936
Olympic Games when she decided she'd
rather be a movie star than a champion,
and went into Bing Crosby's picture,
"College Rhythm," as a swimmer. Other
films followed, then she toured Europe,
was caught in Berlin just as the war
started and spent two tense weeks before
she could get to Rome. Then, swayed
by the terrific emotional impact sur-
rounding her, Bunny decided to become
a nun and had an audience with Pope
Pius XI, three weeks before his death.
But later, the war changed her mind and
she hurried back to America.
Bunny believes it depends on the girl
herself what impression she makes with
her height. She can build it into a strik-
ing feature that will enhance her good
points, or she can slump herself into an
awkward problem.
Blonde Helen O'Hara is another six-
footer, and glad of it, for she believes her
height landed her on the screen. Since
her babyhood, her father, the noted
artist, Henry Clive, has used her for
his model and inspiration for countless
paintings, and this proved excellent
training. Graduating from Hollywood
High, Helen became one of Earl Carroll's
"Most Beautiful Girls" where studio
talent scouts discovered her.
Said Helen, "When you're as tall as I
am and a man gets out of line, you just
look down on him and say, 'Be your size,
brother!' Believe me, it's effective."
The third M-G-M six-footer is Doro-
thy Ford, a native Californian. She's a
brunette, weighs 148, writes poetry, and
takes pride in being tall. Her first am-
bition was to be a foreign correspondent
and travel the world over. Instead, she
joined Billy Rose's Revue, was in three
Earl Carroll super-shows, and broke into
the movies in "Meet The People" and
"Thousands Cheer." Her forte is comedy..
62
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SCREENLAND
63
De-Luscious, De-Lovely De Haven
Continued from page 49
From then on Mrs. De Haven devoted
her life to her children. Sometimes the
going was a little tough but this was
always off set by the fact she and the
children were together and they had a
home.
Gloria started to sing as soon as she
was able and at the sound of music her
little legs would try to make dance steps.
At parties, looking like a beautiful little
doll, she never tired of entertaining. Ev-
eryone would always exclaim. "That child
should be on the stage." But Mrs. De
Haven would just shake her head. Her
young daughter was to make her own
decisions as to what she wanted to do
in life.
At the age of twelve Gloria turned her
back on singing and decided to go in for
dramatics. She begged so hard to be
allowed to do this that her mother finally
enrolled her as a student at Edward
Clark's Little Theater. It was quite ob-
vious she had ability as an actress and
consequently she played some good parts
in the school plays. But nary a picture
scout discovered her.
About this time sister Marjorie started
on a career in vaudeville and Carter, Jr.,
got a job at a studio to learn the tech-
nical end of the picture business. This
left Gloria and her mother alone and was
the real beginning of the close relation-
ship between them. It was rather a diffi-
cult period in Gloria's life as most of her
girl chums were breaking into pictures.
She was anxious to do something to make
her mother proud of her but somehow
she could not get a break.
Then out of the clear skv what looked
like her big chance, came. David Selznick
selected her out of three hundred girls
to play Becky in "Tom Sawyer." This
was what they had been waiting for. And
the fact that Mrs. De Haven had played
Becky on the stage was certainly a good
omen. Fate decreed it otherwise. When
Selznick was ready to make the picture
Gloria had outgrown the part.
The disappointment over losing out on
Becky was softened a little by a small
part in the picture, "Susan And God,"
with Joan Crawford. One day during the
shooting of the picture Joan invited
Gloria to have lunch with her in her
dressing room. Joan encouraged the child
to talk and Gloria eagerly told her am-
bitions to be a great dramatic actress.
When she had finished Joan gave her a
few helpful hints. She told her not to
study her lines at night but to do it in
the morning, then the lines would be
fresh in her mind and have spontaneity.
She also advised her to read poetry aloud
to improve her diction, and gave her two
lovely books of poems. Gloria treasures
these books and every evening before re-
tiring she reads at least two poems aloud.
"Susan and God" was followed by an-
other small part in an unimportant pic-
ture and then nothing. Trying not to
show her discouragement Gloria studied
hard and spent some time at swimming
and other sports. However, by the time
she was almost sixteen and still could
not get a chance she decided maybe she
had better become a stenographer. One
evening she voiced this opinion to the
family. Her brother immediately pointed
out to her her spelling was mighty bad
but she made up for that with her sing-
ing. Bob Crosby was looking for a singer'
for his band, so why not Gloria De
Haven? Why not indeed, thought Mrs.
De Haven. Working before an audience
was just what Gloria needed. It would
give her back the confidence she was fast
losing. So Gloria sang for Bob Crosby
and got the job.
With her mother, Gloria travelled all
over the country with the band. Mrs.
De Haven watched every performance
and gave her young daughter the benefit
of her vast experience. She taught her
to sing with her chin up, how to manage
her hands gracefully and to have poise
walking on and off a stage.
Once while Gloria was singing a num-
ber her heel caught in a microphone cable
and she fell. With perfect ease she picked
herself up and went on singing as if noth-
ing had happened. When her mother saw
this she knew her lessons were well
learned.
At the finish of her engagement with
Crosby, Gloria joined Jan Savitt's band.
The band was headed east and Gloria
wanted to get to New York. Here she
thought she might have the opportunity
to get a part in a dramatic show. While
An advertisement of Pepsi-Cola Company
64
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SCREENLAND
THIS IS MOWN
BY
alout PHILIP MORRIS
WHEN SMOKERS CHANGED TO PHILIP MORRIS,
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enroute a telegram upset this well-laid
plan. It was a summons from Metro-
Goldwyn-Mayer Studio to report for a
part in the picture, "Best Foot Forward."
Hollywood had discovered Gloria De Ha-
ven, the singer, at last.
While she was making the picture,
somehow Gloria could not believe she
had finally gotten a break. Even when
she was told that after "Best Foot For-
ward" she had a part in "Broadway
Rhythm," she still did not believe. It
was only at the end of the picture when
Lucille Ball, its star, gave her a lovely
chain with a small cross on it, which had
been in her family seventy-five years, she
thought it all might really be true.
"You're going to be a big star some
day, Gloria," said Lucille, "and I hope
this chain will bring you luck."
With tears in her eyes Gloria told Lu-
cille she would work hard to justify her
faith.
Following "Rhythm," she played in
"Two Girls and a Sailor," which gave her
a chance to do some acting. The story is
about two young girls in vaudeville and
very true to her own family life. Then
came the great break, "Step Lively,"
with Frank Sinatra, idol of the hour.
Gloria thought it was all wonderful
with the exception of one thing; her
mother's health was poor. This worried
her and at the start of the Sinatra pic-
ture" she made an important decision.
She was going to look after her mother
instead of her mother looking after her.
Usually her mother came to the studio
every day no matter how tired she was,
but now Gloria would only let her make
the effort when she was playing an im-
portant scene. Mrs. De Haven agreed to
this arrangement because her daughter-
in-law was Gloria's stand-in, so she knew
she would be looked after.
The first day at RKO Gloria was very
nervous. After all, it was a new studio,
she did not know anyone, and she was
a leading lady for the first time. It was
rather a large order for a young girl to
cope with all at once. Sinatra, however,
immediately put her at ease.'
During the first day of shooting Gloria
was surprised at Frank's perfect natural-
ness. He in return thought her instinc-
tive showmanship was great. Before the
day finished Gloria was calling him "The
Voice," and he nicknamed her "The
Mouse." Sinatra's pals Alex, his arranger,
and Al Levy, his manager, put their
stamp of approval on her and she became
one of the gang.
They took her around with them to
hockey games and parties, always mak-
ing sure she was home at a reasonable
hour. She became a victim of their un-
merciful ribbing and practical jokes. Li
fact a couple of times it got so bad thai
Robert Fellows, the producer of the pic-
ture, had to come to her rescue and say,
"That's enough for to-day, boys." And
at luncheon there was much more laugh-
ing than there was eating. On the new
RKO radio program, Hollywood Star
Time, which is broadcast from the com-
missary, the gaiety the radio audience
heard was real. Sinatra kiddingly pinned
a card with his name printed on it on his
chest, so people would know him. And
he danced all over the place with Gloria.
The making of "Step Lively" was
not all fun for Gloria; there was a lot
of hard work too. Sinatra helped her
in recording her song numbers by show-
ing her about phrasing and breathing.
Valuable lessons for which she was very
thankful. He also broke her of the habit
of being absent-minded.
Gloria told a friend, who had some peo-
ple from out of town coming to visit
her, she would get tickets for Sinatra's
broadcast. On the day of the broadcast
her friend called and asked where she
would pick up the tickets. Gloria had
completely forgotten about them. Fran-
tically she phoned Frank at the broad-
casting studio and explained her plight.
He was awfully sorry but the tickets were
all gone. Gloria was completely sunk.
After letting her stew for half an hour,
Frank called and told her the tickets
would be at the 'information desk. "And
listen, Mouse," he said, "in the future
don't forget to remember."
The next day on the set Frank gave
her a large package wrapped in brown
paper and held together with adhesive
tape. Another joke, thought Gloria, who
at this point of the game was a little
joke-weary. Probably when she opened
it a snake would jump out. She decided
not to open it and gave it to her mother
to hold. A little later her curiosity got
the better of her and she opened it. Ly-
ing amidst rumpled tissue paper was a
diamond and ruby ring in a design that
matched her watch. She was so excited
she could hardly remember her lines that
day and she readily forgave Sinatra his
lesson in trying to teach her to remember.
SCREENLAND
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A VICTORY garden is the ambition these
days of every woman and girl who is
fortunate enough to have a strip of ground
to call her own. It's patriotic and it's glori-
ous fun. But it can be hard on the hands,
and no woman likes to feel that her hands
are rough, calloused and unattractive. Nor
is there any need that they should be if she
has the good sense to use one of the many
good lotions and creams on the market to-
day. A new one is the Frances Denny Hand-
Tone to be used before gardening as a pro-
tective cream, and afterwards as a correc-
tive preparation. This cream leaves a light
film on the hands to carefully protect them
from the dirt and grime of gardening.
U AND MITTS are an old story. But now
• I there is a new and different mitt in the
cosmetic world. It's the Delettrez Leg Make-
up Mitt. A leg make-up and applicator in
one, it is simple and clean to use. One wets
the mitt, strokes it on, and presto — the legs
are covered with a sheer, bronzy film. There
are about 30 ."wearings" to one mitt, and it
is easy to carry because it comes in a small
water-proof container.
AND speaking of legs, it is considered a
» terrible social error and a sign of care-
less grooming to have hair on the legs. Legs
may be beautifully shaped but their glamor
is impaired when they are not smooth and
spotless. One way to keep the legs free of
hair is Bellin's Wonderstoen. This rosy col-
ored stone disc removes surface hair by rub-
bing it over the skin. It leaves no disagree-
able stubble.
COR THAT complexion which looks fin-
dished and in top form all day, there are
cake makeups. A new one is Vidafilm, a
liquid cake makeup. A contradiction in
terms, but there really is such a product. A
few drops covers the whole face and neck
with the new color you're seeking. It hides
small blemishes and wrinkles. It doesn't look
like a mask or does it rub off, and what's
more, it has an emollient base which is an
aid to dry skins.
I IP SERVICE. Martha Lorraine of
I— Hollywood has designed a new lip-
brush. Made of downy, soft sable niger,
the brush is an aid in producing a lip
contour which is flattering. The brush
is so designed that it forms its own
case, and can be carried in a- hand bag
without fear of touching other items.
Note : In last month's column, Carole
Anne lipstick was erronously called
Carol Ames.
66
Seeing is believing. The Dubarry Success Course
proves it by taking a before and after picture of
one of its graduates— Mrs. Josephine Belole, of
Shreveport, la., who lost 35 pounds and9inehes
from her hips after completing the program.
SCREENLAND
■
Lyric Lovely
Continued from page 22
While you chat with multi-monicker
Manning, and wonder how so dainty a
frame can evolve so much lovely noise,
you learn that she dislikes a hat smaller
than an umbrella — "I'll go without sugar
or stockings, but big hats I must have!"
— that she drives her' own car, and bicy-
cles more than any fellow-worker on the
Warner lot. Moreover, she dotes on
housecleaning the newly purchased "Hol-
lywood bungalow with a Spanish accent,"
and she can cook like nobody's business
except a chef's. A big steak, for choice,
with plenty of potatoes and butter. Let
the points fall where they may.
Still, she doesn't put on weight. Her
outlines remain among the most satis-
factory in town, and her determined lit-
tle jaw keeps its outlines unblurred. She
has needed that jaw through a career
which few stars can match for diversity.
To begin with, Irene was born Inez
Harvout in Cincinnati. The family
moved to Hollywood, of all places, when
she was four but instead of yearning for
a movie career, Irene grew up with the
ardent desire to be a concert singer. As
a means toward this end, she changed
her last name to Harvot and took a job
in a candy store. There she worked eight
hours a day to pay for vocal lessons at
night, practiced scales when the boss
went out, and often absentmindedly
served the customers a spot of trill or
cadenza with their fudge.
Her big chance came when the East-
man School of Music (of Rochester,
N.Y.) held auditions in Los Angeles for
a scholarship, the winner to go to
Rochester for intensive study. Irene
dropped the candy industry right where
she stood and dashed for the spot where
the voice tests were going on. She paused
en route long enough to bolster her cour-
age by a method which she has used, at
need, ever since. Her diary for that date
has this entry: "Bought a new hat.
Blue, and matches my eyes. $3.95. I
MUST win!"
She won, all right, and cried her nose
crimson with joy. Rather than not get
to Rochester, she would have walked, but
the family scraped the carfare together
and Irene set gaily off for four years of
slavery. Not the vocal training, though
that was tough enough, but the tasks
she did to help cover expenses: washing
dishes, taking care of children, waiting
on table. When she recollects this era,
Irene doesn't feel sorry for herself,
neither does she think herself the luckiest
girl on earth. Nobody knows better than
Irene how hard she worked for what she
has; nor would she have arranged it oth-
erwise. In some respects, she's the most
un-starry star in Hollywood.
On the very night she cleared away
somebody's dinner dishes, wiped her
hands, and graduated from Eastman
(singing "Carmen," at the exercises) , a
theatrical agent offered her a role in a
musical show. A dream come true! As
Inez Harvot, she began to sparkle in
light opera. Between times, she sang in
concert and on the radio, with Mario
Chamlee, Paul Althouse and John Charles
Joan R°^eltS
star ot
-OKLAHOMA
The Theatre Gu^d s
* musical says-
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my fnends tn ^ use
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SCREENLAND
67
^POUNDS
Success Course
shows her how
to keep new beauty
"I lost 46 pounds
without becoming
■wrinkled or flab-
by," says Mrs.
Gladys Tuley of .
Markham, Texas.
"Can you blame
me for having
such faith in the
Course? It has
brought me such
vibrant health
and so much vital-
ity that I not only
do my own work
but take my place
in the Red Cross
Motor Corps."
LOST
46 POUNDS
WAIST
%h IN. LESS
ABDOMEN
lh IN. LESS
HIPS
6 IN. LESS
THIGH
4H IN. LESS
Before
Above, Gladys
Tuley used to
avoid mirrors.
Right, the slender young beauty that she became.
It Can Happen to You. More than 140,000
women have found the DuBarry Success Course
a way to be fit and fair, ready for strenuous
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taught by Ann Delafield at the Richard Hud-
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for full information. Paste it on a penny postal.
DuBarry Beauty Chest
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With your Course you
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ANN DELAFIELD, Directing
Richard Hudnut Salon
Dept.SH-66. 693 Fifth Ave.
New York, N. Y.
Please tend roe the new book telling all
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Miss
Mrs
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In Publication j
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68
Thomas, among others. And one day her
agent wired from the Pacific Coast:
"Have contract for you with Republic."
Irene wired back: "Republic of what?"
She'd never heard of Republic Studio.
Upon her arrival in Hollywood, however,
she learned Republic was where Gene
Autry made his Westerns, and that she
was now his leading lady. That appealed
to Irene's sense of humor. She hardly
knew a horse from an elk, having been
born after the machine age was well
established.
Anyway, they changed her name to
Hope Manning, and told her to kiss
Autry in the final fadeout. Sounds sim-
ple, eh? But Irene didn't know that a
great tradition was being busted; that
with a cowboy hero, love is only hinted
at, because the youngsters who go for
cowboy films don't go for sentiment.
Before the kiss. Irene had to sing a
ballad of the range, and she found she
didn't even know how to do that. Autry
halted her in the middle of rehearsal, to
demonstrate how a cowboy ditty should
be sung. Nobody, she confesses, ever had
more right on his side — but at the mo-
ment the thing was a good deal of a
shock.
Came the final reel. Irene kissed Autry
He'd never before been kissed in a pic-
ture, and Irene did so good a job that
he's never been kissed in a picture since.
It turned out that the more youthful
fans thought the surrender to romance
unmanly. Nevertheless, Irene's claim to
movie fame rested for quite a while on
the fact that she was the only screen
heroine whose lips had touched Gene's.
While these matters went on, the studio
publicity department had as its head a
young fellow called Het Manheim. Three
weeks after he met Irene, he asked her
to marry him, and darned if she didn't
"We were having dinner," she remem-
bers, "and he proposed in French. Maybe
to fool the waiters. But it didn't fool me
— I knew the French word for 'yes.' "
Six months later, Irene celebrated the
end of her Republic contract and the
start of a new contract with Metro-Gold-
wyn-Mayer by eloping with Manheim to
Las Vegas. That was six years ago Het
is in the Signal Corps now, a Corporal
Because it seemed inevitable that their
careers would keep them apart, they
both agreed on an amiable separation
But they finally decided to break the
ties completely, and recently Irene mar-
ried Keith R. Kolhoff, a Los Angeles
police investigator.
The contract with M-G-M, where
Irene' went from Republic, had her in
a dither of anticipation. She'd turned
down bids from Paramount and RKO,
because she'd understood her first M-G-
M film would be with Clark Gable. Ac-
tually, the studio officials seemed hardly
less excited over Irene than over Gable
himself.
Heigh-ho! To an ambitious girl, col
lecting a salary every week for doing
nothing is the bunk Irene didn't make
a picture with Gable. She didn't make a
picture — period. She didn't even make
a screen test. Although they offered her
more salary, she stalked from the studio
at the end of six months, eyes flashing.
It was one of those things, and not a
unique experience, for daily on the lot
SCREENLAND
she had met a discouraged young man
with a fine voice, who also got a salary
but no picture assignment. His name
was Stanley Morner. The two singers
pooled their sympathy and bafflement,
and during the process discovered that
they had the same aspiration: to sing in
a screen version of "The Desert Song,"
which Warner Brothers were ready to
revive
Before shaking the gold dust of Holly-
wood from her feet, Irene actually got
so far as to make a test for that picture
at Warners. But when negotiations
dragged on, she flounced back to Broad
way, where they received her with open
arms and a part in a new musical pro-
duction.
Engagement followed engagement, sea-
son followed season. Irene turned up her
nice, straight nose at several Hollywood
offers. Then came a wire asking her to
make more screen tests for "The Desert
Song," which Warners had at last de-
cided to produce. Would she fly to Hol-
lywood immediately?
"To make tests?" Irene asked with
suspicion, "or to work?"
Honest and true, they assured her, she
was really to do the sand dune opus. In
Technicolor. And only five short years
after her first test for it!
She signed the contract, had her name
changed to Irene Manning instead of
Hope — and found herself cast as a gun
moll in "The Big Shot," with Humphrey
Bogart.
Did she kick and fume! But her agent
sided with the studio — said she needed
camera experience, which she now agrees
that she did — and Irene played the part
Since her current success in musicals, by
the way, "The Big Shot" has been re-
vived through the country, with Irene
billed along with Humphrey. She ac-
quired more screen experience as Fay
Templeton in "Yankee Doodle Dandy."
And by the time she'd put away any
idea of its ever appearing, up came the
picture in which for so long she'd wanted
to play, with Irene Manning and Dennis
Morgan scheduled for heroine and hero.
She couldn't believe it. She kept her
fingers crossed.
The day Irene stepped on the sound
stage for her first scene, she spied in a
corner the discouraged young man whom
she had known at M-G-M. "Why, Mr.
Morner, what are you doing here?" she
inquired.
" 'The Desert Song,' " he beamed, "and
my name's Dennis Morgan What are
you doing here, Hope?"
" 'The Desert Song,' " she chirruped,
"and my name's Irene."
Which goes to show that truth is
stranger than celluloid, and Hollywood
funnier than anywhere.
After the completion of the film, and
of "Shine On, Harvest Moon" (also with
Dennis, and with Ann Sheridan) , Irene
"rested" by doing a solo tour — her sec-
ond— of Army camps She took only an
accompanist with her. Together they
went to Louisiana. North and South
Carolina, and Georgia, with Irene singing
whatever the boys requested — light bal-
lads and popular songs, mostly, though
now and then she discovered an opera
fan. She visited many military hospitals,
likewise, and sat for hours at bedsides.
And came away convinced that the
wounded men, not she, had conferred
the favor.
"You get an awfully close contact with
them that you wouldn't miss for any-
thing," she said afterward, tears in her
eyes. "Talk about us helping their mo-
rale! They're the ones who teach us what
morale and courage are. We can never
do too much for them."
In the back of Irene's mind, during
the trip, was the joyous anticipation of
seeing her husband in New York, after
months of separation. But c'est la guerre,
and also c'est les movies. She didn't get
to New York. The studio yanked her
back to Hollywood. They already had
Jack Carson and Jane Wyman lined up
for "Make Your Own Bed," and needed
Irene to play a frothy flutterbug. Be-
cause, for Irene, picture assignments
come fast these days. The studio has
plenty of plans for its shining new star.
No more waiting around, frustrated and
furious. Ah, well.
Irene? Even now that she's a star,
there's no chi-chi about her. She's one
of the few Hollywood celebrities that
you can get on the phone without delay.
Call her at home, and she answers the
call or it isn't answered. She runs the
house with the aid of a woman who now
and then comes in by the hour. Garden-
ers are practically non-existent 'round
Hollywood, so if the lantana hedge needs
pruning, Irene prunes it. She found time
to set in a few geraniums, the yellow cat
watching with intense interest and at
once digging them up.
The house is the first which Irene has
owned and as a result it's the apple of
her eye. She has furnished it for com-
fort, and in soft colors touched up here
and there with vivid Spanish red and
heavenly blue. For months, she spent
her spare moments tearing around to
auctions, to pick up items she couldn't
find in the shops. From the Rosalind
Russell auction, for instance, she bore
away a pair of silver candlesticks that
are the "high lights" of the parlor
mantel.
Stroll past the Manning manse, and
you'll hear the brisk rumble of a vacuum
cleaner. You'll find your mouth watering
as an oven door slams and the fragrance
of apple strudel rushes forth. They're all
Irene activities, and we mean active.
In case it rains or blows cold (sure it
does, right in Hollywood) , you'll mark
a trim figure in a dark blue suit, an enor-
mous hat, and fur-topped galoshes, driv-
ing sedately the couple miles to market,
cat and ration book on the seat beside
her. Not letting on, either, that she
hears a stray group of soldiers whistle
in admiration — small blame to 'em. She's
a conventional little creature at heart.
But when she turns the corner, if
there's nobody in sight, she will open
that soft mouth wide and give out with
a ripple of intricate, clear notes that set
every mockingbird within earshot back
on its heels. Yep, that's her. That's our
Miss Manning.
MORE WAR BONDS
— Speedier Victory
Are You in the Know?
What's wrong with this picture?
The rose is on the wrong lapel
The Lieutenant is allergic to roses
He's forbidden to wear
non-military ornaments
l!our rose may be as precious to him as a
campaign ribbon. But — only military orna-
ments are permitted on an officer's uniform.
Be sure about military etiquette! And to be
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This type of coat is a good bet if
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Would you say she was —
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Q Practising fire drill
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SCREENLAND
69
SpwW^r LOVE
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Look to your own calves, lady. See that
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BETTER GET
MEET to-day
The Foibles of Fontaine
Continued from page 24
70
She smiled. "Obviously the answer js
yes." She laughed as only Joan Fon-
taine can laugh, la-la-la-la-la. "Well, to
answer your question, I found Mr. de
Cordova just about everything one would
want in a leading man. As for our feud-
ing, it's just a little ridiculous. Out on
location, we lunched together every day
Besides, I don't think it's in Mr. de Cor-
dova's nature to feud. It certainly isn't
in mine. I only wish all my leading men
were as charming as Mr. de Cordova."
"Weren't they?" the reporter asked,
responding on cue.
"I'm afraid not."
The reporter waited breathlessly for
elucidation of the remark. None was
forthcoming:
"How did you like Mr. Boyer?" he
asked, tossing a lead question.
"I liked Mr. Boyer, and I hope I al-
ways shall," Miss Fontaine said with
that engaging earnestness of hers. "I
found him kind and understanding. He
helped make 'The Constant Nymph' a
memorable experience instead of merely
a job. He's sensitive almost beyond be-
lief. Sometimes, as we rehearsed our
scenes just before we went before the
cameras, tears would come to his eyes.
It made my difficult scenes that much
easier."
"What about Orson Welles?"
"Orson Welles is that rarity of rarities,
a completely honest man. Naturally, I
found him stimulating and exciting
Making 'Jane Eyre' with him was like
acquiring a liberal education. I'm just a
little in awe of him but, frankly, I adore
him."
"And Laurence Olivier?"
If Miss Fontaine heard the question,
she gave no evidence of it. The fidgety
reporter glanced at his watch. It was
6:55 and high time he was getting the
hell out, what with the cocktail party
due to begin at seven. He got up, paid
his respects.
"I wish you'd stay for the party,"
Miss Fontaine said. "I'd insist if I were
absolutely sure you wouldn't find it a
bit dull."
The reporter reached for his coat.
"I'm afraid you've had rather a grim
time of it," Miss Fontaine said, "but if
you'd like to have dinner tomorrow night
we could pick up where we left off."
"Whv — why, it would be a pleasure."
"Shall we say 7:15?"
"Let's say it, by all means."
The reporter mushed home in a trance.
"Dinner with Joan Fontaine tomorrow,
dinner with Joan Fontaine tomorrow."
It was like a phonograph record with
the needle stuck. "Dinner with Joan
Fontaine tomorrow, dinner with Joan
Fontaine."
He started prepping for the date at
three the next afternoon. There was lots
to be done — haircut, manicure, shave,
and a trip to the pawnbroker's to redeem
a dinner-jacket. The dinner-jacket idea
was a last-minute suggestion on the part
of the elevator girl in our hotel who,
somehow, had learned what was up.
"I read in a fan magazine," she said
SfRBENLAND
with authority, "where Joan Fontaine
never used to let Brian Aherne (from
whom, incidentally, she is getting a di-
vorce) come down to dinner without a
tux." Hence how come the trip to the
pawnbroker's and hence how come the
reporter marched into the lobby of the
St. Regis looking like a poor man's
Lucius Beebe at exactly 7:21, six minutes
late.
"Oh, there you are!" It was Joan Fon-
taine, sitting in the lobby, coat over her
arm and wearing a street dress. The re-
porter ambled over.
"My, aren't you dressed up!" she said
gallantly. "And how thoughtless of me
not to have anticipated it. Oh, dear! If
you're sure you wouldn't mind waiting,
I'd be glad to slip into a long dress."
Miss Fontaine's gentleman friend
wouldn't hear of it, but a lot of good
it did.
"I'll only be a minute," she said, dis-
appearing into an elevator.
It wasn't a minute but it wasn't much
more before she was back wearing a
black and pink evening gown that made
her look more like a princess than she
looks in street clothes which is plenty.
"Shall we go?" she said airily.
The band was playing "My Heart
Stood Still," when we ambled into "The
Maisonette Russe," a smart refectory at-
tached to the St. Regis Hotel. The head-
waiter's heart stood still. Or so it seemed.
Ditto the band leader's. John Boles, who
was dancing with a beautiful dark-
haired young siren, blinked at her from
out on the floor where he was cutting
a handsome rug. With the headwaiter,
a squad of captains, and a platoon of
waiters running interference, Miss Fon-
taine joined the procession bound for a
ringside table. Without dallying, she or-
dered a sherry, salmon, and coffee. Wait-
er gone, she began to hum softly — very
softly.
"You sing well," her escort said. "Have
you ever sung on the screen?"
"I sing in 'Frenchman's Creek,' " she
said. "It's a breezy song about Nell
Gwynne, the rather well-known seven-
teenth-century burlesque queen, but I
refuse to be flattered. I sing atrociously
and I know it." Miss F.'s eyes lit up.
"Do you like to dance?" she asked.
"Only the Virginia Reel," your aged
agent said, suddenly quaking in his pat-
ent-leather pumps.
"I promise not to ask you to dance,"
Miss F. said blithely. "I was wondering
whether you liked watching people dance.
I do."
The reporter nodded.
"Perhaps it's because Brian and I
didn't dance too well together or perhaps
it's because dance floors are always
crowded, but the fact remains that I've
always loved to watch people dancing
and to try to guess what they're think-
ing about."
"It sounds like a wonderful game,"
Miss Fontaine's relieved escort said.
"Take that bored-looking couple over
in right field," Miss Fontaine said. "I'll
wager they took dancing lessons together
last winter and right now she's wonder-
ing how on earth he managed to forget
the lessons so completely."
"What about the couple in front of the
mike?"
"The girl in fuschia is probably admir-
ing the band leader's curly hair and her
vague-looking escort is doubtless won-
dering what 'will happen to American
Tel. and Tel. tomorrow."
"Not to change the subject, Miss Fon-
taine, but what do you think of women
journalists and interviewers?"
Miss Fontaine did not bat an eye. "If
you mean how do I feel at being elected
the most uncooperative Hollywood ac-
tress in pictures by the Hollywood Wom-
en's Press Club, the answer is, a trifle
bewildered. Writers as a group continue
to astound me. Between writers and
actors there seems to be an insurmount-
able and natural hostility. Maybe the
writer feels that the actor — or actress —
is in pictures on a pass, that he or she is
the curled darling of the public by a
mere accident or stroke of good luck.
Whatever it is, almost always there is
the unmistakable gulf over which a writ-
er talks to an actor or actress. The
writer seems hell-bent in making it clear
that you are not to confuse his job with
his feelings as a person. As an individual
he does not like you, but as a profes-
sional man or woman he is having com-
merce with you — that and nothing more.
"I wish I could say that I wasn't hurt
by being named the most uncooperative
actress in pictures. It would be doing
violence to truth to deny it. But I do
deny giving cause for the feeling that
prompted the designation — or at least
the intent to give cause. I am, I sup-
pose, a rather remote person. I am so
not out of choice. I am, by nature, shy.
which fact has been misrepresented as
temperamental arrogance on my part. I
try not to trample on people. I hope I
don't. If I have ever trampled on any-
one, I'm sorry."
The waiter hove to with the salmon.
"There I go taking myself and my
job too seriously," Miss Fontaine said,
smiling. "I should try to be more like
Orson Welles. The way Orson looks at
life is that once one has done his level
best he's done his duty and to reproach
himself for any attendant failures is to
be guilty of not acting as a reasonable
being." She laughed gaily. "Don't you
think so?"
The writer did.
"In which case," Miss Fontaine said,
"perhaps you would be gallant enough
to ask me to dance."
The writer was.
If you are interested in knowing
whether or not Miss Fontaine dances
well, the answer is YES. Not only did
Mr. John Boles do a double take, but so
did the whole room, including the head
waiter who probably doesn't deign to
make with a double take except for such
occasions when Hedy Lamarr walks into
the place dressed in a bathing suit which,
of course, never happens.
Like we told you way back in the be-
ginning, Miss Joan Fontaine's days of
cinematic dejection and despair are over.
She is really going to town. It is high
time, if you are asking your trusted but
delightfully flabbergasted agent.
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Maria Montez' Frank Advice
To Movie-Struck Girls
Continued from page 46
you become a personality that is known.
To earn this, you have done nothing but
to dress smartly and to be seen in the
glittery Manhattan night life. Which
can mean a million dollars in publicity.
"The next step: Get the press on
your side. To everyone else you are an
important figure of glamor. To the press,
the columnists, reporters and camera-
men, you are just trying to get along.
You depend on their assistance com-
pletely to help you! Always have an in-
teresting story to tell. Figure out new
ones and keep several in mind. For the
photographers — dress, so they can not
resist taking your picture!
"Before I ever thought of Hollywood,
my name was well known in New York.
I had been visiting, and was about to
return to my home in London. Fefe
Ferry said to me, 'Maria, it is too bad
that you are not remaining in New
York.''
" 'But I have spent most of my vaca-
tion money,' I replied. T would love
to stay, but I would have to get some-
thing to do.'
" 'Why don't you try pictures?' he
suggested.
" 'But I would not have the money
to spend all of the months in trying to
crash Hollywood,' I said.
"He told me that he would introduce
me to the agent, Louis Shurr of Holly-
wood. 'Try to look more glamorous than
Hedy Lamarr and Marlene Dietrich put
together!' he advised. 'Exercise your
charm, but don't be too friendly. He'll
watch you. He'll ask you. Wait for him
to mention pictures to you.'
"That is just what happened. I wore
my smartest gown and hat and met Mr.
Shurr at dinner, with a completely or-
ganized set of tactics. I used the same
psychology that would be applied in a
big business venture. For a career is a
business venture. And never, never,
never under any circumstances should a
girl permit her personal emotions and
life to mix with her business life. Keep
the two widely separated.
"Mr. Shurr talked to me through din-
ner. And later he said, 'Would you like
to go to Hollywood and go into pic-
tures?'
"I thanked him for his interest. I
told him I would not be interested in
going to Hollywood and making the
rounds of all the studios. Of going from
office to office in an effort to get a job.
But I also told him that I presumed an
agent of his importance and prestige
could easily arrange a contract in New
York with a studio.
"Mr. Shurr happens to be an impor-
tant agent. Nevertheless my faith in his
ability was pleasing to his ego. The next
day he called and offered me a contract
with three different Hollywood studios. I
asked to see the starring lists of contract
players at each studio. Universal was
the one studio that did not already have
an established glamor girl star. I chose
Universal.
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ScREENLAND
"1 arrived in Hollywood with a con-
tract and a plan. I worked bit parts in
a dozen pictures, beginning with west-
erns. But all of the time I was working
for stardom.
"I made it a point to be seen at the
Hollywood showcases; Ciro's, Mocambo,
wherever the producers dine. I spent
hours designing unusual gowns and hats
that would oblige everyone to look at
me when I entered. I went to Max Fac-
tor's and consulted with Fredricks the
hair stylist for unusual coiffures. Hair
styles that would establish new vogues.
True designers love to design for peo-
ple who appreciate and who are inter-
ested in giving them the fullest
cooperation. If I was groomed to look
spectacular when I made an entrance at
a night club, it was because I had
planned it so. My name was unknown
and this was my method of attracting
attention to me — for the sake of pub-
licity and for the sake of acquiring the
interest of the producers.
"I affected a long cigarette holder. I
wore brilliant colors of purple and gold
and red and green, which showed my
red hair to advantage, and which the
photographers asked to photograph in
color. Some of the things I did made
me laugh harder than any of the people
who laughed at me. And the stories that
I thought up to tell reached the
columns! My first big news break was
my story on 'How to Distinguish
Wolves.' It was quite an innocent story,
but the title was widely discussed.
People were amused.
"Shortly after, Universal was receiving
letters from all over the world: 'What
picture is starring Maria Montez?' The
exhibitors began writing in, 'Our patrons
say they read so much about Maria
Montez, they want to know why they
don't see her in bigger parts.' The fans
made the studio realize that perhaps they
had a box office attraction under
contract.
"Never underestimate the intelligence
of the press. I have the press to thank
for making me a star without years of
struggle. Their publicity brought me
hundreds of fan letters a month before I
ever had more than a walk-on part of
the screen.
"Sometimes an interviewer or reporter
will ask you almost impossible questions.
You may be inclined to think, 'Why
should I answer?' Or he or she may be
badly dressed. But remember they hold
their jobs because they have brains and
they know their business. They know
what the fans are interested in reading
about players. And with one or two ex-
ceptions, they have always been more
than kind to me.
"Never go to the studio looking like
a hobo. Only stars can afford to go to
studios wearing old sweaters and slacks.
If you want to become a star — YOU
MUST ACT LIKE ONE.
"Never be haughty and never be gush-
ing. Be polite and cordial and charming
to the studio executive always. And be
sweet and kind to the people at the
studios. Be sure to cooperate to your
utmost with the publicity department.
"Try always to be alive and new and
interesting. Make yourself an interest-
ing personality. Remember every time
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you enter the studio, every time you en-
ter the commissary for lunch, you are on
the stage. Eyes are watching you. You
must give a performance that will be
pleasing. An actress cannot afford to
'let down.'
"Now, when you first come to Holly-
wood: If you have a contract the salary
will not be large. You must not try to
live above your income. Everyone in
picture business knows just how much
everyone makes. If you live in excess
of your salary everyone will know and
they will think you a fool.
"I'm ambitious, yes! I don't believe
that anyone can be a success unless he
or she is ambitious. A good secretary
does her best so she can make more
money. A successful musician knows
that his application is rewarded by larger
concert fees. And in Hollywood it is no
different. The surest way to success is
hard work.
"An actress must continually study.
Everyone can learn not only how to act.
but how to walk and talk correctly. If
you're not rich, you can still improve
yourself. Study your face, see that your
wardrobe is chic if simple. Naturally
beauty is a great asset, but popularity is
the main attraction a girl can possess.
"Going out to night clubs to be seen
was hard work for me. But it made my
name known. One night my astrologer,
Carroll B. Righter, told me to go to
Ciro's, and 'make an entrance in your
most stunning gown.'
"Two producers saw me that night.
The next morning 20th Century-Fox
telephoned Universal asking to borrow
me. That of course made my studio im-
mediately realize that I was valuable
"I was loaned to Fox for a Techni-
color picture, 'That Night In Rio.' Fox
tested me for 'Blood And Sand.' My
tests in Technicolor were good. And I
was heartbroken that I did not get the
role, which was given to Rita Hay worth.
She, of course, had an established name.
"Nevertheless, when I returned to Uni-
versal, they had seen my tests. They de-
cided to feature me in 'South of Tahiti '
This picture was the turning point in
my campaign. It clicked. From then on
Universal began budgeting my pictures
for the expensive Technicolor pro-
ductions.
"Remember, from a pat on the shoul-
der to a kick in the pants is a very
short distance. You have to be careful.
Having worked hard for success a girl
should not let it go to her head. Conceit
can be costly in show business. It can
even be fatal. I know the right kind
of publicity is half the battle to stardom.
"There are some players in Hollywood
who refuse to do 'cheesecake' pictures.
Cheesecake is the slang expression for
abbreviated costumes such as bathing
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Hollywood have not been above posing
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"When you go on the set to make a
picture, always acquaint yourself with
the crew. Make them your friends. They
are experts, and not only know how to
light and photograph you, but can do
so much to make working pleasant.
"Some girls have talent. Some have
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SCREENLAND
then let them be seen in your pictures.
Betty Grable did, and she's box office
star of the year.
"When you go to the theater, remem-
ber the exhibitors are your bosses. Al-
ways treat them with the same courtesy
you would extend to your employer.
When you go to teas and parties, treat
each guest with the same cordiality that
you would extend to your mother's best
friend. Never, never, can you afford to
be snooty or self-important!
"Never, under any circumstances, date
your bosses. Your chances to reach star-
dom will be slim if you do. Think in
terms of stardom and big business. Your
bosses will think of you likewise. Your
own actions both determine and stamp
your personal value. No man is going
to invest a million dollars on a pretty
face alone when he produces a picture.
Pictures are business. And no producer
will risk his own reputation and position
in big business by starring a girl as a
personal whim. Producers are only in-
terested in their products, as a banker is
interested in his loans. They must pay
big dividends and returns. If you are
box office, -that is all that is important.
When a producer knows that you are
interested in the earnings of your pic-
tures, that you can intelligently sit down
and talk to him about the "take' at the
box office, and the profits of this picture
over the last, and what will be best for
the future — he will be interested in you
as a business asset.
"Don't be envious of other stars or
girls on the lot. After all vou can't plav
all of the parts. But — YOU CAN BE
AN INDIVIDUALIST! Try to be so
complete an individualist that no one
else can take your place.
"Always answer your fan mail. Even
when you are just a beginner and only
receive one letter. Whenever you see
something nice written about you, it is
only common courtesy to send a thank-
you note.
"Make it a point to go to the studio
and visit the departments at least once
a week. If you admire someone, speak
of him favorably. Then when a jealous
or envious person says something un-
complimentary about you behind your
back, you will have dozens of friends
who will defend you with. 'But she said
such nice things about you. You must
be mistaken.' You will not be insincere
in these matters. For you are sincere
about your career and everything that
helps that career. You must be a good
trouper.
"You cannot choose your pictures un-
less your contract so stipulates. So take
the roles that come, and try by intelli-
gence_ and effort to suggest better ones
more suited to you. My studio has lined
up more pictures for me than I can make
in the next four years. 'The Empress
Elizabeth' is a tremendous compliment.
Naturally I was very flattered when it
was announced for me. But I do not
consider that I am yet ready for that
role. I told Universal: "I want you to
wait until I can speak flawless English.'
"The studio has given me a wonderful
English coach. When I am not making
i picture we work five hours a day study-
ing English.
"I know if I work hard enough and
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intelligently enough, I'll make good. I
know that I must overcome my accent. I
want to win that Academy Award some
day. Perhaps a long time away, but
someday I will either win it, or be a close
contender.
"Too, I have plans to do a play with
my husband, Jean Pierre Aumont. We
want to play in Paris, his home. After
the war — we hope! I promised Jean
Pierre I would study French while he is
at war, and I have promised him I would
speak it without an accent when he
returns.
"You have to have consummate am-
bition to become an actress, if you wan!
stardom. You cannot waste one single
hour of the day. I plan it hour by hour.
So many hours for my career. So many
hours for my personal life. If I read a
classic, it is for my career, because it
broadens my dramatic scope. If I stand
and watch people, it is also for my career.
An actress must know human reactions
to her fingertips.
"You must rule your career. Don't
let the career rule you. Never become
romantically entangled with people for
your career. Rule your career with busi-
ness judgment.
"You must cultivate personal friends
as well as business acquaintances. One
cannot liye alone in this world. And
success can be most futile if achieving
it has been at the price of friendly hu-
man contacts. Always consider other
people, and you will find they will go
out of their way to consider you.
"Mistakes? Yes, I have made many.
Most of them because I momentarily lost
sight of the eventual distinction. I think
most of us are that way. We lose sight
of what we are trying to do and let the
irritation of the moment overcome our
better judgment.
"I'm Latin and excitable and unpre-
dictable where my temper is concerned.
During the filming of a recent picture, I
had a disagreement with the director be-
cause I felt he had spoken sharply to me.
I was hurt and spoke back sharply. It
was very hot on the set, which was out
of doors and everyone was tired and
cross. So we had an argument and I
walked off the set. But no argument is
ever settled by angry talk, and I have
vowed to be more careful in the future. I
hope that it will never happen again.
"The past year has been the best year
of my life. The pictures in which I have
appeared have been very successful and
both the studio and the theater people
have been very pleased with them. I
have just finished 'Gypsy Wildcat' and
will soon start 'Flame of Stamboul.'
"My personal life has been wonder-
fully happy. While both in New. York
for our studios, Jean Pierre and I met
very casually. We fe'i in love and last
summer we were marr/ed. He is overseas
fighting for the Free French. My hap-
piest life will be when he returns to
Hollywood and we resume our personal
life together.
"If you fully believe you have talent
and photographic beauty; if you know
in your heart that you can be a success-
ful actress, then make a definite plan of
operation for movie stardom. If you will
use your head, and work hard, you can
hit the Hollywood jack-pot."
76
Screen land
/
Jive Baby
Continued from page 21
to send a photographer right over im-
mediately to take a picture of Holly-
wood's first real jive baby. The studios
— Betty works at Twentieth Century-
Fox and Harry works at Metro-Goldwyn-
Mayer — were more considerate. They
waited two hours. The baby of the coun-
try's number one red-hot band leader and
the country's number one Pin-Up Girl,
was news, front page news.
Betty said "No" and Harry said "No."
Definitely. "But all the other movie
queens who have babies let us come down
to the hospital and take pictures right
away," complained the lens boys. "It
will be wonderful publicity tie-ups for
your 'Bathing Beauty,' Harry, and for
Betty's 'Pin-Up Girl,' " the publicity boys
intimated, none too subtly.
But Betty and Harry were adamant.
"It isn't fair to expose a poor little help-
less baby to flash bulbs and germs," said
Betty — not that she meant to imply that
photographers and press agents were a
germy lot. "And it isn't fair to the sick
people in the hospital to clutter up the
corridors with cameras, tripods and re-
porters. Wait until the baby gets older,"
she added, "and we're at home." There
was a lot of grousing, of course, but all
the boys admitted that the Jameses were
nice, decent, thoughtful people.
When I saw Betty at her home, six
weeks after her baby was born, she
looked as beautiful, and shall we say —
er — sexy, or shall we just say eye-filling,
as ever. She insisted that she had put
on weight, what with all that relaxing,
and regular hours and meals for a
change. "What a relief not to have to be
at a studio at six in the morning," she
sighed contentedly, "and dance my legs
off until six at night." But if there was
an added ounce I couldn't detect it. She
wore a colorful blouse, a black skirt, and
her hair down over her shoulders, and
tied back with a ribbon — the way Harry
likes it. None of that upsweep stuff for
Harry. I asked her when she expected
to return to the studio to make another
picture (I noticed the studio's press
agent's ears perked up at that) but
Betty was noncommittal. "My husband,
baby and home mean so much more to
me than my career," she said. "I've
worked hard ever since I was a kid of
seven. But I never was a career girl at
heart. I've always wanted a home and
children. I've always longed for what
I have now."
Our conversation was cut short by
the re-appearance of Miss Vicky, whose
pretty little dress-up dress had been re-
moved by her nurse, and who was now
stripped down to her diapers. She whim-
pered a little at first, as who wouldn't
at such an indignity, but Harry quickly
grabbed her favorite toy off the shelf —
a little lamb, which when properly
wound, plays lovely tinkly music. "Look
at the way she listens," said Harry
proudly. "She loves music. But then
any child of Betty's and mine would just
have to love music." Of course right at
present little Vicky only associates her
father with the Swiss music box type of
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music. Wait until she hears her old man
play "Two O'Clock Jump" on his trum-
pet. Being a natural born Jive Baby
that will surely send her.
Blonde, blue-eyed Victoria Elizabeth
James was named both by her mother
and her father. Betty wanted to name
her Victoria because that was the name
of the character she was playing in
"Springtime in the Rockies" — the picture
she made with Harry at Twentieth Cen-
tury-Fox. With all her being a modern
girl, and a Pin-Up Girl, Betty is a rank
sentimentalist. She remembers every sec-
ond of her first meeting with Harry, she
remembers every detail of their first date,
of his first phone call, and she keeps all
his letters tucked away carefully in a
dresser drawer. Betty would have made
a wonderful Bronte heroine. Harry want-
ed to call the baby Elizabeth, after
Betty, as he thinks that's a name that's
hard to beat. So they compromised on
Victoria Elizabeth. But after one look
at that cute baby you'd know she would
just have to be called Vicky. Harry's
pet name for her is "keed."
Do the Jameses plan for a bigger fam-
ily? Their house in a Beverly Hills can-
yon is homey and familyish and surpris-
ingly small for a movie couple. There
are only two bedrooms upstairs, the big
master bedroom, and across the hall
Vicky's nursery. The nurse sleeps in the
alcove off the nursery. "This wall," said
Harry, pointing to the wall in the al-
cove, "can be knocked out easily, and a
room built here for our son. And still
another room can be added to that, ex-
tending over the garage."
"And the fourth child?" I asked.
"Well," said Harry with a grin, "I
guess we'll have to move."
Except for the bassinet, an antique
which Betty had made into a beautiful
thing of white pleated tulle and blue and
white and pink quilted satin, and the
white high chair, a present from Alice
Faye, Harry bought everything for the
nursery himself. Across one side of it
is a shelf which he has filled with dolls,
teddy bears, rabbits, lambs and pandas.
The chest of drawers is painted white,
and on top of it is a copy of "Now I lay
me down to sleep." The table has an old-
fashioned lamp on it, with red roses and
green leaves painted on its white glass
shade. The two chairs in the room —
they're covered in blue material that
easily blends with the pigeon-egg blue of
the walls and the darker blue linoleum
on the floor — are big and soft and com-
fortable. In fact, it's much more a man's
idea of a nursery than a woman's. Their
entire home (they bought it from Bert
Lahr) is done for the most part in Early
American, and is decidedly a man's home.
Very different indeed from Betty's for-
mer house in Stone Canyon where every-
thing was terribly feminine — fluffy ruf-
fles, fluted bows, and Victorian at its
most uncomfortable.
"Betty and I hope to arrange our pic-
ture schedules so that we will be work-
ing at the same time," said Harry. "Betty
would like to do only two a year, and not
rush from one to another the way she
has had to do the past few years. I
could still do my broadcasts, of course,
without having to leave town. We've
both been knocking our brains out since
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we were kids, and now that we have
Vicky we want to enjoy home life for a
change — be like other young married
people."
"Harry," called Betty excitedly from
the bathroom, where they had taken
Vicky to get a picture of her in her
scales, "Vicky's crawling! All by herself,
she's crawling. Oil, the cute thing!"
Well, after that the Jameses — one of
them is just as bad as the other — were
much too excited to make sense. Just to
prove it wasn't an accident and she
had planned it that way Vicky crawled
again. Her parents swooned with ad-
miration. Heaven help us the day Vicky
suddenly says, "Daddy."
Harry has been on the air steadily for
two and a half years, playing six broad-
casts a week. Besides that he has played
one-night stands all over the country,
and has filled lengthy engagements at
theaters, . hotels and dance halls from
New York to Santa Monica. He really
came into his own when his band of
twenty-six men played the Paramount
in New York in April a year ago. By
8 A.M. of his opening day there the
crowd of jitterbugs in front of the thea-
ter had reached 7,500, and in the wild
push toward the box office, the kids
smashed a plate glass window and a
policeman's rib. "Benny Goodman was
never like this," the cop was heard to
mutter as they carted him off to the hos-
pital. When Harry tootled his famous
"Two O'Clock Jump" on his trumpet the
jive-mad kids danced in the aisles — or
else tried to get up on the stage and grab
his tie. The idol of the jitterbugs used
to lose seven and eight ties a week.
Betty also reached her peak last year
when such pictures as her "Coney Island"
and her "Sweet Rosie O'Grady" broke
all-time box office records, and when her
tremendous fan mail from men in serv-
ice requesting autographed photographs
(bathing suits preferred) topped that of
all other Hollywood personalities. Betty
has come up the hard way, and deserves
her success. She, too, had played one-
night stands as soloist with orchestras,
and had danced in night clubs and thea-
ters all the way from Hollywood Boule-
vard to Broadway and back again. She
had never played circuses (when Harry
was a kid. before he started trumpeting,
he was the Human Eel, a contortionist,
in a circus) but the rest of her experi-
ences could stack up pretty well with
those of her husband.
When Harry thought he was going into
the Army a month or so ago he disband-
ed his band and thought he'd spend his
few remaining weeks as a civilian with
Betty and the baby. Then he was re-
classified as 4-F. Hastily he was remind-
ed by his agent that his band had to
fulfill an early summer engagement at
the Hotel Astor in New York, a hang-
over from last year's contract. So Harry
has re-assembled his famous band, with
new members filling in for the boys who
are now in uniform, and very shortly
leaves for New York — none too happy.
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to remain in Hollywood until he can fin-
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Memo to Richard Arlen
Continued from page 32
cle for Screenland titled "What Stars
Are Falling And Why." I took the pre-
mise that the stars who fail on the
screen fail, first, as human beings. I be-
lieve it.
You have never had quite the spec-
tacular success of such stars as Clark
Gable, Gary Cooper, Jimmy Cagney and
some of the others but you have kept,
consistently, a place in the heart of Hol-
lywood which is warm, sincere, and sec-
ond to none. In addition, you have a fan
following that would, I think, surprise
some of the more publicized glamor boys.
You didn't win, or keep, this following
in the usual ways. You haven't given an
interview, you told me, in upwards of
ten years, nor had a photographic sit-
ting. (I don't say that was smart of
you, Dick, but it is characteristic.) You
were under contract to Paramount Stu-
dios for more than 15 years and have
made more pictures than you can easily
remember. But with the exception of
"Wings," which made you famous, "The
Virginian" and "Four Feathers," your
favorites, most of your pictures have
been Westerns and "B's." You play the
kind of parts in the kind of films about
which fathers write, "So grateful we can
take Johnny or Bill to see your pictures."
You are the kind of a star to whom your
fans, mostly men and boys, write per-
sonal, folksy letters.
On the other hand, and quite recently,
you signed a term contract with Repub-
lic Pictures. When I saw . you in your
first picture under the Republic banner,
"The Lady And The Monster," adapted
to the screen from that grim novel,
"Donovan's Brain," I realized what range
you have, Dick. Sensitivity, sophistica-
tion as well as the stalwart simplicity
your boy fans love. Now, in "Storm Over
Lisbon," you are again, as the adven-
turous foreign correspondent, proving
your versatility.
Even so, it is not your ability as an
actor nor even the staggering sum total
of pictures you have made, which proves
your unflagging industry, that keeps your
fans — and Hollywood — loyal to you. It's
you, Dick. It's because you are the salt
of the (Hollywood) earth, the backbone
of an industry often troubled, and oc-
casionally shamed by some of its less
stable members. It's because you have
so many interests — flying, sailing, ranch-
ing, travel, old houses, golf, any number
of things. It's because you have, apart
from acting, so many dimensions; have
done so many things.
At college, you were prominent in ath-
letics, playing varsity football and base-
ball, making many swimming records.
During World War I — you were 17 at
the time — you slipped across the border
into Canada and joined the Royal Ca-
nadian Flying Corps, receiving your
wings and a commission as Second Lieu-
tenant shortly before the Armistice was
signed. You went to England, saw ac-
tion.
A year ago, you enlisted again, again
in the Air Corps. You passed all your
qualification tests, were all set to go, then
NOW AS
80
Screenland
began to have grave trouble with your
eyes. Which, of course, disqualified you.
In addition to your screen work you
were, until recently, half owner of the
Arlen-Frobert Flying Service at Metro-
politan Airport, in Van Nuys, California.
You started the thing to help a friend
and as a training school for civilian
fliers. You had a Civil Aeronautics con-
tract, took boys out of universities and
gave them primary instruction. You be-
gan with four planes and ended with
twenty-four. Jimmy Stewart learned to
fly with you, also Andy Devine. Your
outfit was, also, the first air-freight serv-
ice in California. Your planes carried
cement, burros, mules. Then the Army
took over your field.
When you talk about your boat, you
seem as far away from Hollywood stu-
dios as the salt sea from greasepaint:
"My racing boat. The Ricky, has very
trim-cut sails," you told me. "She sails,
you know. She's like a knife in the wa-
ter. Very temperamental, though. If I
speak of her as though I were discussing
a beautiful woman, it's because she is
like a beautiful woman — has to b^ ca-
tered to morning, noon and night. Which
I do. I spend every spare moment I have
with her. She is the only rival," you
laughed, "of the woman I love."
On your return home from England,
after World War I, you became a news-
paper reporter, served as sports writer
on a Duluth paper and, after a short
spell as a swimming instructor in St.
Paul, Minnesota, set out to win your
fortune in the Texas oil fields. When the
"fortune" amounted to $200, you signed
to go to South America for an oil com-
pany. On the way, you "stopped off" in
Hollywood. That was, I repeat, in 1920.
Perhaps it's because you never intend-
ed to be an actor that you seem so little
like the popular idea of one now. You
told me, "Back in St. Paul, my home
town, we thought actors were strange
people who wore spats. I'd no thought
of the stage or screen when I visited
Hollywood. But when my prospective
job in South America blew up, I was
fresh out of cabbages and as there were
no industries worth speaking of in South-
ern California at that time, I got myself
a job as messenger boy for a film labora-
tory. One day, coming out of the Para-
mount gate, I hit a truck and broke my
hip. Virginia Van Upp, the writer, then
in the casting department, saw the acci-
dent and took me to the studio hospital.
When I was well, Miss Van Upp con-
tinued to take an interest in my welfare,
kept me busy doing bits in pictures,
mostly courtroom scenes and such, and
I began to get interested."
You have maintained that interest,
Richard, but with it you have also main-
tained a perspective and a sense of
humor. You've never been tempera-
mental.
If you have any major reaction to
your screen career, it's one of gratitude.
You said, "Looking back, I have ho re-
grets. None. I would like to get out of
'action' pictures, which is why I quit
Paramount and the Pine-Thomas organ-
ization. I want to do pictures that keep
moving, but I'd like to strike a happier
medium. I'd also like to do a stage play
in New York. But by and large, I've
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had a very pleasant life in Hollywood
and so far as a studio is concerned, I
haven't one unpleasant memory. In ad-
dition, as a result of being a movie ac-
tor, I've met some of the most charming
people in the world and have been the
recipient of innumerable nice courtesies."
This may be true but I have an idea,
Richard, that you have been given the
"nice courtesies" not only because you
are Richard Arlen, movie star, but also
because you are Richard Arlen, period
Travelling the Sante Fe a few months
ago, my Pullman porter talked to me
about celebrities he had serviced. He
said, "There's a kind of grapevine among
us porters, stewards, waiters and so on.
It goes all over the world. The word gets
around. It's got around that that Mistah
Arlen, he's a mighty pleasant person to
travel with."
I think the answer is that when you
leave the studio, Dick, you leave the
studio. You never try to create an off-
stage "personality." When I remarked
that you are singularly lacking in the
ego which italicizes many actors, you said
"My ego has not been inflated because
I am not the kind of a person people
bother to flatter." Well, maybe. Mind
you, Dick, I'm not saying your lack of
ego is smart. With a little more of it
you might, who knows, be making those
super-duper "A" productions. With a lit-
tle more of it, on the other hand, that
Pullman porter might not have spoken
of you as he did.
It may sound a little sticky to say you
are the kind of a man who likes the
"simple" things but, so help me, Rich-
ard, I can't think of a truer thing to say
about you, or a better way of saying it.
Your folks, good, sturdy middle-class
Americans, probably made you what you
are today. You were born in Charlottes-
ville, Virginia, but moved to St. Paul,
Minnesota, when you were very small.
Your real name is Mattemore. Your fa-
ther, James Mattemore, was a grain
broker, a lawyer and, finally, a Judge.
He died in 1941. You went to grade
school in St. Paul, to Central High and
to St. Thomas College. You still think
of St. Paul as "home." "No one," you
said, "could have pleasanter momories
of his home town than I have."
You told me, "I always go home four
times a year. Mainly to see my mother,
now 85 and active as a teen-ager. I love
to go home. For no matter what has
gone wrong, or how depressed I may
have been feeling, everything is all right
again when I get there. My life takes
up just where I left it. Nothing basic is
changed. Nor am I. I see all the folks,
all my old school friends."
A home is very important to you,
Dick. After you and Jobyna Ralston
separated, you felt lost and lonely, want-
ed a home again and tried to create one
for yourself. That is when you bought
your 16-acre ranch in Northridge, in the
San Fernando Valley.
"It was beautiful," you told me, "noth-
ing chi-chi but everything lovely. I had
Aileen, a great big old colored woman
to 'do' for me and I fussed over the
details, the doilies and the flowers, my-
self. But the house was never alive. I
couldn't make it come alive, not alone.
That's why I want to marry again, and
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shall. I have to. It is impossible for any
normal man to be alone. I will never be
happy until I am anchored again. And
there is a girl. A lovely girl, my good
friend, of whom I cannot say, or think
more now— not being free to do so."
Love is important to you, too, Rich-
ard. Like so many outdoor men, "men's"
men, practical men, you are a romanti-
cist. You said, "The old quotation, 'Love
is of man's life a thing apart,' is a fal-
lacy, isn't so. Even an unsuccessful love
affair is better than none at all; it leaves
memories of the days when romance was
in bloom." You said, "It's important to
be sure of love, of its texture and quality
and lasting power." You said, "If you
are cheap in your affections, you are
cheap in everything."
You adore your son, Dick, you told
me so. You would rather talk about
your fishing trips with him than about
the pictures you make. You are proud
of him. You are grateful to Jobyna for
the swell job she does with him.
"I never knew a movie star would be
like THAT!" my North Shore neighbors
said. But there are some "like that,"
quite a few: Clark Gable, Gary Cooper,
Jimmy Cagnev come to mind — and you,
Dick.
Ann Sheridan X-Rayed!
Continued from page 29
ended. Ann went to the Front Office.
She wanted to get there before the dra-
matic coach did.
Mel Shauer was then one of the top
three executives of Paramount. Ann went
in and talked to him. She put on the
most convincing act since she had been
in Hollywood. In one way it was an act
because she used tears and let her voice
tremble, but in another way it was com-
pletely honest, because she DID mean
what she was saying: that she would
work hard, that she would make good,
and that some day he would be proud
of her.
A beautiful girl in tears? The combi-
nation has long been dynamite. Ann's
option was taken up. But to this day
Ann doesn't know whether or not Mel
believed her. She thinks it may well be
that he wasn't in the least taken in by
her dramatics, but he probably figured if
she was that good an actress, she should
stay with Paramount!
Skipping over Eddie Norris and George
Brent, who might have caused tears at
one time or another for Ann, she remem-
bers her most recent disappointment.
Things had been sailing pretty smoothly,
professionally, for Sheridan since she
went to Warner Bros. But, in spite of
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due for a disappointment. To quote An-
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will realize that — with the sole exception
of her part in "King's Row" — she has
become a star in spite of the pictures she
has appeared in. Because, although the
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pictures have all been of good caliber,
she has never had a starring role. Not in
the sense that a smash picture has been
built completely around her.
For years Joan Crawford has had every
role tailor-made to her personality. Greer
Garson has a picture built around her
every mood in "Madame Curie." The plot
weaves exclusively around Betty Grable
in her every picture.
Now Ann is not Crawford, nor Garson,
nor Grable. They have their special fields,
and she has hers. But once in a life time,
a role comes along that a star knows is
just for her. Once in a lifetime comes
the chance to do a character that is com-
pletely identified in mind and spirit with
her own way of thinking. It is 'almost as
if the role had been created just for her.
Paramount's picture based on the ca-
reer of Texas Guinan was that chance for
Annie. Buddy De Sylva realized it so
keenly that he tried to borrow Annie from
Warner Bros, for the part. It was a nat-
ural. Ann is from Texas. She has that
same great warmth and spontaneity that
Texas Guinan had. Tex was impulsive,
tomboyish at heart, a great entertainer.
Like Ann, she was a great lover of people,
and she had a laughter-bound philosophy.
Ann read the script, She was convinced
that probably never again would a role
come along so exactly the right one for
her. She went over the dialogue. The
words were just as she would have spoken
them. Every scene was like reading about
a part of her life she must have lived be-
•fore in some strange, other world. The
Texas Guinan role was a star-maker. It
was that rare picture that forever iden-
tifies a star with a character — like Bette
Davis as Mildred in "Of Human Bond-
age," like Greer Garson as Mrs. Miniver,
like Barbara Stanwyck as Stella Dallas.
But Warners had other pictures sched-
uled for Annie. They were not too anxious
to loan out their Pin-Up Girl. In fact,
loaning out their players had given them
pause for thought since Olivia de Havil-
land played the wonder role of Melanie
in "Gone With The Wind." For Olivia
had not been too happy with roles as-
signed her at Warners since that time.
So they decided not to loan Ann Sheri-
dan to Paramount. Ann couldn't believe
it at first. She didn't give up hope until
thefinal"No" had officially come through.
Then she grinned and cracked wise and
walked off the lot.
Home, safe at home, she let down. All
alone with her dreams of Texas Guinan.
she cried. But no one knew this.
Her next picture for Warners was
"Shine On, Harvest Moon." All through
it, she laughed and kidded with the
people on the set. Some might have no-
ticed that perhaps she walked a little
straighter, and some might have felt that
she was clowning just a little too much.
The day she heard that Betty Hutton
was to play the coveted role, silently she
wished Betty luck. Inside, she was dying
by inches. No one suspected. She held
her head high and laughter brushed her
lips. No one knew but Ann Sheridan.
Life recompenses us for the things we
miss. If Annie had started work on the
Texas Guinan picture, she wouldn't have
flown East to see her Pin-Up Man No. 1,
Steve Hannagan.
■Dor°
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306 West 44th St.. New York City 18, M. V.
Steve, Florida's fabulous guardian an-
gel, is a big man anywhere, but on his
own stamping grounds he is a legend.
His New York apartment is one of the
most impressive and beautifully deco-
rated places in the East and is indicative
of his good taste. He's a man-about-
town sought after by Broadway, cafe so-
ciety and the Good Olde Families alike.
He had seen enough super-lovelies to
know what it was all about when Ann
Sheridan walked by.
When Ann came back to the West
Coast, Steve followed her. And yet,
up to now, it isn't the sultry romance
one would suppose. Every candid cam-
era catches them laughing. They are hav-
ing a wonderful time.
Yes, she carries the magic of laughter
even into twosomes. She was particu-
larly high-hearted this day as we lunched
together at the Hollywood Brown Derby.
She looked, in fact, like a woman in
love — radiant and beautiful. I asked her
about Steve — if it was a romance.
"We're friends," she parried.
I gave her the skeptical eye. "Well,
just don't go get married on me by the
time this is in print!" I said.
"I make no promises about Steve Han-
nagan!" countered Annie with a mis-
chievous smile.
Jerry Asher, Warners ace publicity ex-
pert, chimed in with: "Yep! There's noth-
ing to prevent a man from proposing and
a girl from accepting two weeks from
now!"
Ann's flip answer to my probing about
Steve is typical of her goodnatured ap-
proach to life. That's why the Hollywood
Women's Press Club voted her the most
cooperative woman star in Hollywood
and gave her the traditional silver apple.
"You can call me 'Apple Annie' now,"
grins Sheridan.
It's not only the press who are all for
Ann. Laughter has paid big dividends
for the little beauty contest winner from
Texas. There are only good words for
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who waits on her at the commissary.
From Benny, the waiter at the Brown
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Jerome Kern, composer turned writer-
director, put it perfectly when he said of
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Leo's 20-Year
Cavalcade of Stars
Continued from page 39
gone on for years and years, for the glory
and wealth of M-G-M, but in the frantic
days following the advent of sound in
1929 John Gilbert was declared through.
The first 100 per cent talking picture
made at M-G-M was "The Trial of
Mary Dugan," starring Norma Shearer.
From then on sound was here to stay
in Culver City. A most amusing experi-
ment with sound had been made at
M-G-M in 1925. Charles Ray starred in
a little number called "The Fire Bri-
gade," and Producer Hunt Stromberg hit
upon a novel idea for the preview. When
the fire department dashed on the screen
he would have someone back stage sound
off a real fire siren. The preview was
held in a crowded theater in Glendale —
but when the prop man opened up the
siren the theater emptied in five seconds!
Having brought his company safely
through sound, and the depression of
1931 and 1932, Mr. Mayer continued to
build up his star roster. Although she
had created quite a stir in Howard
Hughes' "Hell's Angels," a year after
the picture was released Jean Harlow
was unable to find a job in Hollywood.
Following her press agent's advice she
went on a personal appearance tour. Mr.
Mayer caught her act at a downtown
Los Angeles theater, where she shared
billing with Gilda Gray, the shimmy
dancer, and noticed that Jean had the
audience with her every second she was
on the stage. "But she can't act worth
a dime," insisted several of the studio
executives. But Mr. Mayer informed
them he was signing her strictly on per-
sonality. As everyone knows, Jean went
over like a house afire. "Red-Headed
Woman" established her as a top rank-
ing star on the lot. She died in 1937,
while working in "Saratoga" with Clark
Gable. It was in "Saratoga" that Walter
Pidgeon made his first big hit as "the
other man." Pidgeon didn't become the
sympathetic hero until 1941, when he
was teamed for the first time with Greer
Garson in "Blossoms in the Dust." Since
then he has been Miss Garson's Mr. Min-
iver, Pierre Curie, and is now teamed
with her in "Mrs. Parkington," as Mr.
Parkington of course.
The most famous and lucrative team
of all times at M-G-M was that of their
two top singing stars, Jeanette Mac-
Donald and Nelson Eddy. After an ex-
citing concert tour in Europe in 1934
Jeanette was signed on a long term M-
G-M contract. Her first big success on
her Metro contract was a re-make of
the famous "Merry Widow" with Mau-
rice Chevalier playing the Prince. One
day she was visited in her dressing room
by an assortment of directors, producers,
and associate producers who asked her
rather timidly if she would mind co-
starring in her next musical, "Naughty
Marietta," with an unknown young bari-
tone they had under contract. Seems
that Nelson Eddy had been under con-
tract to the studio for over two years,
but with the exception of a couple of bit
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SCREENLAND
parts hadn't played anything except
benefits. Jeanette said it would be a
pleasure — and it was. The MacDonald-
Eddy musicals brought in money by the
carload.
In 1937, Mr. Mayer, visiting London,
saw a lovely looking red head in a play
called "Old Music." Instantly recogniz-
ing her merits he sent his card back-
stage, requesting an interview. Greer
thought it was just another salesman
come to pester her, so sent his card back
with, "Tell him I don't want any stock-
ings." (How times have changed!) They
got together later, however, and Greer
signed with the studio that a couple of
years later made her a top star and an
Award winner.
It was also in London in 1937 that
Mr. Mayer received a frantic phone call
from a Mrs. Fritz Mandl, of Vienna,
begging him for an immediate interview.
Hedy Kiesler (she later changed it to
Hedy Lamarr at Mr. Mayer's sugges-
tion) had run out on her international
financier husband, and his palace and
his guests and his gold plates, and want-
ed to be a Hollywood movie star. She
had appeared in several pictures and
plays in Berlin and Vienna before her
marriage, and liked being an actress. Mr.
Mayer arranged for a test in London,
but Hedy, afraid that her husband might
fly across the Channel, took the next
boat for America, and informed Mr.
Mayer she'd take her test in Hollywood.
In 1935, Mr. Mayer invited Spencer
Tracy to park his make-up box on the
M-G-M lot. Spence had been a success-
ful Broadway star, and had first come to
Hollywood on a Fox contract, where he
played in a number of pictures, mostly
"B's." When M-G-M put him in "San
Francisco," which starred Jeanette Mac-
Donald and Clark Gable, in a minor
role, he wasn't too pleased. But this pic-
ture, which is still revived in neighbor-
hood theaters, put Mr. Tracy right up in
the movie big time. Two years after he
joined Metro he won the prized Acad-
emy Award for "Captains Courageous"
and the following year, for his Father
Flanagan in "Boys Town." When Spen-
cer doesn't like a part he can grouse with
the best of them. But at least he has
a sense of humor about it. "Every single
picture I have kicked about — and I
kicked like a Missouri mule over 'Boys
Town' — has been a success," he said re-
cently. "And every picture I've wanted
to do has been a flop. I'm beginning to
believe that the studio, like mother,
knows best."
An M-G-M talent scout saw a tall,
gangling, slow-talking boy, fresh out of
Princeton, playing the role of Sergeant
O'Hara in "Yellow Jack" on Broadway,
and urged him to make a screen test.
Mr. Mayer spotted Jimmy Stewart in
minor roles in "Murder Man" and in
"Rose-Marie," where he played Jeanette
MacDonald's weakling brother. The fans
discovered him in this last picture, and
Jimmy was off in a blaze of glory.
It was also a talent scout who brought
Spangler Arlington Brugh, a student at
Pomona college, to the attention of Mr.
Mayer. Two days after the boy had been
_ tested at the studio he was given a con-
tract, the name of Robert Taylor, and
a dramatic coach. The first time that
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CANADIflN ORDERS Sl^^ IN ADVANCE |
88
Bob faced a camera he played in a
"Crime Doesn't Pay" short. This was
to give him poise and assurance, and
train him for bigger parts. But the fans
cut short his training. Immediately they
got a gander at him in the short they
deluged the studio with fan mail, de-
manding Robert Taylor. Bob has told
a few people about his first test at the
studio. "I was going at that time with
a girl in Pomona. The night before my
screen test we were strolling on the
campus and I excitedly told her about
the big thing that was happening to me
next day. Instead of being impressed
she burst into laughter. 'They'll never
take anybody as skinny as you,' she
assured me. That worried me. So when
I reported at the studio the next day I
was wearing two heavy sweaters and a
sweat shirt under my coat. They kept
me waiting in the casting office for near-
ly two hours on the hottest day I ever
remember in Southern California. But I
didn't dare take off those sweaters — not
until my name was on the dotted line."
Having a goodly percentage of the
screen great of the industry on his con-
tract list, Mr. Mayer decided it was
high time that he started developing and
grooming youngsters for future stardom.
Enter Mickey Rooney. In 1935
Mickey found himself in the embar-
rassing position of being a has-been be-
fore he was even old enough to shave.
He had outgrown the "Mickey McGuire"
comedies and there didn't seem to be
much demand for his services. Follow-
ing his Puck in Max Reinhardt's presen-
tation of "Midsummer Night's Dream,"
the M-G-M casting office gave him a
small part in a picture called "Hide-
Out." When Mr. Mayer saw him in this
picture he gave him a contract, and used
him in supporting roles. In 1937 a nice
family picture, called "A Family Affair,"
was previewed in Huntington Park.
Mickey had a small part in the picture,
but the studio people in the theater
noticed that every time Mickey came on
the screen the audience doubled with
laughter. At a studio conference the
next day it was decided that there would
be more Hardy pictures, with Mickey
played up as Andy Hardy.
The Hardy Family rapidly became one
of the best money makers at the studio.
Mr. Mayer, who takes a personal inter-
est in the Hardy series, wisely decided
that they would make a wonderful show
case for the new personalities he wanted
to build into future stars. Lana Turner,
Judy Garland, Kathryn Grayson, Donna
Reed and Esther Williams have all been
Andy Hardy's "girl" at some time or
other. In the most recent Hardy film,
"Andy Hardy's Blonde Trouble" the cute
Wilde Twins get off to a good start.
Judy Garland, born Frances Gumm.
had played one-night stands with her
two sisters. Her sisters married in time,
but Judy, the youngest, just kept on
singing every chance she got, mostly for
benefits. In 1936 she attracted the at-
tention of an M-G-M talent scout, and
following a test was given a contract.
After months of grooming, and going to
school on the Metro lot, she was -given
her first movie break in a short, called
"Every Sunday Afternoon." Also in this
short was another ambitious young sing-
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land stayed. In 1939 she was teamed
with Mickey Rooney in their first big
musical, "Babes in Arms," which broke
all kinds of box office records.
Julia Jean Mildred Frances Turner
(she later shortened the whole thing to
Lana) was sipping a soda across from
the Hollywood High School when she
was "discovered." She became famous
immediately as a sweater girl. Director
Robert Leonard gave her her first dra-
matic break in "Ziegfeld Girl" — and ever
since luscious Lana has been going great
guns.
Mr. Mayer was sitting in a doctor's
office when the receptionist, a chatty
soul, started telling him about one of the
patients who had been coming in for
treatments. "She has a lovely singing
voice, but her family is so poor they
can't afford to give her lessons. It's a
shame to have so much talent go to
waste." Mr. Mayer told the receptionist
to have the girl's mother bring her to
see him at the studio the next day, and
if she were really so talented he would
arrange for her voice lessons. When he
saw the shy little kid everything was
wrong with her — except her voice. He
signed her on a contract, and turned her
over to his craftsmen to groom. He in-
troduced Kathryn Grayson, born Zelma
Hedrick, to the public in "Andy Hardy's
Private Secretary." In "Thousands
Cheer" she proved that she was ready
for stardom.
Van Johnson and Gene Kelly, from
the New York stage, are well on their
way to becoming big stars at M-G-M.
As a matter of fact, Gene Kelly receives
more fan mail today than anyone else
on the lot. Van Johnson, after making
a terrific hit with the fans in "The War
Against Mrs. Hadley," was given an im-
portant part in the Irene Dunne-Spencer
Tracy picture, "A Guy Named Joe."
Early in production Van was in a ter-
rible automobile accident. A more eco-
nomical studio, and one with less heart,
would have brought in another young
actor right away and re-shot the few
scenes that Van had made. But M-G-M,
with the willing cooperation of Irene
Dunne and Spencer Tracy, held up pro-
duction for six months or more and
waited for Van to recover. In his next
picture, "Thirty Seconds Over Tokyo,"
Van shares top acting honors with Rob-
ert Walker, another young actor who is
going places fast. Mr. Mayer saw a test
of young Walker, a radio actor, in New
York and wired the studio that he was
perfect for the part of the sailor in "Ba-
taan." Bob promptly stole the picture,
and was given the plum of the year —
the part of Private Hargrove.
Ready for stardom, too, is Esther Wil-
liams, who swam her way into pictures
via the San Francisco Aquacade. The
studio is terribly excited about Esther,
and she will soon show the public what
all the excitement's about when she ap-
pears with Red Skelton in "Bathing
Beauty." And M-G-M would like to
have you keep your eyes on (it won't be
hard) a couple of fresh youngsters, June
Allyson and Gloria De Haven, who have
wowed audiences at all the sneak pre-
views of "Two Girls and a Sailor."
Screen* land
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******
Your Guide to Current Films
SHOW BUSINESS— RKO-Radio
Deluged as the market is with filmusicals on
this theme, there's still room for Eddie
Cantor's first production. Of course it's the
same old formula, but we don't mind. This
time a sister act joins up with a burlesque
team and heads for Big Time. There's the
usual separation with one member ending
up in a San Francisco dive, and the joining
of forces again for a finale at Ziegfeld Fol-
lies. It's the talent that counts, and Cantor
has thrown a good portion of the spotlight
to teammates, George Murphy, Constance
Moore, and Joan Davis. They all make very
good use of it — offering a fine array of
comedy situations, dances, and such old time
song favorites as "It Had To Be You."
SENSATIONS OF 1945— United Artist Release
This is the nearest thing to going to the
circus we can think of. In fact, it's bigger
than any circus you've ever seen— with such
big-top performers as The Great Gustafson,
the Christianis, Pallenberg Bears sand-
wiched in between ballet dancers, acrobats
and wild animals ; Big Time artists, Sophie
Tucker, W. C. Fields, and others; plus
bandleaders Cab Calloway and Woody Her-
man. There's a story, but it's probably just
as well it gets interrupted as much as it
does. Eleanor Powell plays a dancer who
turns her bright ideas into cash when she
takes over her publicity agent's office. Den-
nis O'Keefe, as the junior member, stands
by to pick up the pieces in the final clinch.
Hot from
Continued
STRANGER than fiction is Jennifer
Jones' life. In little more than a
year's time, she rose from obscurity to
international fame. She won the Acad-
emy Award for her part in "Song Of
Bernadette," her first picture. She sep-
arated from Robert Walker and found
herself the victim of unkind gossip. Now
she's, been made the defendant in a
$613,000 suit which, it is reported, has
been filed by 20th Century-Fox, asking
damages for her failure to appear on call
for her services. Weston East wonders
if she doesn't ever yearn to be plain
Phyllis Isley again. As Mrs. Robert
Walker and the mother of his two sons,
life must have been much simpler. There
are those who think Jennifer would be
much happier if she could turn back the
clock. We wonder?
WATCH for Marc Piatt, former ballet
* * dancer of "Oklahoma!" and previous
to that, Marc Plattoff of the Ballet
Russe. Marc is Rita Hayworth's dancing
partner in "Tonight And Every Night."
He does a sensational radio number by
tuning in and improvising a dance to
whatever happens to come on the air.
Even a speech by Hitler doesn't stop
him. Marc is six feet, two inches tall,
red-headed and built! He's an Amer-
ican and, sorry, girls, married and a
brand new papa!
OLIVIA DE HAVILLAND has fallen
madly in love. His name is G. I. Joe.
Ever since she came back from the
Aleutians, he's all Olivia can talk about.
Weston East wouldn't have believed it,
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STAMP
Hollywood
from page 6
if we hadn't seen it with our own eyes.
Livvy burst into tears when she told of
the kindness and consideration of the
boys she met on that trip. Interesting,
too, is Liv's report that she saw no pic-
tures of pin-up girls. Mothers, sisters,
sweethearts and such actresses as Ingrid
Bergman, Irene Dunne, Joan Leslie,
Bette Davis and Anne Baxter were the
popular favorites.
t^VERYONE who knows Martha Scott
thinks her husband, Carlton Alsop,
is as funny as Bob Hope. Carl is a
radio executive and recently signed a
producing contract with Republic Stu-
dios. His first picture was supposed to
be one that starred Roy Rogers. Months
went by and nothing happened. Then
one morning the "Hollywood Reporter"
announced that Alsop and Republic had
severed their connections. Bob Cobb,
owner of the Brown Derby, asked Carl
what happened. "Oh, they discovered I
looked too much like 'Trigger,' " he an-
swered nonchalantly.
Y\J HEN Jean Arthur couldn't get Joel
' * McCrea for her co-star in "Impa-
tient Years," she was all for giving up
making the picture. That was before she
saw Lee Bowman's test. Now Lee has a
wonderful new contract at Columbia, is
being co-starred with Jean and for the
first time in ten years of movie making
— he gets the girl!
ll^HEN Cornel Wilde was cast in
* * "Wintertime" opposite Sonja Henie,
it wasn't a very happy engagement. It
seems, so the story goes, that Sonja
wanted a leading man with a bigger
name. So she didn't exactly greet Cornel
with open arms. Now, Merle Oberon
has made up for it. Cornel plays Chopin
opposite Merle in "The Love Of Madame
Sand." He is wonderful in the role and
gives a great deal of the credit to
Merle's kindness and consideration.
90
SCREENLAND
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SCREENLAND
3
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rG0
The greatest
star of the
screen !
We made lots of promises about what
to expect in this year of grace and the
Number Twenty anniversary of M-G-M.
★ ★ ★ ★
One of the promises was "The White
Cliffs of Dover". And from the success
and the opinions, guess we've a right
to say — promise fulfilled.
★ ★ ★ ★
Another — and what
another! — is the
forthcoming
"Dragon Seed".
★ ★ ★ ★
You'll see "Dragon
Seed" on the bill-
boards. You'll see
"Dragon Seed" on
the express trucks. You'll read about
"Dragon Seed" in your newspapers.
You'll hear about "Dragon Seed" on the
"M-G-M Screen Test" radio program.
★ ★ ★ ★
And all the shouting will be about
something that deserves the shouting.
★ ★ ★ ★
Pearl Buck's best-seller is the story.
M-G-M, you may recall, is the producer
of her "Good Earth". But "Dragon
Seed" makes this former remarkable
production pale into whatever things
pale into. + * * *
Katharine Hepburn
as "Jade" gives one
of the outstanding
performances of this
or any year.
★ ★ ★ ★
But others— Walter
no,* °f Katharine Heebum Huston in particular
by famed w. t. Benda —Aline MacMahon,
Akim Tamiroff, Henry Travers— are
right up there. As is the splendid direc-
tion of Jack Conway and Harry Bucquet.
★ ★ ★ ★
Pandro Berman produced. Misses
Roberts and Murfin did the screen play.
It's all a wonderful package.
★ ★ ★ ★
This tremendously dramatic, unques-
tionably tender personal narrative stands
in the foreground of China's magnifi-
cent resistance to inhuman aggression.
★ ★ ★ ★
Other publications are calling "Dragon
Seed" the Picture of the Month. Cer-
tainly that. It is really the Picture of
the Year. * * * *
But even more— it is the Picture of
the Hour.
.aa
Paul Hunter, Publisher
Delight Evans, Editor
HOMER ROCKWELL, Vice President
Elizabeth Wilson,
Western Representative
Helen Fosher,
Assistant Editor
Frank J. Carroll,
Art Director
Anthony Ferr ara,
Asst. Art Director
k £vetu Stotij a T^eatute/ k:
The Editor's Page. A V-Mail Letter to Madeleine Carroll . . Delight Evans 7 9
Gene Kelly Does a Job for Uncle Sam Liza 20
Hero's Girl. Elyse Knox Romance Dora Albert 22
Ginny Simms Reveals Her Post - War Plans Elizabeth B. Petersen 24
2nd Front on the Home Front. Gloria De Haven and Ava Gardner 2'6
A Guy Named Bob. Robert Young Romayne 28
Never a Movie Star? Janet Blair .Fredda Dudley 30
Dress Your Type! Edith Head As told to Gladys Hall 33
Me and the Ladies. Wally Beery May Mann 47
War Bird in Mufti. Robert Cummings Alyce Canfield 44
Deanna Has Her Fling! Deanna Durbin Elizabeth Wilson 48 .
Tail ffolot Potttatte, * * *
Warner Bros, stars: Faye Emerson, appearing in "The Mask of Dimit-
r/os," Dolores Moran with Jack Benny in "The Horn Blows At
Midnight/' Joyce Reynolds, soon to appear as "Janie" Eleanor
Parker, featured in "The Very Thought of You."
William Eythe, next seen in "Wilson," a 20th Century-Fox picture
Susan Hayward, now playing in United Artists' "The Hairy Ape"
filCtWte feaGQl; "Le9s" Goddard & Co. (Paulette Goddard
✓ * and Sonny Tufts); Cory (Cary Grant in
"None But The Lonely Heart"); Co-Starring Crawford and Adrian
(Joan Crawford Fashions); Screenland Salutes "Wilson"
'Qepattmentl: ^k ^k ^k
Hot From Hollywood 6
Your Guide to Current Films Selected by Delight Evans 8
Guide to Glamor JO
Fans' Forum 72
Is Your Beauty Rating "A"? Josephine Felts 76
Here's Hollywood . . . .Candids by Gene Lester — Gossip by Weston East 54
Cover Portrait of LUCILLE BALL, now making "Ziegfeld Follies" for MGM.
Kodachrome by Eric Carpenter
SEPTEMBER, 1944
Volume forty Eight
Paul Hunter, President Number Eleven
Homer Rockwell, Vice President and Advertising Director
Lee Wagner, Circulation Manager
SCREENLAND. Published monthly by Liberty Magazine, Inc., at 205 E. 42nd Street, New York, N. Y.
Advertising Office, 205 E. 42nd St., New York: 410 North Michigan Ave., Chicago, 111.; 427 W. 5th St., Los
Angeles, Calif. Manuscripts and drawings must be accompanied by return postage. They will receive careful
attention, but SCRIiENLAND assumes no responsibility for their safety. Yearly subscriptions $2.00 in the
United States, its dependencies, Cuba and Mexico; $2.50 in Canada; foreign $3.00. Changes of address must
reach us five weeks in advanee of the next issue. Be sure to give both the old and new address. Entered as
second class matter, September 23, 1030, at the Post Office. N. Y., under the act of March 3, 1879. Additional
entry at Chicago, Illinois. Copyright 1944 by Liberty Magazine, Inc. Printed in the U. S. A.
MEMBER AUDIT BUREAU OF CIRCULATIONS.
4
Screenland
Pearl Buck's best seller
has become one of the
truly fine motion pictures
of our time . . .
The glorious stcry of a
girl with a fighting heart
and the man who fought
by her side ...
Katharine Hepburn as the
brave and lovely "Jade"
gives THE performance of
her career . . .
For its tremendous drama
and great Tenderness, a
triumph that exceeds even
"The Good Earth" !
Seeo
KATHARINE HEPBURN
WALTER HUSTON
ALINE MacMAHON
AKIM TAMIROFF
TURHAN BEY
Nurd Hatfield . J. Carrol Naish
Agnes Moorehead. HenryTravers
Robert Bice • Jacqueline de Wit
Frances Rafferty ■ Robert Lewis
Screen Play by Marguerite Roberts
and Jane Murfin • Based on the
Novel by Pearl S. Buck • Directed by
Jack Conway and Harold S. Bucquet
Produced by Pandro S. Berrtfan
M-G-M
Twenty Years Of
Screen Leadership
AND
5
Stronger Grip
. S? . sl,
Won t Slip Out
SPRING-*
Try again next time if your store
is out of DeLong Hob Pms today.
We're making more now, but still
not enough to meet the demand.
F S THIS cute now, or isn't it! As a
A threat to Hedy Lamarr, Rosalind
Russell and the rest of the glamor girls,
there's a new best-dressed woman on the
screen. Little Margaret O'Brien is hav-
ing her entire wardrobe in "Music For
Millions" designed by the famous Irene.
Maggie is so excited and pleased with
herself, all on her own she called the
M-G-M publicity department and asked
if she could make a fashion sitting!
pESAR ROMERO, stationed on an
^ island, has been doing a" wonderful
job for his country. All of which hasn't
kept him from missing those at home,
who miss him, too. So you can imagine
how pleased he was when Richard Ney
called on him and brought him all the
news from Hollywood. They had never
Frank Sinatra and Gene Kelly are having a
fine time getting in the groove for their
next picture, M-G-M's "Anchors Aweigh."
Gene recently appeared with Frankie on CBS.
met, so it was a particularly nice gesture
on Dick's part, as he only had a few
hours.
[pOR THE first time since she built
"Butternut," her adored home in New
Hampshire, Bette Davis will not go there
to spend her annual three-month vaca-
tion. The memory of the happy days
spent there with her late husband, Ar-
thur Farnsworth, is still strong upon her
Bette can't go back — just yet. Instead
she's fixed up a wonderful cottage at
Laguna Beach. (Please turn to page 90)
0
SCREENLAND
From the man
who gave you
"THE MIRACLE OF
MORGAN'S CREEK'
Preston Sturges . . .
your favorite
humorist . . .with
Love and Laughter gives
you the greatest comedy to
come out of this war!
Paramount's
"Miracle" men are at it again
EDDIE BRACKEN
the unwilling father of "Morgan's Creek" becomes the unwilling hero of Oak Ridge
Ella Raines
Life's new candidate for a gal who'll go far!
William Demarest
Tapa Kockenlocker becomes a Marine Sergeant — and on him it's becoming!
Raymond Walburn • Franklin Pangborn
Elizabeth Patterson • Bill Edwards
Written and Directed by PRESTON STURGES
The story of a man who
didn't go to war . . . but became
a hero to his home town!
ScREENLAND
7
r
There's joy ahoy
for every girl
and boy!...
Hop on board the show-boat for
gay, exciting
entertain-
ment! . . .
WENT FILMS
Selected
MR. SKEFFINGTON — Warner Bros.
Bette Davis' new picture has all the flavor of a popular
melodrama of "East Lynne" vintage. There's Fanny,
shallow, vain and selfish, with nothing else to do except
to be charming to her various swains. There's her
worthless, extravagant brother who becomes indebted
to his employer, Mr. Skeffington, whom Fanny marries.
The underlying motif is Fanny's fear of growing old —
which, of course, she does between 1914 and 1940, and
the makeup man goes practically berserk in dishing out
the wrinkles. Bette Davis' performance as Fanny is skil-
ful. Claude Rains gains new appeal as Mr. Skeffington.
THE CANTERVILLE GHOST — M-G-M
For a delightful, thoroughly enjoyable fantasy you
couldn't ask for anything better than this film based on
an Oscar Wilde story and starring Charles Laughton
as the timid nobleman ghost whose cowardice in 1600
has doomed him to ghostdom until a kinsman re-
leases him by doing a brave deed in his name. Just his
costume will send you off on a laughing spree, so his
ghostly antics, rattling chains, materializing unexpect-
edly add greatly to the hilarity. Margaret O'Brien is
neatly professional as little Lady Jessica, a Canterville,
and Robert Young gives one of his best portrayals as
the kinsman whose bravery frees the woebegone ghost.
HAIL THE CONQUERING H ERO — Paramount
Preston Sturges, author and director of this film, has a
great knack of gleaning comedy out of ironic situations.
Eddie Bracken does a fine job as the "conquering hero,"
who won't go home a failure when he's discharged from
the Marine Corps for hay fever. But some real
Marine heroes from Guadalcanal pin a medal on him
and sneak him back to see his mother. The plan mis-
carries and he finds himself out of his depth when the
townspeople elect him mayor. His speech condemning
himself as a phoney is superb. William Demarest, as a
tough sarge, and Ella Raines, hero's sweetheart, are fine.
BATHING BEAUTY — M-G-M
With a fine array of bathing beauties (who actually go
in the water) in Technicolor, this is one for the boys.
There's a plot, but it usually gives way to zany situa-
tions, plentiful in Red Skelton films. He plays a tune-
smith, daffy about a pretty swimmer whom he marries.
She goes back to her job in a girls' school when his
producer (a short but good part by Basil Rathbone)
brings forth a fake wife. He spends the rest of the
footage in the girls' school as a co-ed, trying to get his
real wife back. Esther Williams, pretty and talented,
too, contributes a grand aquacade. Cugat's band with
Lina Romay, and Harry James' band are in the groove.
ROGER TOUHY, GANGSTER — 20th Century-Fox
Based on known facts this film is designed to prove
crime doesn't pay. That it does, but its documentary
effect, ending with a speech by warden of Illinois'
Stateville Prison where Touhy was sentenced to serve
99 years on a kidnaping charge, dulls the dramatic im-
pact of the lesson. Preston Foster does a fine job of the
title role, but he looks too nice to be a gangster. There's
plenty of action, most exciting is his escape from prison
(filmed at Stateville) with his henchmen played by
Victor McLaglen, Frank Jenks, George E. Stone,
Horace MacMahon, Anthony Quinn and John Harmon.
SCREENLAND
NOW YOU CAN SEE IT AT POPULAR PRICES!
Starring
FREDRIC MARCH ALEXIS SMITH -donald crisp-alan hale.
C. AUBREY SMITH • JOHN CARRADINE
.
F
BILL HENRY • WALTER HAMPDEN • ROBERT BARRAT • JOYCE REYNOLDS • Screen Ploy by Alan LeMay • Adaptation by Alon leMoy and Horold M. Sherman • Additional Draloaua
by Horry Chandlee • All biogrophical moterial based on works owned or controlled by Mark Twain Co., and the play "Mork Twain" by Harold M. Sherman • Music by Max Sterner
JACK L. WARNER. Executive Producer ■ Produced by JeSSe L. Lasky • Directed by IRVING RAPPER
L
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GUIDE TO GLAMOR
Here are grooming tips for young school girls.
Ideas, too, for their older working sisters
Minipoo Dry Shampoo, quick hair and scalp cleanser that doesn't disturb
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WHILE you are boning up on Latin
verbs or History II you can give your-
self a Minipoo Dry Shampoo. It takes only
about ten minutes from start to finish, not
much longer than a good brushing. You
shake a little of the fragrant powder on the
fabric mitt that comes with it, divide your
hair into strands and then go to work. The
shampoo removes oil, dust and perspiration
odors, and it doesn't remove your wave. It
is economical because there is enough in the
dollar box for thirty shampoos, and will
probably last you right through two semes-
ters, even if your room-mate borrows occa-
sionally. It is the type of product which can
prove a life-saver, too, for your older sister
when her dream man drifts into town unex-
pectedly.
Softol Cuticle Set has handy fountain
stick for home manicure and pedicure.
COR a make-up that lasts from home to
1 campus, and back again, there is the new
Tayton Tayglo, a liquid face make-up. It is
available in four shades. The darkest is
known as Caribbean and the medium dark
shade is Conquest. The rachel is Coquette,
and the lighter or more natural shade has
been tabbed Moonbeam.
VOU'VE been careful about using deod-
' orants all summer to keep yourself fresh
and to protect tubbable clothes. But you
may as well face the fact right now that
you'll shortly be getting into your woolens
and rayons again, and you'll need a depend-
able anti-perspirant. Nonspi liquid anti-per-
spirant and deodorant is one that will check
both moisture and odor and so prevent per-
spiration damage to your precious garments
as well as to safeguard your own feminine
charm. How long a single application of
such a product will check perspiration and
odor for you depends upon your own phys-
ical chemistry, the kind of clothes you wear,
how strenuously you exercise and other per-
sonal and climatic factors which manufac-
turers can not guess.
HAVE you been working your hands
rather hard this summer with the result
that devastating hangnails and callouses are
much in evidence. To come to your rescue
there is Softol Cuticle Set. The hand foun-
tain stick is fun and easy to use, and it
banishes stubborn cuticle without cutting,
and removes thick callouses. It's good, too,
as an aid in keeping toe nails neatly pedi-
cured.
10
SCREENLAND
THE BOYS went "ga-ga" over
glamorous Polly . . . broke their
necks to get a date . . . then regretted it.
Plainer Molly on the other hand, dated
them not once but again and again.
Why? Both the girls had charm and wit
and wore their clothes well. Unfortu-
nately Polly had a little trouble* that
repelled men instantly but which Polly
herself didn't even suspect.
/ / /
Between a girl with halitosis (bad breath) *
and one without it, the choice is obvious!
Off-color breath can bar friendships, good
times and romance . . . just a whisper that
you're guilty and down go your chances.
Don't Gamble
Don t foolishly assume that your breath is
always bey ond reproach. There may be times
when it isn't . . . without your knowing it.
The wise thing is to be always on guard.
That means Listerine Antiseptic, with its
delightful freshening effect. Simply rinse the
mouth and gargle with it before social or
business engagements. Almost immediately
your breath becomes sweeter, purer, less
likely to offend.
While some cases of halitosis are of sys-
temic origin, most cases, say a number of
medical authorities, are due to the bacterial
fermentation of tiny food particles clinging
to mouth surfaces. Listerine Antiseptic halts
such fermentation, then overcomes the odors
fermentation causes.
If you would be pleasing to others never,
never omit Listerine Antiseptic as a part of
your daily toilette.
Lambert Pharmacal Co., St. Louis, Mo.
SCREENLAND
11
WORTH
WAITING FOR .
UNDIES
As brief and affectionate as a
V-mail letter from him, BLUE
SWAN UNDIES fashioned for
figure flattering witchery, com-
fort and good taste. Supplies
are limited now. ..but after Vic-
tory you 'II have a choice of new
materials in styles that set new
standards of smooth comfort.
EMPIRE STATE BUILDING • NEW YORK
Opinions, Please!
Your suggestions about pictures and
personalities have helped to make
movies America's No. 1 entertainment.
Let's not stop now ! After you buy all
those extra bonds to help our boys win
the war, we'll be ready to make movies
the world's No. 1 entertainment. Write
your letter today. Monthly awards for
the best letters published: $10,00,
$5.00, and five $1.00 prizes, all payable
in War Savings Stamps. Closing date
is the 25th of the month.
Please address Fans' Forum,
Screen land, 205 East 42nd St., New
York 17, N. Y.
FIRST PRIZE WINNER
$10.00
It's my opinion that the movie producers
should begin to make the American girl
the American girl, if you get what I mean !
The screen too long has been painting her as
fhe glamor girl, instead of what she is at
heart.
Since pioneer days, when our women
shouldered the axe, helped clear forests,
made the deserts bloom and the waste lands
green, our American girl has been willing
to carry her half of the burden.
For a time, it is true, American men, as
well as women, had grown soft. But cir-
cumstances made them so. The time has
come when soft-living and pleasure-seeking
must be laid aside.
Picture again a laughing, freckle- faced,
tomboyish, happy-go-lucky girl with a
pitchfork under her arm, in blue overalls
and a faded shirt, tousled, windswept hair
and a determined smile on her honest young
face. For she is ready and happy to take up
where her mother, and even her grand-
mother left off when the days of soft-living
and high-stepping swept them off their feet.
The old world had its Joan of Arc, Eliza-
beth Fry and Florence Nightingale. We
had our pioneer mothers who stood un-
daunted beside their fearless husbands in
the face of every danger until freedom and
independence were won. The girl of today
will not falter. She is ready to stand be-
side her man through every sacrifice. So
please leave off the "painted doll" type for
the duration.
EL WOOD W. ZERHARD, S lie,
St. Albans Naval Hospital, N. Y.
SECOND PRIZE WINNER
$5.00
There is so much that's wholesome, en-
tertaining and educational in the movies
that I share my children's enjoyment of
most pictures. But I have one pet peeve,
and that is at those funny ( ? ) ■ movies
featuring intoxication.
Take "Sweet Rosie O'Grady" — one of
Betty Grable's nicest pictures except for the
scene wherein boy and girl tour the town
singing maudlin songs.
Then, much more serious, "The Miracle
Of Morgan's Creek," where girl gets mar-
ried on a drunken party, doesn't even re-
member her "husband's" name and discovers
that she is going to have a baby.
Although these scenes are very well done,
and are all intended to be funny, I think
they are bad medicine for young people.
Their natural reaction is that drinking is
"smart" — that exciting adventures follow
in the wake of drunken hilarity.
I never lose an opportunity to point out
to my youngsters the sordidness of such
parties, but my admonitions fall on deaf
ears when their favorite screen personali-
ties are shown as "painting the town red"
and flaunting indecent behavior.
Leave out scenes depicting young people,
especially girls, drinking — and thousands of
mothers will breathe easier and have a new
respect for the power of the screen !
MRS. GRACE MARTIN, Bayside, L. I., N. Y.
FIVE PRIZE WINNERS
$1.00 Each
Last Saturday night at the Hollywood
Canteen a question that has puzzled me for'
some time came to the boiling point. A
12
SCREENLAND
MILLS, SAYRE, PA.
Are You
in the Know?
Do you think she is headed for —
I | "Heart" trouble
^3 A high date quota
31 Complexion blues
Snacks at the hamburger hangout are
fun! But too many "fries" and double
desserts may bring complexion blues.
Go easy on rich foods. With sensible
diet, daily scrubbing, your face can
defy the keenest ogling. You can chal-
lenge costume closeups, too, on "those"
days. Kotex sanitary napkins outwit
telltale lines — for those patented Kotex
ends are pressed flat — they don't show,
because they're not thick, not stubby
like some napkin ends. They're scien-
tifically designed to keep Kotex snug-
fitting . . . smoother!
\
In WAVE slanguage, she's —
^} A destroyer
I I On see duty
3 Being convoyed
WAVES have words of their own! For
instance, "being convoyed" means be-
ing on a dale. "See duty" means the
movies. The girl above is a destroyer
(pretty WAVE) —and busy at her job.
Any girl can sail through dates or duty
with confidence, on calendar days —
when she chooses Kotex. Because Kotex
is the word for protection in sanitary
napkins. That special 4-ply safety-center
keeps moisture away from the edges of
Kotex — giving extra protection where
you need it most. And Kotex has no
wrong side to confuse you and cause
embarrassing accidents !
Which is most likely to get the job?
□ The girl on the left
□ On the right
I | In the center
Want to launch your life career, or
land an after-school job? That first in-
terview is important! Be alert, brief,
frank. Show the boss you mean business,
and look it — like the girl on the right.
Then, stick to your job, every working
day. You can, with the help of Kotex.
Kotex is more comfortable — has endur-
ing softness, so different from pads that
just "feel" soft at first touch. No bunch-
ing, no roping, as flimsy napkins do.
You'll find Kotex holds its shape . . .
actually stays soft while wearing!
IT'S A WISE GIRL who
discovers that a powder de-
odorant is best for sanitary
napkins. QuestPowder,
the Kotex Deodorant,
was created expressly
for this use. So see
how completely Quest
destroys odors. It's
unscented, safe, sure.
This is her lucky day for-
| | Honeymoon Bridge
^ Russian Bank
[~1 Gin Rummy
Too bad, sailor! But a gal can win some
of the time, can't she? Today, she's
lucky at Gin Rummy. And tomorrow,
and at all times, a girl can be a winner
at any social doings — when she plays
safe about personal daintiness. Espe-
cially at certain times, a powder deodor-
ant is needed. That means Quest Powder,
the Kotex deodorant, for sanitary nap-
kins. Quest is unscented. It's the safe,
sure way to avoid offending— to destroy
all doubt completely!
Know your napkins
*T. M. Reg. U. S. Pat. Off.
More women choose KOTEX*
than all other sanitary napkins
TIPS FOR TEENS. To know how to stay in the fun ... to know exactly what and
what not to do on difficult days, send now for the free, newly-edited booklet, "As One
Cirl to Another". Puts you on the beam about grooming, sports, social contacts. Write to
P. O. Box 3434, Chicago 54, Illinois.
SCREENLAND
13
Little Mary Lee is seen again riding the range with "pardner"
Roy Rogers in his latest Republic picture, "Song Of Nevada."
beautiful young lady was so delightfully
charming to every G. I. she served that I
could hear many others saying just what I
was thinking : "There is a star that looks
as sweet and unaffected as my girl back
home." With her ability as an actress, I
began to wonder again just why Marsha
Hunt doesn't get bigger and better parts.
I was never one to question the wisdom of
casting directors or studio executives, but I
think it is about time Hollywood "wised
up" to a beautiful actress who helped make
several "little" pictures, like "Joe Smith,
American" and "Lost Angel," into fine en-
tertainment.
I am waiting for the day M-G-M stars
Marsha in one of its important pictures.
After one glimpse of her in "Thousands
Cheer," here's hoping this impending mas-
terpiece is in Technicolor. Until then,
would you please keep us posted on her
present assignments ?
HOWARD THOMPSON, S 2/c,
Oceanside, Calif.
Everyone should see "Memphis Belle." It
isn't a film one can write too much about ;
there is too deep a feeling of close prox-
imity to these boys who are living the most
fantastic experience in history. The same
feeling is seen in their reluctance to be
photographed ; anything prior to a mission
in the clouds must seem of minor impor-
tance to them.
The portrayal of this picture was very
vivid, yet how hard to believe when one
considers how unprepared these young
fighters were just a few short years ago !
One could not see this picture in its real-
ism, and not feel a thrill of pride in their
conduct today — so unassuming, serious, and
confident, so very sure of themselves, while
about to ascend the borderline between
heaven and earth.
Let us hope that these films may serve a
real purpose and linger well and long in the
hearts and minds of those who are in a
position to make ample provision for the
boys who return from overseas ; and for
those who do not, lest we all forget, let us
remember what they fought for and strive
with all our hearts to make it a world
worthy of their sacrifices so that we who
are left may again enjoy the open air and
sun and the . joys of home life, un-
molested.
F. J. WORRALL, Brooklyn 2, N. Y.
My grandfather was a mailman in Hart-
ford. He traveled the route where Mark
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14
SCREENLAND
Twain lived and enjoyed his humor on
many occasions. Grandpa told me many
interesting little glimpses into his family
life. Thus it was with much skepticism
that I viewed "The Adventures Of Mark
Twain," as I always look for authenticity
in period pictures. I must say Fredric was
magnificent in his portrayal of Mark Twain.
Not at any time did he step out of character,
and he so keenly emulated Mark's eccen-
tricities that one felt completely in the
presence of the great wit.
More power to Warner Brothers for so
fine a production and to Fredric March for
being such a realist. •
INEZ B. SMITH, Windsor, Conn.
I suggest that the members of the Holly-
wood Women's Press Club read the letter
by Bing Crosby in the June issue of Screen-
land before they condemn him again for
being one of the most uncooperative stars.
As Bing says, he doesn't want to be un-
gracious, he doesn't mean to be uncooper-
ative, he just doesn't have any spare time.
Bing Crosby is a very busy man. You
just have to read his letter to know that.
So please, you women reporters, don't say
anything against Bing. He's doing a great
job and doesn't like to be criticised for
things that are not his fault any more than
you or I.
GRETCHEN VAN ARSDALE,
Indianapolis 5, Ind.
We had a showing of "Show Business" at
our camp and it was good to see Eddie Can-
tor back on the screen. But it was Joan
Davis who took the whole show with her
'T love that boy !"
In the near future, I say let's have more
of her. To me, she is the Cheer-Up Girl in
war times like these. The fellows "here in
camp are backing me up one hundred per
cenf. Someone should give her a medal!
THEODORE MURRAY, l/c,
Ft. Pierce, Fla.
HONORABLE MENTION
I'm sure the publicity generated by press
agents concerning Pin-Up girls swells the
box office, but I believe its greatest bless-
ing lies in its presentation of the American
woman's place in her country.
Pin-Up girls are symbolic of the manner
in which American men have been educated
to esteem women. To the women them-
selves, a Pin-Up girl is a constant source of
inspiration and a glowing tribute to her own
social status in a world which has not long
recognized the equality of women.
So more power to our glorified Pin-Up
girls and may the man across the seas, who
delights in the pictures gracing the barracks,
find an even lovelier girl waiting for him.
FLORENCE KENT, Washington 9, D. C.
B weeks training at
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DON'T BE A SPARE — BE A SPAR
-grhitc
SHIRLEY TEMPLE
speaking:
" I get
miles
of
smiles
with
CALOX."
SHIRLEY TEMPLE
one of the 7 stars in
"SINCE YOU WENT AWAY"
a David O. Selznick Production
A DENTIST'S DENTIFRICE
Calox was created by a dentist for people who
want utmost brilliance consistent with utmost
gentleness. Calox offers you:—
1. ScrUpUlOUS Cleaning. Calox is a multiple-
action powder. It contains five cleansing
and polishing ingredients.
2. LUStrOUS polishing. Calox brings out the
high natural luster of teeth. It is
a real beauty dentifrice!
3. CalOX iS gentle. Double-sifted
through 100 mesh silk screen.
4. NO mOUth puckering medicine taste.
Even children like the cool, clean,
refreshing flavor.
5. Made by a famous laboratory.
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rience in making fine drugs.
listen fo "Stop Or Go"
starring JOE E. BROWN
Thursday night, Blue Network.
SCREENLAND
15
THIS month we're stepping out of our
nice kind role of interested counsel-
lor on beauty problems to become
"dutch uncle" to young girls who really
want A+ in good grooming. Hollywood
beauty tests are stiff, you know, and to
pass them there are very definite re-
quirements.
Every 'teen age girl would like to be as
lovely as her favorite star, and who can
blame her for it? Such urges for attrac-
tiveness and popularity are perfectly nat-
ural but, like all other good ambitions,
they can only be achieved if the funda-
mental rules are learned early.
To check on the good points and on
the mistakes of the younger generation,
we have looked around a lot lately. Let's
face the bad marks first — and get them
over! In many cases, a mark 'way below
passing could be given for lack of honest-
to-goodness scrubbing. Skin, teeth, hair
and nails just aren't clean enough to get
by movie standards. . . . We could give
low grades, too, for sloppy posture, un-
pleasant voices and for over-trickiness in
make-up and in hairdos.
For real interest in looking pretty, for
an attempt to imitate grownup loveli-
ness, and for the will to spend enough
time cultivating charm, most girls rate
high! So, our little lecture can be com-
pared with learning Math — you can't get
Algebra until you've mastered Arith-
metic, and you can't achieve Glamor un-
til you've learned the basic facts, and
acquired the habits, of good grooming.
As you can see, fact and habit No. 1,
is cleanliness. By that we mean, daily
baths, plenty of face washing, frequent
shampoos and proper teeth and nail care.
Don't forget that internal cleanliness is
important, also! . . . We, in America, are
so lucky in having sufficient soap, many
dentifrices, excellent shampoos and an
abundance of food that there's no reason
to neglect any phase of personal care.
For the simple, easy and necessary
cleansing of your skin, soap and water
facials should become routine. (As a pa-
triotic gesture, we suggest that you don't
waste soap. Use it as you need it on your
face and body, but save all the little
slivers to melt down for other purposes.)
If you're troubled by the eruptions that
sometimes occur during growing years,
remember that bumps are easier to con-
trol if dirt is never allowed to become
imbedded in your pores. All doctors sug-
gest a stimulating scrubbing and the ap-
plication of healing lotions rather than
the covering coat of make-up.
Pretty teeth, as you have probably
noticed, are prime requisites of movie
stardom. If you didn't start brushing
yours with a good paste or powder when
you were two, begin today. Before you
even think of lipstick, get the habit of
bright and shining teeth. Excellent care
of them now, means attractive smiles for
a long, long time!
At school and college, hair and nails
always get lots of attention, but is it of
the right kind? We answer this one by
quoting a lovely girl, brought up by her
actress mother in the true ways of beauty,
who says of her less-aware schoolmates,
(Please turn to page 86)
Frances Gifford, in M-G-M's "Marriage Is A
Private Affair," credits her lustrous hair to
daily brushing and frequent shampooing.
Jeanne Crain, in the 20th Century-Fox pro-
duction, "In The Meantime, Darling," keeps
her skin radiant with soap-and-water scrubbing.
By Josephine Felts
RATING "A
.»«! in flood »ook5'
here are some rw«
L6
SCREENLAND
mtM ^zve^a% mote a/dube ^
t
o otker Skampoo
leaves kair so lustrous, and yet so easy to manage
Only Drene
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Men notice and remember the girl
with glamorous, shining locks! So don't
let soap or soap shampoos dull the lus-
trous beauty of your hair.
Be beauty wise! Change to Drenc
Shampoo with Hair Conditioner. See the
dramatic difference after your very first
shampoo . . . how gloriously it reveals
all the lovely, sparkling highlights, all the
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See, too, how this new, improved Drenc
containing hair conditioner now leaves
hair far silkier, smoother, easier to man-
age . . . right after shampooing! Easier
to comb into smooth, shining neatness!
So insist on Drene Shampoo with Hair
Conditioner ... or ask your beauty shop
to use it.
And remember! Drene gets rid of all
flaky dandruff the very first timeyou use it!
Drene Shampoo
with A
v_-^ Product of Procter & Gamble
SCREENLAND
Five women in love!
Intrigue in
Washington!
Flaming passions at
Versailles! Famous
stars . . . 12,000
players . . . surging
through 200 sets . . .
echoing with
87 beloved songs!
ALEXANDER KNOX • CHARLES COBURN
GERALDINE FITZGERALD • THOMAS MITCHELL
RUTH NELSON • SIR CEDRIC HARDWICKE
VINCENT PRICE • WILLIAM EYTHE • MARY ANDERSON
AND A HUGE CAST OF 12,000
THE MOST IMPORTANT EVENT IN 50
EARS OF MOTION PICTURE ENTERTAINMENT!
18
SCREENLAND
Prist Mm co»pUt« address hi ptm\m Mock tetters I* too bomI bolow. am* y«
orevicka'. Vtm typewriter, dork tefc. or p— cH. Write otetety. Very ■■
r rotara tMnu te Mm t»ac«
■II writing ia oot ssitaftla.
From
(CENSOR'S STAMP)
EAR MISS CARROLL: ^
Please read this V-mail letter
as coming not only from me, but from
all movie fans who remember you as
.the screen's most beautiful star and
honor you today as Hollywood's most
gallant lady.
You see, you have always stood for
something very special, right from the
start. Your blonde, poised beauty won
the American picture public from your
first American film. I remember the
first time I met you, not long after
you had made your initial hit in a
Hollywood movie. You were some-
thing new in screen stars to me, Miss
Carroll — already a legend in Eng-
land for your beauty, your perform-
ance in "The 39 Steps" and other
British pictures, you had been pre-
sented at court, you were first of all
a lady of the great world rather than
a movie actress, and so you might have
been a trifle on the haughty side. But
not at all. Gay, friendly, gracious, you
glanced around the flower-filled room
and said something appreciative of all
this adulation you were receiving —
but you added with a twinkle, "And
now I need discipline."
That phrase has always stuck with
me. For of all stars you needed dis-
cipline least. As your ca-
reer progressed you wisely
teamed with Bob Hope
where a lady of less calibre
would have stood upon her dignity.
Your glamorous marriage to Stirling
Hayden you resolutely refused to
turn into a Hollywood publicity show.
And now you have become the only
actress to give up her career for the
duration, to work for the American
Red Cross. Wherever you are, when
this V-Mail letter catches up with you,
you'll know you still have an army
of fans waiting to welcome you back
on V-Day.
ft ». 1. COVf >NMKMT MMtlH WTKI I INS
JV -MAIL
Hoofer with a heart! Danci
star Kelly helps out on an irc
portant home front projec
By Liza — —
Hollywood Victory Committee and the
U.S.O. asked Gene Kelly to organna a *
unit and go out on a planned itinerary
of Army and Navy hospitals. Exclusive
story tells some of his heartwarming e<-
periences on the tour. At left, U.S.O.
photos show Gene, solo and with partner,
doing act atValley Forge General Hospital.
dime "KMtu
DOES A JOB FOR
I MMcie Sam
FOR two years now Gene Kelly has been begging the
Hollywood Victory Committee and the U.S.O. to send
him overseas to entertain the boys at the- front. So when
some weeks ago he received a wire telling him to report at the
H.V.C.-U.S.O. headquarters in New York he was a pretty
excited fellow. This is it, he thought, it won't be long now.
But when the committee explained to him that it was a brand
new project that the organization had in mind for him, a
home front project, Gene's face fell almost down to his tal-
ented toes. "I was deeply disappointed at first," he admits,
"having set my heart on going overseas. But then I realized
that it was a terribly important and worthwhile job they had
selected me for."
Gene swung into his new job with all his energy, and Gene
even on bad days has the energy of a Boulder Dam dynamo.
"The committee wanted me to organize a unit and go out
on a planned itinerary of Army and Navy
hospitals — some of them in out of the way
places that had never been visited by Holly-
wood personalities," he reports. "They in-
tend making this hospital entertainment a
post-war project, if possi-
ble. Not just for the dura-
tion, but for those years that
will follow, years that will
be rather on the gloomy side
for the poor guys who are
invalided, and who'll think
they've been forgotten." •
The committee picked
five entertainers in New
York to go with Gene on
this hospital tour. They
(Please turn to page 71 )
20
Elyse Knox is now a star for Monogram
| Pictures, soon to be seen in a timely film
tentatively titled "A Wave, A Wac, And
A Marine" (see still, center); and Elyse
i helping celebrate real WAC anniversary.
WHEN Elyse Knox, cover girl and movie star, marries
Lieut. Tom Harmon, she hopes that she will be able
to take her vows at St. Mary's Chapel at Ann Arbor.
For it was at this chapel that Lieut. Harmon worshipped
when he was a student at the University of Michigan.
Lieut. Harmon is a Catholic. Knowing how much his reli-
gion means to him and hopeful that it may mean as much to
her some day, Elyse Knox is turning Catholic. She is taking
instructions and hopes to be accepted by the Catholic Church
before the wedding takes place.
"No, Tommy didn't demand it of me," she told me, as we
sat at the Hollywood Brown Derby having lunch. In a simple
powder blue dress, Elyse looked as beautiful as any bride;
and with one glance at her you could see those Technicolor
qualities that have made her the darling of color photograph-
ers. She also looks incredibly young. She's" twenty-four; but
looks all of nineteen.
"Tommy didn't demand of me that I turn Catholic," she
said, "any more than I demanded anything of him. It is just
a feeling we both have in the same direction — something we
both want. I knew how much religion meant to Tommy be-
fore he joined the Air Corps. The true value of religion car-
ried him through his most, horrible and grim experiences in
the war.
"Twice during the war, Tom was missing in action. The
first time, he was lost for eight days in a jungle in French
Guiana. With a bolo knife he beat his way through every
inch of that land, with the vines grabbing at him. There were
living alligators in the swampy waters; he couldn't swim, due
to water weeds and stumps; he hit big holes and almost
drowned. While walking in the jungle he would scream his
prayers at the top of his lungs. Tommy has told me that he
did it partly so that if anyone was around, they would hear
him, and partly because it gave him comfort. And if I were
lost in a jungle like that I, too, would start saying my prayers.
"I can remember when I was only seven I was on a hunt-
ing trip with my dad and he told me to wait in a clearing for
him — he was rounding up a rabbit. He left me, and suddenly
22
e<*d „ Co*nbit, nt*n.
and W**ny f?Se
I realized that I was alone in the woods. I became frightened
and panicky. And young as I was, in my thoughts I turned
to God.
"Yet the moment passed. And though I continued to go
to church with my girl friends, religion didn't mean as much
to me in those days as it meant to Tommy, many hundreds
of miles away. For religion was a part of his very life.
"When Tommy started thinking about girls, he set up an
ideal. His mother and dad have known a great and wonderful
love. It has been a gay love, too, full of laughter and joy.
Why, their house is still full of all the dancing trophies they
won. Tommy was brought up in a large family — and there
was great unity in that family. When he went to football
games — you remember, he was one of the great Ail-American
football heroes — they traveled everywhere with him. They
were known as the Harmon tribe — they spent all their holidays
together — and there was always harmony among the Harmons.
"When Tommy was going to college, he made up his mind
about the kind of girl he wanted to (Please turn to page 60)
**e kill W m°We
EVERYBODY is looking forward to the day the war will
end. That's when we'll really begin living again, they
say. That's when our boys will come home again and
all the worry and loneliness and sorrow will be gone. That's
when everything will be the way it used to be and the war
will be over and forgotten.
No one is looking more eagerly toward peace than Ginny
Simms. Her radio program and camp shows and hospital
work have brought her very close to the men who are fighting
this war and to the folks waiting for them at home, and be-
cause of that she knows more than most of us just how much
.suffering and desolation war spreads. Yes, Ginny will be very
happy the day the war ends. But she isn't going to forget it.
"It's easy to remember our boys today," Ginny told me the
last time I saw her. "But what about afterwards, when the
war is over? Are we going to forget that there will be many
men for whom the war will never be really over, men who will
spend years, perhaps their whole lives, in lonely veteran
hospitals?"
Military hospitals aren't lonely now. Ginny is only one of
thousands of show people who give unstintingly of their time
and talents to bring them entertainment. But that's the way
it was during the last war, too. That's the way it was when
the bands were playing and flags were flying. Only when it
was over, there were few people outside of relatives and close
friends who remembered the men who were still hospitalized.
And that's the way it will be after this war, too, unless some-
body does something about it.
Ginny is that somebody. She has a very definite plan for
post-war days. The Lest We Forget (Please turn to 'page 83)
Soldiers from the Birmingham Hospital in
Van Nuys, Calif., entertained by "Sweet-
heart of the Armed Forces" Simms.
Ginny inspects film, part of intricate
process by which latest movies are pre-
pared for fighting forces overseas.
On a machine like this, the picture that
eventually shows on battlefront screens
is printed from 16-millimeter negative.
Ginny writes a message on a package of
precious film ready for shipping. Films
go out at rate of 208 pictures annually.
LUCILLE BALL, STARRING IN "MEET THE PEOPLE"
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Gloria Do Haven
appears in M-G-M's
"Thin Man Goes
Home,"Ava Gardner
next seen in "Mai-
sie Goes To Reno."
[ROM
Girls, join the Crop
Corps! No farming ex-
perience necessary,
just the will to do a
hard day's work for
the cause of victory, as
M-G-M starlets Gloria
De Haven and Ava
Gardner demonstrate
QU1J TIAIIIED BO
Closeup of a quiet, charming chap who still doesn't believe
he's important enough to interview! Meet Robert Young
THERE had just transpired over the
telephone a baffling conversation.
For eighteen minutes we talked and
talked. And got nowhere. Because the
star I called kept telling me in a courte-
ous yet severe voice that he knew noth-
ing whatsoever about himself that could
possibly make interesting copy. This was
no modest romeo, trusting that from it
all would sprout a beautiful sentimental
tale about a bashful hero's struggle up
to fame.
"Bob," I said, "I'd like to do a story
about you for your fans."
Came the startling announcement that
Mr. Robert Young does not believe he
has fans. How do you like that? Well,
all I know is that riding the bus to the
studio for five mornings so that I could
use my gas to cart me over to his preview
of "The Canterville Ghost" was worth
the fight for a seat. I described to him
the way the audience applauded in spon-
taneous enthusiasm when his name was
flashed on the screen.
"The picture was good," he said.
"But they hadn't even seen it yet!"
"I don't know — must have been some-
thing strange."
"Oh, come on — give me a lead, say
something to help me!"
He sounded both exasperated and pa-
tient. "You know, honey — I'm just a big
headache, I always have been when it
comes to talking. I've never been able
to help anybody out when they wanted
me to — I mean about being real smart.
I'm not handy that way." He proceeded
to give me a dull exposure of a guy I
intended to write about.
I asked him to think it over. We could
get some "angles," I kept saying. And he
answered without further ado: "No."
But I hung on. Then, either because it
wouldn't have been becoming in a gen-
(Please turn to page 74 )
By Romayne
Latest in Bob's gallery of good characteriza-
tions: with Margaret O'Brien in M-G-M's
"The Canterville Ghost." Below, family
closeup shows Mr. and Mrs. Young with
the latest addition to their family, Betty Lou.
1 28
At . Honor On Alert Saddle
Ease Bright Doty Brown
f\OR E WOMEN CHOOSE CUTEX THAN ANY OTHER NAIL POLISH IN THE WORLT
' n
fVEVER A
[ STAR?
Well, hardly ever! How Janet Blair
has managed to remain a nice,
average girl in spite of movie fame
is told in this refreshing story
SHE HAD large, expressive brown
eyes, chestnut curls, and three mon-
grel pups nipping at her sturdy
tanned legs. She was only seven, but
she was experiencing her first frantic fit
of emotion.
"No," her mother said,, shaking her
head in the way that her two daughters
and one son had learned meant business.
"You can not keep those dogs! Repeat-
edly you've made ffiends with strays
and brought them home for us to care
for; I know how you feel about them,
but we have enough pets around here
now. Those dogs have to go to the
pound!"
Miss Janet Blair's cheeks were wetted
with warm tears. "All right!" she said
miserably. "But when I'm great and
famous, I'm going to have a house so big
that I can take care of every stray dog
or cat that I see. So there."
Miss Janet Blair, as you may have
learned from seeing such pictures as "My
Sister Eileen," "Something To Shout
About," and her most recent, "Once
Upon A Time," with Cary Grant, and
"Tonight And Every Night," with Rita
Hay worth, is now in Hollywood. Co-
lumbia, which bosses her, can be quoted
at any hour of day or night as saying
that dimpled Miss Blair is Great and
Famous. Miss Blair's own attitude on
the subject is best revealed by the sta-
tistic that she is living in a modest
apartment, and that she shelters two
(only) cats.
Furthermore, she emerged from a sneak
preview one* evening to find a group of
signaturalists waiting for her with pens
and notebooks poised. "How about it,
Janet?" one of the girls asked. "Any
chance to get your autograph on my
book?"
Janet, seldom seen in spots where she
will be recognized (this statement will
be explained later) , was somewhat be-
wildered. "Why on earth do you want
autograph?" she inquired.
A nearby boy elevated an eyebrow
and responded, "Are you kiddin'?"
She was not. Although Janet Blair has
now attained titular stardom on the Co-
lumbia lot, she will never actually be a
Movie Star. She will remain— as she is
— an actress, which is to say a competent
working woman.
Locally there is a good deal written
about some Gloria Golden or Manfred
Muscles who has managed to keep sweet
and simple amid gardens, ginghams, and
good deeds. Most of this is sheer bosh.
It is very difficult for the average suc-
cessful screen personality, who abruptly
finds himself or herself earning in a
month a salary equal to the annual in-
come of a college professor, to keep a
sane, sensible, income-tax, small-town
viewpoint. Probably the easiest thing on
earth to develop is a taste for satin-lined
swimming pools, and Cadillac cabriolets
with built-in radio-phonograph and mas-
sage table.
Many successful motion picture people
adore being Movie Stars and accept the
fact of also being actors as necessary
but burdensome toil. They enjoy the
public appearances far more than the
private laboring with lines, characteriza-
tions, and lessons. Miss Blair, to intro-
duce a novelty, has no taste for being
a Movie Star. She adores being an
actress. To her, the career — not the A
tinsel — is the important thing.
After she had written her auto-
graph for the group described
above, she walked to her car
shaking her head. "It's nice,'
she said, "but I don't de-
serve it."
Her secretary-companion
{Please turn to j)age 67)
Hollywood hasn't spoiled
pert, pretty Janet. Though
she's the pin-up answer to a
Gl's prayer, she refuses to
play the glamor game — ex-
cept for posing for pictures,
of course! Upper right, two
cute performers in Colum-
bia's "Once Upon A Time" —
Janet and Ted Donaldson.
1L
Hitch your wardrobe to a star!
Famous Hollywood designer tells
you how to do it, with original
sketches of exclusive new clothes
GIRLS! What star do you most closely re-
semble? Because if you're not awfully sure
what to do about your clothes; are uncer-
tain, when you shop, what's for you, pick the
star you most nearly resemble, watch her on the
screen, study her pictures, fashion layouts, etc.,
in the magazines — then follow her "rules and reg-
ulations." Do, or don't do, what she does, or
doesn't, do!
So advises Edith Head, the dark, chic dy-
namic young woman who dresses the Paramount
stars for their pictures and, since they love the
clothes she makes for them and often buy them
from the studio, for their personal use, as well.
"No two people," Miss Head told me, "can
look alike in the same thing. But if you are,
let's say, the Veronica Lake type, you don't
have to go completely off the beam by turning
yourself out a la Paulette Goddard. For ex-
At right, clever Edith Head, Paramounfs star designer.
ample, if you are the Tittle Lake' type (size 9)
you don't have to shop in the children's depart-
ment and look like Alice in Wonderland. On
the other hand, don't do yourself up like a
poster; you're not tall enough to carry it. Also,
if you are the Lake type, wear white as much
as you can. Or monotone colors, pale gray, pale
beige. In any event, stay away from fantastic
prints and screaming color combinations. Small
blondes can't carry them. They carry off small
blondes. You can't wear padding in your shoul-
ders, either. Short girls can't stand padding.
Makes them look like squatters. Veronica
shouldn't wear shorts, slacks or sweaters. When
she does you take her for something out of the
6th grade. She should wear, instead, little skirts
and halters. That goes for you, too. Nor can
small girls wear wedding cakes and French
pastries on their heads.
"To reverse the picture, if you resemble Pau-
lette Goddard, you can go as mad as you like
with colors. You can go as clothes-mad as you
like, period. For Paulette IS what we call the
'Poster' type. She is vivid. She can stand the
most sensational styles, the most fevered color
combinations. She has so much vitality, she can
dominate anything. She almost can't make a
mistake. With the possible exception of hats.
Paulette shouldn't wear any hats. Much better
without.
"Because of that dominant, clean-cut arrest-
ing quality, which is Barbara Stanwyck, she has
to be tailored morning, noon and night; must
wear very un-trick clothes, nothing chi-chi. She
has to put herself on the suit formula and stay
with it. Betty Hutton is so blonde, so vivacious
she, too, must under-dress — in fact, under-
under-dress, for at the mere drop of a spangle
she would look too blonde, too pretty, too
candy-box.
"These are a few of the things," Miss Head
continued, "I must know about the stars I dress
and you, in planning your own clothes, should
know about yourselves. For good clothes a f
J
V
All designs and
personal comments
01/ Edith Head,
noted costume
creator for
Paramount stars.
not good luck. They are the result of a pretty
thoroughgoing knowledge of the people you are
dressing. A knowledge not only of their meas-
urements, coloring and facial contours but, more
importantly, of what makes them tick; of their
characters. What you do with clothes is coun-
ter-balance personality. Play it up or down.
So, as in every art and craft (this sounds pretty
fancy, but it's true) you must have a working
knowledge of your instrument before you can
play upon it and produce harmonies.
"I believe the best, and most helpful way to
illustrate what I mean is — to illustrate it. So
IH quit generalizing and will proceed to de-
scribe, and sketch for you, the way I would
dress half a dozen stars for morning, afternoon
and evening, and why.
"Because they are such contrasting types that
many of you are bound to fall into one or an-
other category, /let's choose Veronica, Ginger
Rogers, Paulette Goddard, Betty Hutton and
Dorothy Lamour for our figures.
"I'll begin with Ronni. All the 'Little Lake'
types, lend me your ears:
"For morning, I'd give Ronni a navy blue
skirt and shirt, with yellow, white and scarlet
grosgrain trimming and a yellow, white and
scarlet grosgrain bag to match. At noon, I'd
turn her out in a tan gabardine windbreaker
suit, buckle-fastened, with matching gabardine
bag and for a dash of drama, a black scarf. For
afternoon, she'd wear a medieval pullover of
black crepe, with gold-and-black knit sleeves
and again for drama, a gold heraldic design. In
the evening, Ronni wears an after-dark version
of the pullover, done in white crepe, gold-em-
broidered, with gold bag and soft white gloves.
"If you are a size 9 you should, principally,
wear unbroken lines. But you can go for the
two-piece dress or suit if you don't break the
color. Never, never, in other words, appear in
a coat of one color, a skirt of another. If you
do, you won't be there at all.
"I have already told you some of the 'Do's' and
'Don't's' for the 'Little Lake' type. In ad-
dition: I give Ronni the simplest hats I
can devise,- berets, adaptations of hats
that fit her skull. I give her" practically no
accessories. Oh, maybe one thing, a clip,
or earrings — either, but never both. No
flowers in her hair. No corsages. Purs,
but flat furs only. No frills. Small girls
shouldn't wear frills. If they do, they
may be called 'cute' or 'dolls.' I think
that's treacherous. On the other hand,
I don't build Veronica up. She's short,
so what? So I have a phobia about being
what you are and liking it, and empha-
sizing it. If you're short, don't try to
make -yourself look tall; if you're tall,
'■'bends.'
"The whole basis of Veronica's clothes
is the word casual. Veronica dramatizes
her clothes, which is being Mother's
Little Helper to her designer. If we put
her in a dirndl, she becomes 'Little Eva.'
If we put her in a slinky, sophisticated
gown, she immediately goes into the
third act of 'Mata Hari.' Nor is it ever
a contest of wills, fitting Ronni. For she
knows she must do the subtle, pale and
pastel things and, agreeably, prefers
black and white, loathe* colors.
"For Paulette, 111 design a 24-hour
set of things with what I call the 'Mid-
riff' Theme. They are (see illustrations!)
a typical group of Goddard clothes
stressing, as they do, the colorful Pan-
American trend which is so good on
Paulette.
"For morning, we send Miss G. to the
tennis court (if we didn't, she'd go any-
way) in white cotton shorts and top,
tricked out with scarlet, yellow, turquoise
and black bands. Bag to match. Bare
middle. At noon, she wears a suit ver-
sion of the above, same trimming. Also
around as if you had the
— Hays office kindly put hands over eyes
— same, very same, bare middle. Come
afternoon and behold Miss G. in black
crepe, banded in lemon-yellow and Mex-
ican-pink chalk sequins. With matching
rebozo (scarf to you and me) — and a
long one. In the evening we give Pail-
lette a dinner-to-anytime-after-midnight
version of the noon and afternoon cos-
tumes— except for material, which is
white crepe, gold-embroidered and with
a matching rebozo draped, for mystery,
over her dark head.
"Paulette can wear anything, as I've
said before, and get away with it. Es-
pecially come evening, anything at all —
including midriff and no back. She can
also wear jewels, lots of them. Which is
so nice for her because she has beautiful
jewels, and lots of them.
"Paulette, like Ronni, is very untry-
ing when trying on. Not that she likes
the procedure — in fact, her most fre-
quent remark is, 'Let's not bother fit-
ting it. Just make it size 12 and all
colors of the spectrum, and 111 like it.'
When she simply lias to 'bother fitting,'
she eats all the time. It's run-of-the-mill
to be fitting Paulette while she is plough-
ing through a plate of ham and eggs,
and calling for replacements. And it
never seems to change her famed figure.
"Now, Ginger Rogers gets a 'Shirt-
maker' Wardrobe. Actually, it should be
called a 'Passion-For-Comfort' wardrobe.
For Ginger loves to be comfortable. The
minute we put a dress on her, she goes
into a series of calisthenics to make sure
she can move freely; if she can't, the
dress is a dead duck.
"So, for morning Ginger, also a tennis
addict when, if ever, she is not making
a picture, wears a white pique shirtmaker
{Please turn to -page 78)
I
i
A charming wife and mother who is in her "40's"
(although she doesn't like to admit it) has lately
found herself confronted with embarrassing symp-
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What is she to do? This problem has bewildered
many a woman!
In case you are annoyed by hot flashes and feel
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weak, and a bit moody at times — all due to this
cause — why not try famous Lydia E. Pinkham's
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For almost a century — Lydia Pinkham's Compound
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VEGETABLE COMPOUIVD
• v.- • '* >
ffWe HaiV'7 Fust scenes
GOOD ARB
and Co.
HBK.<
•!8
\
aulette of
le gorgeous
ims gets gay |
»w role and
»w husband!
Why Wally Beery hides out from
Hollywood! You'd never guess
★
By May Mann
WALLY BEERY, the steady growl,
and Major Clark Gable, the dy-
namic roar of Metro Goldwyn
Mayer's Leo the Lion (their pictures
perennially the biggest money makers) ,
were lunching together in the studio
commissary.
"You know, Clark," Wally said, gin-
gerly spreading a generous dab of wild
plum preserve on a hunk of corn pone,
"you'd better get in there and get this
war won and get back to the studio. Be-
cause," Wally announced, "I'm gettin' to
be the No. 1 romantic bachelor actor in
these parts. By the time I get a few
more out like 'Gold Town,' the women
will forget Gable. It'll be Beery!
"I even got a first class glamor girl for
my leading lady, Binnie Barnes! And
she doesn't go busting me over the head
with any chairs either, like Marjorie
Main. No sir, Miss Barnes thinks I'm a
slick, handsome fellow right from the be-
ginning. She says soft words and makes
pretty speeches to me, and wants to
marry me right off. From what I hear
I'll probably be teamed next with Hedy
Lamarr!"
Major Gable grinned at his old pal
Wally. They have been friends since
"Hell Divers," in which - Clark was the
hero and won the girl. Wally never an-
ticipated that one day the shifting pat-
tern of Hollywood's curious alchemy of
love would cast rough, unpolished Wally
as a heart throb.
"Yep," he continued, offering Clark the
jar of wild plum preserve, which he'd
produced from his coat pocket (its home-
made label bore: "Happy Birthday to
Wally, from Rachel") , "looks like I'm
going to begin drawing in the glamor
trade. First met Miss Barnes at Chasens.
Her husband, Captain Mike Frankovitch,
brought her over to my table and said,
'Mr. Beery, since you and my wife are
going to be sweethearts in your picture,
I think you should meet.' Well, I like
blondes, and she's mighty pretty."
Chortle if you will, but Wally Beery 's
strictly a "dream man" to dozens (if not
thousands) of ladies. He's the recipient
of numerous letters from "lonely hearts"
— women who subscribe to the theory
that a "man needs looking after, someone
to darn his socks and cook his meals."
After "Gold Town" in which he teams roman-
tically with Binnie Barnes (top left) Wally
Beery says he's a new threat to Gable as a
heavy lover. Seen sampling a cup cake from
a box sent to him by an admiring lady fan,
Wally seems reconciled to being "the new
romantic Beery." It could only happen in
Hollywood, and that's why we like it.
Wally has been servantless in his big
Sunset Boulevard house in Beverly Hills
for more than a year. His former staff of
seven are all in defense plants. If any
meals are forthcoming at home, it's be-
cause Wally has applied his camp-fire
methods for hunting and fishing trips, to
his cookless and womanless kitchen.
"I have six or eight folks stopping over
(Please turn to page 81 )
III
Will you marry me?
The Greatest Romantic
Comedy of All Time
International Pictures, Inc. presents
GARY COOPER
TERESA WRIGHT
Casanova Brown
Directed by SAM WOOD
A NUNNALLY JOHNSON Production
International"
Frank Morgan • Anita Louise
Patricia Collinge
Edmond Breon ■ Jill Esmond
Produced and written for the screen by Nunnally
Johnson • From a play by Floyd Dell and Thomas
Mitchell • Presented by International Pictures, Inc. •
Released by RKO Radio Pictures, Inc.
Sgt. Marl Dan,
iels.far right, lead
in play-picture
' Winged Vic-
tory," sees the
namesake bomber
off to combat
enemy overseas.
MERE THEY COME!
It took the war, a great playwright,
a hit show to turn two obscure
actors into celebrities. Sgt. Mark
Daniels and Pvt. Don Taylor, leads
in Moss Hart's sensationally suc-
cessful play dedicated to the
Army Air Forces, played small
parts for M-S-M before they went
into uniform. Today, after a long
Broadway run in the Hart play,
they will perform their original
roles in the screen version of
"Winged Victory," produced by
20th Century-Fox. After the war
both will return to M-G-M which
has them under long-term contract
— but no more small parts for
these boys! At left, three informal
views of Mark Daniels; companion
in closeup picture is Mrs. Daniels.
I
Pvt. Don Taylor who
plays P/'nfcyin "Winged
Victory" is handsome,
blond, unmarried. The
girl shown with him is
Phyllis Avery, actress
who played leading
role in stage produc-
tion but will not ap-
pear in the picture.
Choice for her role
in film is Jeanne Crain.
43
\f)0K BUd Ut
HUM
Exclusive! Why Robert Cummings
gave up his motion picture career
to become a flight instructor
By Alyce Canfield
Bob, parachute on hit
back, iixes up weather.
Below, Mr. Ruuell J.
Alley watches Bob, who
it control officer for
the day and it tignal-
ing flier. One day each
week Bob it Control
Officer of field, oper-
ate* from flight tower.
Presenting battling Cory Grant, playing
his most important role, a Cockney char-
acter, in "None But The Lonely Heart
Fibber and Molly storm Washington to start a
-crusade in Congress! McGee raises voice in
Senate . . . Senate raises McGee off the floor !
Your top radio comics' funniest adventure!
Fibber McGee
and Mollj
IN
Eugene PALLETTE Gordon OLIVER Raymond WALBURN
Barbara HALE • Don DOUGLAS • tag BACON
Produced by Robert Fellows - Directed by Howard Estabrook
To c ■- ~ •■ and friend i e' Ser»
I of the ehoien by the War 0«-
ond pro*>ded by the » o> >on picture
r for showing o*erieoi in combo* areai,
fed Cro*i ho*p«tol» and at iidoled Out pen «s
Screen Play by Howard Estabrook
and Don Qumn
Original Story by Howard Estabrook
Another
of the
R K O
RADIO
DEANNA DUBBIN has more doting stage mothers than
you can shake a stick at. Just one stage mother is
enough to gum up the works and make a director's hair
turn gray before his time. A stage mother, in case you are
unacquainted with the species, lucky you, is the bossy mama
of a child star who sits on the studio set right smack under
the camera from morning until night and tells everyone how
to make the picture — and just what her darling little lambkin
will do, and won't do.
Deanna's real mother has never been a stage mother. Al-
though Deanna started working at Universal when she was
only thirteen, very few people at the studio today know what
Mrs. Durbin looks like. Mr. and Mrs. James Durbin visit the set
occasionally where their talented offspring is performing, but
they sit quietly and unobtrusively in the back, near the door,
just as if they were expecting to be thrown off any minute. They
are probably the least "Hollywood" of all movie star parents.
But just because her mother is so sane and nice, don't think
that Deanna has been spared. Dozens of fond, fussy studio
folk walked right in where mother failed to tread. Wardrobe
women, hairdressers, make-up men, sound men, grips, wait-
resses, studio cops, all regard Deanna as "our little girl." Most
of them were there when she first arrived on the lot nine years
ago, and, like real honest to goodness mother's, they just refuse
to realize that she has grown up.
What a rumpus they made when Producer Felix Jackson
decided that it was high time that Deanna, now twenty-two,
and certainly no longer a child, should stop playing those
sweet little-girl singing roles and pitch in to something dra-
matic and emotionally adult for a change. Such as Jackie, the
cheap night spot hostess in Somerset Maugham's "Christmas
Holiday." When those fluttering mamas saw their "child" in
a tight form-fitting black satin dress, cut exceedingly low,
even lower than Maria Montez' dresses, and giving the torch
to "Spring Will Be A Little Late This Year," you could hear
their lamentations all the way to Catalina. With practically
the entire lot glaring balefully at him, Producer Jackson has
decided that maybe one objectionable stage mother, but at
least legitimate, would be easier to take.
When the still man, who had been with Deanna on her first
picture, saw "Christmas Holiday," he groaned, "How could
they do that to that poor child?" One of the wardrobe women
who has sort of mothered her for years had tears running
down her cheeks. "I don't like Deanna playing a bad girl,"
she said. The make-up man — she's had the same make-up
man ever since she started at Universal — said threateningly.
In her first highly dramatic role, in Universal'*
"Christmas Holiday," Deanna has intense scenes
with Gene Kelly, Richard Whorf (above and
below). Portrait at left contrasts sharply.
"They can't do this to our little girl."
And the sound man (Deanna has had the same sound man
on all her pictures) was so upset by it he said "dammit" right
out loud. Deanna heard him and called to him, "Isn't it won-
derful, Joe, not to have to watch your language now!" There
has always been an iron-bound rule that no one, not even the
director, would be allowed the privilege of swearing on a
Durbin set — not even if a projector fell on his foot, or 30,000
amps conked him on the bean.
"My family didn't take it quite so hard," Deanna continued
with a laugh. "Mother is in Canada now and hasn't seen the
picture as yet. But I had the studio run it one afternoon for
my father. When the lights came on in the projection room
I think I half expected him to get up and give me a good
walloping. I breathed a sigh of relief when he just sat there.
There was a long pause, and then Dad, who is very English,
said very quiet-like, 'Well, it's certainly different, isn't it!' "
Deanna's older sister, Edith, who is now Mrs. Clarence
Heckman, and mother of Deanna's adored nephew, Dickie,
sat through the picture in horrified silence. "Good heavens,"
she exclaimed, "is that my little sister!" Later she saw it
again, and the second time, she admits, she enjoyed it tre-
mendously because she looked at it from the standpoint of
seeing a performance, not watching Deanna.
The film is bound to cause much comment. You may agree
with the critic who said, "It's a good picture, but it's not the
way I want to see Durbin." Or the critic who said, "The
Durbin doll will continue to pay dividends — she gives a per-
formance to really cheer about." Anyway, you'll be glad to
know the author's happy, authors are so rarely. When Somer-
set Maugham saw the screen version of his best seller he wired
Felix Jackson, "Just saw 'Christmas Holiday' and thought it
was great. In fact, if I had known how good it was going to
be I would have charged you twice as much."
When Universal put Felix Jackson in charge of all the
Durbin pictures two years ago, Jackson realized that Deanna
just couldn't keep on playing the same Cinderella roles.
Deanna had been a successful child (Please turn to page 69)
I
49
At left: Joan Crawford wears her Adrian "Kitten" dinner
dress. Handpainted on the bodice shoulder and creeping
from around back of the skirt are handpainted white kittens
boasting blue gingham bows on their hecks. Above, one of
the suits for which Adrian is famous and which Joan glorifies.
She wears her heart on her pocket in this toffee-colored suit.
Gloves and bag are purple— striking contrast to neutral-col-
ored suit and brilliant red hair. All photographs by Hurrell.
Above, Joan's suit and matching coat are bright purple. Not*
th* self-tie belt, only in the front, and the scallop detail at
the squared neckline. At right, the Adrian "Cupid" dress
by Mill Crawford — black, simple, short-sleeved, with
handpeinted Cupids decorating each shoulder and holding up
the swag painted directly across the front of the high neckline.
Joan wears with it a deep brimmed hat and gloves of black
velvet. All Adrian clothes from Warner star's own wardrobe.
Mickey Rooney is an easy mark when it comes to an autograph
for -a serviceman. Ava Gardner, his former wife, smiles approval.
Joel McCrea and Frances Dee attend premiere of "Voice In The Wind,"
another benefit! There's talk of co-starring them in a film. Why not?
GOSSIP BY
WESTON EAST
HERE'S HOLLYWOOD
CANDIDS B
GENE LESTEf
ORSON, the unpredictable Welles, couldn't have been
more pleased when Rita Hayworth told him she was
dating the stork, come next Thanksgiving. In fact, for
a warm moment there, Hollywood began to think that its
favorite genius had turned completely mellow. Then he did a
guest spot on Dinah Shore's radio show. Orson decided he
didn't like the material. But he selected the time he was on
the air to express himself. Radio circles were aghast. Dinah's
sponsors couldn't believe their listening ears. The results came
very close to being much more serious than even Orson had
anticipated.
WHILE FRANCHOT TONE was out on a bond tour, he
asked Bill Girard, a good friend, to see that Mrs. Tone
(Jean Wallace) didn't get lonesome. So what happened? So
Bill took Jean and some friends to Mocambo. The casting
director of 20th Century-Fox happened to be present, took
one look at Jean and without knowing who she was, offered
\
. ^ Mm mr 'dm 4
Give Hollywood a benefit show of any size,
shape or description and it will turn out in full
force. Gala premiere of "The Story of Dr.
Wassell" for Naval Aid Auxiliary at Paramount-
Hollywood was a sellout and netted $7,000,
which will furnish a 200-bed out-patient ward at
the San Diego U. S. Naval Hospital, as well as
open a servicemen's canteen. Our publisher, Paul
Hunter of Liberty Magazine, Inc., is shown
here with Betty Hutton and Sonny Tufts.
1
\
Albert Dekker, m.c. at Naval Aid Benefit, gives audience a
chuckle when he introduces Bad Boy Lou Costello and the missus.
Elsa Maxwell with Mrs. Darryl Zanuck in tow astounds Dick Powell,
Constance Bennett and Danny Kaye with her latest witticism.
her a screen test. .Result: Franchot came home and found
his wife with a contract on her hands. He approved heartily,
now that the baby is growing nicely. One of these days if
they have their way, you'll be seeing Mr. and Airs. Franchot
Tone in the same picture.
WHEN VERONICA LAKE was "keeping company" with
' ' director Jean Negulesco, she used to visit his sets fre-
quently. (Much too frequently for the pleasure of the players
who were trying to do a serious job in front of the camera.)
Now Veronica is the current caller on boy-friend, Andre De
Toth, who is directing Merle Oberon and Franchot Tone in
Dark Waters." Merle, or Lady Korda if you insist, is any-
thing but temperamental or unreasonable. However, one day
when she had a particularly difficult dramatic scene, she got
so nervous she had to ask that the set be cleared of visitors.
No mention was made of Veronica, who happened to be pay-
ing one of her visits. But no exception was made and Veronica
left with the rest!
T^HE GALS who have made several pictures with Fred
-■- MacMurray, are practically giving out with those wolf
calls. Suddenly Fred, who used to make love and play the
saxophone with the same nonchalance, has become cinemati-
cally sexy. Claudette Colbert, who first did "Gilded Lily"
with Fred, really got the surprise of her life when they made
"No Time For Love." Since "Standing.Room Only," Paulette
Goddard (who knows her clinches) is begging Paramount to
get Fred back for another picture. As far as Barbara Stan-
wyck (who is a close personal friend of the MacMurrays) is
concerned, Fred ought to put her on his private pay roll.
They did "Double Indemnity" together and Barbara sounds
like a press agent when she talks about Fred. Why Mister
MacMurray! What's come over you?
IT'S SO ridiculous, but Fred Astaire asked Weston East to
say how much he enjoyed working with Gene Kelly and
how much he admired his talent, because Hollywood com-
mentators and uninspired gossip writers have been trying
their best to sell the public a feud story. And Gene is thrilled
at the chance to dance with the "master of them all."
CLARK GABLE, who enlisted in August, 1942, is now
Major Clark Gable. And very soon, according to reports,
you can address him as Clark Gable, civilian. It is pointed
Comdr. Corydon Wassell, left, with his wife
and the Phillip Ahns, lends his presence to
the success of the benefit. Above, Gary
Cooper, who portrays Dr. Wassell in C. B. De-
Mille's production, is another easy mark for
autographs — especially when it's for the boys.
/
out that Clark has completed his special overseas assignment.
He'll still be subject to recall, of course. You can imagine
how they feel about this at M-G-M. Next to the death of
Hitler, no news could be more welcome,". Kay Williams and
Virginia Bruce won't exactly be furious, either!
"DING CROSBY is another candidate for the role of Will
Rogers. At least Bing was, then his studio stepped in and
SDoiled everything. He even went so far as to have a mask
made of the famous humorist. The voice and mannerisms he
learned to perfection. Bing really created an amazing illusion
that would have made Will Rogers live again. Too bad Para-
mount wouldn't okay it. Now Bing only has the mask and
the memory.
AT A HOLLYWOOD party recently, Irene Dunne, Loretta
Young and Ann Sothern put their heads together and
harmonized in song. Ray Milland crashed the group and
joined in the chorus. Just at that moment Bob Hope entered
the room. He sized up the situation and cracked, "I didn't
know the Andrews Sisters had a brother!"
UNTIL she had to do a jitterburg number in "Thin Man
Comes Home," Myrna Loy didn't know she had a celeb-
rity right in her own family. The studio was going to hire an
instructor for Myrna. Then Teresa, her attractive Negro maid,
Left, Georgia Carroll, the new Mrs. Kay
Kyser, steps out with the boss. Above,
Joan Fontaine dines with General Scanlon.
announced that she was the jitterbug queen of Central Ave-
nue. So Teresa went on the studio pay roll. The day they shot
the number, Teresa showed up with members of her set who
wanted to watch Myrna toss her torso. And toss it she did —
to make Teresa proud of her!
«"|\/rULHOLLAND FARM," Errol Flynn's hilltop home, is
guarded and run to perfection by Axel, a faithful re-
tainer of many years' standing. Several times when he didn't
want to answer his phone, Errol instructed Axel, "Make some
excuse for me. Tell them I'm out horseback riding." So this
became a stock excuse for Axel, quite unknown to Errol. One
midnight Dennis Morgan had to talk to Errol about some-
thing very important. Errol was not at home. "But where is
he, Axel?" Dennis insisted. "Mr. Flynn on horse," was the
laconic reply.
IN THE NEAR future when you hear some of our first
ladies of the screen suddenly burst into throaty song, don't
give them too much credit. Dolores Hope, the inimitable
Bob's beautiful wife, has been dubbing songs for stars, whose
names we're too polite to mention. Dolores is doing it be-
cause it pays well. The money she donates to the A.W.V.S.
and other worthy organizations.
A NN SHERIDAN paper dolls are now selling like hot cakes.
The first two books off the press were sent to Annie her-
self. One she promptly dispatched to the boy friend, Steve
Under the big hat at left is Mrs. Randolph Scott.
He's handsome too — without a big hat! Below, Wm.
Powell and his wife, M-G-M starlet Diana Lewis.
Lawrence Tibbeft, above, plays host to his son and
daughter-in-law at LaRue. It's Andre DeToth who's
been escorting Veronica Lake places these days.
Hannagan. The other she sent to a certain female star who
had been saying catty things behind her back. "Just thought
you'd enjoy cutting the heads off of these," said the note
enclosed — signed by "you-know-who!"
TTOLLYWOOD PARTY! Cole Porter celebrated two mutual
friends' birthday recently. It was gay, lavish, and lush,
like the old Hollywood before the war. The ladies and gentle-
men "dressed." Three huge round tables were banked in the
center with lilies of the valley. Individual menus in French
marked each guest's place. Garbo, all in gray, was one of the
first to arrive, one of the last to leave. Her dinner partner
was Bill Haines, who reminded her that he was a great star
on the M-G-M lot when she was just learning to speak
English! Errol Flynn was there, and Joan Blondell, Ann
Sothern, Virginia Bruce, Edmund Goulding, Lauren Bacall,
Roger Edens (Judy Garland's brilliant arranger) , to name a
few. Last but not least, Lena Horne. Roger Edens played.
Lena sang. And how she sang! Incidentally, the way she
looked and acted was an object lesson on how to behave at
a Hollywood party.
TF LT'S ANY consolation to Barbara Stanwyck, they're al-
-■- ready saying her performance in "My Reputation" should
rate her an Academy Award. Barbara's old back injury acted
up during the entire making of the picture. One day the pain
became so intense she passed out cold. The day that Robert
Taylor showed up unexpectedly was one of the most excruci-
Capt. Fred Brisson, below, sits in on a gabfest be-
tween his wife, Rosalind Russell, and 0. O. Selzniclc.
At right, George Murphy dines out with the Missus.
ating. Unless he reads it here, Bob will never know the agony
Barbara went through to put on a smiling face and keep from
spoiling his welcome visit.
'T'HE PHIL BAKER-Imgaard Erik wedding party was the
answer to a press agent's dream. The most amusing inci-
dent, however, took place behind the scenes. Every camera-
man in town had been invited to cover the event. Paul Lukas,
the best man, never poses for photographs without his hair-
piece. And no one had the nerve to call him up and tell him
to bring it along! Paul showed up without it. He posed just
the same — as if he could have done anything else in the midst
of that muldoon of flashing bulbs!
"P VERY ONCE in a while during the making of "Janie,"
Hattie McDaniel turned a little "pale" and sort of looked
strange. No one suspected anything and the famous Negro
star guarded her secret. Come this fall, Hattie and her hus-
band, James Lloyd Crawford, will welcome the stork.
"D Y THE TIME you read this, Jack Benny and his gang
will be back overseas entertaining our boys again. Jack
still insists his original trip was the greatest vacation he ever
spent and he was eager to repeat it. Just before leaving Jack
signed a new three-year radio deal with a new sponsor.
11
Tribute to a grc
American, "Wi
!°n" }s * grea
American motiot
Picture. Darryl 2a
nuck's finest pro-
duction, dedicated
*° prophetic
W°rld War |
Resident, is three
hours of inspir-
ing entertainment
In title rfile Alexan-
der Knox (left) gives
splendid perform-
ance. "Wilson." said
to have cost three
million dollars, was
nearly three years in
the malting, u$ed
e'ghty-eight sets
more than 13,000
WOrked on
ZOthCentury-Foxfilm.
Story of "Wilson-
begins in 1909 WI+h
Wilson president of
Princeton, and ends
twelve years later, on
the day he leaves of-
u .Presfdent of
*ne United States,
f-amiylifeisstressed
-ko Wilson's ben
enioyment of vaude-
ville (see scene, lower
'eft, with Ruth Nel-
son as first Mrs. Wil.
son J . GeraldineFitz-
gerald, below, is ox„
of Edith Salt Wilson
She's Engaged!
She's Lovely!
She uses; fends!
Such a darling" — "and what a glorious
complexion," you think when you see
Suzanne Sherwood.
She's another engaged girl with that
soft-smooth Pond's look,
"Pond's Cold Cream is the only cream
in the world for me," she says. "I love
everything about it — its softness, its
whiteness, and the grand way it cleans
my face and makes my skin so smoothed
and refreshed."
this is Suzanne's beauty care
She smooths snowy-white Pond's Cold
Cream over her face and throat, and pats
briskly to soften and take off dirt and
make-up. Tissues off.
She rinses with more Pond's, working
her cream-coated fingers round in little
whirls to extra-cleanse and soften every bit
of her lovely face. Tissues off again.
It's no accident engaged girls like
Suzanne, society beauties like Mrs. Robert
Bacon Whitney and Britain's Lady Morris
love Pond's Cold Cream. Ask for' your
big jar today. Use it night and morning,
for daytime clean-ups, too!
This is Suzanne • Eyes, shining grey • Hair, chestnut • Skin, smooth as ivory
Suzanne's Ring — a handsome square-cut
diamond set in platinum. Her romance
started with a "chance" Suzanne sold Dick
at the Officers' Club in Buffalo.
In training as photographer's assistant,
doing special work in industrial photog-
raphy, Suzanne spends exciting days on
location at some of the biggest war
plants in the country. Like so many
Pond's engaged girls, she is learning a
job that plays a real part in America's
war program.
All kinds of jobs need women workers
— in plants, stores, offices, transporta-
tion. Check help wanted ads in your
local paper. Consult local U.S. Employ-
ment Service about how you can help.
mum
V'-
She adjusts camera for engine-room shot
Ask for the Luxury-Size Jar of Pond's
— help save glass. You'll love the way the
fingers of both your hands can dip into
this wide-topped Pond's jar
TODAY MORE WOMEN USE PONDS THAN ANY OTHER FACE CREAM AT ANY PRICE
Screenland
59
Hero's Girl
Continued from page 23
marry; and he decided that he would
marry her in that chapel at Ann Arbor.
He even saved all his football trophies;
and had a charm bracelet made contain-
ing miniatures of every trophy and prize
he won.
" 'This is for the future Mrs. Harmon,'
he said. 'No one else shall ever wear it.'
When he fell in love with me, he showed
me the bracelet and said, 'Some day,
Elyse, you will wear this.' I have it now;
but I shall not wear it until I am Mrs.
Tommy Harmon. For it was meant for
Mrs. Tommy Harmon and no one else.
But I do wear a locket which Tommy
gave me with the Lord's Prayer on one
side and Hail Mary on the other."
Asked why, since Tommy didn't de-
mand it, she is turning Catholic, Elyse
explains, "With so many divorces taking
place in this hectic period when people
feel on edge and their nerves are shot, I
think it is more important than ever to
be level-headed about marriage. A war
bride should be level-headed in approach-
ing marriage, planning marriage and in
getting married.
"Personally, I would feel the same way
about my marriage to Tommy in peace-
time as in wartime; but if anything, I
think we should be even more level-
headed in war time.
"Before you build a house, you put up
the foundation. The more solid the foun-
dation, the stronger the house. The foun-
dation stones of the house of matrimony
are understanding and harmony. Har-
mony in religion is one of the most im-
portant factors of all, for that is one
thing that is bigger than we are. Tommy's
explanations of what his faith has meant
to him have inspired me to try to become
a true Catholic, too."
Elyse, currently starring in Eddie Sher-
man's Biltmore Production tentatively
titled "A WAVE, A WAC And A Ma-
rine," met Tommy when she was work-
ing on her first picture, "Footlight Fever."
Talent scouts had seen her as a model in
a fashion Technicolor film, and hailed
her as the ideal Technicolor girl. She had
been brought to Hollywood to star in a
Technicolor film. But Hollywood being
Hollywood, by the time she got there the
powers-that-be had changed their minds,
and for no good reason had shoved her
into plain black-and-white films.
But on the set, Elyse still looked like
the ideal Technicolor girl. How could
she help it, with that blonde hair and
those blue eyes and that peaches-and-
cream complexion?
Tommy Harmon had come to Holly-
wood to play in the East- West game, and
was invited by Alan Mowbray, president
of British War Relief, to visit the set of
the picture so they could talk about the
possibility of his playing in a football
game for the benefit of British War Re-
lief. It was Alan who introduced Tommy
to Elyse. Elyse casually glanced at the
tall, brawny football hero with the blue
eyes and dark hair; but she had her mind
only on knowing her lines. Her "How
do you do?" was very casual. But Tom
did nineteen double-takes'.
That night he phoned her, and persu-
aded her to go with him to Gail Patrick's
house, where Gail was giving a Christ-
mas party. There was a Christmas tree
in Gail's house, and the living room was
filled with gay, amusing gadgets and
toys. One of them was a Jimminy Cricket
doll, and this Elyse fell for at once, and
continued to admire the rest of the eve-
ning. "I must have been very obvious,"
she laughs now, "for what did I receive a
week later but a huge Jimminy Cricket —
the most enormous one I've ever beheld
in my life. It was from Tommy, of
course.
"I didn't see him again till he came
West for his picture, 'Harmon Of Michi-
gan.' Then he called me; we had a few
dates and lots of laughs. Later I went
East, and saw him in the Chicago All
Star Game."
It was right after the football game
that Tommy proposed. They were danc-
ing together in the Panther Room of the
Hotel Sherman in Chicago. Wherever
Tommy went, he was followed by huge
crowds of adoring kids — in much the
same manner that Frank Sinatra is to-
day. Elyse could understand their hero-
worship of Tommy; but she was de-
termined not to be swept off her feet by
it. When she'd been a schoolgirl she'd
written down just what qualities she
wanted her ideal man to have — he was
to be tall, dark and handsome, a swell
dancer, a football hero, young and full of
fun — but now she thought she'd out-
grown all that. She didn't want the fact
THIS SUPERIORITY OF
PHILIP MORRIS RECOGNIZED
by medical authorities
Here's what happened in clinical tests of
men and women smokers . . .
PROVED
f,r less irritati ing
t0 the nose and throat
When smokers changed to philip
morris, every case of irrita-
tion of nose or throat — due to
smoking- either cleared up com-
pletely, or definitely improved !
These findings— reported in an authoritative
medical journal— do prove Philip Morris
far less irritating to nose and throat.
BEFORE ANYTHING ELSE. BUY MORE
WAR BONDS!
that Tommy was idolized to throw her
off balance.
Elyse was Tommy's walking, talking
dream. He, too, had dreamed of an ideal
girl, attractive, not too tall, "five feet
two with eyes of blue," gracious and
ladylike — and Elyse was Tommy's dream
come to life.
But Elyse hadn't meant their friend-
ship to become so serious. "I felt Tommy
was pushing it too much, and it fright-
ened me. I was a very mixed up girl,
very much under the influence of a man
I had known for some time (Paul Hesse,
the color photographer whom she later
married) who dominated me completely."
The situation was very much like that
in the picture, "This Is The Life." Elyse,
being very young, was at that stage
where a girl imagines herself to be deeply,
madly in love with an older man. She
felt that boys her own age were too
young for her.
"You can't be in love with me," she
told Tommy.
"I'll prove it," he said, and brought
out a diamond he had bought as an en-
gagement ring. But Elyse felt she didn't
know Tommy well enough — and she
couldn't imagine anyone her own age be-
ing an important and integral part of
her life. So she refused to accept Tommy's
ring; and she returned to Hollywood.
Then Tom flew out to Hollywood to
see Elyse; they took a long walk on the
UCLA campus, and Elyse tried to let
Tommy down as gently as possible. She
tried to make him see that marriage be-
tween them couldn't work out; but suc-
ceeded only in convincing herself. Be-
cause Tommy is a few months younger
than she, she said, "You're younger than
I. You're too young for me."
Tom said, "Why, that's silly. I'll bet
you if anyone sees us together, they'll
swear I'm older than you." That night
they went dancing at the Palladium;
Elyse had a big red hair ribbon in her
Bevy of beauties: Anne Gillis, Rarmay
Ames, Marjorie Woodworth and Elyse Knox,
in "A WAVE, a WAC and a Marine," surround
Lou Costello who bankrolled the* film.
SCREENLAND
hair, and looked about fifteen. As she
tried to come in, two policewomen stopped
her and said, "You're too young to come
in here." Tommy grinned. "So I'm too
young for you," he chuckled.
But still Elyse wasn't convinced that
the wonderful sense of companionship
between Tommy and herself was a suffi-
cient foundation for marriage. She was
unusually mature for her age; she felt
that Tommy was very young for his. She
didn't realize that the happiest marriages
are usually founded on gaiety and laugh-
ter.
Tommy's charm and his great devotion
might have won her if she had not been
so much under the influence of Paul
Hesse. She felt he was so much older and
wiser than either she or Tommy; surely
he knew better than anyone else what
the answer to her restlessness was.
Paul Hesse, too, was in love with her,
and had been ever since the day she'd
walked into his office to pose for some
color photographs. She had become his
favorite model; he realized that she was
born for color pictures, and whenever he
had a cover picture to do, he wanted
Elyse to pose for it. Because he was
older than she, she naturally turned to
him for advice.
Elyse worshipped and respected Paul
Hesse, and mistook her feeling for him
for love. And so she became Mrs. Paul
Hesse.
Within a year they were divorced.
Elyse discovered • that she had built her
house of marriage without foundation
stones.
Disillusioned by her marriage, Elyse
61
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found refuge in her work. She seemed
to live for her work in pictures. She
thought that she might never marry
again. Certainly, she was determined
that she would never again enter into
marriage without thinking about it very
seriously ahead of time and making sure
that her first mistake would never be re-
peated. Elyse was like a child who has
had a bad case of poison ivy. She is
afraid to venture anywhere, where the
poison weed might grow. So Elyse shied
from the very thought of marriage.
When Elyse had married. Tommy had
done his best to obliterate from his mind
all thoughts of the girl he had loved. But
forgetfulness didn't come too easily.
They met again after the crash of
Elyse's marriage. In the meanwhile.
Tommy had been through some of his
hectic war experiences. There were still
laughing lines around his eyes and mouth,
but there were also the lines of maturity.
Though he was in his early twenties, his
hair was beginning to gray a little at the
temples. Yet with all he had gone
through, he had kept his gay, serene love
of life; his faith in God and his faith in
people.
When Tommy went to China, Elyse,
knowing how7 much his religion meant to
him, gave him a locket with a St. Francis
medal on which were engraved the words,
"Fly safe with me."
One day, Tommy, in a P-38, was bat-
tling six Jap planes. He shot down two
of them. Then a bullet from a Jap Zero
hit the gas tank of his plane. It might
have hit Tommy and taken his gallant
young life; but it exploded between his
legs. The explosion set the gas tank on
fire. Tommy was badly burned and his
feet were knocked from the controls.
But he managed to bail out. As he
jumped, the locket with the St. Francis
medal broke from the chain around his
neck. When his parachute opened over
the lake, though his clothes were half
burned away from his body, the chain
was still there. He never saw the locket
again.
In America. Elyse, turning on her
radio, heard the words, "Tommy Harmon
is missing in action." Her eyes blurred
with tears as she began to imagine what
he might be going through.
"From that time on. I sat with my
ears glued to the radio listening for news
about Tom. One night on my way to
dinner, I snapped on my car radio and
heard a narrator telling a story of a foot-
ball coach who was scolding a lad be-
cause he thought the boy had paid no
attention to his instructions. 'If you're
not interested in football, why waste my
time and yours too?' he said. 'You
haven't heard a w-ord I said. You'll never
be able to play football.'
" T have heard every word. I have
been paying attention — and I shall be
able to play.'
" 'That can't be anybody but Tommy
he's talking about,' I said to my mother,
who was with me, though the narrator
hadn't mentioned his name. He went on
talking about this boy, showing how his
courage, confidence- and will to win al-
ways helped him to come through on the
football field. He ended by saying 'You
have been listening to the story of
Tommy Harmon, now reported missing
62
SCREENLAND
in action. But won't the same spirit that
brought him through so many football
games bring him through whatever odds
he is facing overseas?'
"As I heard that broadcast, I felt a
tremendous lift. Not that I had lacked
faith exactly. I never believed — I never
let myself believe — that Tommy wouldn't
come back. I felt sure that somewhere
Tommy was alive. But I was afraid he
might be a prisoner of the Japs. I was
preparing myself to wait six months or
more, if need be, for news of Tommy.
"But it came in 32 days, when a press
association called. I was terribly sick at
the time from undulant fever, wThich I
had contracted by drinking rawT milk on
a Bond tour. My emotional unhappiness
made the illness even worse. I had a
fever of 104 degrees.
"The representative of the press asso-
ciation told me, 'Tommy Harmon is
walking back to his base. We had the
news from Chennault's headquarters.'
Actually 'walking back' is just an ex-
pression they use. Tommy was being
carried back by Chinese guerillas.
"He had crashed in Jap-occupied ter-
ritory. When the Japanese learned the
identity of the man whose plane had
cracked up, they had doubled their usual
ante for prisoners of war. Any Chinese
who had betrayed Tommy could have
retired rich for life. But no Chinese did
betray him. If anyone had, he prob-
ably wouldn't have lived to enjoy his
ill-gotten wealth. Other Chinese would
have seen to that.
"When I heard the news, I felt my-
self burning up with excitement. I found
that my temperature had gone up to 105
degrees. But that wras just temporary.
Afterwards I snapped out of it."
Tommy came back with second degree
burns on both legs and white scars from
burns on his face. He might have come
back a month sooner but he didn't want
his mother to see him with his flesh
still raw from the burns.
Things like this tipped the scales for
Tommy in Elyse's heart. For she real-
ized how much he loved his mother, and
how kind he always was to her. "I have
found that invariably a man who is good
to his mother will be sweet and tender
to his wife. After all, if a man doesn't
respect his mother, how can you expect
him to respect any other woman?
Tommy is wonderful to his mother."
Still, Elyse didn't want to rush pre-
cipitately into marriage. This time she
was determined that when she got mar-
ried, it would be a lasting and beautiful
sacrament. And she must be sure first —
very sure — that she was entering upon
a marriage that would last forever. She
still felt that she had had only brief
glimpses of what Tommy was like; be-
fore she would consent to an engage-
ment, she hoped that they would be able
to spend a good deal of time together
and really get to know each other. She
thought, "I suppose he'll have a few
days' furlough — and then zoom, off to
another camp. And we won't get to
know each other well — not really."
But fate this time was kind. Tommy
was assigned to teach flying in Van
Nuys, California, which is practically
around the corner from where she lives,
Elyse says delightedly. They spent many
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SCREENLAND
63
A man feels helplessly attracted
by such feminine hands — so soft.
"Even the busiest girl,'''' Bonita
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enchanted hours together. Together
they went to a military ball — and all the
people there were young, just such young
couples as she and Tommy. She saw the
wonderful companionship that existed
between young people of about the same
age.
They went to the movies together,
and found themselves laughing at the
same things. They saw "A Guy Named
Joe" — and laughed at the brittle wise-
cracks made by Spencer Tracy's disem-
bodied spirit. Elyse understood fliers
well enough to know that Spencer was
only voicing the things they all thought
sometimes.
Elyse learned how badly Tommy felt
about the loss of the locket she had given
him, which he had regarded as his talis-
man against all evil. When he was miss-
ing, all his friends had told her that they
were praying for his safety to St. An-
thony, who guides those who are lost in
action. And she found that Tommy's
own two favorite medals are the St.
Anthony medal and the Blessed Virgin.
So she gave him a locket containing his
two favorite medals.
Tommy, visiting Elyse on the set of
"A WAVE, a WAC and a Marine," dis-
covered her heart-broken one day, and
grieving over the death of her favorite
dog. He had died of distemper. Tommy
said nothing but came back the next day
with a boxer who won Elyse's heart com-
pletely and immediately. She named the
dog "Roger" because that's a flier's term
for "right" or "okay."'
Elyse and Tommy became engaged
on Easter Day. Elyse is sure now that
Tommy is the right man for her; and
she wears his ring proudly. The Knox-
Harmon romance is symbolic of all the
romances of girls who love men at war —
girls who are the inspiration for those
men. Elyse was Tommy's reason for
wanting to live — his inspiration for the
"Beauty and the Groaner" take the air on a
recent Crosby broadcast: Bing The King . . .
64
SCREENLAND
heroic deeds which won him the Silver
Star.
There are girls all over the country
who haven't the cover-girl prettiness of
Elyse Knox — and yet each of them is
or can be an inspiration to some man
who is fighting for his country. Many
of the men go through such hell that it
is possible that they wouldn't survive
to come back alive, if they didn't have
a reason back home for wanting to live.
'"How should a girl who is in love with
a man who risks his life in combat be-
have?" I asked Elyse. "How can she
keep on being his inspiration, giving him
the will to live?"
"I'm glad you asked me that," she
said, "for it is very important. Today
our men overseas have their ideals about
women; and it is vital that women live
up to those ideals. I know a woman
who has a world about that big" — she
gestured contemptuously with her hand
— "she writes letters complaining be-
cause she banged her toe or because she
can only get a quarter of a pound of
butter a week — she forgets her husband
is homesick and needs constant lift and
inspiration- — how can he get it from a
letter like that?
"Remember, by tomorrow you may
have forgotten the petty things that
bother you today; but if you put them
down in a letter to your serviceman, he
is going to be troubled by them weeks
from now, when your letter arrives.
"Even if you don't feel so good, write
letters that will cheer him up. Maybe in
the process, you'll even cheer yourself
up. Give him something to hang on to,
like a raft.
"When I write to my brother or to
Tommy, when he is away, I tell them
about the people we have over to the
house for dinner, the silly things the dog
did, the people who miss them and have
. . . And Marilyn Maxwell, in person. You'll
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asked for them. I always include some
Hollywood clippings and some cartoons,
like the 'Blondie' comic strip. Inject a
little humor into your letters — that
means a lot. If you can, send him things
that will bring a touch of home to him.
Send him little surprises, anything that
will amuse and please him. If you want
to send something important, ask him
to suggest what he could use. Write
down lists of things you think he might
want and tell him to mention in a letter
which of them he'd like. Then bring his
letter to the post-office, together with
the things he suggested.
"This is the most practical way to
send gifts. Once Tommy wrote me that
soap was selling for $1.50 a cake in
China; so, thinking the same thing was
true in every country overseas, I sent
some cakes of soap to Tommy and some
to my brother in Ireland. My brother
was very much puzzled. 'Why the soap?'
he wanted to know. 'Soap is a dime a
dozen here.'
"Letters and snapshots . are even more
important than gifts. Remember, the
servicemen think more of mail than of
food. Sometimes they hate to say, 'Please
write more often,' but it's in their hearts.
Tommy told me a tragic story of a man
who got killed because he got no mail.
For a while his wife and family had kept
up a regular flow of letters, and he was
very cheerful. Then the mail ceased com-
ing. He couldn't understand it. He kept
saying, 'Why don't I hear from home?'
The other boys tried to cheer him up,
but it was no use. He went around in a
kind of stupor. Now this man was an
ace flier — with many Jap planes to his
credit. He was an ace flier, that is, so
long as he didn't have to worry about
his family. But one day he went out on
a mission and was shot down and killed.
It was such an easy job he had to do, in
comparison with his other missions. It
was like picking something off a wall.
But he had lost his incentive. Part of
him was back home. The letter he didn't
get betrayed him. Remember, the fel-
lows overseas worry not so much for
themselves as for the folks at home. They
worry about you and you and you on the
home front. So write them cheerful let-
ters, and help perk them up."
Certainly the letters that Elyse sent
Tommy helped keep his courage up.
'*Dear Pops," she would write — and then
would talk about pleasant happenings.
She calls him "Pops" or "T-Bone." He
calls her "Butch" and named his plane
"Little Butch" after her. He dreams of
the day when the war will be over; and
his pals overseas can meet "Butch."
"There is such wonderful brotherly
love between the men who have fought
together overseas," Elyse told me. "Some-
times when Tommy and I are together, I
mention the name Bob Schultz to him,
just to see his face light up like a Christ-
mas tree. 'We must have Schultzy here
some day,' he'll say. Maybe the men
fight together when they're in camps in
the United States; but just let them be
fighting side by side where the bullets
are flying, and they become closely bound
by something for which I can't find a
name, unless you want to call it brotherly
love. Anyway., whatever it is, that also
is part of Tommy's religion."
66
ScREENLAND
Never a Movie Star?
Continued from page 31
(who used to work for Janet's father)
said, "You did a fine job in that picture."
"Even so," observed the practical per-
son, "no actress is as important as a
doctor or a fine teacher or a scientist.
After a doctor has performed an opera-
tion that has saved a person's life, why
don't people ask him for an autograph?"
"It beats me, Mac," grinned the sec-
retary, "and so do you."
Janet's viewpoint of herself as a worker
rather than a glamor girl is further in-
dicated by her reaction to an especially
good break. She was called in by one of
her studio bosses one day and given a
bit of thrilling news. "I haven't exactly
earned it yet," she bubbled, after thank-
ing the nice man, "but I'll work doubly
hard to make it up to you."
Friends who have done Janet a favor
are blissfully stunned by the fact that
she repays favors about" three to one, as
sort of ex post facto proof of gratitude.
As practically everyone who can read
knows, Janet married Sergeant Lou Bush
of the Army Air Corps Band on July 12,
1943. They had met while she was sing
ing with Hal Kemp's orchestra and he
was the pianist and arranger. After an
acquaintance of four years — and an en-
gagement of nearly that long — they
decided that, war or no war, it was time
to be married.
Janet wrote to her father and mother,
who still live in Altoona, Pennsylvania,
and they made arrangements to come
west for the wedding. One afternoon
Janet telephoned her fiance to say effi-
ciently, "Don't make any plans for Mon-
day afternoon. You must keep that free,
because we're going to be married then."
Sergeant Bush — as soon as his heart
stopped turning pinwheels — recalled a
practical problem: he had not had time
to assemble a groomish trousseau and
he wouldn't have an opportunity before
Monday. "I'll take care of it," said his
bride-to-be.
Thereafter, Miss Blair walked briskly
into a haberdashery in Hollywood and
purchased pajamas, shorts, sox, handker-
chiefs, and pullman slippers. "For my
father," she told the salesman glibly. His
smile was more discreet than convinced.
It had not occurred to Miss Blair that
she would be recognized, or that her
marriage intentions had been rather well
publicized.
The day after their marriage, Janet
and her husband were sunning them-
selves on a raft on Lake Arrowhead when
a sightseeing boat passed nearby. The
barker raucoused through his megaphone,
"Over there, ladies and gentlemen, is the
home of Frank Vincent, the well-known
Hollywood agent. Under that great pine
tree, Barbara Hutton and Cary Grant
were married. Yesterday, under the
same tree, Sergeant Lou Bush and Janet
Blair were married, and there they are
on the raft, enjoying their honeymoon."
Mrs. Bush stared fixedly into the
depths of Lake Arrowhead and blushed.
Sergeant Bush mumbled to his wife,
"This is the moment, God willing,
must
f
remain a ^[ysteryl
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SCREENLAND
67
when I should reel in a nice, big bass."
After a few days at the Lake, they de-
cided to go north to a resort for the re-
mainder of Lou's leave. They met Dave
Rose, a very close friend, just as they
were leaving, and asked him to come
along. The next day — at the hotel —
Janet met some non-professional friends
and brought them over to meet Lou and
Dave. "These," she said with a sweep-
ing gesture, "are my two husbands. I
think we three are going to be very
happy"
These tidbits are tossed in to prove
that the Bush family, man and wife, are
equipped with the type of humor that
stabilizes. Success is not likely to cause
them the slightest cerebral inflation
When Janet greeted her khaki husband
with news of an advance in her salary,
he wagged a wise head. "I wish you'd
hurry up and make a million dollars," he
grinned, "so that you can keep me in the
style to which I am eager to become
accustomed."
Janet receives her allowance as a serv-
ice wife, of course, but she insists to
friends that it does her no good. When-
ever the check arrives, her husband en-
tices her into a gin rummy game and
calmly beats her to the extent of the
check.
The Bush pair have visited Mocambo,
the showplace of the town — just twice.
Once before they were married, and once
since. Their recreation (whenever Lou
has a week-end pass) consists of the
aforementioned gin rummy, entertaining
friends in their apartment, or construct-
ing some bit of sloyd work. Favorite
fffi
Wrrr*
June Allyson is charming partner for this
"crew member" at a shindig for the boys.
She's a white hope at MGM now, since
her success in "Two Girls and a Sailor."
evenings are those when Lou sits at the
piano, playing accompaniment for Janet's
singing. This has been known to go on
until four in the morning, covering every-
thing from their treasured "Our Waltz,"
written by Dave Rose, to "April in Paris"
down to "Mairzy Doats."
As for handicraft, the Bushes decided
that they needed a backgammon board,
so set to work. After finding the bit of
timber necessary, they painted it, set
cork in place, and shellacked the whole.
It is so elegant that they almost hate to
use it.
While Janet was visiting in Santa Ana
(where Lou is stationed) they were
prowling through an antique shop, out of
curiosity, and came across a handsome,
antique silver receptacle that had once
been a jewel box. Exchanging glances,
they promptly purchased it. Janet pol-
ished it and Lou fashioned a lining and
sectional dividers that turned the oblong
into an impressive cigarette box. "Our
first item of household furniture," an-
nounced Janet.
Janet almost bought a house recently,
but upon thinking it over decided that
the problems attendant upon property
ownership at present are too great to
assume. The house she had in view was
a dream spot atop a hill; it was dis-
tinguished by such features as a fireplace
in the master bedroom, knotty pine
woodwork, and a bamboo play room.
"I'm afraid," she told friends wistfully,
"that it's the sort of a place for a real
movie star. After all, I'm still just a
hardworking actress and can't really af-
ford it. Still, I believe that dreams do
come true. Maybe, sometime, I'll be able
to have a house like that. And just think
of all the dogs and cats I could shelter
then."
A vast number of sheltered dogs and
cats remain, to Miss Blair, the only
proofs that she is a successful actress and
therefore great and famous.
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68 ScREENLAND
Deanna Has Her Fling!
Continued from page 49
star (successful, yet — all she did was lift
Universal right out of the red and into
the gold) and it's a foregone conclusion
that child stars don't make adult stars.
But the transition can be made, and
Jackson set about making it. He had
read Somerset Maugham's "'Christmas
Holiday" in 1938. when it first appeared,
and he thought at the time what a good
gutsy picture it would make for some
dramatic star — certainly, Deanna Durbin
didn't cross his mind at the time. But a
few months ago he dragged out a script
based on the book, and okayed by the
Hays Office, and gave it to Deanna to
read.
"I figure," he said, "that you can't lose
your public with one picture. If they re-
fuse to accept you in that kind of a part
they'll at least come back to see one
more picture of yours — and we'll make
that one a musical that can't miss!"
"I was scared to death to do it," said
Deanna. "But I wanted to do it more
than any picture I have ever made. I've
done light comedies so long that I just
didn't know whether or not I'd be
capable of playing a dramatic part. It's
the first script I've taken home and
studied since 'Three Smart Girls.' I've
done thirteen pictures the nine years I
have been on the Universal lot. and I've
always played a sweet young thing with
no problems. The roles were so easy I
just found myself walking through them.
But 'Christmas Holiday' I knew would
be a real test of my ability.
"When I heard that Gene Kelly had
been signed I was even more excited.
When I read the script I felt that Gene
was absolutely perfect for, it. I had never
met him, but I had seen him with Judy
Garland in 'For Me And My Gal,' and I
was also terribly impressed with the brief
love scene he had with Lucille Ball in
'DuBarry.' I met him for the first time
the day he came over to the studio to
discuss the script with Felix Jackson and
the director, Robert Siodmak. 'Gee,
Deanna,' he said when we were intro-
duced, 'you look just like you do in the
movin' pitchers.' "
The sequence showing Deanna and
Dean Harens attending midnight mass in
the New Orleans Cathedral was the hard-
est part of the. picture for Deanna.
Deanna doesn't cry easily. She has to get
herself into a crying mood. In this scene
she was supposed to break down and cry
her eyeballs out. The night before she
was to do this scene for the cameras she
stayed up all night. "I cry better when
I'm tired and nervous," she said. "I
forced myself to stay awake by drinking
gallons of coffee and playing the loudest
records I had. I was never so glad to see
daylight."
Since her separation from Vaughn Paul,
whom she married in April, 1941. Deanna
has lived alone in the Brentwood house
she built three years ago. She has one
servant, a housekeeper, who cooks for her
and looks after her. When she isn't work-
ing she likes to dress up pretty and go
dancing with Felix Jackson, Dean Harens
or Henry Willson. Gin-rummy, the na-
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tional pastime in Hollywood, doesn't ap-
peal to her. Nor bridge, nor poker. "I'm
a very bad gambler," she said. "I hate
to play any game where I might lose
money. And I'm particularly obnoxious
at a race track. If I bet two dollars on a
horse and he doesn't come in I want to
murder him. The way I carry on you'd
think I had lost a million."
The minute she starts a picture she
sort of holes in until the film is finished.
"I read a lot when I come home from the
studio, before I go to bed. And when my
eyes are tired from the bright studio
lights I wear glasses when I read," she
added. A fan wrote in that she was
shocked to see Deanna wearing glasses in
a scene in "Christmas Holiday."
On Sundays young three-and-a-half-
year-old Dickie comes to visit her, eat
cookies, and swim in the pool. Dickie
calls her "Old Aunt." She doesn't know
why. "But if he keeps it up," she says,
"in a few years I'm going to bend his
ears back." To give the little boy a thrill
she said, "Good night, Dickie boy," at
the end of a Lux broadcast not long ago.
And thereby started more gossip than
this old town has seen in ages. All the
columnists insisted she was saying it to
Dick Powell, some of them even inti-
mating that it was Deanna who had
broken up the Blondell-Powell marriage.
"I only met Dick Powell once," she said,
"and have never had a date with him.
But I'll know better than ever to say
anything at the end of a broadcast again.
What a commotion!"
Let it not be said that Deanna hasn't
a keen sense of humor. Particularly when
it comes to laughing at herself. One of
her favorite stories was told her by Andy
Devine. Seems that rotund Andy was in
an elevator, taking up more than his
share of room, no doubt, when he over-
heard two women squeezed in the corner
talking about him. "He's an actor," one
of them whispered. "I saw him in a pic-
ture with that girl who sings, oh, you
know who she is — Drena Drubin." Ever
since then Deanna has called herself
Drena Drubin. "I feel like a character
with her bloomers showing," she says.
Felix Jackson kept his promise. Just
in case the fans don't like Deanna in a
"Christmas Holiday" type of role he has
rushed her into a super musical that has
more songs in it, Jerome Kern songs,
than Deanna has ever had in a picture
before. It's a costume picture, in Techni-
color, and will be called "Can't Help
Singing," from the title song. This is
Deanna 's first venture into Technicolor
and she looks so beautiful that it's dread-
fully depressing to the rest of woman-
kind.
"I play an eighteen-year-old girl," said
Deanna, "the first time I've ever played
a person who was younger than my own
age. Well, there always has to be a first
time," she added with a grin. "Now the
struggle begins. Get out the gunny sacks."
If the fans happen to like Deanna in
"Christmas Holiday" and want to see her
in other dramatic roles, Felix Jackson has
something else up his sleeve for her. An-
other adult part, heavy on the drama, in
a picture called "Strangers," and co-star-
ring with Charles Boyer. It's a cinch
those fluttery stage mamas won't like it.
But Deanna will.
Gene Kelly Does a
Job for Uncle Sam
Continued from page 20
were Russell Delmar', juggler; Sid Tus-
cher, pianist; Kay Verjion, singer; Char-
lette Fayne, dancer; and Chester Stuart,
comedian.
"They were a swell bunch," says Gene,
"and wonderful entertainers. I built the
show so that the boys in the hospitals
would feel that they were seeing a regu-
lar Broadway revue. I sang with the girl
singer and danced with the girl dancer,
and I played in sketches, and m.c.'ed the
whole show."
Gene, a Pittsburgh boy, is an old hand
at writing and directing shows. When he
was in grammar school in Pittsburgh his
mother sent him to dancing school, along
with all the other nice little boys and
girls in the neighborhood. But Gene con-
sidered dancing "girl stuff." He tried all
kinds of tricks to keep from going to
classes. But Mrs. Kelly was determined.
So poor Gene fought his way from the
house to' the dancing academy and back,
two afternoons a week, giving and re-
ceiving black eyes in frequent encounters
with the tough kids who yelled "sissy"
at him.
But at high school he had a change of
heart and mind. He became greatly in-
terested in dramatics, and he noticed
that a dancer could usually get a part in
a class play. Leading men were a dime a
dozen, but dancers were considered some-
thing extra special, like ventriloquists,
and very much in demand. On his own
volition, and to the utter amazement of
his mother, he signed up for a number
of advanced courses at the local dancing
school.
When Gene enrolled at Pennsylvania
State College, majoring in law, it became
necessary for him to finance his educa-
tion. So he got extra work mixing con-
crete in the afternoons, and mixing sodas
in the evenings at the college drug store.
It was hard work, with long hours, and
not very good pay. Something told him
he was doing things the hard way.
When he entered the University of
Pittsburgh he arranged with an obscure
night club that he dance there at night.
His "act" went over big, and other night
clubs began offering him engagements.
Dancing, Gene decided,- was a paying
proposition, and really not sissy at all.
Swell guys danced for a living. He began
an intensive study of the art, and later
he began to tutor other college students.
When Gene received his diploma he had
two hundred paying pupils.
His enthusiasm for dancing was catch-
ing. Soon the whole Kelly family joined
forces. His sisters, Joan and Louise, and
his brother Fred (Fred was with the cast
of "This Is the Army" from the time
Irving Berlin first assembled the soldier
show) , served as instructor, and his
mother designed the costumes for the
amateur shows he was always writing
and directing. Soon there were two Kelly
Dance Schools operating neatly in Pitts-
burgh and Johnstown, Pennsylvania.
With his schools running smoothly in the
black, Gene decided to try for the big
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time in New York. After minor parts in
several Broadway musicals he became
the sensational star of the terrifically suc-
cessful "Pal Joey" in 1940. That's where
M-G-M found him, and brought him to
Hollywood.
So, the H.V.C.-U.S.O. knew exactly
what they were doing when they asked
Gene to organize the first hospital unit
for them, so that they could make a test
case of it. It worked out so well that
now other units are being formed. Hos-
pital tours will be a definite part of post-
war entertainment for the sick and
wounded.
"We were actually out only three
weeks," says Gene, "but we covered
enough territory for six weeks. They
were all one night stands. We visited
hospitals all over the East, South and
Middle West. We usually played three
shows in the hospital's auditorium, for
an average of 550 boys per show, and
then we would play all the wards for the
fellows who were unable to leave their
cots. It was wonderful playing to those
fellows. Their enthusiastic applause did
my hammy heart good. After playing to
the electricians in Hollywood for two
years it was swell having a real audience,
not that I don't like electricians.
"The schedule we had practically
knocked us out after the first five days,
but we managed to keep going on nerv-
ous energy. However, toward the end of
the trip we were staggering around like
dilapidated zombies. Our reservations
were made ahead for us when possible,
but most of the time we rode day
coaches, and did our sleeping, if any, sit-
ting bolt upright bundled up in over-
coats and newspapers to ward off drafts
that swept in straight off the North Pole.
Seems that we were always getting off
trains at some strictly unconventional
hour, such as five A.M., and seems that
it was always raining. A special service
officer would meet us at the station and
accompany us to the hospital. There we
would be revived with gallons of hot
coffee. And then we'd start our shows."
There was no publicity in connection
with the tour. The Hollywood Victory
Committee, the U.S.O., Gene, and the
kids in the company wanted it that way.
"The hour it would have taken us to
give interviews to the local press in each
town we could use to much better advan-
tage by giving a show for the wounded,"
Gene explains.
Occasionally he was recognized on the
trains, but not often. "In the day coach
going into Louisville," he relates with a
typical Kelly smile, "I heard two ladies
across the aisle discussing me. T think,'
said one of them, 'I've seen that man in
the movies. Wasn't he in a picture with
Judy Garland?' 'Now listen, Nan,' said
the other one, 'don't be a fool. If he was
a movie star would he be traveling on a
day coach? Now I ask you. He'd have
a private car, believe me.' Her friend
talked her right out of recognizing me,"
laughed Gene.
"On the train from Cincinnati to Chi-
cago we had a real touch of luxury — we
had chair car reservations. I went to the
diner for a bite to eat at noon and was
put at a table with three soldiers. One
of them recognized me, and after lunch
asked me if I'd go up front to a coach
72
SCREENLAND
where there were a hundred or more boys
being sent to an embarkation port. I was
kidding around with the boys, cracking a
few jokes that were not too corny, I
hoped^-when suddenly it occurred to me
that we ought to give them our regular
show. I rushed back to the chair car to
round up the gang and a few props. For
a second I didn't have the heart to wake
them, they were all sleeping so peacefully
in their luxurious chairs, arid the first
sleep they'd had in days and nights. But
I explained about the kids in the front
coach, and not one murmur of complaint
out of the entire troupe. A swell bunch.
I think that was one of our most success-
ful shows. When the train would lurch
around a curve we'd land in the laps of
of the boys. They'd yell with delight
when it happened to be one of the girls."
When Gene returned to Hollywood to
his wife and child, two-year-old Kerry
Kelly, he looked pretty well shattered.
"My wife decided I needed building up,"
says Gene with a smile. "But when she
saw me eat three weiner sandwiches and
drink three beers for a midnight snack
she said that anybody who could pack
away all that wasn't anywhere near a
breakdown."
Gene went into rehearsal immediately
for the dance number that he does with
Fred Astaire for one of the acts in "Zieg-
feld Follies." When those two boys, who
happen to be the two greatest dancers in
Hollywood, get going you'll be treated to
some of the best hoofing that has ever
been screened.
"We do a dance to a song that George
Gershwin wrote for Fred and his sister
Adele for the musical comedy, 'Funny
Face,' " Gene explains. "The dance is
called 'The Babbitt and the Bromide' and
it's about two ordinary people meeting
on the street and going through all the
ordinary motions. They meet again ten
years later and have the same identical
conversation. Finally they meet in
Heaven, and go through it all again, with
harps."
Fred and Gene are sitting on a park
bench when the sequence starts. "I think
I've seen you in pictures?" asks Fred.
"Yes," says Gene, "I was in 'Cover
Girl.' " "You're not Rita, are you?"
teases Fred. "No, Ginger," flips Gene,
"I'm not Rita."
Then they get going on the hoofing.
And it's sheer delight. Gene is already
planning to include that number in his
next hospital tour.
Flight Officer Jackie Coogan, recently
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tains Betty Allen at the Stork Club.
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Two heart-throbs with their wives! Sonny
Tufts, next in Paramount'* "I Love A Soldier" .. .
A Guy Named Bob
Continued from page 28
tleman to have banged the phone in any-
body's ear, or from sheer exhaustion, he
gave up. He said, "I'll call you next time
I come to the studio — probably the first
of the week. We'll get together." He
added, "BUT I offer no encouragement."
I guess for the moment he'd forgotten
that I'd known him through three whole
pictures. It is exactly this straightfor-
ward naturalness that prompted me to
write about him.
My first encounter with Robert Young
was in 1935 when we started a picture
called "The Bride Comes Home," with
Claudette Colbert. There was no special
introduction to him on the set. But as
the picture developed we conversed pleas-
antly as people do. His was not the
chummy kind of friendliness. While the
rest of us were generally noisy and hav-
ing a fine time of it, he looked on. I
wondered how anybody as quiet as he was
could have so captivating a bright touch
on the screen. / couldn't have been more
surprised than the man himself. He
started to wonder why he had been
chosen for that part because he had
never played light comedy before. Then
he wondered why he should have been
borrowed by a top big studio, when he
figured that nobody was particularly in-
terested in his name as an actor. When
Ruggles, the director, expressed happy
satisfaction over his work there was
nothing for Bob to do but wonder some
more. That picture opened wide the por-
tals to a career that has been replete with
effective advancement. There has not
been an actor, in my estimation, who has
done his work more consistently well
than this man. His worst performance
has been, to me, "very good." His own
adventure with fame he describes as "so
very gradual — like a bubble 'way down
at the bottom of the bottle, slowly — very
SLOWLY rising — so that nobody even
. . . And James Craig, who's now appearing in
"Marriage Is A Private Affair" with Lana Turner.
noticed it when it reached the top." Any-
how, that's what he thinks!
The next picture was "I Met Him In
Paris." We were up in Idaho on loca-
tion. In the very early morning cars took
us to our set. I was parked in the back seat
with Melvyn Douglas and Bob Young.
Not for the idea of keeping them com-
pany, understand; for the convenient rea-
son of going over their lines on the way
out to save time. We had a good many
laughs, of course. But there was never
an endless string of chatter. The same
car brought us back to the hotel at night.
Tired. Cold. But the guys never belly-
ached over set-backs, delays, or any
other inconvenience due to the weather.
Their geniality was never absent. You
always see actors at their best and worst
on location where a company is con-
stantly thrown together. You make up
your mind about a lot of people. And
the way I made up my mind about Bob
Young was that here was a person of
striking substantiality. Who gave a darn
whether or not he talked a lot?
Later on Bob was cast opposite Lana
Turner in a comedy called "Careless."
Some people lifted their eyebrows. They
couldn't see "that combination." She's
such a glamor girl, they said. They liked
to say they were kidding, though, when
they saw "that combination" on the
screen.
Bob has been fourteen years at the
same studio. He is as natural a figure at
M-G-M as is Leo the Lion. His dressing
room on the set, as most of them are, is a
distance back from the shooting point.
The door is always open. Bert, the make-
up man, will usually be sitting in it read-
ing the morning paper and will make no
attempt to leave when Bob arrives.
"Good morning, Robert," he will say, in
his deep base voice. "Hi, Bert," is the
response. Then Bert goes on reading.
Bob will open his script. Charlie the
waiter, who calls him Bob, passes by,
having collected the jugs, once filled with
coffee, that is Bob's standing order for
the boys who make up the crew. He'll
tell Bob, as he has hundreds of times be-
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fore, that there isn't a drop left for him.
About an hour later Charlie will show up
with a cup of coffee and a piece of break-
fast cake. For Bob. It invariably ar-
rives at the moment Mr. Young is being
hailed to the set. He has never said,
"Wait till I finish." To the extreme ex-
asperation of Charlie. He keeps hoping
some day he will.
His manner of quiet still seems to con-
fuse some who have been around him
from the very first. He wishes it wouldn't.
But what can he do about it? He has not
paused to inquire of himself whether it
would be of any use to act chatty. For
he could never persuade himself to pre-
tend. He just isn't the type. He is as
direct as a man could be. Once, on the
set, he awoke to the realization that the
star was peeved at him. He said to her,
"It appears that I've hurt your feelings.
I'm damned if I know what I did. But
if you'll be good enough to tell me, I'd
like to apologize." The star said he
hadn't said good morning to her. He re-
membered that in a preoccupied moment
he hadn't even noticed her. Thereafter
Mr. Young would come to the set and
do a song and dance telling her good-
morning. His face straight. His eyes
twinkling. The star good-naturedly told
him to "forget it."
From Friday to Monday I thought
about Bob telling me he'd call. I kept
wondering if he would. It was silly to
wonder. Because I know he can be de-
pended upon to be true to his word. But
this idea of talking about himself. . . .
He did call. He gave me the choice of
my office, the restaurant on the lot, or his
dressing room for our luncheon. Which
do YOU think I chose?
Dressing Room Number 10 is down a
cold and unfriendly corridor. But the
moment the door opens you find yourself
in a suite that is both warm and friendly.
You may flop down on a sofa or easy
chairs. Papers, magazines, books are
strewn about in cheerful, comfortable
abandon. And like its star, it is strictly
mannish. He sat in the big chair and
eyed me with a faint smile. He began
excusing himself almost immediately, and
regularly thereafter for not being able to
aid me in my search for information. He
also reminded me that he still offered
"no encouragement." He told me it
would be my own fault if I'd be bored
to tears.
His interest in his work is very great.
It holds its place as both work and hobby.
Hobby because he always must enjoy the
role he is doing. He must have respect
and confidence in the director's guidance.
I know that he makes a study of his
script and has a fertile story mind. He
will battle a story point to the end. His
success as an artist has not been a series
of fortunate coincidences, but the result
of earnest endeavor. He likes doing
drama, although it means "having
moods." Moods you more or less have to
stay in. That he doesn't like. Playing
comedy lets you have a good time. The
more fun you have doing it, the better it
is for the picture.
Immediately after. Pearl Harbor Bob
was one of the very first to offer his serv-
ices as part of the evacuation regiment
of which Lewis Stone is commander. He
spent many hours studying standard and
76
S GREENLAND
The PASSION
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advanced first aid and other things that
qualified him fully for the work. When
the rubber situation started to make
headlines Bob decided to economize. So
he bought a motorcycle. He had never
ridden^ one in his life before. He promised
his family that he really would learn to
ride before he went any distance. The
first day he merely went around the
block. He returned safely to find his
wife in a frenzy. But his little daughters,
Carol Anne (ten) and Barbara (six) were
wild with delight and admitted that he
was just the smartest person they'd ever
seen. The more the engine stalled, the
more racket it made in his effort to prove
that he knew what he was doing, the
happier they became. Until finally they
had themselves a hero. Robert Young.
Daddy, not actor. Latest addition to the
family, baby Betty Lou (named for her
pretty mother) is still a trifle immature
to appreciate her father's cleverness, but
even at five months she seems to rather
like the guy.
There has crept out of pictures Robert
Young has made the opinion that he,
above all, is Mister Average Man. The
kind of guy who'd be a good neighbor.
The kind of guy who would be the em-
bodiment of all the things that are worth-
while.
I promised this would not be a family
story. But it would be impossible not to
mention Betty, Bob's wife. She herself
would be gratefully surprised to find her-
self left out of a story about Bob. Theirs
is the bond that poets sing about. It is
easy to know why Bob would be a hero
to his own daughters. Even off his mo-
torcycle. They have been raised with in-
telligent wisdom. Like other people's
children they do the irresistible things
that would send you into raptures, were
there left time to tell all about them.
Their existence as individuals of whom
he may be justly proud came to the at-
tention this very last year. It seems that
all through the year the little girls plan
the presents and surprises they will buy
at Christmas time for their family and
friends. These come out of the allow-
ance daddy gives them. They always
have talked over their ideas with their
father. He is the one who takes them
shopping. They started out last Christ-
mas, as they always had. Bob suddenly
remembered that they hadn't discussed
their purchases with him at all. The chil-
dren at this time were busily engaged in
whispers, sign language, and general rest-
lessness. Their daddy could bear it no
longer. "Now," he announced, "let's have
it — what's this secret business?"
"Daddy," the littler one asked, "do
you think it would be all right and do
you think instead of buying presents this
year, the folks'd understand if we gave
our money to the soldiers?" It took a
few seconds for their father to smother
the gulp in his throat sufficiently to an-
swer them. He said he was sure that
everybody would understand, indeed! He
steered them to the bank where they
bought War Savings Stamps, though the
littler girl thought they ought to have
gone down the street and given a dollar
to each soldier they met as long as their
money held out. But they understood
the nature of giving. That is the impor-
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COLOR-Picture No. 1
Hair
Eyes ,
Clothing
COLOR-Picture No. 2
Hair
Eyes
Clothing
Dress Your Type
(Continued from page 37)
tennis suit, with matching shoulder bag,
just in case she needs to get out lip-
stick and compact, which she never
does. At noon Ginger is comfy in a gray
flannel windbreaker suit, 'plaided' in
white wool, with matching white wool
pullover, gloves and shoulder bag. In
the afternoon, Ginger again in a shirt-
maker — only now it is of gold lame, with
slightly draped skirt (she might want to
dance) matching, elbow-length gloves
and also matching (what a match-maker
I am!) and also shoulder bag. (Ginger
never likes to carry things, that's why
the shoulder bags throughout.)
"And in the evening — guess what? A
shirtmaker again, this time fashioned of
white crepe for the skirt, gold lame for
the shirt and belt, the shoulder bag
motif right with her and, if she thinks
to carry them, crushy white gloves. .
"To me, Ginger is never Ginger Rog-
ers. She is a chameleon. A complete
chameleon. She can be a little, freckled
girl of twelve or a mundane woman of
thirty. When she goes young and simple,
she is curds-and-whey. When she goes
glamorous,, she goes the whole hog.
Ginger doesn't cheat.
"This chameleon quality in her is the
reason, the basic one, for dressing Gin-
ger pretty consistently in one theme. For
Ginger varies her own personality so
often, and so completely, that she
doesn't have to vary her clothes. They
vary when she does. They, too, are
chameleons. They are chameleons worn
by a chameleon. Dear, dear, where is
this leading us?
"Anyway Ginger, to my mind, should
wear the simplest, most basic clothes in
the world. She should dress like the
Average American Girl of good taste —
mainly slacks, sweaters, simple suits and
so on. She is one star who shouldn't,
and doesn't, 'dress like a star.' What-
ever that means. Apropos of which, I
must remark here that most of the stars
are very intelligent about clothes, very
basic — which, since many of them have
so much money that they could easily
over-do and over-glamorize themselves,
surprises me.
"For the rest, Ginger should wear a
lot of blue, any shade of blue so long
as it's BLUE. It does epic things to
that orange hair and fair skin. And she
is the type who is better off with very
little adornment. She doesn't need ac-
cessories. She doesn't need jewelry, es-
pecially in her hair. It detracts from
rather than adds to, her appearance.
"Fitting Betty Hutton is like fitting
a. Mexican jumping bean. The fitters
and I gallop around the room like snort-
ing steeds, chasing her, trying to get her
to stand still long enough to stick just
one pin in her. When we corral her —
'when,' I said! — we do simple, boyish
clothes for her, quite unactressy. As
follows:
"In the morning, she wears gray flan-
nel slacks, a white shirt, long sleeves,
and a scarlet flannel waistcoat. At noon,
a gray and white flannel suit, with white
flannel collar and cuffs. For the after-
78
Screen land
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noon, a black wool suit, fitted jacket,
slightly draped skirt, white gloves. The
bow at the neck of the jacket is white
ermine.
"Come evening, and Betty blitzes 'em
in a white crepe bolero jacket, a white
and gold sweater (with 'Betty' embroid-
ered in gold just below the neck-line) ,
white and gold gloves. Which she
wouldn't, of course, keep on long enough
to uncrease the fingers!
"I dress Betty most simply, more sim-
ply than any of the other girls and
that, as you know by now, Dear Read-
ers, is simply enough. For Betty has
to be very careful, especially careful of
what she wears. She is too-ioo, as I
have mentioned. Put Hutton in a
beaded evening dress and she'd look like
a Junior Mae West. She can't wear
accessories. She can't wear ornaments
in her hair. If she did, they'd explode
like time- bombs. And she can't wear
jewelry, ever, poor baby, none at all.
Betty is, definitely, a slacks-girl — but
as she can't appear in church, at coro-
nations or other formal functions in
pants, I have worked out almost a uni-
form for her. Slacks for morning, of
course, but also jumper suits and sleeve-
less coats, which give her plenty of room
for antic action. Even in her skirts, I
conceal 'concealed action.' If I didn't,
she'd be doing, unconsciously, a strip-
tease. The whole basis of Betty's clothes
is the word 'Liberation.'
Loretta Young is one of the people
that make designers glad they're design-
ers. I have dressed Loretta in every-
thing from a sweater and skirt to the
most elaborate evening gown and what-
ever she wears, she looks at ease in it.
There is something in her chemistry that
does something symphonic to clothes.
She has a natural flair for them. She
handles her body perfectly. I have never
found anything she couldn't wear and
once or twice, in whimsy moments, I
have tried. No use. She is absolutely
fool-proof. So, for Loretta, and in one
of my most relaxed moods, I plan the
following:
"Beige flannel slacks for morning. A
beige and white striped sleeveless cardi-
gan bound in white crocheted wool. A
white crocheted sweater, and moccasins.
(Loretta walks like a swan should, but
doesn't.) At noon, I give her a suit
version of #1. Exactly the same ex-
cept that a skirt replaces the matutinal
slacks. For the afternoon, a black crepe
dress, with a tie-on overskirt embroid-
ered in gold, and gold embroidery on the
bodice. And for evening, Loretta is love-
liness, the stuff itself, in a black slipper
satin bolero suit, with a pink mousseleine
blouse and a jabot of pink roses.
"Because she is one of the few girls
who have made of clothes a great Art,
fitting is a very important part of The
Life & Works of Loretta Young. She fits
tirelessly, conscientiously and with a pas-
sionate absorption. She is a perfectionist.
"Last, but by no means least, Doro-
thy Lamour. Dottie - in - the - morning
wears a sarong sun-suit, sarong-draped
shorts, bolero jacket of sun-tan and
white, a white bra'. At noon, she wears
a draped suit, two shades, sun-tan and
scarlet. In the afternoon, a draped dress
with a soft, monogrammed sash. And
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I for the evening, a draped white crepe
dress, with a white and nude crepe scarf,
for swish.
"As the sketches show, I try to drape
clothes for Lamour. Not because I have
been made sarong-conscious — though
who hasn't? — but because they fit her
chassis. As, let's face it (Dottie has) ,
do the famed sarongs themselves.
"Dottie, like Paulette, can wear vivid
colors, accessories and jewels. But sel-
dom does. She doesn't give a hang
about clothes, is less interested in them
than any of the girls I dress. But is fun
to fit because Dottie makes everything
she does fun, for herself and for others.
A Lamour fitting usually means a room-
ful of jolly people; is, indeed, more like
a social event than work.
"Since her marriage, Dottie 's theme
song about every dress, blouse, hat we
do is the same: 'Let's make it so Bill
will like it.' Women may not 'Dress for
men' and I, for one, maintain that they
do not; but Dottie dresses for a man,
and no mistake.
"These sketches, pen and pencil, are
pretty indicative of what I am going to
do for Fall," Miss Head told me. "At
least they give you my basic ideas —
which are, skirts with more freedom
within regulation, the 'two-piece' look for
both day and evening and, particularly,
I am trying to carry one 'trend' through
each star's wardrobe. I believe a woman
should keep to her own type through-
out her entire wardrobe. Incidentally,
the girls themselves think this is a won-
derful idea and are delighted that they
are having 'personalized' wardrobes at-
tributed to them.
"Good clothes are not, I repeat," Miss
Head added, "good luck. They are the
results of patience and pins. They are
the fine-feathered fruits of knowing, and
knowing well, the subjects you are to
'paint' with crepe and linen, cashmere
and gabardine, mousseleine and seer-
sucker.
"I MUST know the stars I dress, or
risk making mistakes. You, who dress
yourselves, must know yourselves — or
risk, ditto. So, if uncertain, hitch your
wardrobe to the stars. It may help."
Katharine Hepburn and the Chinese boy who
plays her son in "Dragon Seed" enjoy recess.
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SCREENLAND
Me and The Ladies
Continued from page 41
most of the time," he enlightened later
on the set. "Being a reserve officer in
the Navy, I told 'em down at the San
Diego Naval Base when they come up to
Los Angeles and can't get hotel space, to
come on out. I got a six-bedroom suite,
and the empty servants' quarters over
the garage. I tell 'em, 'Come ahead. I'll
make your breakfast coffee, but I can't
make your beds. I love to have you but
you gotta do your own bed-makin'.' "
"Before the war I'd been a cinch as a
matrimonial prospect. But now — " Wally
chuckled, vastly amused at his new role
of "dream man" into which the man
shortage and his bachelor eligibility has
thrust him — "well, my stock's rising. I'd
be a little more difficult to get right
now!
"For thirty-five years I've watched the
matinee idols, the heavy lovers, and the
sweater lads! Bushman, Valentino, Barry-
more, Gilbert, Gable, to Sinatra, getting
all the female swooning. Now, when I'm
ready to settle down to a nice comfort-
able middle age, when I never have to
worry about my weight or my profile,
here comes love. I discover that Wallace
Beery is right up there with the glamor
boys who always have had mobs of
women fans.
"Of course," Wally reconsidered, "it's a
little early in my new career to expect
any woman to start swooning over me.
I'm just getting my big romantic breaks
in clinches with Miss Barnes. Folks are
so used to seeing Margie Main whack me
over the head with a broom, or Fay
Bainter nagging at me, that it is only
these women who write fan letters who
have the right perspective of the new
Beery.
"Every dog has his day," he said. His
left hand with the old-fashioned ring,
three huge diamonds set Tiffany style,
which he bought when he married Gloria
Swanson, and has always worn, beat a
rhythmical tat-tat-tat on the arm of his
chair. He was sprawled comfortably.
Wally never sits when he can stretch to a
more enjoyable length. Then seriously,
"Everyone announces my marriage to
someone. I'm always the last one to
know. The only thing that prevents me
from marrying is that they always say
'no'; if they'd say 'yes' I'd be sunk."
There was the well-known and marry-
ing-minded former star of silent day pic-
tures. She shared a few rice puddings
with Wally when she saw him at the
Brown Derby. She dramatically an-
nounced she was going to "marry Wally
so I can raise Carol Ann to be a young
lady of culture and refinement. She must
have a French governess and then she
must go to Vassar."
"When Carol Ann and I heard that,
we just retired to my fishing cabin up on
Jackson Lake for the summer. We hid
out," Wally said. "Carol Ann's no so-
ciety girl. She's just a regular, every-day
thirteen-year-old American kid. No one's
going to make Carol Ann over."
There was a pretty out-of-town visitor.
"I made the mistake of taking her to
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SCREENLAND
81
la VICTOR Y
riling ,„* H,lir Ai.h
Mocambo's. The photographers had us
married right off. If we hadn't gone to a
night club, nothing would have been
said."
A very chic, honey-toned blonde called
Wally. "I'd like to borrow two or three
thousand dollars right away," she purred.
At the other end of the wire, Wally-
gulped, aghast. "Well now," he began,
"I am right now working on my income
tax. And if there's anything left over,
I'll call you back." (He never called
back. He says there wasn't anything left
over.)
"I'm dumb about the ladies," Wally
mused. "But not so dumb that I can't
recognize sincere interest. I don't want
to marry someone who wants to use me
as a step-ladder. Lots of women, I've
discovered, make a business of marrying
for money. That's their business and
okay for, them. But I want no part of it.
"At my age, I'm not kidding myself
that anyone's really going to fall in love
wjth me. Sure, people say I'm lonely,
but until I can find a girl who jusi. wants
to be a home woman, and who can love
me for myself, I'm just going to continue
dumb.
"I can supply a nice home and a nice
comfortable life. I want to find a wife
home evenings. I don't want a career
girl or one who wants to exploit a movie
actor husband socially. I just want a
plain, poor little woman who can fall in
love with me.
"Soon as this war is over I'm going
over to see Europe before it is rebuilt.
There'll be plenty of girls over there who
would appreciate a home and three
square meals a day. T've had my appli-
cation in with the Hollywood Victory
Committee for a long time to go over
and visit the troops. But you have to
wait until you're called.
"Meanwhile, Carol Ann and I have
been doing lots of hospital visiting. We
flew up to Seattle and around and made
a three weeks' tour of hospitals. A lady
interviewer on one of the Seattle papers
said she wanted to interview me about
love! Carol Ann started to giggle. But
the lady was downright serious. ' Said I
was the big rugged type that appeals to
women-
"Well, that sounded good to me,"
Wally beamed. "I straightened out my
tie and tried to smooth my trouser legs.
Carol Ann had to sit on my lap all the
way from Portland. I explained that
there had been no tailor nor pressing
service. That we'd had to spend most of
the night sleeping sitting up in the air-
port depot. So I wasn't my usual sar-
torial self.
"Then that lady had to go and say
that I was the 'dream hero' of all the
middle-aged fans on the Marjorie Main
type. I had been thinking in terms of
Hedy Lamarr.
"Gosh," Wally gulped in remembrance,
"I said Miss Main and I were pretty de-
voted on the screen. But to please say
it was professional romancing."
There was the spinster in Maine who'd
read a real tear-jerker item about Wally
having to cook his own meals. She wrote
him several letters and forwarded him
samples of her jams and jellies. One day
when Wally was in his overalls and bed-
room slippers giving the lawns a trim,
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she arrived. "You poor dear man," she
said to the bewildered Wally. "Here I
am."
"Who the hell are you?" Wally mut-
tered under his breath.
When she disclosed her identity and
that her objective was immediate matri-
mony without further delay, Wally was
trapped.
"Sure," he stalled. (With his back to
the wall, he gallantly held his own for a
gentleman who's so dumb with the
ladies.) "Sure, I'd like to talk over this
marrying business, ma'm. But we ain't
even met. We ain't even been properly
introduced!" Then — a wonderful idea —
"You see, ma'm, all these bachelor actors
are at war. My studio is grooming me
for romantic leads. They just wouldn't
have me marrying now. No, sirree. Why,
if I was to get married, the studio would
tear up my contract."
An hour later Wally walked into the
house, the sweat pouring profusely from
his brow. "Whew! I got out of that
one," he gasped, slumping into the near-
est chair.
All of which accounts for Wally's vague
and long absences from Hollywood. And
those long stays at his Wyoming ranch
He's actually hiding out from these be-
wildering safaris of ladies!
"Right here," he concluded, "I want to
dispel any theories that I'm such a lonely
man. I am too busy. But when I meet
some member of the fairer sex, who
really cares for me and is interested in
my personal welfare, well, I'll up and do
my own proposing."
Ginny Simms Reveals
Her Post-War Plans
Continued from page 24
Program, she calls it, and it is being or-
ganized right now. Ginny was so full of
her plan to provide post-war entertain-
ment for the vast network of hospitals
being built all over the United States
that it was all she could talk about on a
recent visit to Washington, with the re-
sult that Mrs. Franklin D. Roosevelt
now heads her original committee and
General Pershing will serve on the Na-
tional Committee.
"I got the idea almost a year before
Pearl Harbor when I was singing in a
hospital for the veterans from the last
war," Ginny went on. "I saw what little
entertainment they had, how forgotten
and lonely they were, and when this war
began I wondered if some of the boys
we are so interested in today might not
be just as lonely and neglected twenty
years from now. That's when I began
really working on my plan.
"It was very vague in my mind at first.
The details still had to be worked out.
It wasn't the hospitals in big cities I was
worrying about, for there are always en-
tertainment resources near at hand they
can draw on. All that had to be done
was organize them. But what about a
hospital in Kansas, or one down South,
or up North, hospitals in rural sections
that even traveling shows don't reach?
SCREENLAND
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"That was how the plan to form local
committees came about. These commit-
tees will be headed by the mayors of the
cities closest to the different hospitals
and will see to it that adequate enter-
tainment is provided. Each locality will
publish monthly bulletins telling what
they have done during the month so that
ideas can be circulated as well as stimu-
late a little healthy rivalry. Besides this
I am hoping every one of those hospitals
will be 'adopted' by a Broadway or
Hollywood star who will give personal
attention to that one hospital.
"Of course we know it will be impos-
sible to insure a constant stream of pro-
fessional entertainment, except in cities
like New York or Hollywood. That's
where the local committees come in again
who will draw on home talent, organiza-
tions like glee clubs and little theater
units. Then there will be the performers
on the local radio stations to call on.
Every small town has one of its own. I
know, because I was raised in one."
If anyone should ask Ginny what of
all the things that had ever happened to
her she was most grateful for she would
answer, the fact that she had been
brought up in a small town. I know,
because I asked her.
"It's wonderful growing up in one,"
she said. "Small towns are the heart of
America, and living in one of them gives
you a perspective and a typical American
viewpoint you can't get anywhere else.
Big cities are so much more cosmopolitan
and an individual there is so much more
isolated. In a small town you're a part
of the community. Your friends are the
friends you went to school and church
with and have become so close they al-
most seem like part of the family. You
know more people intimately and because
of that you have better understanding,
better values. You get to know what to
say to people and what not to say."
You'd know Ginny was a small town
girl the moment you met her, even
though she looks Jike a dazzling movie
star. For there's a warmth about her, a
friendliness that suggests the neighborly
cordiality of the small town. It is that
warmth that compelled her to do some-
thing about the lonely men from the last
war, it is that friendliness that has given
her radio program such a quality of
hominess that when Ginny talks to the
servicemen she is entertaining on the air
waves you feel almost as if your own
boys are back with you in your own liv-
ing room.
There aren't any sixty-four-dollar
questions on Ginny 's programs, no prizes
or souvenirs, but the service boys and
girls who are guests don't miss 'em.
Ginny more than makes up for them.
When they all go out for dinner after
the broadcast they feel as if they've
found a friend. And they have.
Ginny's program has its quota of
laughs but it is that poignant quality
which is its chief characteristic that you
remember. When a boy calls his mother
long distance, you hear only a one-way
conversation but somehow you feel all
the things that boy and his mother are
feeling.
There was that time a boy, who had
been raised in a Cleveland orphanage.
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SONG POEMS WANTED
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71
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81
ScREENLAND
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telephoned the matron who was the only
person in the world close to him and
called her "mother." It was one of the
most heart-warming things ever heard
over the air and the boy was swamped
with letters from sympathetic listeners
asking him to come and visit them. He
accepted one of the invitations and met
the girl. Ginny sang at their wedding.
Then there was a boy from a camp in
California who wanted to talk to his girl
back home in Brooklyn. Everybody
listening felt they had a part in that
romance when the boy proposed to her
over the telephone. And afterwards when
the boy heard Ginny was going East he
asked if she'd take the engagement ring
with her. He was afraid to trust it to the
mail. Ginny not only took the ring but
went over to Brooklyn to deliver it.
Ginny is just as interested in the
mothers and wives and sweethearts of
the boys as she is in them. Women need
morale, too, she says. She calls herself a
clearing house for the women at home
and she has helped many of them over
a bad spot.
"So many women wonder how they
should act when their boys are coming
home on furlough," she said. "They are
so anxious to have everything perfect
that they get tangled up emotionally and
begin to distrust their own instincts.
"I always give the same advice, and
it's first-hand information, too, that I've
received from the boys I've talked to.
I tell them, try to keep the picture of
home exactly as it was before they left.
If you can do that the boys will be
happy. Their constant fear is that things
might be changed.
"Let them do things their own way.
Don't have every second of the day
planned for them, but on the other hand
don't shoo them away when they want
to hang around the house because in
your desire to be self-effacing you think
maybe they'd rather be out looking for
excitement. Shower them with the love
and devotion they expect but don't be
tearful or dramatic about it. And above
all, don't treat them as if they were visit-
ors or home on vacation or as if this was
the last time you were going to see them.
Treat them as if their being home was a
part of your normal routine. The way it
will be again."
Besides her regular program, Ginny
appears regularly on the short wave
shows, Mail Call and Personal Command,
dedicated to the men in the various
theaters of war. Then she has another
short wave broadcast of her own which
she calls Personal Album, an intimate
little program in which she plays her
favorite records for them and talks to
them between songs.
Ginny hasn't much time for herself
these days, not much time to think of
herself or plan for her future films for
M-G-M. But she does want to make a
new picture soon, a picture with a good
heart interest. That must come first, she
says, the heart interest. Music is sec-
ondary.
It's the sort of thing anyone who
knows Ginny would expect her to say.
Her heart always comes first. Maybe
that's the reason her singing never can
come secondary.
SCREENLAND
ttWE GIRLS WHO ARE
Ail-Out
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85
Her own fault — if she'd check .
hat, pillow or hairbrush, she
wouldn't be sitting home nights.
She'd realize that the scalp per-
spires, too — and that the hair,
particularly oily hair, quickly col-
lects unpleasant odors.
She'd use Packer's Pine Tar
Shampoo regularly and never risk
scalp odor again. This gentle
shampoo, which contains pure me-
dicinal pine tar, cleanses the hair
and scalp thoroughly and leaves
the hair fresh and fragrant. The
delicate pine scent does its work
— then disappears.
Don't risk having scalp odor —
and not know it. Let Packer's care
for your hair and scalp. You can
get Packer's Pine Tar Shampoo
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1
PB'S PAIV
HubbeiHeel&Sole
Is Your Beauty Rating "A"?
Continued from page 1 6
"They try all the odd things on their hair
and nails before they use the plain every-
day things that really make them pretty."
. . . We're afraid this is an honest criti-
cism, because we see so many girls trick
up their hair in important hairdos with-
out giving a thought to the beauty neces-
sities of constant brushing and weekly
shampoos. Nails, too, are colored and
shaped before they are made trim and
clean.
Really, keeping spotless is just a com-
bination of good habits. If you form
these during school days, the most im-
portant part of your beauty future is
assured! . . . But, now that you have
learned our lesson on cleanliness, you're
bound to ask, "What about make-up?"
Don't, for goodness sake, think that we
disapprove of prettifying preparations
for 'teen-agers! Far from it. Once your
skin, nails and hair are in good condi-
tion, what you then do to enhance them
depends on several considerations. Where
you live, what your activities are, what
your parents, teachers and boy-friends
think — all determine make-up and hair-
dos.
In some parts of the country, lipstick
is used quite generally by girls from 14
up. Schoolgirls in the East try lip color-
ing long before they use powder or rouge.
In other locales, rosy cheeks have special
appeal. Whatever make-up is popular in
your school or town, use it carefully,
moderately and for the right occasions.
In Hollywood, you'd be very likely to
see a glamorous actress playing tennis
minus all obvious make-up and with her
hair in pigtails! Naturally, when she goes
to an evening party, or in on the set,
every clever make-up trick is subtly used
to emphasize her best features. And re-
member, that the same manufacturers
who produce stars' make-up have also
designed colors and textures for powder
and lipsticks suited for youthful skins.
We can't resist a word about good pos-
ture and pleasant speech! The old saying
"as the twig is bent, so shall it grow" is
very true! How you hold yourself now
will determine the kind of figure you'll
have when career or marriage days ar-
rive. . . . We won't say more on this
subject here, because, very soon, we shall
devote a whole article to the importance
of making, and keeping your body beau-
tiful.
And, lastly, listen to your own voice.
How does it compare with that actress
whom you so admire? If it's high, harsh
or nasal, modulate it consciously. Do
-what you can to acquire good sound ef-
fects. Beauty is seen and heard nowadays!
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CORNS
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also Callouses; Ingrown
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Mobs Co., Rochester, N. Y.
SONG POEMS
WANTED
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*k Publishers need new songs 1 Submit one or more of
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CARDINAL CRAFTSMEN. DEPT. 877
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86
SCREENI/AND
HOW JOE'S BODY BROUGHT HIM
1 1 r^lNSTEAD OF
irftiyitfSHAME
See what they do
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War Bird in Mufti
Continued from page 45
about that time. At the last, we were
giving instruction for $4.50 an hour —
furnishing instructor, gasoline, and plane.
I built up flying time, of course, some
2,200 hours, so it wasn't all wasted. But
we finally closed the school during the
latter part of 1938. Peterson went to
Washington as inspector for the Civil
Aeronautical Administration, and Os-
borne went to Polaris and became a
group commander.
"In 1938 a new thing came in: rating
for instructors, and the first to receive
this rating in the United States was Bob
Cummings! It happened this way. I had
a number of students at the time. Until
then, you only needed a certificate to
teach. All at once, however, they realized
that many instructors can fly but cannot
teach. I went to the CAA and asked
Gene Scroggy about it. I asked what I was
going to do with all my students. They
were wasting valuable time because I did
not have a rating that allowed ine to
teach them. The CAA said they did not
have ratings to give. I asked if there
wasn't some way to make up a test to
give me so I could go on with my teach-
ing. I didn't care how tough it was — I
just wanted to take a test.
"Well, brother, they gave me one! A
good stiff one, too. That's how it hap-
pened— by a fluke — that I was given the
first flight instructor's rating in the
United States. Then I got my instru-
ment rating, which is the right to teach
and fly on instruments. This led to a
commercial instructor's instrument rating,
and this, in turn, came in handy when the
war began because there was a shortage
of instructors and fliers right at first.
"When the war started the Civil Air
Patrol was formed. This was made up of
civilian fliers, who had their own planes
and were over the age of combat pilots.
The CAP was formed exactly like the
Army Air Corps. They appointed of-
ficers and started squadrons to patrol the
pipelines, Boulder Dam and the Mexican
Border. This was called the Southern
Land Frontier Liaison Patrol. I became
commander of 6-1 planes.. My command
included from Bakersfield to the east
side of Los Angeles, a strip of land 150
miles deep from the ocean inland. I
worked in pictures during the day and at
headquarters at night.
"On Sundays I went to San Dimas and
trained fliers out of this area. A base was
started there and we instructed anti-
submarine pilots. We gave them bomb-
ing and general flying instructions. We
used and taught the International Morse
Code, meteorology, aerodynamics, navi-
gation and engines."
About this time Robert Cummings was
suspended from Universal. "They wanted
to schedule me in some cheap pictures,"
he explained, "which I didn't think was
good business, either from their stand-
point, or mine. They promised me a big
cast, an ace director, a top story, and so
on, none of which ever materialized. So
I just told them I wouldn't do the pic-
ture. They put me on suspension for the
duration of the picture, about four weeks.
Then they suspended me another four
SCREENLAND
I Can Make YOU a New
Man, Too, in Only
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If YOU. like Joe. have a body others can "push around"
— if you're ashamed to strip for sports or a swim — give me
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secret! That's how I changed myself from a 97:lb. weak-
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"Dynamic Tension'
Using "Dynamic Tension" 15
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FREE BOOK
Send NOW for my FREE
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the same for YOU. Don't put it
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Charles Atlas, Dept. 65.T, 115
East 23rd St., New York 10,
N. Y.
CHARLES ATLAS, Dept. 65J.
I 115 East 23rd St., New York 10, N. Y.
II want proof that "Dynamic Tension" will help
make a New Man of me — with a healthy, husky body,
a big muscular development. Send me free book,
| "Everlasting Health and Strength.'*
(Please print or write plainly)
Address
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□ Check here if under 16 for Booklet A
87
My?
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I
weeks as a penalty. I was willing to go
to work in any other vehicle that was a
good one, but they didn't give me a
chance. They kept me on suspension for
seven months, in all, which simply isn't
allowed, as the courts eventually ruled
"Meanwhile, I had to make a living so
I wouldn't lose my ranch. Off pay for a
year is tough in any field. But in Holly-
wood it is just a little tougher, since —
for professional reasons — you can't no-
ticeably reduce your standard of living.
So I called my friend, Charlie Osborne,
and asked for a job as flight instructor.
I told him I wanted to go to Mira Loma,
and it was arranged. I was honored to
have Count Georges De Sonshen, the
famous French pilot, standardize me on
the various maneuvers at the instructor's
school. Although you may have been in-
structing a long time, the Army wants
you to instruct their way, so they stand-
ardize you.
"I hadn't been teaching a month be-
fore I realized that what was happening
in Hollywood was becoming increasingly
unimportant to me. I was more inter-
ested in whether one of my boys had re-
ceived bad news from home than I was
in who received the Academy Award. I
was taking my job more seriously than
anything I had ever done before.
"Because a flight instructor's job is the
dog job of the air forces. His responsi-
bility is great. A boy's introduction to
flying is like a girl's first love. It is a big
thing that can be made very beautiful,
or it can be very bad and ruin the rest
of that person's life. The instructor is
the man who not only makes the differ-
ence in the type of flier a fellow can be-
come, but he is instrumental in how long
that flier will live. You have to cheer up
the boys when they are lonely, be a sort
of father confessor to them, for they
can't be worried when they're up there.
"It's difficult to teach flying, because
air is intangible. You can't grab it in
your hands, or force it to do anything.
You have to learn to relax; you can't be
stiff. It's like dancing. It combines the
precision of an expert watchmaker with
the freedom of a bird. You have to teach
a student every psychological trick to
relax. Beyond the mere rudiments of
flying you have to try to make a man of
him, create a sense of morality, good
citizenship, patriotism and good judg-
ment. In turn you have to be a man to
your students — one of high moral char-
Stork Club Photo
Linda Darnell, in trim suit she wore on U.S.O.
tour overseas, with sportscaster Bill Stern.
GLORIFY
YOURSELF
As Motion Picture Stars Do!
Many stars, club women, col-
lege girls have developed their
charm with Eleanore King,
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Appeal . . . posture, carriage,
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BOX 1910, DEPT. 4
HOLLYWOOD, CALIFORNIA
^ATCHEo
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SONGWRITERS
Place your song with us. Melodies sup-
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88
SCREENLAND
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NAME
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acter and singleness of purpose. It isn't
always easy.
"Then, at Mira Loma, we teach the
principle of safety first. Anyone can die
flying. The school is one of the highest
ranking in the United States. The boys
are sent from the Army and are paid
Army Air Force salary. The academy is
run by a civilian, Major C. C. Mosely.
He runs the school as a business and has
cut the cost of teaching a student how
to fly by over two-thirds. Safety first
and technical perfection are the ideals.
"This insistence on safety is more than
just good business, for not only the
whole future of aviation is slowed up by
every accident, but the whole future of
the world. In aviation lies international
understanding. It is now six hours and
fifty-eight minutes from here to Wash-
ington. When it is six to twelve hours
from here to New Delhi, we are going to
quit having wars. There will be an inter-
national language. When distances are
shortened like that, people won't bomb
other countries because it will have be-
come a personal matter. I don't want
any tragedy to strike over in North
Hollywood — because my friends are
there. Maybe my mother is coming back
from a shopping trip.
"When world distances are shortened,
I won't want anybody to bomb New
Delhi because my mother may be there
for the weekend. There will be a United
States of the world, and people won't
fight among themselves because they will
be ruining their own property if they do.
If you can say, 'My mother is in New
Delhi,' your viewpoint becomes much
broader. A flight instructor introduces
his boys to that idea.
"Instructors must also teach the prin-
ciples and organization of the Army.
Students are taught to work together, no
Lone Ranger hero stuff. While I am fly-
ing a student, I have a clipboard on my
knee, and I write every maneuver, good
or bad, and rate him. This rating is
averaged at the end of the day. At the
end of the 65 hour course (30 dual and
35 solo flying) , the gradebook is a pic
ture of that student — from boy to man
"After seventeen years of flying, I am
a little over the thrill of it now. But I'll
never get over the thrill of seeing a boy
turn into a first rate pilot! When my
boys go on to Basic and Advanced, and
to special training schools for the big
bombers and other such ships, finally
emerging with their wings — I get a thrill."
Robert Cummings adjusted his gog-
gles, got ready to get in the plane. To
the right, he saw one of his boys burst
through the locker room door, jubilant
and confident. Just a few weeks back,
this boy had almost washed out. He
didn't have the feel of the air, and he
didn't want to have the feel of it. He
had received bad news from home, and
he wasn't happy. It was more than tak-
ing him up and teaching him dry details
that had turned this boy into a good
flier. It was patience, understanding and
faith, the very heart of Robert Cum-
mings, that made it happen.
As the boy joined us, Bob put an arm
around him, and together they looked
out across the plain toward the sea, to-
ward distant places where great war
birds are making history.
SCREENLAND
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Sinatra and Turner have fun cheering up servicemen on CBS airshow at Birmingham
General Hospital. Lana looks like someone's kid sister — except for cigarette.
Hot From Hollywood
Continued from page 6
t^OR SOME unknown reason Gypsy
*- Rose Lee didn't turn out to be the
great popular favorite with the laboring
crew on the "Belle Of The Yukon" set.
The cast, technicians and front office
boys went for Gypsy in a big way. She
had them all in for a farewell drink at
the completion of the picture. The labor
gang were ignored. Gypsy probably
didn't know that it's customary for a
new star to throw a party on the set, on
the last day of shooting. She's much too
regular intentionally to offend, of all
people, the boys who work with their
hands.
TTUSBANDS and honeymoons are evi-
* dently no novelty in Paulette God-
dard's life. The day following her mar-
riage to Captain Burgess Meredith, she
sent word to artist Paul Clemens that
she would like to sit for her portrait. So
sit she did. At the same time she took
lessons for the Cockney accent she will
use in "Kitty," her next picture. While
all this was going on, the groom was out-
side calmly watering the garden.
"T'M SORRY," said the man at the
desk to Jess Barker, "but we can't
let you in your apartment until the end
of the day." Jess wanted to know why.
They couldn't tell him. He tried to be
reasonable. Then he resorted to pressure.
They wouldn't budge. So Jess sat in the
lobby and burned. Promptly at five
o'clock the all-clear signal was given. An
outraged young man tore into his apart-
ment, only to find that Nina Foch had
completely painted and redecorated the
walls with her own loving hands. Jess
was so stunned, for once in his life he
couldn't think of a thing to say.
WE THOUGHT we had heard every-
thing! Then Dame May Whitty
showed us a letter she received from a
soldier in the South Seas. "You've got
more than all the pin-up girls put to-
gether," he wrote to the famous star who
is close to her eighties. "Won't you
please send me your picture?"
pvINAH SHORE is one little lady who
always knows what's cookin'. As a
hobby the celebrated songstress collects
cook books. Therein lies an amusing
story. With several thousand recipes at
her command, when hubby George Mont-
gomery comes home on leave, he likes
her bacon and eggs best of all!
POR YEARS Joan Blondell has been a
" gal who counts her calories. Despite
her valiant efforts, however, those curves
remained (awfully good to the eye but
not so hot for the camera) . Now, since
her marital break with Dick Powell, Joan
can't even cast a good shadow. She looks
wonderfully thin and would be very
thrilled about it, except the cause of it
all represents so much heartache. The
hand of fate sometimes weaves a strange
pattern in Hollywood.
9Q
SCREENLAND
PRINTED IN THE U.S. A. BY THE CUNEO PRESS, INC.
WHAT IS HAPPENING TO LON McCALLISTER NOW! J
SEP .H.wfc
V \ . M
il recent portrait of
Constance Luft Huhn,
Head of the House of Tangee
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Every Sunday at 1:30 P. M. (EWT) Coast- to-Coast. ..Blue Network
by CONSTANCE LUFT HUHN
Head of the House of Tangee
MANY OF US may be serving shoulder
to shoulder with America's fighting men
— but we're still the weaker sex . . . It's
still up to us to appear as alluring and
lovely as possible.
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SAMMY KAYE IS ON THE AIR IN TANGEE SERENADE... Listen
Tangee
COPYRIGHT PmOBlT
hearts are drawn to a bright, sparkling smile!
Smiles are brighter when gums are healthier. Guard against "pink tooth brush"... use Ipana and massage.
YOU'LL celebrate Victory with a clear
conscience. Because you're working
hard toward it now. Good girl. After hours,
you rate the best in fun and romance !
So powder your nose— and smile. Go
out and have fun! That smile, now —
how'd it look in the mirror? Did it spar-
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That's the kind of smile that turns heads
and hearts! If you'll notice, most popular
girls aren't beautiful at all. But they all
have a beautiful smile!
So see to it that your smile is at its
radiant best. Remember, a sparkling smile
depends so much on firm, healthy gums.
Never ignore "pink tooth brush"!
If you see a tinge of "pink" on your tooth
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Your Country needs you
in a vital job!
A million women are needed to serve
on the home front — to carry on the
tasks of men gone to war — to release
more men for wartime duties.
Jobs of every kind— in offices, stores
and schools — as well as in defense
plants — are war jobs now. What can
you do? More than you think!
If your finger can press a button,
you can run an elevator or a packag-
ing machine! If you can keep house,
you've got ability that hotels and res-
taurants are looking for!
Check the Help Wanted ads. Or see
your local U. S. Employment Service.
SCREENLAND
3
is 'Great! ^itfe ^ u&afc$fa, unwdicL..aAul^^t(t{
R PIDGED
is Perfect! oa iks, JUcL Aoi^u^U.^t/w
EDWARD ARNOLD • AGNES MOOREHEAD • CECIL KELLAWAY
GLADYS COOPER • FRANCES RAFFERTY . TOM DRAKE • PETER LAWFORD . DAN" DURYEA • HUGH MARLOWE and the Saint Luke's Choristers
Screen Play by Robert Thoeren and Polly James • Based on the Novel by Louis Bromfield • Directed by TAY GARNETT ■ Produced by LEON GORDON • An M-G-M Picture
4 SCREENLAND
Paul Hunter, Publisher
Delight Evans, Editor
HOMER ROCKWELL, Vice President
Elizabeth Wilson,
Western Representative
Helen Fosher,
Assistant Editor
rffP/A
Frank J. Carroll,
Art Director
Anthony Ferrar a,
Asst. Art Director
The Editor's Page Delight Evans 7 9
Faye "Frames" Her Foibles. Faye Emerson Elizabeth Wilson 20
"Tall, Dark and Irish." Barry Sullivan By Dorothy Lamour
As told to Fredda Dudley 22
"Yes, Please?" Dennis Day Constance Palmer 24
Claude Rains Comes Home Hettie Grimstead 26
"Poor Little Rich Girl" Makes Good. Jane Wyatt Barry Farrar 28
Taming the Wilde Man. Cornel Wilde Jerry Asher 33
"Butch." Jackie Jenkins . Hattie Bilson 34
She'd Rather Be Wright. Teresa Wright .Vivian Cosby 37
What Is Happening to Lon McCallister Now! Dora Albert 38
Ooooh, Susanna! Susanna Foster Barbara Flanley 40
Awkward Age Star. Peggy Ann Garner Mollie Merrick 44
"Mr. America." Brian Donlevy Liza 46
"Janie." Joyce Reynolds Jessie Henderson 48
Hollywood's Design for Wartime Living Ruth Tildesley 52
Tu// 0olot PottKiiti: * * *
Errol Flynn, starring next in Warners' " Ob/ecf/ve Burma"
Merle Oberon and Cornel Wilde in Columbia's "A Song to Remember"
Marlene Dietrich, co-starring with Ronald Colman in^MGM's "Kismet"
''^"■:wood Greets Our Publisher; The Moore
'Constance Moore in "Atlantic
House" and "Double Fur-
\ in "Our Hearts Were
\
; 6
-fed by Delight Evans 8
1 72
Josephine Felts 1 6
ossip by Weston East 54
! 60
\nick's "Double Furlough"
\
Volume Forty Eight
Number Twelve
g Director
E. 42nd Street. New York. N. Y.
Chicasro. 111.: 127 W. 5th St., Los
n postage. They will receive careful
r. Yearly subscriptions $2.00 in the
eign $.'..0(i. Changes of address must
the old and new address. Kniered as
the act of March 3. 1879. Additional
rinted in the U. S. A.
TIONS.
SCREENLAND
Published In
this space
every month
The greatest
star of the
screen I
All through 1944 it is the Twenty-Year
Anniversary of M-G-M. In one recent
week 16,449 theatre-owners — every
movie house in these U.S.A. — showed
an M-G-M picture.
★ ★ ★ ★
We bow, we blush, we thank you, kind
motion picture showmen. 1 he best way
to show our gratitude is to continue to
deliver satisfying hits as in the past.
Two great films await your attentive
eyes and ears — "An American Ro-
mance" and "Mrs. Parkington".
★ ★ ★ ★
Of "An American Romance", King
Vidor's great epic of our soil, you have
heard great praise. Watch for it while
we pause to impress you with a current
triumph.
★ ★ ★ ★
"Mrs. Parkington".
*'*-*.'*
Or, rather, Greer Garson and Walter
Pidgeon in "Mrs. Parkington".
★ ★ ★ ★
This excellent film is a superb adapta-
tion of Louis Bromfield's best-selling
novel and gives that talented pair a
vehicle that is more than a vehicle.
★ ★ ★ ★
Many of our screen artists have looks,
many can act, many have personality.
Greer Garson is a triple threat. And
"Mrs. P." gives her the chance to
prove it again.
★ ★ ★ ★
Her deft transition from the naive
daughter of a mining-camp boarding-
house proprietor to a dynamic cosmop-
olite is one for the book Or better
still, one for the screen.
★ ★ ★ ★
Greer's "Susie" finds an excellent dove-
tail in the "Major Augustus Parkington'
as played by Walter Pidgeon. Ruthless,
dashing and with a roving-eye.
★ ★ ★ ★
The dream-like cast includes such stars
as Edward Arnold, Agnes Moorehead,
Gladys Cooper, Frances Rafferty, Tom
Drake, Selena Royle.
★ ★ ★ ★
Tay Garnett, director of "Bataan", has
also performed bril-
liantly — with the
megaphone.
★ ★
We suggest you park
yourself in a seat at
"Mrs. Parkington".
ea
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il
My?
"S * P\K
2.
« y°M PMC « ^ pW
bur^ps , o ab-
ac^1 P^i.*°i:>
s^-^ ^ the Sea«t
LOOK FOR THE FAMOUS PINK
Try Countess lydia
Grey— the facial ti»-
sue with the "dot-
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luxury — yeteosttleu
than other brands!
Army wives: Jean-
ette MacDonald,
above, with Capt.
Raymond; Gene
Tierney, below,
with her husband
Lt. Oleg Cassini.
1
FRom
HOLLYWOOD
Betty Hutton.
above, premieres
with Edward Nor-
ris; Irene Manning,
below, says "I do"
to Keith Kolhoff.
"yiS WHISPERED that John W
is worried over all that pij
linking him exclusively with Lar
ner. Not that he doesn't like or;
Lana. He does, very much. But
that there is no attachment. T?
right now at this stage of h\
John feels he has a man-sized/
trying to become a good actoj
maining the regular person
out to be.
WHEN ALEXIS SMITI
^* Craig Stevens, some twej
guests turned out for their •
Naturally there was extra he);
food and drinks. When one o{
found herself actually waiting
Flynn she dropped her tray ;
tearing out of the room. In fa
was back again, bearing a pari
She asked Errol for his a
slipped it nonchalantly into he
SCREENLAND
No matter where you start to read, the answer is the same
■
She'd rather lose her right
eye than pass up those al-
most daily bridge parties
with the gals. But that was
just what was happening.
Perhaps some of the gals
should have told her but;
after all, the subject* is too f&h
delicate even for a bridge
player.
All the facts of life but one.*Too bad Pat's Mother didn't tell
her that one, too. It might have made her first party a wonder
instead of a washout with all the boys giving her the "go by".
We hope Pat is wise to herself by this time.
"He certainly gave us the
'brush-off'." After trying for
weeks to get in to tne big boss,
their meeting was far from sat-
isfactory. Every time they'd
lean over to explain a point the
big boss would back away.
Every minute they talked they
affronted him, but they didn't
know why.*
It put the frost on his furlough. HOLY JOE!
How he'd counted on those wonderful ten days
. . . those swell gals . . . those nifty places ... the
•fun he would have. And here he was — the for-
gotten soldier getting the silent thumbs-down — ci
All his own fault,* too. Better smarten up, Soldier
Heaven won't protect the Working Girl. Gert's
off for the week-end with the cream of Camp
Grogan to pick from ... so she thinks. She
doesn't know it, but she's going to be the dame
che doughboys duck. Gert's not very bright
about some things.*
*This was their trouble
There's nothing like a case of halitosis (unpleasant breath)
to put you in wrong. Don't make the silly mistake of taking
your breath for granted; everyone can offend some time or
other without realizing it. Rather than gamble, so many clever
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While some cases of halitosis (bad breath) are of systen"^
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the mouth. Listerine Antiseptic halts such fermentation . . .
quickly overcomes the odors it causes.
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They had to be nice to him in the office, but outside, on his
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already — good for Baby! — and the big lug doesn t even sus-
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Let LISTERINE ANTISEPTIC look after your breath
SCREENLAND
7
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OF HER CP /.
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* . COHEN & SONS. CORP.. 27 W. 23 St. New York 10. N.V.
CURRENT FILMS
Selected "By
■A
DRAGON SEED— MGM
In all its categories this film based on Pearl S. Buck's
novel is a thing of exquisite beauty. The whole cast,
from Katharine Hepburn, Turhan Bey, Aline Mac-
Mahon, Walter Huston down to the most obscure extra,
submerge individual personalities to make the finished
product ring with sincerity. Everyone concerned seems
to understand the significance of the story which takes
a Chinese family through halcyon days when men did
all the thinking for their wives to the days of torture
and famine brought by Japan. How war has changed
a people's character has never been more eloquently
told. Nor has courage been more picturesquely shown.
OUR HEARTS WERE YOUNG AND GAY — Paramount
More fun than a pre-war trip to Europe is this film
version of the Cornelia Otis Skinner-Emily Kimbrough
novel with Diana Lynn and Gail Russell cast as the
co-authors. But don't try to find a plot. There isn't
any. Those whose hearts were young and gay in the
1920's will find plenty of amusement in the chronicles
of the two young Bryn Mawr damsels' misadventures
when they go abroad unchaperoned in secret pursuit of
a cynical Princeton man. And to the younger set, the
picture of their elders' heydey holds interest through
the final topper scene where the girls arrive at their
hotel minus dresses. James Brown is the girl-bait.
AN AMERICAN ROMANCE — MGM
An epic of monumental proportions is this story of a
poor Czech immigrant who rises on his own initiative
to the heights of wealth and power, giving Brian Don-
levy, who plays the role, a new importance. He easily
holds the spotlight for the two and one-half hours it
takes to tell the story which also includes a comprehen
sive study of making steel, automobiles and airplanes
with a treatise on capital and labor thrown in. That's
a large order, but it's superbly handled. Ann Richardy
as the immigrant's schoolteacher wife attracts attention
Walter Abel and John Qualen are fine support. See it
for a sincere slant on our good American way of life
THE MERRY MONAHANS — Universal
The backstage, old-time vaudeville theme gives Donald
O'Connor, Peggy Ryan, Ann Blyth and Jack Oakic
plenty of songs and dances. And if you skip this one,
you'll be missing some grand entertainment. It has a
warm, human, honestly sentimental appeal. Traditiona"'
loyalty in the theater is finely shown by Donald and
Peggy as son and daughter of aging trouper (Jack
Oakie) when producers try to cut him out of the act.
Rosemary De Camp (Oakie's ex-partner and sweet-
heart) and Ann Blyth, mother and daughter of another
act, supply a fine grade of old and young romance. Joh'i
Miljan does well in suave villain role. A grand show.
STEP LIVELY — RKO Radio
A fast pace, Sinatra, that new honey Gloria De Haven.
George Murphy's hoofing easily make up for what th
filmusical lacks in plot. It all hinges on an "angel's"
$50,000 check and the producer's attempt to open his
musical before the check bounces. In cahoots with the
producer (George Murphy) is his femme star, Glorii
De Haven, his whole company, his brother-in-law
(Walter Selzak) the fall guy who sets them all up to
room service in a swank hotel. Frank Sinatra plays a
playwright who can sing ! So when he finally' agrees
to be star attraction, everyone is in the long green.
8
SCREENLAND
Special prints of JANIE have already been delivered
—gratia — to the Army, for showing to men in combat
areas, isolated outposts and Red Cross hospitals.
youve wondered wty So many
people are 0oing Ground with
large, kappy SMlLES anrf
their hearts going bumpety-
BOOM— it's because they've
just seen the HAPPIEST
picture ever/! Its th&
Rational JoYghoW (why,
even the star is named
JOYoe Reynolds/)...
:t's from Warner Bros.,..
JOYCE REYNOLDS • ROBERT HUTTON • EDWARD ARNOLD • ANN HARDING • ROBERT BENCHLEY • ALAN HALE
Directed by MICHAEl CURTIZ ■ Screen Play by Agnes Christine Johnston & Charles Hoffman • From the Play Produced by Brock Pemberton
JACK L. WARNER, Executive Producer Produced by ALEX GOTTLIEB
SCREENLAND
9
PUBLIC ACCLAIM
for his private life!
His romantic roistering
story is being hailed
as great entertain-
ment all over the
country! Don't
miss it!
MICHAEL O'SHEA
ANNE SHIRLEY
IN
Briseo...
GENE LOCKHART
DAN DURYEA • STEPHANIE BACHELOR
RAY WALKER • TOMMY BONO
JAN IE — Warner Bros.
Joyce Reynolds as Janie will find many im-
itators among high school girls, and we're
glad that she's a nice, wholesome miss, ad-
dicted to nothing worse than chocolate sodas,
smooching, and blanket parties at which all
parents will rightly frown. But if they
choose to ape her modernized "pig latin,"
we pity the parents who try to understand !
The story is warmly appealing, including
Janic's family life and her romance with
high school chum, confused by an "out of
this world" Yale man, now a Pfc. in the
Army which has taken over her home town.
Complications are mild until Janie gives a
little party for servicemen that ends in a
riot. Edward Arnold and Ann Harding are
excellent as the parents. Robert Hutton as
the Pfc. Yale man will be a new favorite.
THE IMPATIENT YEARS — Columbia
Virginia Van Upp's screenplay, produced
and directed by Irving Cummings, and co-
starring Jean Arthur and Lee Bowman,
presents the same probkm which no doubt
puzzles a multitude of war brides, who have
not had the opportunity to get acquainted
with their husbands. Janie and Andy end up
in the divorce courts, but a wise father
(Charles Coburn) suggests a plan. They
must recapture their romance by reliving the
four days in which they met and married a
year and a half before. It works, but we
can't help thinking that they could have done
it right in their own home if the wife had
been smarter. Jean Arthur is grand as Janie,
and it's nice to see Lee Bowman scoring.
THE GREAT MOMENT — Paramount
Preston Sturges' first biographical picture,
concerning the discoverer of anaesthesia,
Dr. William Morton, will no doubt cause
a great deal of discussion among your
friends as to its merits. As usual he goes
off the beaten path to tell the story, giving
it a human quality, injecting a good portion
of slapstick when things get serious. Joel
McCrea does a creditable job as Dr. Mor-
ton, struggling dentist who strives to find
the pain killer for his suffering patients.
Betty Field plays his pretty wife who
doesn't know what he's trying to do. Harry
Carey, a well-known surgeon who tries out
Morton's concoction and apparatus, and
William Demarest head a splendid cast.
I LOVE A SOLDIER — Paramount
Paulette Goddard and Sonny Tufts are co-
starred for the second time in this film
dealing with wartime marriages. The girl
is a welder by day and "sweetheart" of
Armed Forces at night, but as far as she
is concerned, marriage is out — until a
wealthy spinster tells her about her broken
love affair. The boy is a South Pacific hero,
who forgets to mention that he has a wife
when he falls in love with her. Interwoven
in the plot is the romance of her roommate
and a sergeant which terminated into a
happy marriage, and the grief of another
girl whose husband is missing in action. Yes,
there's plenty of conflicting emotion for our
heroine, and it's a wonder she finally suc-
cumbs to matrimony. Barry Fitzgerald and
Beulah Bondi shine in supporting roles.
CASANOVA BROWN — RKO Radio Release
A teasing technique is used to intrigue in-
terest in this film starring Gary Cooper as
a father without a wife. It finally lets you
in on the secret of that situation, then
launches off in a series of amusing inci-
dents, slightly on the ridiculous side. The
funniest is Gary's scientific routine in caring
for his own baby, which he has kidnapped
from his ex-wife, Teresa Wright. Things
get pretty hectic when his fiancee, a stalwart
character played by Anita Louise, relatives,
and a few hotel employees descend on the
"kidnapper" who finally explains and clears
the atmosphere. Frank Morgan adds a lot
of merriment with his own special brand
of humor in the role of a conniving father.
TAKE IT OR LEAVE IT — 20th Century-Fox
The surprising thing about this movie based
on the radio program is the fact that such
a thin story can hold the audience. The trick
is in the well-known $64 question which
turns up a series of clips from former 20th
Century-Fox pictures. This forms a quiz
for the audience as well as the contestant,
a young sailor who is about to become a
father and needs $1,000 for an expensive
doctor. The questions Phil Baker asks are
tough, even for the best movie fan. You'll
see Shirley Temple, Alice Faye, Betty
Grable, the Ritz Bros., the Ink Spots in
scenes from old pictures. Edward Ryan and
Marjorie Massow are likeable in romantic
roles. Phil Baker is good as — himself.
SCREENLAND
A REPUBLIC PICTURE
mb-. and Mm. So&keb,
THIS IS YOUR
LOVE STORY!
A PREDICTION
With this picture, an
exciting new star joins
your favorite leading
men. Lee Bowman is a
name you're going to
look for... a star you'l
go fori
with EDGAR BUCHANAN
^dlSpir;uceryby VIRGINIA VAN UPP
Produced and Directed by IRVING CUMMINGS
SCREENLAND
11
Glamorous Hair
Wins Sailor at
Canteen Dance
What fun at the canteen since Johnny
cut in and said, "I had to dance with
you, Glamorous— how could anyone
resist your bright, sparkling hair!" Yet
not so long ago Canteen dances were
as dull as my own drab-lookinst hair.
"Boys naturally go for girls with lus-
trous hair," Mary, the girl at the beauty
shop told me. "Why don't you try
Nestle Colorinse? You'll be thrilled with
the beautiful highlights — the glorious
sheen it gives your hair." It sounded
wonderful— and it certainly was!
Last night Johnny said, "I'll always love
your bright sparkling hair." I smiled
as I thought how Colorinse started
him sailing my way.
Pf For your next permanent, ask for on Opalescent Creme
> Wave, by Nestle — originators of permanent waving.
RINSE
In TO/ and 25 < size*.
At beauty counter*
\ everywhere.
*****
Speak Up
That's the only way to let the stars
know how you like them and their
pictures. They can't read your minds,
but they can read your opinions in
Fans' Forum. Write your letter today.
Monthly awards' for the best letters
published: $10 00, $5.00, and five $1.00
prizes, all payable in War Savings
Stamps. Closing date is the 25th of the
month.
Please address Fans' Forum, Screen-
land, 205 E. 42nd St., New York 17,
N. Y.
FIRST PRIZE WINNER
$10.00
It's pretty demoralizing to pick up maga-
zines and read about juvenile delinquency
and then go to a movie and see Hollywood
blab about the same thing in a movie called,
"Where Are Your Children?"
Why don't some of you movie men stop,
look and see what we folks in the high
schools are doing to help win this war?
Why don't you give us a picture about how
our school bought an ambulance ... or how
my cousin's school paid half of the cost of
a bomber . . . and how my best boy-friend's
high school ran a bazaar and contributed
the funds for wives and children of service-
men?
We aren't as bad as we are painted — if
you'll only add some nice colors to the paint
mixture.
JOAN MILLER, West Farms 60, N. Y.
SECOND PRIZE WINNER
$5.00
All the laudatory adjectives in the book
to Paramount for something new in the
cinema world ! And still more for Bing
Crosby and Barry Fitzgerald who put over
this "something new" to an appreciative,
change-seeking public. By now you must
realize that I speak of "Going My Way,"
the top mind-soothing movie out of a Holly-
wood which has long seemed lost in the
militaristic tide.
"Going My Way" is finding a place in
the hearts of a war- weary public. It is the
type of "escape" a hard-working America
can use — and use more of ! Yes, there is
the religious angle. But skeptical Protes-
tants and doubting Catholics who feared the
Church might be scandalized left theaters
smiling, pleased ! Comedy, pathos, a deep
thought now and then and the grandest
variety of music cinema-goers have had the
opportunity to hear make "Going My Way"
the ultimate of quiet, "peace of mind" mo-
vies. Bing Crosby goes beyond the "Crosby
best," and the inimitable Barry Fitzgera'd
portrays a supporting role for which only
an "Oscar" could be just reward.
For all this we members of a hectic gen-
eration give hearty thanks — thanks for the
momentary departure from the clash and
clang of our current existence.
SGT. BOB KAROLEVITZ,
Camp Wolters, Tex.
FIVE PRIZE WINNERS
$1.00 Each
I just got back from "Ali Baba And The
Forty Thieves" and if that new star, Tur-
han Bey, doesn't make fans that outnumber
the Sinatra Swooners by plenty, then I don't
know from nothing.
He has the kind of looks and personality
that make us gals want to — well, all I can
say is : "Turhan, I would gladly tear my
last pair of precious nylons into tiny bits
if you would be my guardian angel as you
were Maria Montez' in 'Ali Baba.' " Brother,
that's devotion with a capital "D."
In your July Screenland you showed a
picture of the 1921 Swoon King Rudolph
Valentino and, opposite it, today's Swoon
King. ■ Believe it or not, I swooned to find,
not Sinatra, or Taylor, or Gable, but that
wonderful guy I've been raving about, Tur-
han Bey, appearing as today's Swoon King,
which is as it should be.
Give us more of this handsome young star
both in your magazine and in starring roles
12
Screenland
Take Your Pick of 400 Little Blue Books at Bargain Price of 51 Each
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Self-Help Books
25 Rhyming Dictionary
75 On the Choice of Books
78 Hints on Public Speak-
ing
82 Common Faults in Writ-
ing English
B6 On Reading. Brandes
93 How to Live 100 Years
112 Secret of Self-Develop-
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192 A Book of Synonyms
326 Hints on Writing Short
Stories
514 Hints on Writing Poetry
556 Hints on Etiquette
629 Hand-book of Legal
Forms
639 4,000 Most Essential
English Words
681 Spelling Self Taught
682 Grammar Self Taught
683 Punctuation Self Taught
703 Physiology Self Taught
725 Zoology Self Taught
734 Useful Phrases
748 Plane Geometry Self
Taught
751 How to Merchandise
801 A Rapid Calculator
815 Familiar Quotations
821 How to Improve Your
Vocabulary
822 Rhetoric Self Taught
823 English Composition Self
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835 Useful Tables
847 Card Games
855 How to Write Letters
856 Arithmetic Self Taught
Part I
857 Arithmetic Self Taught
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868 Hints on Self-Improve-
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872 Manual of Parliamen-
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891 Your Talent and How to
Develop It
894 How to Advertise
895 Astronomy for Beginners
994 Physics Self Taught
1004 How to Save Money
1031 How to Own Your Home
1174 How to Write Business
Letters
1206 How to Swim
1319 How to Study
1351 How to Get Ahead
1357 What You Should Know
About Law
1427 Law for Workingman
1503 Effective English in
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1504 How to Overcome Self-
Consciousness
1555 Rules for Success in
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1726 How to Think Creatively
Biography
33 Brann: Smasher of
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123 Life of Madame du
Barry
141 Life of Napoleon
142 Life of Bismarck
253 Haart Affairs of Henry
VIII
324 Life of Lincoln
343 Diary of Columbus in
1492
395 Autobiography of Cellini
412 Life of Mahomet
490 Life of Michelangelo
506 Life of Voltaire
522 Life of Thomas Paine
523 Life of Franklin
525 Life of Goethe
52S Life of Caesar
528 Life of Shakespeare
537 Life of Barnum
565 Magellan and the Pacific
604 Life of Roosevelt
718 Great Women of
Antiquity
769 Life of Thomas Jefferson
1482 Career of Gen. U. S.
Grant
1723 Career of Al Capone
Entertainment
606 How to Play Chess
626 Old Favorite Negro
Songs
658 Toasts for All Occasions
704 Facts to Know About
Palmistry
767 Facts to Know About
Astrology
845 Facts to Know About
Fortune-Telling
893 Five Hundred Riddles
995 How to Play the Piano
1006 Children's Games
1010 Book of Amateur Magic
Tricks
1049 How to Teach Yourself
to Sing
1103 Book of Puzzles and
Brainteasers
1139 Photography Self
Taught
1175 Amusing Riddles
1183 How to Play Checkers
1210 Mathematical Oddities
1239 Party Games for Grown
Ups
1254 Contract Bridge Made
Easy
1277 Hindu Magic Self
Taught
1278 Ventriloquism Self
Taught
1285 Gamblers' Crooked
Tricks Exposed
1688 100 Cocktails
1747 Games of Solitaire
Famous Books
1 Rubaiyat of Omar
Khayyam
220 Vest's Tribute to a Dog
313 Decay of Lying. Oscar
Wilde
337 Pippa Passes. Robert
Browning
349 Apology for Idlers
394 Boswell's Life of Dr.
Samuel Johnson
406 Essay on Man. Alexan-
der Pope
785 Ballads of Sir Walter
Scott
1196 Girl with Three Hus-
bands
1532 Don Quixote. Cervantes
Fiction
12 Mystery Tales. Poe
21 Carmen
23 Great Sea Stories
40 House and Brain
58 Tales from Decameron.
Boccaccio
102 Sherlock Holmes Tales
107 The Dream Woman
145 Great Ghost Stories
215 Miraculous Revenge.
Bernard Shaw
223 Wanton Wife of a King.
Jack London
277 Man Without a Country.
290 The Gold Bug
352 Short Stories, William
Morris
375 Love Story of an Old
Maid
630 Second-Story Man.
Upton Sinclair
672 Illicit Love. Boccaccio
673 Tales of Love and Life.
Boccaccio
698 Tales of Chicago. Ben
Hecht
699 Broken Necks. Ben
Hecht
746 A Daughter of Eve
1166 Infatuation
1457 Sketches of Naughty
Ladies. Goethe
1458 The Princess and the
Tiger. Goethe
1605 The Girl in the Snappy
Roadster
1610 One Lover Among Many
1624 The Woman Who In-
spired Fatal Passion.
Anatole France
1669 The Jolly Beggars. Robt.
Burns
Fine Arts
387 History of Painting
403 History of Music
466 History of Sculpture
468 History of Architecture
French Literature
in English
3 Fourteen Little Essays.
Voltaire
6 Love. Maupassant
27 Last Days of Condemned
Man. Hugo
28 Toleration. Voltaire
52 Oration on Voltaire.
Hugo
66 Crimes of Borglas.
Dumas
85 Attack on the Mill. Zola
87 Love: An Essay.
Montaigne
103 Pocket Theology.
Voltaire
104 Battle of Waterloo.
Hugo
178 One of Cleopatra's
Nights
198 Majesty of Justice.
France
199 The Tallow Ball.
Maupassant
200 Ignorant Philosopher.
Voltaire
221 On Women, Maeterlinck
292 Mademoiselle Fin.
Maupassant
314 Short Stories. Daudet
344 Don Juan. Balzac
886 The Piece of String.
Maupassant
887 The Necklace. De Mau-
passant
888 Memoirs of Madame de
Stael
1242
1321
1426
1435
1443
1478
1479
1534
1553
1563
Health
Care of Skin and Hair
Fasting for Health
Foot Troubles Corrected
Constipation: Its Cor-
rection
Daily Exercises for Busy
People
Poor Posture Corrected
by Exercise
Correction of Under-
weight and Over-
weight
How to Test Urine at
Home
Exercises for Nervous-
ness and Indigestion
Marvels of Sunlight
126
149
150
214
276
558
596
597
627
1065
1241
1757
291
347
348
382
670
771
971
1115
1146
11S1
1199
1200
1261
History
Paine's Common Sense
Marriage: Its Past, Pres-
ent and Future. Annie
Besant
History of Rome
Historic Crimes and
Criminals
Lost Civilizations
Speeches of Lincoln
Speeches of Washington
Great Pirates. C. J.
Finger
A History of Modern
Mexico
History of American
Revolution
History of the Jews
Lives of U. S. Presidents
Outline of U. S. History
Facts About Alaska
Humor
Let's Laugh. Nasby
On Going to Church.
Bernard Shaw
Witty Epigrams. Oscar
Wilde
The Jumping Frog.
Twain
Riddle Rimes
Best Wit of the Scotch
Humor of Lincoln
Josh Billings' Comical
Lexicon
Humor of "Bill" Nye
Humorous Anecdotes
Ridiculous Stories
College Humor
Broadway Wisecracks
Laughable Lyrics
Nonsense Stories
Prize Winning Tongue
Twisters
Juvenile
44 Aesop's Fables
57 Rip Van Winkle
156 Andersen's Fairy Tales
158 Alice in Wonderland
188 Adventures of
Munchausen
391 Dog of Flanders. Oulda
516 Real Adventures
554 Child's Garden of Verse
559 Robinson Crusoe
716 Mother Goose
819 Strange Murders
836 Bluebeard, Cinderella
Literature
79 Enoch Arden
95 Confessions of an Opium
Eater
146 Snowbound; Pied Piper
148 Strength of the Strong.
Jack London
152 Son of the Wolf.
Jack London
177 Subjection of Women
229 Ridiculous Women.
Moliere
285 Unconventional Amour
289 Pepys' Diary
513 Travels of Marco Polo
661 Neurotic America and
the Sex Impulse
799 Deserted Village.
Oliver Goldsmith
829 Voltaire. Clarence
Darrow
1569 Boccaccio — Lover and
Chronicler of Love
1673 Runaway Wife
Love and Romance
106 Frenchwoman's Views of
Life
196 The Marquise: Secret
Passion
283 Courtship of Miles Standish
404 Romances of Paris
410 French Amorous Misadven-
tures
438 Secret Memoirs of French
Royal Mistress
540 Brightly Colored Tales of
Passion
541 French Love Stories of
Many Hues
6G5 Love Letters of a Parisian
713 Byron and the Women He
Loved
786 Catherine the Great and
Her Lovers
810 Some Polite Scandals of
Parisian Life
817 Her Burning Secret
915 Mad. and Other Stories
916 Night in Whitechapel
917 Room No. 11
918 Man with the Blue Eyes
919 The Clown
920 Queer Night in Paris
921 Mme. Tellier's Establish-
ment
922 Wife's Confession
975 Cleopatra and Her Loves
976 Casanova: World's Greatest
Lover
990 Wagner's Great Love Affair
1046 Coquette vs. a Wife
1047 Mysterious Exiles
1067 Splendors of a Courtesan
1113 Love from Many Angles
1195 First Love, and Other Tales
1202 Forbidden Love
1213 Romance That Balzac Lived
1270 Among the Mormons
1392 Confessions of a Gold
Digger
1428 Curious Love Affairs
1445 Wild Women of Broadway
1587 Amazing Loves of King
Carol of Rumania
1620 Merry Tales. France
1622 Five Women and the Grand
Passion. France
1656 The Girdle of Aphrodite
Philosophy
11 A Guide to Nietzsche
19 Nietzsche: Who He Was
35 Facing Plain Facts of Life
96 Dialogues of Plato
101 Thoughts on Man. Pascal
153 Chinese Philosophy of Life
159 Guide to Plato
195 Thoughts on Nature.
Thoreau
414 Art of Happiness. Powys
520 A Guide to Spinoza. Durant
571 Story of Kant's Philosophy
671 Moral Discourses of
Epictetus
839 Anatole France: Laughing
Cynic
Religion
4 The Age of Reason. Paine
61 What is Religion? Tolstoy
184 Primitive Beliefs
593 As a Man Thinketh
600 The Essence of the Bible
636 Greatest Thing in the
World
684 Essence of Judaism
Russian Literature
(in English)
24 The Kiss. Chekhov
45 Tolstoy's Short Stories
100 Red Laugh. Andreyev
105 Seven Hanged. Andreyev
239 26 Men and a Girl. Gorky
Science
53 Insects and Men: Instinct
and Reason
92 Hypnotism Made Plain
190 Psycho- Analysis: The Key
to Human Behavior
217 The Puzzle of Personality
408 Einstein's Relativity Ex-
plained
447 Auto-Suggestion
467 Facts About Evolution
491 Psychology for Beginners
524 Death: and Its Problems
555 Structure of the Earth
HALDEMAN -JULIUS CO.
Dept. A- 139
Girard, Kansas, U. S. A.
603 A-B-C of the Electron
Theory
679 Chemistry for Beginners
727 Psychology of Affections
761 Food and Diet
804 Freud on Sleep and Sexual
Dreams
806 Facts About the Nature of
Science
808 Man's Debt to the Sun
876 Curiosities of Mathematics
1299 Origin of Life
1429 Airplanes, How to Fly Them
1442 Facts About Graphology
1514 Inventions of Edison
1595 Facts About Calendar
1722 Fortune Telling from
Dreams
1754 How to Read Finger Prints
Social Hygiene
14 What Every Girl Should
Know
74 Physiology of Sex Life
91 Manhood: Facts of Life
98 How to Love. Wood
172 Evolution of Sex. Wood
189 Eugenics Made Plain
203 Love Rights of Women
648 Rejuvenation — Fountain of
Youth. Fielding
651 How to Psycho-Analyze
Yourself
653 What Boys Should Know
654 What Young Men Should
Know
655 What Young Women
Should Know
656 What Married Men Should
Know
657 What Married Women
Should Know
689 Woman's Sexual Life
690 Man's Sexual Life
691 The Child's Sexual Life
717 Modern Sexual Morality
726 Simple Facts About
Venereal Diseases
782 Psycho-Analysis and the
Mind and Body
784 Tests Used in Psycho-
Analysis
800 Sex in Psychoanalysis
864 Confidential Chats With
Husbands
Miscellaneous
986 How to Talk and Debate
987 The Art of Kissing
988 The Art of Courtship
1003 How to Think Logically
1009 Typewriting Self Taught
1012 Best Negro Jokes
1013 Best Irish Jokes
1014 Best American Jokes
1018 Humorous Limericks
1023 Popular Recitations
1040 Bedtime Stories
1043 Study of Woman. Balzac
1069 Conquest of Fear
1070 How to Fight Nervous
Troubles
1078 Morals in Greece and Rome
1093 Amusing Puns
1097 Memory: How to Develop
1109 Spanish Self Taught
1126 Eating for Health
1170 Funny Ghost Stories
1176 A Mad Love
1184 Book of Best Scotch Jokes
1207 French Self Taught
1221 Facts About Will Power
1228 Best Jokes About Drunks
1231 Book of Best Jokes
1249 Best Jokes About Lovers
1292 Best Short Stories
1320 How to Get a Husband
1333 Common Sense of Health
1340 How to Get a Job
1341 Unusual Menus
1342 Typical Love-Problems
1354 Book of Striking Similes
1413 My Prison Days
1418 Broadway Gangsters and
Their Rackets
1419 Curious Deaths
1430 Shorthand Self Taught
1434 How to Think Clearly
1436 Strange Marriage Customs
1475 Book of Best Jokes
1476 What to Know About Your
Sensations
1508 Facts About Poisons
1524 Famous Eccentric Ameri-
cans
1548 Chinese Cook Book
1562 How to Live Long
1567 Making Men Happy with
Jams and Jellies
1633 Exploits of a Fiddler
1677 How Army and Navy Fight
Venereal Diseases
1710 The Magic of Numbers
1712 Great Dates in History
1714 Determinism vs. Free
Will
1715 Funeral Services Without
Theology
1717 Religion and Progress
1719 Inge's Apology for
Christianity
1721 Gambler's Luck
1727 Fifty Famous Sauces
1738 How to Win Prize Contests
1739 Hints on Developing Per-
sonality
1740 True Prison Escapes
1746 Mediums' Tricks and
Rackets Exposed
1753 Why Many Women Are
Unattractive
1756 Simplified Cook-Book
1761 America's Little Hitlers
SCREENLAND
9
13
on the screen. Good luck to you, Turhan,
and I'm swooning for you.
JOYCE TOWNSEND, Ponca City, Okla.
I am a constant reader of Ernie Pyle's
human descriptions of the war, and each
night when I finish reading his column, my
mind dwells upon what a wonderful picture
his life story will make.
I have never dreamed of Hollywood
greatness for myself. Here, in my little
world, doing my little daily' tasks for my
baby daughter and my war-worker husband,
I am completely contented. But would that
for just a brief moment I might be a person
of authority in deciding the actor to play
the part of Ernie Pyle !
Unhesitatingly, I would insist — James
Gleason ! Not only is he an actor of charm
and great skill (see "A Guy Named Joe"!)
but, to make matters perfect, he bears a
marked physical resemblance to Ernie Pyle.
Yes, it's my firm belief that that fine war-
correspondent could live on the screen, por-
trayed by Jimmy Gleason !
MRS. JOHN H. LYONS,
Cranston 10, R. I.
I belong to that vast legion of women
known as the "stringy-hair brigade." No
matter how I slave and suffer untold agonies
of permanents, bobbie pins, patent curlers
and such, my hair never has that certain
look of well-groomed women.
Yet, Mrs. William Cody, seen as of yes-
terday in "Buffalo Bill," achieved an elab-
orate hair-do with no effort at all. She lived
two years on the plains as a pioneer, woman
and yet her coiffure was perfect! Better
still, she even bore a son in a cave and yet
not a hair seemed displaced.
Come now, Mr. Producer, is that fair?
You know, and / know' (and how well!)
that there comes a time in every woman's
Star meets Starr. Bob Hope gets a load
of Jimmy Starr's Hollywood murder
mystery, "The Corpse Came C.O.D." In
case you feel like reading over Bob's
shoulder, a condensation of this book ap-
pears in the Sept. 23 issue of Liberty.
life when she literally and figuratively "lets
her hair down." So let's have more realism
in our "rough and ready" pictures.
Incidentally, the picture was gorgeous and
most exciting except for that ever faultless
hair-do of Mrs. Cody's.
MRS. J. BOYD JACK,
Shinnston, W. Va.
Today while I was on watch I happened
to pick up my favorite movie magazine and
read the column "Fans' Forum." Within
these lines I am going to express not only
my own but the feeling of a great number
of my shipmates.
My criticism is on the type of pictures
sent out to servicemen. Our objection is
these zvar pictures. God only knows it's bad
enough to be away from homes and loved
ones without that type of entertainment
coming to us. Our preferences are light
comedies, musicals and semi - dramatic
scripts. Don't you agree that we see and
feel the effects of enough war without being
reminded of it?
The facilities we have are that of a 35-mm
projector and a greater percentage of the
pictures shown are three and four years old.
Within three months we have had about
twenty war pictures.
Frankly, don't you think that something
could be done?
ROBERT E. DESCHAINE, B l/c,
F.P.O. San Francisco, Calif.
The first post-war motion picture devel-
opment I hope to see is a system of lighting
unoccupied seats. To elderly patrons like
myself — I'll soon be seventy-seven — this
would be a valuable contribution towards
the enjoyment of the picture as well as an
incentive to attend the theater more often,
knowing we could make our own selection
of seats.
Without detracting from the necessary
darkness, shaded seat lights would eliminate
groping about and requesting persons in
aisle seats to rise, only to find that all seats
in that particular row are filled. This would
help those who desire to sit in a group to
determine the number of adjoining seats
available.
To the industry that has so successfully
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14
SCREENIANB
mastered the mysteries of Technicolor and
television it would be only a small job to
get around to "teleseating" after the war.
MRS. MICHAEL FLAHERTY,
Parkersburg, W. Va.
HONORABLE MENTION
I recently read an article on Ann Sheri-
dan which informed the public that she was
turning back to her old title and roles of
the "Ooomph Girl." I was very much
grieved at this thought, because I, for one,
realize that it wasn't until her roles in such
plays as "King*s Row," "Edge Of Dark-
ness," etc., that she was really established
as a fine actress. I do wish she would stick
to the dramatic type of role.
BERNICE BAKER, Auburn, Wash.
I am a girl aged 18, and I live in a small
town. So, with never anything happening
I spend most of my time in movies. I have
seen practically every show that has come
from Hollywood. I saw the movie, "Two
Girls And A Sailor," twice and no actress
has ever impressed me as much as June
Allyson. She has a look on her face that
makes you feel as though you've known her
for years. She doesn't have that "put-on"
air.
But, my question is, why doesn't she get
as much publicity as the other young stars?
Why isn't she written up in movie maga-
zines? I think she is a coming star and
the public would like to see her as much
as anyone else.
MARY MARGARET MOORE,
Jeffersonville, Ind.
I have never believed in writing letters
to movie magazines praising screen stars,
but after seeing Eve Arden's portrayal of
the wise-cracking secretary to Otto Kruger
in "Cover Girl," I have had a change of
mind. She certainly stole the show and is
deserving of bigger and .better parts. She
might not be listed as one of the ten best
actresses but, from now on, she's number
one on my list. So, come on, Hollywood,
give an actress, who deserves one, a break.
GLORIA RIVAULT, Addis, La.
Welcome back to radio, Rudy! Now on inac-
tive duty from the Coast Guard, Vallee is seen
stowing away his duffle bag preparatory to re-
turn to NBC air waves. His time is again your
time — and picture plans are also in the offing.
Scenario for every girl
with designs on a man!
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NEW WINGS ON THE TOWN . . .' Gorgeous!
That's ME! Saturday— that's TODAY! Oh,
what a beautiful mor-ning! "
"My shower sure makes me feel 'sweet
and lovely'— and a quick touch of Mum
will keep me that way for hours! "
A bath removes past perspiration— Mum
prevents risk of future underarm odor!
"Speed's the word for Mum— and Mum's
the word for charm— if a girl wants
daintiness to last. And I mean ME!"
Takes only 30 seconds to use Mum —
guards charm for hours!
(Private thoughts of a happy girl.) "He's my dream
come true— only more so! Already, he's hinting
I'm the girl to wear his wings. Thank goodness I
can depend on Mum to keep me fresh as a daisy
all my date long."
Mum works— fast, yet gently— won't harm skin
or injure the fabrics of your daintiest dresses.
Use Mum anytime, every day — always before
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MUM
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Product of Briitol-Myen
Screen land
15
STAND
UP FOR '
BEAUTY
,„ seven weeks'
home study, UnWar-
sal s,arlet,
aiJII" or health-
charm and beauty
RIGHT: Standing with her body in proper
alignment Ann looks young, charming and vig-
orous— and her clothes hang well. Graceful,
fluent movement, head up, shoulders down,
tummy in and knees close, this walk radiates
bouyant health and beauty. Easily and grace-
fully, Ann picks up a book. Compare this lovely
action with the grotesque one shown above.
WHAT'S the secret of making an im-
mediate good impression when you
enter a room full of people? Why
does the same d.ess look divine on one girl
and completely insignificant on another?
What makes every action of a screen star
seem lovely while the simple everyday move-
ments and gestures of Miss Average
Woman often appear awkward and unat-
traenve?
These are questions to which every bud-
dins starlet must learn the answers. And,
naturally, they're the questions that lurk in
the back of most girls' minds. So we asked
Ann Rooney, young Universal actress, to
share with us some of the knowledge of
beauty, poise, and movement which she
learned through the John Robert Powers
Home Study Course. Ann's such a good
sport that she was willing to let us take
pictures of her pretty self in the most unat-
tractive poses — just to show a few of the
real reasons why many girls lack charm,
style and confidence.
You simply must "stand up for beauty,"
says Ann. A body that has humps and
bumps and that is all out of alignment can't
be beautiful or vital. Just look at Ann in
her bad posture picture. Her head is way
forward — in the position that's bound to
bring a thick line to the back of the neck.
Her shoulders slump and, of course, breasts
droop at the same time. Her abdomen is
pushed out and back swayed in. Knees are
locked — with the resultant protruding der-
riere. See what happens to her. charming
dress? It sags and gathers and looks plain
dowdy.
Very few people have all these posture
faults, but most of us, if we're not careful
can claim a few of them. Watch your own
figure profile in a • mirror and analyze it
honestly. Then, try to visualize your body
as it would arid should be. (See Ann in
photo at left of page.)
A good recommendation is to picture an
imaginary plumb line that runs down from
your ear lobe, through your shoulders and
hips, back of your knees, and through the
ankle bone. Only if your neck and upper
back are straight, your tummy in, your hips
forward, and your knees relaxed will the
line of beauty be yours. From Ann's experi-
ence she knows that this perfection of pos-
ture gives not only basic balance, relaxation,
strength and coordination, but also a mental
quality of poise and vitality.
Now that Ann— and you — have achieved
good standing position, the next step is to
move well. A sloppy walk ruins the general
(Please turn to page 105)
16
SCREENLAND
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17
IT'S
They felHnlove
Broadv/ay1-
20,. S»
CENTURY-FOW W.ftSONS »s
PICTURE
ANTHONY BEVERLY MAXIE
QUINN • WHITNEY • ROSENBLOOM
Directed by Produced by
GREGORY RATOFF « DAMON RUNYON
AND THE METROPOLITAN OPERA SINGERS
LEONARD WARREN and BLANCHE THEBOM
Screen Ploy by Eorl Baldwin and John Tucker Ballle • Based on o slory by E. A. Ellington
18
SCREENLANC
Jo* E. Brown, left, most ardent wartime entertainer. Jinx Falkenburg, above,
puts plenty of zing into her song for the boys at Hollywood Canteen.
!
DEAR JOE AND JINX:
Seems to me we owe you a
kind of apology. Here's why:
in the midst of all the acclaim for
Bob Hope, Carole Landis, Frances
Langford and other splendid troup-
ers, we have more or less overlooked
the swell job you have done and are
doing to entertain our boys. Espe-
cially you, Joe. Because you haven't
made a fuss about it; haven't given
many interviews or written any books,
your particular part in show business'
great wartime contribution has gone
practically unsung.
Joe, I've known you for a long
time. I've always liked that homely,
crinkly, kindly grin of yours, because
I know it's more than skin-deep. I've
admired that stamina which carried
you through your cruel kid days in
the circus to Hollywood fame and
fortune. But it took a war to make
me realize what a great guy you really
are. Now I know. Putting aside your
personal grief at losing a beloved son,
you were among the first to hurry off
to bring the boys in the South Pacific
a grin from home.
Jinx, you've never become a
star" and now I think I
know why. You have
everything — beauty, ambi-
tion, humor — -but ego. The
fact that you like to wear
a huge "Jinx" embroidered on your
chest or carved in diamonds and stuff
on your lapel doesn't prove a thing.
Because you're still not a glam-gal at
heart. You're too real, too light-
hearted for that. The picture on this
page proves it. You're not, like so
many movie actresses, thinking of
how you'll look for the photographer;
you've forgotten everything but the
song you're trying to put over for
those kids. And just for that, I hope
you DO grow up to be a big star.
mfi
Faye Emerson, at one E
time known as War- W
ner Brothers' No. I m
Screen Test Girl, plays ]
tensely dramatic scene
above with Za chary
Scott in "The Mask of
Dimitrios." Her next
role is opposite Den-
nis Morgan in "The
Very Thought of You."
By Elizabeth Wilson
FAYE "FRAMES" HER FOIBLES
20
A FTER three years of being shoved around unmercifully
in Hollywood, Faye Emerson has at last planted her
two feet solidly in the soil and refuses to budge another
inch. "Either I'm an actress, or I'm not an actress," says
Faye with dignity. "If I have talent I should be given good
parts in pictures. If I have no talent then I am better off
out of this business— which is already overloaded with un-
talented people."
As it invariably happens when an actress, who has been
accepted as a combination of a busy little beaver and a
mouse with an inferiority complex, gets her dander up and
says to hell with it — as invariably happens, I repeat, the
studio bosses sit up and take notice. After being the number
one test girl on the Warners lot for the past three years, the
holiday art girl, and the publicity gag girl, Faye is now
getting good dramatic parts for a change, as witness her two
recent roles in "The Mask of Dimitrios" and "Between Two
Worlds." When Faye said indignantly, "I'm fed up with
this pushing around, I'm going back to San Diego," the studio
got all hoity-toity and said, "Indeed you're not. You're going
to stay right here and act. Take your hat off and sit down."
A lot of this mental agony, this floundering around in the
uncomfortable depths of despair could have been avoided,
Faye admits, if she just hadn't been so darned sensitive. But
if you're born sensitive and shy, as everyone knows who had
the misfortune to be born that way, it takes years and a
thousand deaths to build up a defense mechanism — and then
just when you think no one can ever hurt you again some
stupid fool can send it toppling in ruins. If you want to be
a successful actress in Hollywood, it's better that you have
warts on your nose than that you have feelings that resemble
the leaves of a sensitive-plant.
"I know I deserved a lot of the pushing around I have
received the past three years," says Faye, being big about it.
"I just laid myself wide open to it. When a producer would
take the trouble to talk to me about his next picture and
say, 'Do you think you could play the lead?' I'd be very
modest about it, like a perfect (Please turn to page 80)
WHEN I was told that Barrv Sullivan was to be rav
leading man in "Rainbow Island" I asked, naturally
enough, what he was like. In making pictures, the
principals are closely associated for a period varying — accord-
ing to budget, the flu situation, and luck — from two to eight
months. It is nice to like the person whose face you are going
to nave to look at during that time.
"You'll like Barry," I was told. "He's big, brown-eyed, and
witty. He photographs like a million. In 'Lady In The Dark'
he wore a mustache, but he's to be clean-shaven in this."
"Oh, sure," I said blandly. "All the men in my pictures are
clean-shaven because of the favorable electric razor situation
on my islands!" However, this description gave me the im-
pression that Mr. Sullivan would be okay in a sarong if the
script demanded it.
The first day Barry came on the set, our director brought
him over and introduced him. He was big, all right, to the
extent of 6 feet 2% inches, and 182 pounds in weight. How-
ever, I gained the impression that he was a trifle nervous and
somewhat shy. Twenty minutes after we had been introduced.
Mr. Sullivan had vanished.
For days, this disappearing act continued with great suc-
cess. When he was wanted for a scene, he popped up from
nowhere. The instant the take was -satisfactory, he de-mate-
rialized. I didn't discover for two weeks that, whenever he
coidd, he was withdrawing to the anonymity of the extra
groups and hiding there. Our first scenes showed a native
feast on a palm-tree filled set — quite an elaborate and busy
place — so it was easy for him to make himself scarcer than a
T-bone on Tuesday.
Toward the end of the second week we managed to entice
Mr. Sullivan into a gin rummy game. I will say this for
Barry : he tries. But he must have been a mirror-breaker and
a black-cat ciosser as a child, because luck is not with him.
Ordinarily, / am the fall guy in these friendly set games of
ours, and I didn't think it possible for anyone to be dealt
worse hands than I got. That was B.B. — Before Barry.
He observed patiently one day that bridge was actually his
dish, so one of our magnanimous players said we should change
the game just "to give Barry a break. In thirty minutes, Mr.
Sullivan threatened to make previous winners look like plow
horses trying to crash the Kentucky Derby. I mean to say,
Mr. Sullivan plays a phenomenal hand of bridge. Promptly
the majority voted to go back to gin rummy, so Barry again
went to the foot of the class. Gin rummy is luck; bridge is
science. I remove my hat, or perhaps I should say my hibis-
cus blossoms, to Mr. Sullivan.
At the end of the third week. (Please turn to page 83 )
Rememb.er the suave psy-
cho-analysis? who gave Gin-
ger Rogers such a blunt
going-over in "Lady In The
Dark?" Here he is, Barry
Sullivan, dressed in sweat
shirt and dungarees, roam-
ing the jungles on the Par-
amount lot with Dorothy
Lamour in her latest pic-
ture, "Rainbow Island."
Read her first exclusive
story about this new in-
demand leading man.
"YES, PLEASE?
A million times yes, Dennis Day! Two big
contracts are held in abeyance for you
until the war is over — radio AND pictures
MAYBE this story should be called "My Day, by Jack
Benny." For Dennis Day's been Benny's boy to the
last naive wisecrack, the final bright, agreeable "Yes,
please?"
' But he's in the Navy now. Two contracts are being held
in abeyance for him until the war is over. One is with
National Broadcasting Company, holding his spot in the
Jack Benny show and the other is with RKO for pictures.
He's finished making "Music In Manhattan," with Anne
Shirley and Phil Terry. In his first picture, "Buck Benny
Rides Again," they made him a cowboy in a blond wig and
allowed him one song. RKO, however, has shown more dis-
cernment. This time he is playing his own black-haired,
dancing-eyed Irish self and is given full scope for his par-
ticular brand of pixie comedy.
Reports on the picture and Dennis* performance are enthu-
siastic, but not all the fun went on the screen. Gifted with
the keen ear of the singer and the lively humor of the Irish. ,
he can be at will Jap, Swede, Greek, Cockney or lazy Mex-
S^^^eon. (Please turn
By
Constance
Palmer
Dennis Day has his first
real movie brqalc in "Music
In Manhattan," with Anne
Shirley, for RKO. See
scenes center, and above,
Dennis is in the Navy now.
24
aybe this story should be
called "My Day, by Jack
Benny." For Dennis has
been Benny's radio boy to
the final bright, agreeable
"Yes, please?" — remember 7
Scoop photos for our story scoop: left, Shaw
greets Claude Rains on the actor's return
to England after eight years' absence. Above,
discussing the script with Vivien Leigh.
Claude Mams
COMES HOME
When George Bernard Shaw sent for
Claude to play in the motion picture
version of '"Caesar and Cleopatra,"
six-year-old Jennifer Rains informed
her schoolmates: "Vivien Leigh is play-
ing the Queen of Egypt and Poppa
has gone to England to seize her!"
By Hettie Grimstead
TWO men are standing in an English farmyard,
leaning against an old oak , gate and looking at
the fields of waving green corn and barley.
"Come harvest, I'll be turning the poultry out
into the stubble for a few days to feed themselves
up."
. "We don't do that back home in the States. We
find they fatten more quickly if we keep them
folded."
"That's interesting. Tell me now — "
Talking earnestly, they stroll on to look at the
pedigreed Jersey heifers, two practical farmers ex-
changing technical notes about their job. One is a
sturdy yeoman of the Kentish Vale, while the other
comes from the Brandywine district of Pennsyl-
vania where he farms four hundred acres, raising
cattle and pigs and marketing chickens, eggs and
butter.
"At least, my wife does most of the work," he
explains to his host. "I can't be there all the time,
of course." For this keen American farmer is
Claude Rains of screen and stage fame, just re-
turned to England for a few months after eight
years of absence and characteristically spending a
A team to
. Claude Rains
look forward to. «au«
"Caesar And Cleopatra
and Vivien Leigh, co-stars .n Caesa
day's freedom from the calls of the
cameras in studying the wartime prog-
ress of British agriculture.
He is constantly taking up a black
notebook and jotting down his impres-
sions, so that he can incorporate them in
his letters home and have some of these
new methods which have proved suc-
cessful in England tried out again on his
own land. For although Claude Rains
seems so breezy and quick-moving, with
his piercing gaze and his great gusty
laugh, he is still essentially methodical.
Thi3 visit to Britain has been planned
almost to the hour, for Warners have
only given him limited leave from Holly-
wood as his contract with them calls for
him to make two more pictures before
next May.
Claude says quite frankly that he
really didn't intend to travel at all. Hav-
ing finished playing Mr. Skeffington op-
posite Bette Davis ("best part I've ever
had. I'd have done it without salary if
they'd asked me! Any actor would!") ,
he went home East to the farm and set-
tled down to spend the summer there
with his family. He was chopping wood
in the yard one morning when his wife
ran out with the cablegram inviting him
to portray Caesar in the most ambitious
and spectacular British film of the year,
a Technicolor version of George Bernard
At right, Rains in his finest Hollywood role,
opposite Bette Davis in "Mr. Skeffington."
Right below, visiting an English farm.
Shaw's classic play "Caesar and Cleo-
patra," with Vivien Leigh as his co-star.
Actor and farmer struggled against
each other for a moment, then Frances
Rains settled the matter for her husband
by telling him forthrightly he had no
right to turn down the opportunity of
playing in Shaw. Claude agreed with her,
proudly appreciating the honor being of-
fered him, and began to pack his bags.
Even his six-year-old daughter, curly-
headed Jennifer, sensed something of the
importance of the event though she did
not fully understand it. She informed
her schoolmates importantly that "Vivien
Leigh is playing the Queen of Egypt and
Poppa has gone to England to seize her!"
Instead of living in a London hotel,
Claude chose to stay with his married
sister, Mrs. O'Connor, whose home is at
Purley in Surrey, a trim little suburban
town of modest red-brick houses set in
neat tree-lined streets. Since there is no
domestic help available nowadays, he
gets up early to help prepare breakfast
and when he is back to supper, he wipes
the dishes and does his full share of the
kitchen chores.
(Please turn to page 68)
A BONA FIDE society lass who has
theatrical ambitions doesn't exactly
set out deliberately to be booted
out of the Social Register, but take it
from Jane Wyatt — it helps.
Jane was literally born with a social
millstone around her pretty neck. Her
full name is Jane Waddington Wyatt,
and she was the second daughter of
Christopher Billop Wyatt, broker, and
Euphemia van Rensselaer Waddington
Wyatt. The van Rensselaer dates back
to that first Dutch patroon of Manhat-
tan bearing the same name.
"My problem," Jane told this writer
during a recent interview, "was this: how
in heck was I going to convince hard-
boiled stage producers that I could be-
come a working girl with a fancy back-
ground like that." That she has suc-
ceeded in spite of her blue-blooded line-
age is plenty evident by her lucrative
contract at RKO Studios and the fact
that you will see her next in a romantic
lead opposite Cary Grant in the film ver-
sion of Richard Llewellyn's best selling
novel, "None But The Lonely Heart."
But don't think for a moment that her
progress to stardom wasn't a tough strug-
gle. Jane's battle to achieve cinema im-
portance makes the career of a Horatio
Alger hero look like child's play. And it
was mostly because of that pesky society
background. But she admits that a little
thing called the Wall Street crash back
in 1929 helped her immensely to live
down her past. It completely emptied
the Wyatt family coffers, but
Jane did not really get into her
stride until after she had offi-
cially parted company with the
upper crust by being tossed out
of the Social Register clique.
"I don't like to talk along the
lines of 'the poor little rich girl,' "
lane told me, "because people
rightly put their tongues in their
cheeks when you get into that
vein. But believe me, it's the
Blue-blooded lineage means little to
Broadway or Hollywood, as Jane dis-
covered. Today, after a tough fight,
she's a success, featured with Cary
Grant in "None But The Lonely
Heart" (right). At home, as Mrs.
Edgar Ward, she's fond mother of
two sons — youngest, Michael,
pictured with her at lower left.
hardest thing in the world for a girl with
money and position to make people be-
lieve that she is trying to get somewhere
on her own. I had heard stories that I
could expect opposition when I tried to
get into the theater, but I never dreamed
the real thing would be what I eventually
found.
"POOR LITTLE RICH GIRL"
MAKES GOOD
A society background
was no help to Jane
Wyatt in her struggle
for stardom, though
being booted out
of the Social
Register helped.
Here's a real
Farrar
"Oh, don't get me wrong! I didn't play
the martyr. I knew what I wanted and
I was willing to stick my chin out as far
as it would go. I really had the theater
bug in a bad way. Actually, I was so
eager to make a go of it that I didn't
spend much time thinking about the day-
to-day hardships. What really sent me
off to the races, though, as the saying
goes, was when my family lost everything
in the crash. My ambition became more
than a mere desire to succeed in the
theater; it developed into an economic
necessity."
Before the financial chaos of 1929 Jane
really did enjoy the life of the idle rich.
She lived with her parents, two sisters
and a brother in one of those magnifi-
cent, old five-story brownstone mansions
in New York and there were seven serv-
ants to see that no one lifted a hand un-
less he or she wanted to. "But when we
lost our money," Jane explained, "we
were left with one servant, a cook, who
had been with us so long she wouldn't
leave, and a dumb-waiter that conveyed
our food up from the kitchen to the
library, where we started having our
meals."
As for that stage bug, Jane had tended
it all during her days at Barnard College,
although she had gone on to higher learn-
ing mainly in the hope that she would
forget her childhood ambition to have a
career in the theater. But when she was
nineteen she gave into the urge and left
school, enrolling at the Apprentice School
of the Berkshire Playhouse at Stock-
bridge, Mass. And then, after four months
at Stockbridge, she came back to New
York to buck her society background and
to hound producers for a try at the stage.
"I was later to discover," she told me,
"that being a society girl had given me
only one advantage, that of having
enough money to pay for the kind of
training I received at Barnard and the
Berkshire Playhouse."
Jane got her first job as Rose Hobart's
understudy in a play called "Trade-
winds," which didn't last very long. For
the next year after that she took what
she could find, but spent most of her
time trying vainly to convince producers
that she wasn't just another society girl
out for a lark. "I was getting pretty des-
perate at times during this stretch," she
told me, "because the theater refused to
take me seriously. • And then the great
event happened. They took my name
out of the Social Register because I
wanted to become an actress, and all the
New York papers blasted it in print.
Now, I decided, I might get somewhere.
But it actually wasn't until the crash of
1929 that I was able to put over a con-
vincing story that I really needed work,
because it soon became general knowl-
edge after that that my father had lost
his entire fortune:"
Instead of being defeated over their
reverses, Jane's mother turned the family
mansion into a boarding house; but for
the next two years it was all she could do
to keep the wolf from the door. "During
this period," Jane said, "I, who had hardly
even walked around the block, tramped
from one theatrical agency to another. I
got some work but all the plays seemed
to close almost as soon as they opened.
(Please turn to page 103)
SUSAN HAYWARD starring in PARAMOUNT S "AND NOW TOMORROW"
Starring
with
the Star
$n an<L off the screen, lustrous, flattering Deltah Pearls4
share the spotlight with the glamorous stars who wear them.
Necklaces and earrings, perfectly matched. At better jewelers.
L. HELLER fc SON, INC., FIFTH AVENUE, NEW YORK
r
TAWING
"" UAH
By Jerry Asher
He plays Merle Oberon's lover,
Chopin, in "A Song To Remember."
And Wilde is a man to remember,
whether you meet him as a fencing
champ (top), in character, or at
home with his pretty wife and baby.
' WW T ITH a little bit of success, you gain assurance, con-
W^r fidence that manifests itself outwardly — whereas be-
fore, it was hidden and smothered in fears. You stop
looking for slights and insults from others. But when you're
really broke, hungry, and worried, and need a job like hell,
and someone gives you a very cold brushoff, you just can't
laugh it off. I took things very defensively for a long time.
I was always upset and worried. From now on I'd like to
believe I am the kind of happy person I've always wanted to
be — always knew I could be once the pressure was removed."
Cornel Wilde's smoldering eyes grew even darker as he
spoke. Just for a quick flash they mirrored the memory of
past pain. Then his handsome face, olive-skinned and
romantic, broke into smiles. Strange little dancing shafts of
lfght popped back into his eyes again.
"What's going to be your pleasure for lunch, sir?" The
waiter gave it an Academy Award reading.
"You mean it's really going to be a pleasure?" Cornel
kidded back. He ordered jellied consomme.
"Don't tell me what kind. I'm (Please turn to page 89)
33
n
That's no toy dog, but a real puppy admiring his mirrored reflection, left above, while Butch admires
him. Center above, M-G-M's new white-haired boy with the grown-up wonder boy, Mickey Rooney, and
director Clarence Brown — famed trio of "The Human Comedy" together again in "National Velvet."
FOR Jackie "Butch" Jenkins a movie
career was not only inevitable, it was
unavoidable.
Far from seeking fame, Jackie hid
from it. He wasn't looking for a place
in the sun. He had one — in the backyard
of his family's beach home at Santa
Monica.
Most children who attain screen suc-
cess are shoved into it by mothers fierce
with ambition for their offsprings. Butch's
mother is Doris Dudley, stage and screen
actress, a vibrant blonde young woman
who was far too absorbed in playing the
feminine lead in "Moon And Sixpence"
to seek the complications of another
career in the family.
Director Clarence Brown, searching
for a child to portray Mickey Rooney's
young brother in "The Human Comedy,"
chanced across Butch playing in the
beach sand. The tiny boy was unknown
to him, but Brown saw freckles big as
gingersnaps almost blotting out a micro-
scopic nose . . . pudgy cheeks and big
brown eyes soft with daydreams . . . blue
jeans and an old sweatshirt ... a fishing
rod and bare feet — the flesh-and-blood
realization of Saroyan's brain-chili
Revelation of the child's identity and
dramatic heritage was cause for further
rejoicing at the M-G-M Studio. Not
only his mother, but also his grandfather
are responsible for the histrionic cor-
puscles dancing in Butch's bloodstream.
His entire family tree is loaded with ar-
tistic apples, including one labelled "old-
time vaudeville." It followed as the night
the day that the National Critics' Poll of
the FUm Daily, a motion picture trade
paper, should acclaim Jackie Jenkins'
first screen appearance as the Best Juve-
nile Performance of 1943.
Butch is an animate version of the
barefoot boy of your childhood memories,
spiked with an imagination that scamp-
ers mischievously from tall tales of der-
ring-do to highly original methods of
expediency. His latest "fish story" may
well end all fish stories. Butch spends
most of his spare time fishing off the
Santa Monica Pier and generally man-
ages to bring back a couple of minnows
or the like. This time, however, he re-
turned with only the head of a huge bar-
racuda strung quite professionally on his
pole. Mom's gray eyes narrowed with
suspicion at his dramatic account of the
(Please turn to page G%)
In large pictures on this and facing page,
Butch is shown with the family pet, Heidi,
two hundred pounds of playful St. Bernard
clipped like a French poodle — yes, by
Butch. By the way, the boy's growing up—
see how tall he looks, at right. Above, a
scene from "National Velvet," in which
Butch appears (as Jackie Jenkins, of
course) with Mickey Rooney and Elizabeth
Taylor. Kid has terrific crush on pretty
Elizabeth. At left above, breakfast scene
in the Jenkins home at Santa Monica
beach: Butch, his older brother, Skipper, and
their pretty mother, known on the screen
as Doris Dudley, to her sons as "Genius."
1
MARLENE
DIETRICH
Pictured here in her n«
role of Jamilto, glome
out doncer in M-G-A
lotett Technicolor sp<
k tocle, "Kiimet," wh
■ co-itart Ronald Colm
■
By
Vivian
Cosby
SHE'D
■mm* RATHER BE
WRIGHT
She's never posed for "leg
art,"or been inside a night
club. But by being herself,
Teresa has become the only
actress chosen to co-star
with .Gary Cooper twice
ONE of the happiest moments in Teresa Wright's life happened
when she was on a holiday in Nogales, Mexico. She and her
husband, the writer Niven Busch, were strolling along one of
the quaint streets, when a sixteen-year-old Mexican boy recognized
her as Teresa Wright, the movie star, and excitedly extended greetings.
Soon he was joined by other admirers who bombarded her with
questions.
When Teresa finally got away from the crowd she said to Niven,
"It's wonderful! After a whole year of being off the screen, they still
remember me."
Anyone who saw the picture, "The Pride of the Yankees," would
find it hard to forget the talented little actress who played Mrs. Gehrig
opposite Gary Cooper's Lou Gehrig. But when Teresa became ill over
a year ago and the doctor ordered her to take a long rest she was posi-
tive she would be forgotten. The recognition of the young Mexican boy
proved she was wrong.
At the age of twenty-two Teresa had the good fortune of obtaining
both success and romance. Only three years ago she was appearing in
the Broadway play, "Life With Father." Samuel Goldwyn was en-
chanted with the sincerity of her performance and signed her for pic-
tures. Her first picture was "The Little Foxes."
While she was making this picture she met Niven Busch. He was
attracted by her sweetness and made it a point to be on hand to escort
her home each evening. After a whirlwind courtship they were married
in the lovely garden of Niven's home in Van Nuys. Then to add to
this happiness she was given the Academy Award for the best support-
ing performance of the year.
Samuel Goldwyn had ambitious plans for his talented young star and
commissioned Lillian Hellman to write her {Please turn to -page 95)
, ..Casanova Brown" confer on
37
jtti
38
Lon's in the Army now, and how! He's just another soldier
tor Uncle Sam. Pvt. Lon McCallister is currently a cast mem-
ber of 20th Century-Fox's movie version of the great A.A.F.
show, "Winged Victory." Left, reading up: Lon in three scenes
from the film; with Pvt. Barry Nelson, another soldier actor;
consulting with director Cukor. Above, and facing page, Pvt.
McCallister gets a little feminine appreciation — and able
assistance — from pretty Jeanne Grain, heroine of the picture.
The kid who captured your hearts as California tells of his adven-
tures in the service and his current assignment in "Winged Victory"
/
YOU saw him in "Stage Door Can-
teen" as California, the shy, naive
boy who had never been kissed.
And you fell in love with him, as women
did all over the nation. You saw him
again as Sparke, the boy who fell in love
with a sorrel filly (and also with Jeanne
Crain) in "Home In Indiana."
Then you heard he'd gone into the
Army. You thought maybe you'd never
see him again for the duration. He
thought so, too. As Lon McCallister went
about his duties in the Army, he believed
his movie career was finished until the
war was over.
He was just another soldier in Uncle
Sam's . Army, going through the same
basic training as all the other boys. And
he was just as homesick — maybe more so
— than the others. The first day he was
inducted, he stood in line in the rain for
over an hour to call his mom. Later
on, when he was transferred to Camp
Crowder in Missouri, he found he had
to wait in line two hours to make a tele-
phone call home. He did the grubbiest
jobs in the Army. He worked at K. P.
and as night fireman. Twenty-one fires
had to be stoked at night — and there
was just one man to do it all. So Lon
shoveled coal and took out all the
clinkers. When he was night fireman,
he was supposed to get his sleep in the
daytime. But just try to sleep in a G. I.
barracks in the daytime with men com-
ing in and out all day long!
His head was foggy; he was bemud-
dled; he was so homesick he thought he'd
die. Until one day he was talking to one
of the older men in the group at camp.
The man showed him the picture of his
baby son. "Gee, I'm sorry I can't see
the kid," he said. "I'd hoped I'd hear
his first words; see his first baby tooth.
I wanted so to see him grow up."
Lon thought, "This is the real thing.
If I were married and a father, I'd feel
the same way. No wonder he's homesick.
Sure, we're all homesick together. But
it doesn't matter so much whether or
(Please turn to page 73)
J
39
BLONDE Susanna Foster, better
known as Susie, lives in a glass-enr
closed penthouse apartment abgyy-
a private home. As the home is locaCM-
on the highest spot in the Santa MomTflT-
Mountains, or Hollywood Hills, Susie is
very much alone. She doesn't even have
a telephone. But she does have a piano.
The penthouse has a great many glass
windows. Through these windows, Susie—
sees snow-capped mountains, the fert3ej§
green San Fernando valley, Hollywood,
a dozen other communities, seaside re-
sorts and, on clear days, Catalina Island,
which is 22 miles off the coast. At nightrp
it all turns into a twinkling, sparkliajP—
fairyland.
The penthouse, which has sliding glass
panels between the rooms, contains bed-
room, hallway, kitchenette, dinette and
living room. Here, Susie has all her
worldly possessions, including a piano an
more than eighty albums of phonogram
records — a total of more than a thousand"^,
tunes, ranging from the hottest boogie= i
woogie to grand opera.
"I don't mind living the way I do/
says Susie. "In fact, I love it. I mak
myself a small breakfast, go to the studi
for lunch when I'm working — right now.
I'm doing 'From Bowery To Broadway'
— and usually have dinner out. Then I
come home, and the world is mine!"
Long evenings are spent composing,
playing the piano, singing and playing k.
records. j£ ^
The main reason for Susie's retreat to
her aerie is that, like Garbo, she likes to
be alone. But there are other complica-
tions. Her father, Lester L. Larson, now
a government employee in Los Angeles,
and her mother, Adelaide, have been
separated for several years. There are v
two sisters, Kathleen, 18, and Vicki, 16,
who are living with their father. While
the separation is friendly, Susie can't -
take sides.
"I had the idea of moving in with dad
and the kids last fall," she said. "I found
a lovely house with a lot of rooms and
baths and even a swimming pool. But I
didn't rent it because it wouldn't work
out. It would be kind of like playing
favorites."
Sus! , now 19, has been under contract
to three studios, MGM, Paramount and
Universal, where she is now held in high
esteem. She has been in Hollywood
nearly eight years. She has appeared in
eight pictures. MGM let her languish;
Paramount used her in "The Great Vic-
tor Herbert," "There's Magic In Music,"
and "Glamour Boy," and Universal gave
her her first great break in "Phantom Of
The Opera," with Claude Rains. This
was followed by two Donald O'Connor
comedies, "Top Man" and "This Is The
Life," then "The Climax" with Boris
Karloff and Turhan Bey, and now "From
Bowery To Broadway," with Maria Mon-
tez, Jack Oakie and Donald Cook.
She is not, according to Hollywood's
financial standards, a success. Her sal-
ary, broken down, reveals the usual taxes,
payments to agents and singing teacher,
a business manager, a very small trust
fund — and then Susie has about as much
to spend as a very good feminine secre-
tary or a war worker. She drives a 1941
convertible of low price class which she
has cracked up three times.
(Please turn to page 65)
40
Republic's big new musical has hilarious "Kidsedivey" specialty num-
ber, below; gay gags perpetrated by Connie, Jerry, and Joe, left.
THE MOORE
THE MERRIER!
Peggy Ann Garner is dif-
ferent from any child ac-
tress you've ever seen.
Read her first interview
AWKWARD
By Moilie Merrick
Big, bluff Brian Donlevy has
a lot of the homespun quali-
ties we admire most. Meet
him in this candid story
By Liza
people who like nothing bet-
ter than to take jibes at Hollywood
' are always carping about the mis-
casting that goes on in the studios. To
hear them prattle you'd think that all
Americans were played on the screen by
Charles Boyer, and all Frenchmen by
Mickey Rooney. But not even the most
dyed-in-the-wool critic can poke fun at
King Vidor's and Metro's choice of Brian
Donlevy to play the lead, that of a typi-
cal American, in the muchly discussed
"An American Romance." For Brian
Donlevy is a typical American guy.
In the picture Brian plays Stefan Dan-
gosbiblichek — later shortened to Steve
Dangos — a young Slovenian immigrant
who arrives at Ellis Island in 1898, and
winds up as a wealthy and powerful steel
magnate. (Hollywood is counting on this
picture showing the nations of Europe
the opportunities offered a man in the
land of free enterprise.) And right now
the boys at Hollywood and Vine are
making book that when the Academy
Awards are passed out next winter Brian
Donlevy will be there to clutch an
"Oscar" in his perspiring hands and mur-
mur a grateful "Thank you." He gives
that good a performance as Steve Dan-
gos.
Like Steve, Brian was born in the Old
World. In Portadown, County Armagh,
Ireland, to be exact. He didn't grow up
to be a steel tycoon. But he did grow up
to be a high-salaried movie star — which
ain't bad! Brian's father decided that
America looked like a mighty good place
to bring up a family. So the Donlevys
immigrated to the United States, and set-
tled down in Wisconsin, where father
went into the woollen business.
In America Brian quickly developed
into a pretty tough cookie. Brought on,
for the most part, by his overwhelming
desire to write poetry. Poetry writing,
he discovered, led to considerable heck-
ling, which led to considerable fighting.
The more poetry Brian wrote the busier
his fists became. First thing he knew he
was competent to fight professionally.
Donlevy plays Steve Dangos, poor immigrant
who starts as an iron worker and rises to be-
come an industrial leader in M-G-M's epic,
"An American Romance." The "romance"
stands for the growth of American industry.
Typical American guy at home: Brian, above
and right, with his pretty wife, Marjorie. His
honesty, salty sense of humor make him
of the most popular actors in Hollvwo
But, unfortunately, not to write profes-
sionally. He's still a little sor^t about
that. Even today, every time a director
inadvertently turns his back Brian re-
writes the script — but at least he doesn't
do it in rhyme! »
When Brian left United Stares Naval
Academy, he became enthusiastic over
the idea of being an actor, but as no one
shared his enthusiasm, and certainly the
theatrical agents didn't, he kept one
jump in front of the bill collect^s just
so long — then took the first job he could
get. Modeling, no less. And as Cleo-
patra, of all people. Complete with A%ils
and padding. "I was a lot slimmer then,"'
Brian confides, "and I hadn't grown a
mustache. But I don't think I was very
outstanding as Cleopatra."
Leyendecker, one of the illustrators he
modeled for, got him an invitation to the
Green Room Club, where he met a lot of
theater people. Among others he met
the late Louis Wolheim, who took a great
liking to him, and put him into the cast
of the popular "What Price Glory" as
the corporal. After that Brian could
safely call himself an actor. After nu-
merous . New York plays he came to
Hollywood some ten years ago, got the
part of the black-shirted killer in "Bar-
bary Coast," and has been kept as busy
as a bird-dog ever since. His salary
jumped into the higher brackets after
"The Great McGinty."
Six years ago Brian further proved
f.hat he was a typical American guy by
falling hard for a very georgeous red-
head who was singing at the Trocadero
on Sunset Boulevard. He finally con-
vinced her that he was not the murder-
%us type he was on the screen-
was havjng a run of gangsters at the
time — buff was realty quite a nice home-
loving fellow who wouldn't even harm a
field mouse. So Marjorie and Brian were
married December 22, 1937, in Tia Juana,
Mexico, and then were re-married on
New Year's Eve in a church in Holly-
wood. The Donlevys have a sixteen-
months-old baby girl who is blonde and
dimply and curly-headed. Brian dashes
out of the studio like a wild man so he
can get home in time to feed her her
spinach, and at the slightest excuse will
drag a whole raft of pictures of her out
of his wallet. His only disappointment
was her name. Brian likes names with
initials that spell something. It's his pet
superstition. But Marjorie insisted that
the baby be named Judith Ann. And
what can you make out of J AD? Lloyd
Nolan is Brian's best friend, and when
Marjorie was in the hospital the boys
got together and celebrated Brian's be-
coming a father in fine old American style.
Three years ago the Donlevys bought
an atrocious shingled bungalow and sev-
eral acres of land in Brentwood. Their
friends shook their heads and went "tsch,
tsch." Then they proceeded to trans-
form it into one of the most charming
and gracious farm houses to be found in
Southern California, with beautiful roll-
ing lawns, a swimming pool, a flower
garden, a vegetable garden and an or-
ange grove. Near the garage Brian built
himself a workshop which is the envy of
every man who sees it. He is a great
putterer. And very clever at "fixing
things." Even his friends, who like to
kid him about his sawing and his plan-
ing, admit that he makes wonderful
tables arid bed trays.
The playroom of the Donlevy house
covers the entire back of the house, is
about 30 by 20 feet, and is done in Early
American — easily one of the most at-
(Please turn to page 11)
47
Janie's heart is in the Army, at far left with
co-star Bob Hutt.on; Joyce's with the Marines,
center with picture of Lieut. Robert F. Lewis,
who is sprinkling the enemy with bombs some-
where in the South Pacific. Making home
recordings is one of her favorite pastimes.
A PALE blue bandanna and a pair of
•brown eyes like headlights. That
was the first impression of Joyce
Reynolds. She peered up from beneath
Olivia De Havilland's bangs, and admit-
ted that what bothered her most right
now was a bunch of green bananas.
About Olivia's bangs. Joyce Reynolds
wore them at the moment because the
make-up department found they exactly
matched her own front hair, which she
didn't want to cut short — the same rea-
son why Olivia had worn them in a pic-
ture once. And about the bananas. They
bothered her because they were on a
Otherwise known as
Joyce Reynolds, latest
Texas lovely to make you
stop, look and whistle
By Jessie Henderson
South Pacific island. At least, because
Lieut. Robert F. Lewis was there.
Oh no, Joyce said — but with a kind of
glow in those huge brown eyes — she and
Lieut. Lewis weren't engaged. After all,
she's only nineteen and not through col-
lege yet; she returns to her studies be-
tween films. Still, it's known that the
Lieutenant gave her a present (a gold
cross) which she wouldn't be without for
an instant. He's flying on the Pacific
battle front; his latest letter told how he
and the other boys had scouted the
jungle to see what they could use for
food if they happened to bail out and
come down in it.
They found chiefly bananas, not ripe,
and the circumstance worried Joyce more
than a little. Although, she reflected, if
he bailed out near the shore, he could
continue to have those elegant fish fries
he'd described.
She mentioned these items seriously,
eating a ham sandwich in the studio
cafe; a quiet figure (for she isn't the sort
to bounce about) in a delft blue and
white dirndl. Tbe embroidered daisies
on the suspenders were in a way sym-
bolic; fresh and pretty as a daisy is how
she strikes you, a daisy with the dew on.
When she talks, it's to the point in a
Texas voice as melting as her eyes. Those
eyes deserve — and generally receive —
more than passing notice. They are
larger than you'd believe possible, in-
tensely alive, and among the most ar-
resting in Hollywood. The kind that are
velvety but brilliant.
No use talking, there's something
about Texas. Consider Linda Darnell.
Or Ann Sheridan. Or Joyce Reynolds,
who faintly resembles Ann. Where do
they get this and that, especially a com-
plexion such as Joyce has, so pink and
smooth you could eat it with a spoon?
Maybe they live on alfalfa or something.
But no, Joyce said she'd never swallowed
a handful of alfalfa in her life. Only,
from the time she was a little girl, she's
washed her face in water and then with
cold cream, every day.
It was the eyes and the complexion,
as much as anything else, which helped
bring Joyce a Warner studio contract
about a year ago. Naturally, she has
other things to her credit; slim lines, a
height of five feet three, a weight of a
hundred and ten pounds, and yes, sure,
an unusual flair for acting. These quali-
fications add up to the fact that the
studio regards her as one of its brightest
newcomers.
Proof? At nineteen, and in ber sixth
picture, she was given a starring role in
"Janie." Already she had played rather
important parts in "The Constant
Nymph," "Thank Your Lucky Stars,"
and "Adventures Of Mark Twain." Now
they're hurrying to put her into another
film — soon's they can make up their
minds — with the eager haste of a proud
parent showing off a talented daughter.
Four years ago, Hollywood had never
heard of Joyce Reynolds. With other
fifteen-year-olds, she was forging Ker way
through high school, thence into the
University of California at Los Angeles,
specializing in history and drama courses
and getting awfully good marks for any-
one so good looking. As a matter of fact,
getting awfully good marks, period. Un-
like the. average glamor girl, Joyce would
rather study than play tennis.
Come right down to it, Joyce turns out
to be unlike the average glamor girl in
many respects. She's level-headed, for
example. And her background is as dif-
ferent from that of the usual movie as-
pirant as a fudge sundae from toast. Not
but what toast may be okay.
In Houston, Texas, the Reynolds
family is such that Joyce could have
lolled around there and been a society
deb, except for two things. One was
that on a trip to the Coast, Joyce and
her mother had been charmed by the
Hollywood climate. The other was that
Joyce didn't want to be a deb. From
kindergarten days, she's wanted to be
an actress.
It wasn't the lure of money which in
any way affected this desire. Nobody
could have been more astonished than
her studio when the news recently leaked
out that they had an heiress under con-
tract. Her father left Joyce so much of
Bob Hutton and Joyce Reynolds, with the inno-
cent sweetness of a sub-deb, play young roman-
tics in "Janie," her first star role for Warners.
the State of Texas that she could put
Warner Studio down in the middle of her
holdings and people would have to ride
for days to find the darn thing. The
ranch acres, to be inherited when she is
twenty-four, are counted by the thou-
sand.
So wbat's the gal's ambition? To buy
a ranch!
"That Texas land isn't good for much
but grazing and oil wells," she observed
with honest deprecation (only good for
oil wells, huh?) . "It isn't what I call
(Please turn to page 10)
"Gamin," Joyce's French poodle, enjoys her piano playing as much as anyone. He's a privileged character in the triplex apartment
where Joyce lives with her mother and grandmother. Center, like any other girl her age, she can spend many happy hours trying
on new hats. At right, ali dressed up in her party finery, she shakes hands with her director,! Michael Curtiz, on the "Janie" set.
* * « Molly wood's Design
Let wartime restrictions fall
where they may! The stars
have found a workable solu-
tion to the problem of "How
To Do Without." So can you!
By Ruth Tildesley
WARTIME living is an art, and be-
lieve it or not, it is cultivated to
the nth degree in Hollywood. Vic-
tory gardens, housekeeping shortcuts,
vitamins and all other allied subjects are
the topics of conversation instead of
sables, Cadillacs and caviar, which have
been shelved for the duration. Yes, the
stars and their wives are showing Amer-
ica a thing or two about managing a
menage.
Two such wartime-living artists are the
Alan Marshals and the Basil Rathbones.
The Alan Marshals live in an English
type house on a hill not far from Brent-
wood, where on a clear day the sea-
loving Alan can look out over the blue
Pacific and dream about the sailing he
will do after the war. They bought the
place before the builders had finished.
"We were so enchanted with the Eng-
lishy look of the living room when we
bought it that we decided to finish the
ceiling in dark beams, make it like an
English tavern, with lots of pewter and
brass, old English tankards, blue plates,
those heavy fireplace coal scuttles and
andirons, and old English settles," re-
membered Mrs. Marshal. "Every time
we picked up a book that mentioned
something English or taverny, we put it
down as a 'must.' Then we set out to
look for the pewter."
"There is a special establishment that
is supposed to carry the best pewter,"
put in Alan from his seat on the piano
bench, where he was trying out a new
song. "I had spoken to the proprietress
beforehand and she was expecting us,
but there were so many customers ahead
of us that she invited us to sit down in
a room in back of the store to wait."
"Those two luscious-looking green
couches were back there," said Mrs.
Marshal, patting the one she was adorn-
ing and nodding at the one that I occu-
pied facing her. "See how long they are
and how deep and comfortable? We
waited on them so long that we decided
we'd hate to part with them. Buying
hard old English settles didn't appeal too
strongly. So we bought these two couches
that night and had to start all over again
to design the room around them!"
Mrs. Marshal has had to be just as
adaptable in the kitchen. She's an in-
veterate collector of recipes from all
quarters of the globe, especially from
New Zealand, where butter, cream, and
cheese are plentiful. The way the Mar-
shals talk about the country "down un-
der" you'd think they'd spent years
there, but actually Alan hasn't been
there since he was five.
"The odd thing to me," observed Alan,
"is that though Christmas falls in mid-
summer there, when it's 110° in the
shade, they follow the English custom of
serving roast turkey or goose, flaming
plum pudding, mince pie and all the
holiday fixings we associate with cold
weather. You'd think they'd go in for
ices and lighter foods."
"Since curries are Alan's favorite food,
I try out every recipe I find. Here's one
from New Zealand:"
CURRIED LAMB OR CHICKEN
Slice two apples and one onion. Fry
them in whatever shortening you have
(the recipe calls for butter — but that's
New Zealand for you!) When this is
light brown, put it aside for a moment.
For the gravy take % cup of boiling
water, 1 tbsp. chutney, 4 dessert
spoons of curry powder, 2 tsp. flour
mixed into a smooth paste with cold
water. Cut lamb or chicken into cubes
combine with apple and onion slices,
the gravy mixture, and a handful of
Alan Marshal, heart-throb of "The White Cliffs Of
Dover," is in fine fettle when the missus gives him his
favorite breakfast of Soya Hot Cakes. There's not
much she doesn't know about vitamins! They're piano
enthusiasts, too — a pleasant way to spend an inex-
pensive evening to save money for an extra war bond.
?or Wartime CMng
raisins. Cook in double boiler until the
raisins begin to puff. Pour mixture in
center of a ring-mold of good hot rice.
Circle with sliced lemons, cut paper-
thin; and bananas, sliced lengthwise,
sprinkled with % lemon, dipped in
bread crumbs and fried.
"This is a wonderful meat-stretcher
when you have unexpected guests and no
extra points.
"If your chicken seems a bit dry and
not likely to be well flavored, as so many
wartime chickens unfortunately are, add
a can of mushroom soup to the gravy.
A lime gelatine salad of fruit in season,
whipped just as it is ready to set and
served in orange shells is wonderful with
cold meats or chicken.
"I have a grand recipe for 'Betwixt
and Between Cookies' — another New
Zealander — that calls for currants, %
pound of butter and nice beef drippings
mixed. Very, very pre-war! I use what-
ever shortening I have on hand, plus the
nice beef drippings and raisins. Here's
the original recipe:"
BETWIXT AND BETWEEN
COOKIES
2 tbsp. currants
y2 lb. butter
1 large level cup sugar
legg
2 large heaped cups flour
1 small tsp. salt
3 level tsp. baking powder
1 small tsp. liquid orange flavor
Beat butter and sugar to a cream; add
beaten egg and dry ingredients alter-
nately; milk, enough to mix to a stiff
dough; roll out x/% in. thick: cut into
rounds and bake 20 mins. in oven, not
too hot. You can save time by rolling
cookie mixture like a roly poly, and
cut into rounds with a knife.
Mrs. Marshal's enthusiasm for soya
bits or grits and her passion for other
countries' recipes are combined in tasty:
DANISH VEAL PATTIES
y<i cup soya bits
1 cup water
2 cups ground veal or lamb (1 lb.)
2 tsp. salt
*4 cup finely chopped celery
2 tsp. minced parsley
% tsp. pepper
3 tbsp. shortening
Gravy: 2 tbsp. flour, 1 cup water
Mix Soya bits and water. Let stand 5
mins. Blend together ground veal, salt,
celery, parsley and pepper. Add soya
mixture and mix thoroughly. Shape
into patties. Brown lightly and remove
from pan. For gravy, blend flour with
meat drippings, add water, cook, stir-
ring constantly until thickened. Place
meat patties in gravy and simmer
gently 20 min. Makes 10 patties.
"You can't thicken gravy or sauce
with soya flour because it hasn't the
necessary starch," Mrs. Marshal warns,
"but it really is delicious in hot cakes,
waffles or bread.
"Alan kids me, calls me the Vitamin
Specialist and Nutrition Expert, but I
never swerve. There's no division of tal-
ent in this family— Alan can act, paint
pictures and play the piano like a con-
cert pianist. I need a specialty, too."
If you ask Alan, he'll tell you it's:
SOYA HOT CAKES
% cup soya flour
2 tbsp. sugar
2V2 cups milk
4 tsp. baking powder
1 egg, beaten
1 tsp. salt
2 tbsp. melted shortening
2 cups sifted enriched flour
Melted, unsalted shortening for
greasing griddle. Beat soya flour and
milk in mixing bowl. Add beaten egg
and melted shortening. Sift together
enriched flour, sugar, baking powder
and salt. Add flour mixture all at once
to liquid ingredients. Beat until per-
fectly smooth. Pour out ^4 cup batter
(PleaSe turn to -page 87)
Ouida and Basil Rathbone, popular and charming enter-
tainers before the war, have curtailed parties, but they're
always ready to serve a nice, hot cup of tea with most
of the trimmings grown right on their own grounds. And
just like Mr. America, Basil does his own gardening be-
tween studio calls. His latest film is "Bathing Beauty."
53
Gossip by Weston East
Candids by Gene Lester
A new insouciance has been
added to Bob Hope's repertoire.
Here he gives Frankie some
pointers! Note the success of
the new technique at lower left,
where. Bob, the Pirate of Gold-
wyn's "Princess and the Pirate,"
has Maria -Montez and Dinah
Shore making over him in a big
way. There's nothing wrong with
Van Johnson's technique either,
below with the Keenan Wynns.
A Turner of tables: Lana goes sophisticated in choker pearls
and a high coif, with Manny Sales, above, while at right with
Peter Lawford she lets her hair down and becomes sweet
sixteen again. Right, the Randy Scotts at Mocambo.
RIFT RUMORS between Ida Lupino and Captain Louis
Hayward are too prevalent to be ignored. Weston East
felt compelled to investigate. According to insiders.
Louis has recovered from his experiences at Tarawa and the
illness that followed. However, he still requires quiet and
scheduled living conditions. Ida's busy and popular home is
hardly the place. So Louis has temporarily moved into the
guest house belonging to a friend. There is no telephone ring-
ing all day long. No cameramen taking publicity pictures. No
interviewers . . . all a busy and necessary part of a movie
star's hectic life. Ida has announced that, while they are
separated, there are no plans for divorce.
PROSPECTIVE fatherhood has Marine Sergeant Glenn
■■• Ford threatening to win the war single-handed! Eleanor
Powell keeps house for her husband in a little apartment over
a garage near San Diego. They meet there whenever he has
a leave and she isn't needed at the studio. In their two-room
suite they have all the luxury of their Beverly Hills home —
because they have each other. Now that they're going to have
a baby, their happiness is complete.
UESS WHO is first in fan mail and leading by five thou-
sand letters, on the Warner Bros, lot? Not Mr. Flynn and
not Mr. Henreid, we'll have you know. It's Dennis Morgan,
whose popularity is zooming. Yes, his same hat still fits him.
WHEN HEDY LAMARR was working on "The Con-
spirators," she met young Steve Richards, a handsome
new actor. Hedy knew RKD was looking for someone like
Steve to be in her next picture. She arranged for an inter-
view. Even if Steve doesn't get the part, he's still thrilled
over the nicest thing that's happened to him since he landed
in Hollywood.
Mutual merriment: Katina Paxinou, Francis Lederer and Lucille Ball,
below with their spouses, make a gay sixsome at the Clover Club.
Alan Ladd, at. right below wearing sideburns for "Two Years Before
The Mast," dishes it out at Hollywood Canteen. Right, Paul Lukas, a
realist about his personal appearance, dines at Mocambo with wife.
Judy is not one to stick to one type; steps out. wi
rugged movie hero, John Hodiak, left, then with
Charles Jackson, author of widely discussed book,
"The Lost Weekend," soon to be screened. •
iERSONAL to Judy Garland: Joan Leslie would
like to have you for a friend. You were one of the
Gumm sisters, songs and dances. Joan was one of
the three Brodells. She feels that you two have a lot
in common — that Hollywood can be very lonely
sometimes — especially for two little girls from vaude-
ville who grew up to be movie stars. Joan's hoping
that someone will make it possible for you two to
meet. If it happens you'D know why.
T^VERYONE knows she has his interest at heart.
-"-^ She's proven that by helping him to become the
great box-office star he is today. Occasionally she car-
ries things too far. Like the time she made a scene
because an actress playing opposite her famous hus-
band, on the radio, was taller than he. The actress,
and a darned good one, needed the job. She lost it.
Maybe the wife is rehearsing for television!
"PVERY TIME they need Errol Flynn for a scene,
they know where to find him. He's in the projec-
tion room running off an old print of John Barrymore
in "Don Juan." Aside from being a great Barrymore
fan, Errol is eager to do a remake on the picture.
Certainly the part w'ould be right up his alley!
"DEING the younger sister of Loretta Young didn't
help Georgianna to get in the movies. She's even
more beautiful than Loretta was at her age, only
quite a bit taller. Finally, Georgianna got tired of
trying. She went to New York, became a model for
Harper's Bazaar and the offers all but engulfed her.
You'll be seeing her in the next "Andy Hardy."
ELSON EDDY is a brave man. When he enter-
-1- * tained the servicemen guests at the Masquers
Club, Nelson did quite an impersonation of Frank
Sinatra. Fortunately, there were no bobby-sox babes
within murdering distance. Nelson also told a few
stories that came as a bit of a surprise. Not that
they were very naughty but coming from him, every*
one wondered if there's a new Nelson Eddy!
TACK CARSON gets a great break as Rosalind Rus-
" sell's husband in "Roughly Speaking." Director
Michael Curtiz predicts that he's going to steal the
Two caballeros of the airwaves: Bob Burns and Bing
Crosby, left, brush up on some Spanish ad libs for
recordings. If Frank Morgan, lower left, is living up
to his screen roles, we'd like to hear the story he's
cooking up for his wife. Only Bob Walker, seen be-
low with G. I.'s girl friend, Ginny Simms, could wear
those glimmers and still look so neat and dapper.
Pooular
Popular Bondadiers: John Charles Thomas, Sinny Simms,
Bob Burns and Ronald Colman congratulate each other.
Below, Alan Curtis is very smug with two film lovelies,
K. T. Stevens and Jinx Falkenburg at Trocadero.
picture. Wonder if Rosalind Russell thinks lo too?
They say she took off her shoes in the middle of
Jack's most important scene. The action didn't call
for it. They took the scene again and this time Roz
did nothing to take the attention away from Jack.
She probably was only kidding. After all, she is still
playing the star part in the picture.
TDOB HOPE, walking along the bay at Balboa,
came across a young sailor who was wig-wagging
to another sailor out on a boat. Bob stood there
watching the two send flag messages back and forth.
Finally he couldn't contain himself. Going up to the
sailor on land, Bob cracked: "Anything we should
know?"
ipOR ONCE PAULETTE GODDARD was really
embarrassed. She was talking to Connie Bennett
and Janet Gaynor, both of whom wear their hair
attractively short. They were telling Paulette they
didn't see how she could stand hers so long and heavy
around her neck and shoulders. "But you. see," ex-
plained Paulette, "you have to keep your hair long
if you're working!" The minute she said it she knew
it sounded like a crack. Janet and Connie, who never
have to work again, weren't a bit upset. But Paulette
turned a pretty pink.
TpAR BE IT from us to reveal a lady's beauty se-
*- crets. However, Hedy Lamarr is so proud of her
new figure, even if you don't ask her she'll tell you
that she no longer has to wear a girdle. By careful
dieting and exercise, Hedy can now wear those cling-
ing silhouette gowns. All her little peasant and full-
skirted numbers are no longer necessary to serve a
purpose.
JUST BEFORE she went overseas to entertain our
" boys, Annie Sheridan couldn't resist pulling a final
gag on boy friend Steve Hannagan. Someone gave
her a character portrait of ex-hubby George Brent.
He was made up with white hair and deep circles for
his role opposite Barbara Stanwyck in "My Reputa-
tion." Annie sent the picture to Steve. On it she
wrote, "Let this be a warning to you!"
{Please turn to 'page 94)
Tunesmith and Swing Master Jimmy McHugh and Tommy
Dorsey form a mutual admiration society, bringing broad
grins from the other Dorseys, Jimmy and Mrs. T. D. Ruth
Hussey, lower right, makes use of John Loder's broad
back to touch up gags in "Silver Theater" airshow — so
does George Raft! Below, newly-weds Anna Lee and Capt.
George Stafford, pilot of plane that took her on USO tour.
CCREfNUHD
* SALUTES
DIANA LYNN
IN
"OUR HEARTS
WERE YOUNG
AND GAY"
SKIPPER at the American Airlines Admirals'
Club — Miriam Audette helped club mem-
bers waiting between planes at New York's
La Guardia Field. War workers like Miriam
are needed for all types of jobs — in trans-
portation, in offices, in stores. Consult your
local U. S. Employment Service to find
how you can serve.
emc^ became e^^ec£m c//fczic/i
Miriam's exquisite skin has a white-flower texture — a dewy-soft freshness
jVIiriam's complexion makes you
think of a Romney portrait — her skin
has such soft delicacy. She's another
bride-to-be with that soft-smooth
"Pond's look."
"I really do adore Pond's Cold
Cream," she says. "It's so fluffy-light
when you smooth it on — and it cer-
tainly makes your face feel gorgeously
clean and soft as can be."
this is miriam's
DAILY POND'S BEAUTY CREAMING . . .
She smooths on Pond's luscious Cold
Cream and pats briskly over face and
throat to soften and remove dirt, make-
up. Then she tissues off.
She rinses with more soft-smooth Pond's
— sending her white-covered finger tips
over her face in little whirls. Tissues off
again. "It's this double creaming that
makes my face feel extra special — so beau-
tifully clean and soft," she says.
HER RING — a
handsome 2Vi carat
diamond in an
unusual platinum
setting. Two small
diamonds are set on
either side of the
center stone.
Use Pond's Cold Cream Miriam's way —
every night and every morning, for your in-
between beauty clean-ups, too. You'll see
why it's no accident so many more girls
and women use Pond's than any other
face cream at any price.
Ask for the big, luxurious jar — large
sizes save glass. And, you'll like being able
to dip the fingers of both your hands in
the wide-topped big Pond's jar.
A FEW OF THE
POND'S SOCIETY BEAUTIES
SCREENLAND
59
WHEN HER HUSBAND
JOINED THE NAVY!
"This is my chance to
make myself over," said
Mrs. Lial Eddy, of Okla-
homa City — a (id she did!
"When you're only 24
and weigh 164, you're
not happy ! I had been
considering theDuBarry
Success Course, and
when my husband left
for camp, I enrolled.
"When I'd lost 20
pounds, he had his
first leave. Meeting
him was a thrill ! I was
so proud of my new
figure and make-up.
And the look on his
face was my reward !"
Today Mrs. Eddy
weighs only 130, ideal
for her 5 feeti TV2 in.
Her skin is radiant.
"The DuBarry Suc-
cess Course is a won-
derful thing for every
woman, overweight or
not!" says Mrs. Eddy.
"I'm really a different
person, and life is far
rosier! Now all my
friends want to take
the Course !"
mm \
1
At
After
At left— Mrs. Lial Eddy when
her husband joined the Navy.
Above— The charming, glam-
lorous Mrs. Eddy of today, slim,
trim, and beautiful.
HOW ABOUT YOU! Maybe you don't
need to lose 34 pounds. But the DuBarry Suc-
cess Course will show you how to bring your
weight to normal, how to care for your skin
and hair and use make-up for glamour. You
follow the same methods taught by Ann Dela-
field at the Richard Hudnut Salon, New York.
Why not use the coupon to find out
what this famous Course can do for you?
DuBarry Beauty Chest
Included!
With your Course you
receive this Chest con-
taining a generous sup-
ply of DuBarry Beauty
and Make-up Prepara-
tions for your type.
ANN DELAFIELD, Directing
Richard Hudnut Salon
Dept.SK-66. 693 Fifth Are.
New York, N. Y.
Please send me the new book telling all
■bout the DuBarry Home Success Course.
Miss
Mrs
CU7-
Zons No.,
If «or
For summer tousled hair, dry and crisp from the sun and wind, a rich lather
of liquid shampoo with hair conditioner. This girl works thoroughly into her
scalp two applications of Drene and finishes with three rinsings with warm
water. An added feature is that the shampoo lathers in hard as well as soft water.
WITH new colorful clothes on the hori-
zon, it's only natural that new tones in
nail polish put in an appearance. Two
shades to make their debut are Cutex Honor
Bright and Cutex At Ease. The first named
is a lush rosy-red with glittering bright
over-tones. It's the type of finish with spe-
cial appeal for the glamorous younger ele-
ment. At Ease is a light pastel rose whose
purpose is to give soft, rich finish to the
finger tips of hard-worked hands.
EVERYONE agrees that hands are cer-
I— tainly doing their bit these days both in
and out of doors. And they are getting spe-
cial attention, too. Among the new items
for their beautification is Luxor Hand
Cream. It contains an ingredient which has
been used for wounds called carbamide, and
that, together with a blend of oils, tends to
make the cream soothing and softening. Its
consistency is such that it is easy to apply
and it disappears quickly so there is no
sticky after-effect.
COR the face there comes a preparation
' from the laboratories of Helena Ruben-
stein. It is White Flame Cream Tint Foun-
dation in four shades in order to blend with
different skin tones. Smoothed over the
skin, this product produces a lasting deli-
cately tinted porcelain-like surface. In ad-
dition, it is said to have lubricating and pro-
tective qualities.
TIME to think of holiday remembrances
for boys and girls in service overseas. And
one serviceable but tiny item, no bigger than
an ordinary lipstick, is Chap Stick. It pro-
vides a colorless medicated film soothing to
lips which are rough, irritated and chapped
through exposure to wind and weather.
Three new cosmetic packages by Irresistible, in pretty
and feminine motif of pastel peach and bloe-green.
60
SCREENLAND
"My Beauty Facials really
make skin lovelier"
/PA CCfPMO
In recent tests of Hollywood's
beauty care, actually 3 out of 4
complexions improved in a short
time!
"Here's how I take my daily
Active-Lather Facial," says Ida
Lupino. "I cover my face generously
with the rich Lux Soap lather, work
it in thoroughly. Rinse with warm
water, splash with cold — then pat to
dry. Now my skin feels smoother!"
You want the loveliness that wins
romance! See what this gentle care
can do for your skin !
★ * FIGHT WASTE ★ ★
Use your Lux Toilet Soap wisely, for
soap contains material vital to the
war effort. Never waste it.
2.
I NEVER NEGLECT
My ACTIVE-LATHER
FACIALS with
LUX SOAR — THEY'RE
A WONDERFUL
BEAUTV1 AID !
Lux Toilet Soap L-A-S-T-S..Jt'shard-milled!^^/^/Oy52v^/7 Sfarsusefr
ScREENLAND
CI
Butch
Continued from page 35
mighty tussle preceding the landing of
the fish-head. "The rest of him got
away," he concluded gravely.
His family has called him Butch since
he was born, over six years ago in Los
Angeles. Nicknames are the rule in the
Jenkins household. His ten-year-old
brother, Jack Dudley Jenkins, is "Skip-
per," and Mom has been dubbed
"Genius" by the boys. They live in a
rambling, old, shingled house with the
Pacific Ocean .skirting the back yard.
"Genius" has covered most of the rough
white walls with her clever paintings of
animals and droll characters. Butch's
bedroom is a "circus tent." Red-and-
white striped cotton ruffles run around
the window frames like mad, while mon-
keys, clowns and penguins crowd each
other on the walls. Butch's favorite is a
dachshund whose doleful expression is
undoubtedly due to the fact that he is
parted in the middle by the bathroom
door.
Even with an actress-mother to guide
him, Butch finds the demands of his
career quite confusing. Because of a
shaky front tooth, his final scenes in
"National Velvet" became a race between
nature and the mechanics of motion pic-
ture production. It was a matter of grave
concern to everyone connected with the
picture — everyone, that is, except Butch.
"I didn't know it was so 'portant," he
explains, his elbow on the arm of your
Ruth Hussey gets a big hug from her hus-
band, Lieut. Robert Longenecker. By the
time you see this picture, they may be three!
chair, cheek crumpled in a tight fist. We
are in the sunny living room furnished
for comfort and hard wear. "I wanted
a dime for a comic book. Skipper al-
ways finds a dime under his pillow when
his tooths fall out. So-o-o-," Butch drawls
impishly, "I pulled it out with a pliers!"
Mom groans at the painful memory.
"I went to tuck him in for the night and
found his pillow covered with blood.
When I discovered what he'd done I was
frantic. Next morning the director called
a hurried conference of writers, make-up
men, studio executives and a dentist to
find a way out of the predicament. The
result was a special sequence incorporat-
ing the missing tooth into the story."
Butch grins sheepishly, revealing a gap
now four teeth wide. "The studio is giv-
ing me some new tooths that go in and
out just like my grandpappy's," he brags.
"Grandpappy can take his tooths out but
he can't make them bite when they're
out. I know 'cause I ast him. Wanna
see my dog?"
You are introduced to Heidi, who
romps across the room with all the grace
of two hundred pounds of St. Bernard
behaving like a playful kitten. You stare
incredulously at the fabulous spectacle of
a St. Bernard clipped like a French poo-
dle— a shining example of the family flair
for the unusual, a passion for coloring
the smallest incident with the brush-
stroke of imagination. "Now that Heidi
looks like a lady, maybe she'll act like
one and give up drinking," observes
Genjus with a grin. "That dog visits a
bar every afternoon where she is treated
to a bowl of beer. I'm afraid she doesn't
understand that St. Bernard dogs are
supposed to carry their liquor on the
outside."
Butch is sensitive. He cannot abide
the thought of cruelty to animals. When
Donald Crisp, who plays his father in
"National Velvet," found a stray, bedrag-
gled pup and brought it onto the set,
Butch believed the dog was Mr. Crisp's
and had been mistreated by him. Ani-
mosity crept into a father-son scene
where only tenderness had been before.
"But you love Mr. Crisp," pleaded 'di-
rector Brown after several spoiled takes.
An advertisement of Pepsi-Cola Company
SCREENLAND
MEDICAL AUTHORITIES
I MOW THIS ONE IS
SUPERIOR-
PHIUP MORRIS
Scientifically proved less irritating
to the nose and throat
■ SUBSTANTIALLY HS£Y £±|| ^ „ -SMoluNG^
: ■ «SStS^»« DEFINITELY
IMPROVED !
? That is from the fe^iddisliBeaisbeJ^'
^ in elinieal tesTToTmen and a-neker.
1 Sported in an aothori.ative -dical I-n. h
s Solid proo, that .hi. finer-tasung e garette
1... irritating to the nose and throat!
less r*n**»»,'8
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CALL FOR
PHILIP MORRIS
America's fines f Cigarette
"Come, Butch, give me those lines like
you did this morning." Butch's grief
spilled over. "But I don't love him like
I did this morning because he's bad to
his dog!" he cried. Explanations and re-
assurances followed. Only after Mr. Crisp
announced his intention of adopting the
pup and raising it in the dog-gonedest
luxury did Butch's beaming smile return
and shooting continue.
Learning his lines means learning them
from Mom, since Butch hasn't yet
learned to read. In the parlance of the
theater he is "quick study." The lines
he understands, he never forgets; only
those that fail to capture his interest are
difficult for him. He also has a quick
ear for technical production terms. Once,
at the conclusion of a particularly diffi-
cult scene, Clarence Brown called to the
cameraman, "It was all right for me.
How was it for you?" The cameraman
shouted back, "It was all right for me."
They were both convulsed by a noisy
assurance from Butch that "it was all
right for me, too."
His artistic instincts are sometimes
submersed by his financial acumen. In
the picture, Butch is proud owner of an
"insect bottle" worn on a string around
his neck. "Pappy Mr. Brown," as Butch
calls the director, offered a nickel for
every bug he could find for the bottle.
The next morning, to his horror, Brown
was confronted with a collection of one
hundred and eighty sand bugs and a bill
for eight dollars, according to Butch's
weird arithmetic. The director cunningly
pointed out that the insect bottle was
hardly large enough to accommodate one-
tenth of the haul. "You didn't say how
many. You only said bugs. A nickel a
piece. So I brought a whole bunch."
Butch emerged from the fray with the
aforementioned eight dollars in his jeans.
He enjoys pretending to be on the
"wolfish" side, having mastered the nec-
essary two-toned whistle. But he was
horribly embarrassed by his first screen
kiss. The girl on the receiving end was
twelve-year-old Elizabeth Taylor, on
whom he has a terrific off-stage crush.
Nevertheless, when rehearsals were called
for the kissing scene, Butch turned scar-
let and muttered, "sissy stuff." Traces
of his blushes, visible with the aid of
Technicolor, are evident in the final film.
For the showing of "The Human Com-
edy" at Grauman's Chinese Theater,
Beauty and the Baritone: Greer Garson and
John Charles Thomas at Hollywood Canteen.
Genius planned a gala theater party for
the children and their friends. Butch
protested against all the fuss. "I know
that story. Let's go see something new!"
Skipper was just as exasperating. "Aw,
let's see 'Air Force' instead." Genius per-
sisted. The picture, being strictly adult
entertainment, proved as uninteresting
to the children as they had expected.
Even the appearance of Butch on the
screen failed to arouse them. "I thought
he became an actor, but he looks just like
he does at home," complained one little
girl. "When is he going to start a fight?"
queried the boy next to her. Being the
youngest, Butch behaved the worst.
There were endless excuses for leaving
his seat in the center of a long row — the
candy machine, drinking fountain, "little
boys' room" — stepping on angry toes
each trip. As Genius observed, "Butch is
probably the only living actor who can
claim the unique distinction of having an
audience hiss him in person and applaud
him on the screen at the same time."
In his own opinion his greatest per-
sonal achievement was learning to print
his name to accommodate "nautograph"
seekers. The first request was from a
little boy with a toy balloon. "Trade
you my nautograph for your balloon,"
bargained Butch. The pint-sized movie
fan weighed the values thoughtfully:
"Okay, I guess it's worth it." Butch de-
posited the balloon in his blue jeans,
flung his fishing pole over his shoulder
and jauntily trudged off to his favorite
spot on the Santa Monica Pier. "Gee!"
he exclaimed to Skipper, "ain't movies
wonderful!"
ScREENLAND
63
UNDIES
As exciting to anticipate as the future
you're planning with him . . . the fig-
ure-loyal flattery BLUE SWAN UNDIES is
planning for you in materials as soft
as summer rain . . . cut, as always, for
comfort and correctness. If your favo-
rite store is temporarily short, do try
again . . . they're so worth waiting for!
EMPIRE STATE BUILDING • NEW YORK
MILLS, SAYRE, PA.
Awkward Age Star
Continued from page 44
Powers model. Instructors at the Alviene
school thought she displayed far more
than passing talent and should go in
for dancing seriously. They said as
much to her mother. But a role in a
stage production of "Mrs. Wiggs Of
The Cabbage Patch" came up just about
that time. It offered the chance to bring
money into the exchequer instead of
putting it out, so dancing was shunted
temporarily in the background in favor
of the theater.
I wanted to know when Peggy Ann
found time to play. And how she bud-
geted her income. And which of her
many accomplishments she would like
to feature in her future career. All these
things came to light before she disposed
of the third piece of chocolate angel-
food cake. (Incidentally the pieces were
very small — really too small — as she
said.)
When you are four and work as a
Powers model, you fall under the same
child instruction and working laws that
prevail everywhere. All children must
have a minimum of three hours school-
ing a day; instruction must be completed
before 4 in the afternoon. An hour of
playtime is obligatory; an hour for lunch.
They must be finished working at 5:30.
In playtime and lunch intervals, and
in the classroom, Peggy Ann makes the
same contacts with other children that
any youngster does.
"You must be quite a little taxpayer
now," I told her.
She smiled at that; a secret little smile
that was really shared only by her
mother. "I'm a taxpayer," she said, "but
not so big a one as you'd think. I'm
not in the money yet: I'm not even
near the big money. Twenty per cent
of my money goes each week for Vic-
tory bonds. Twenty per cent is with-
holding tax. Ten per cent is for my
agent. You see, that's half my salary
right there. The rest goes into a trust
fund for me with the bank giving us
$500 a month. Of course, father — he's
an officer, a lieutenant — -sends us an
allotment, too."
Peggy Ann is aware that skating,
dancing, horseback and swimming and
tennis lessons take more than pants
buttons. But they all braid into a future
career. Her mother is young, pretty,
and a lively companion for a child of
twelve. Mrs. Garner was wise when she
deliberately planned to have Peggy Ann
look as unlike Shirley Temple as she
possibly can. "I thought she would have
a far better chance as a very different
type," she told me.
Peggy Ann has no specified amount
of pin money. She asks her mother for
money as she needs it, and it seems she
is very modest in her requests.
This wonder child was born in Can-
ton, Ohio, February 3, 1932. She is an
only child. She registered her initial
hit in "The Pied Piper." This spring,
for a brief time, she worked in two
major pictures concurrently, playing
Nora, aged 9, in "The Keys Of The
64 ScREENLAND
Kingdom," and Francie in "A Tree
Grows In Brooklyn" when schedules
overlapped. This is a tough go, even for
an adult trooper. But the wonder-child
managed to do a fashion set-up for a
national magazine during intervals on
the A. J. Cronin story.
"I like to keep my hand in at mod-
eling," she said sagely. "You never
know."
Most outstanding feature of this
awkward-age star's work is her ability
to look like her picture mothers. In
"Jane Eyre" reviewers wrote she could
have been Joan Fontaine's daughter. In
"The Keys Of The Kingdom" she takes
on much of the quality of Mary Ander-
son. In "A Tree Grows In Brooklyn"
she is Dorothy McGuire's daughter.
"Are Kate Nolan and Francie going
to look alike?" I asked her.
"I think so," she said. "You see if
people do the same little things in the
same way, people are going to think
they look alike even if they really don't.
They are alike, and that's the important
thing. Dorothy McGuire has a way with
her eyes. And she often leaves the ends
of her sentences trailing in the air . . ."
And as she talked, Peggy Ann Garner
became Dorothy McGuire's daughter. It
is not mimicry alone. It's a trick of
projecting her personality into the per-
sonality of the individual she has in
mind. It is the secret of her amazing
performances in previous pictures — per-
formances that have brought her the
fattest plum Hollywood has to give in
1944. Francie, born in bitter poverty on
dingy Brooklyn alleys, fights the neigh-
borhood kids like a wild-cat for a place
at the stale bread counter, gathers junk
which she sells the local dealer, bar-
gaining shrewdly for the odd half-cent.
Francie, torn by dreams, finds beauty
in the persistent leafing of a green tree
in the grimy expanse of brick and con-
crete that is her world. Francie's heart
is heavy because her father comes home
"sick" so often and the other children
on the block jeer and taunt her about it.
Francie is a product of the slum, wise
and sad and grave and gay — knowing
stern facts before she should, disposing
of them in the child trick of make-
believe. It's a role for any actress to
envy — a role which can carry her
straight on up into twinkling lights on
the marquees and a salary bracket less
easily budgeted than her present one.
Peggy Ann was actually second choice
for her first big break, "Jane Eyre."
Scores of young candidates tested didn't
satisfy either director Robert Stevenson,
Miss Fontaine or Orson Welles. Peggy
wasn't one of the chosen ones; she was
off on a bond-selling tour and had
stopped off at Fort Dupont to visit her
father when the studio wired for her.
There is a story that Orson Welles, who
had seen her work in "The Pied Piper,"
remembered her and asked for her.
so a fluke of Fate landed a 57i/2-inch
sprout who weighs only 72 pounds in
a top part, and paved the way for her
golden present.
Ooooo, Susanna!
Continued from page 40
"I got so nervous, waiting for so long
for a break in pictures," she explains,
"that I started biting my fingernails. No
singing star should bite her nails. No
grand opera star should, either. And
while I'm neither, I hope to be, so I be-
gan disciplining myself. Pretty soon I
licked the habit and my nails got quite
pretty. I used to drive along in the car
admiring them, and wham! The next
thing I knew I'd hit something!"
Susie very distinctly and definitely has
no love life. She inadvertently fell in
love with Robert Preston when she was
under contract to Paramount and, as
they say in the old-time novels, "wor-
shipped from afar."
"It was just a crush," she says, "and he
won't know about it until he reads this.
But when he married Catharine Craig,
I had a good cry for myself."
Incidentally, Susie loves to laugh and
cry. She goes to sad motion pictures —
she loves all films, good, bad and indif-
ferent— when she feels in need of a good
weeping jag. Her emotionalism can be
traced to her father and mother, she says.
"Mother is a woman of high enthusi-
asms," she says, "and gets all excited
about things. Dad is a very sensitive,
quiet sort of person. I'm a combination
of them, and I can get enthusiastic, or
excited, or emotional, or sad or easily
hurt in no time."
She credits her love for music and her
success as a singer — her career started at
10 years — to her father. "He loved
music," she recalls, "and he taught us
kids to love it, to know it, and to sing it.
I not only can sing but can play the
piano fairly well and used to be able to
play the violin. Both my sisters have
very good voices. Dad started us singing
when we were very, very young."
Susie was born in Chicago, where her
father was in the brokerage business, on
December 6. i""1 Wl slaved
e . . says Deanna Durbin
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HER mother is a marvelous mother,
but a little inclined to cling to
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an audition by Mary McCormic, the
opera singer, in a St. Paul hotel.
"She said I had traces of a voice,"
Susie relates. "I was kind of suspicious
that maybe she was just being nice."
But the voice was there. Carl John-
son, Minneapolis violinist, got her an au-
dition with MGM, and the result was a
modest little contract which, as already
pointed out, never materialized. Susie
wasn't loafing, however, while on that
company's payroll. She secured the serv-
ices of Gilda Marchetti, a noted singing
teacher, and studied faithfully while the
studio ignored her. Naturally, the initial
thrill of "being in the movies" soon wore
off, and life was grim again. "When," as
Susie explains it, "they found my name
on the contract list, they were surprised,
and crossed it off." She was very low. But
Paramount needed a girl with a voice
for "Victor Herbert," with Mary Martin
and Allan Jones, and she was in again.
Then, after three pictures, she was left
dangling. At the same time, so were her
friends, little Betty Brewer, and Dolly
Loehr, the piano prodigy, now known as
Diana Lynn. Then came the call at
Universal, "Phantom," and a contract.
"At last," Susie says, "I really feel I'm
going places. You can imagine how hard
it has been, with my temperament, to
have so many ups and downs."
Susie, with golden hair, blue eyes set
wide apart, full lips and an excellent fig-
ure, is hard to picture as an opera star.
But that's her aim. Perhaps, it should
be said, one of her aims. For Susie, at
19, is mentally very much a woman,
in spite of her rather hoyden attitude.
She is particularly awake to the war.
This is shown by the fact that she has
made several camp tours, some under
trying circumstances. And by the fact
that she is a nurse's aide in the Red
Cross, and has not only had several
weeks of training, but has served in
General and Good Samaritan Hospitals
in Los Angeles.
The other day she was discussing the
possibility of going overseas -*»
other fern'"''
"I'm afraid," said the other, "that
you'll find it uncomfortable."
"Good heavens!" retorted Susan.
"Eight million of our men and women
are uncomfortable! What if I am?"
Susie feels that there is a healthy
swing toward opera, which has been un-
der way for about five or six years. She
points to the adaptation of many clas-
sics to "popular" presentation and their
widespread acceptance.
"Millions know the tune of 'Tonight
We Love,' for instance," she points out.
"Some know it's classical and some don't,
but everybody loves it. Its success, along
with several others, and the revived
interest in symphonies and operas shows
you the trend."
Susie wants to go overseas because
she thinks the troops need entertainment.
She believes that it is much better for
someone who can sing or play some in-
strument to appear than a "run-of-the-
mill" stage or screen player.
"The boys don't want to hear, 'I
can't tell you how glad I am to be here
tonight,' " she asserts. "They want
action!"
Susie, with typical impulsiveness, be-
came a nurse's aide when she struck up
an acquaintance with a woman who was
eating hurriedly in a restaurant. The
woman explained that she had to catch
a bus to a Red Cross branch to com-
plete her course as an aide. Susie gulped
her food, drove the woman to the branch
and enrolled herself.
"The reason I did it," Susie says, "is
because I wanted really to do something
for the war effort. Sure, I sing. But I
get applause, don't I? And I love to
sing, don't I? I wanted to do something
that was hard for me to do. I'm afraid
of hospitals, operations, and all that
goes with 'em. So I just told myself
that by doing this I'd really help."
She found that such work was good
for the soul. She volunteered to do 150
hours of it each year — and came home
ahead of anyone else in presenting
people will understand it and lea
love it. Classical music for year
been shoved down the throats of ih<l-
younger people like medicine by per-
formers who almost say "Take this. It's
good for you." As Susie says, they are
very formal about the whole thing. Susie
isn't. She uses slang. She is extremely
nervous before she begins her perform-
ances over the radio and on personal
appearance tours. She scratches her
head, waves her arms, crosses her feet
and loosens her shoes and, at the end of
the rendition of a classic has been known
to make a gesture as if wiping the per-
spiration of her brow.
Universal has been trying to make a
lady of her. "But," she says, "I like to
be myself. The public likes me that
way — I hope."
There is one classic story of her lov-
able informality in connection with her
appearance on a radio program with
Cecil B. DeMille. The program extolls
the virtues of a certain soap. After her
performance, Susie was asked how she
liked the soap and, in accordance with
her script, and her feelings in the mat-
ter, praised it highly. The radio au-
dience laughed. She turned to them with
a hopeless little gesture. "But I do, too,
use it!" she exclaimed. The crack
brought down the house.
There are times when Susie's penchant
for being natural nearly upsets the
applecart. Recently, she made a trip to
New York with Betty Mitchell, Univer-
sal Studio's style publicist. In Chicago
Susie suddenly took it into her head
to visit her grandmother, living down-
state. She dashed off. She failed to re-,
appear. Wild telephone calls by Miss
Mitchell disclosed she was out riding a
motorcycle. But she caught the train
at Chicago on time and didn't disappoint
the mayor and a brass band waiting at
Minneapolis. At a public appearance
there she was not supposed to sing. The
audience grew clamorous.
"They'll murder me at the studio for
this," she said. "Can anybody play the
piano?"
She secured a volunteer and sang,
"Ah, Sweet Mystery of Life" so beau-
tifully that Minneapolis still remembers
it. When the applause had died down,
she simply said, "Thanks, folks."
In New York she ducked press inter-
views and formal engagements to 1)
take a ferry ride to Staten Island, 2)
chat with an impecunious Russian vio-
linist and order him a suit of clothes
and 3) feed the animals in Central Park
Zoo. She was going into a musical im-
mediately on her return to Hollywood.
She didn't study at all on the trip.
Then, finally, on the train bound for
Los Angeles, she started singing in her
compartment. A few minutes later Miss
Mitchell opened the door to the com-
panionway. A score of people were lis-
tening. They broke into applause.
At the conclusion of the trip Susie
stepped right into the picture and Miss
Mitchell went right into seclusion for a
good rest.
All of which shows that Susie is
Susie, and there's nothing much you can
do about it!
race
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ude Rains Comes Home
Continued from page 27
,e day after his arrival, Claude had
cO make the sixty-mile journey across
country to the remote village of Ayot
St. Lawrence in Hertfordshire, where
eighty-eight-year-old Shaw now lives in
seclusion since the death of his wife. The
famous philosopher-dramatist wanted to
make the personal acquaintance of the
actor whom he had selected simply from
seeing him on the screen. They sat down
on a rustic bench in Shaw's garden among
the tulips and roses and talked for hours
together, about plays and music and art
and economics — about everything except
films and "Caesar And Cleopatra."
. Naturally Claude enjoyed such bril-
liant conversation but he still wanted the
official commendation just the same.
Only as he was leaving did he gather his
courage and ask the bearded sage rather
tentatively, "Do you — you do consider I
shall be adequate?" Shaw looked at him
with the celebrated twinkle in his eyes.
"You've got exactly the right profile for
Caesar!" he pronounced solemnly.
So at Denham Studios they rib Claude
unmercifully if he happens to look at
himself side-face in the mirror. He has
to put in long hours of work and study
at his role, with many additional experi-
ments in make-up and costume, express-
ing all the pomp and grandeur of the
ancient Roman Empire with its curls and
draperies and garlands and its exquisite
architecture. Some of the finest English
character players are appearing in the
film as well, including Flora Robson and
Robert Newton.
Claude's cheerful personality has made
him very popular with them all, though
he loves to pull jokes on them whenever
he can. Sitting down to lunch in the
studio restaurant, he will look at his
rationed and restricted meal and say
loudly, "Now at my farm we mainly eat
our own food. For breakfast, there'd be
oatmeal with thick home-separated cream
and a platter of fried ham with fresh eggs
and toast lathered in home-made butter
and — " From all the surrounding tables
come cries of "Shut up, you beast!" and
maybe a roll is thrown at Claude's head
too. He has never been allowed to get
round to the farm's midday menu yet
but swears he will do so before he leaves
the studio.
Claude likes to catch up on his reading
between scenes so on the table in his
dressing-room you find movie and stage
and farm magazines. If the studio re-
leases him sufficiently early, he will take
the train into London and visit a theater.
The first he went to was historical His
Majesty's in the Haymarket, its marble
pillars and gilded mirrors and red plush
chairs still exactly as they were when
Claude first started his career as call-boy
there nearly forty years ago.
"Just like the old days," he murmured
gleefully, although he watched a gay
modern musical show instead of one of
the heavy old-time melodramas at which
he used to assist. After the performance
he wandered nostalgically around back-
stage, telling how he served as carpenter,
electrician, property man and box-office
G8
SCREENLAND
cashier but never as an actor bee
the producers all explained to him fi
he wasn't sufficiently good-lookinj
appeal on the stage. "And they wouldn
let me even try bad roles at first, because
there was still a tradition that villains
must be tall and dark and debonair."
Claude does a delicious take-off of a
wicked Sir Silas turning the heroine out
into the snowstorm with true Edwardian
sneers. He gave it to an appreciative
Services audience when he entertained at
a Red Cross Club the other night, fol-
lowing it with impressions of "The Phan-
tom Of The Opera" and some descriptive
gossip about Hollywood.
Then suddenly Claude discovered that
many of the boys there came from Kan-
sas and Michigan and Wisconsin. In a
few more minutes, they were all huddled
round in a circle discussing crops and
livestock and irrigation ditches and power
sprays and just what you would be able
to do with a couple of jeeps back home
on the farm after the war. "Still they all
look completely happy," as the Red
Cross hostess remarked.
So Claude Rains has come home for a
brief spell, contented because he has at
last achieved his twin ambitions. Even
as a boy in the Camberwell district of
London where he was born, he longed to
be a great actor and to have his own
home in the country. He has never
wanted to be "smart" or fashionable or
ultra-sophisticated. He prefers a green
carpet of grass sloping down to a quiet
stream to any dazzling night-club floor
and he considers it the end of a perfect
day when he can sit relaxed with his wife
after working in the open air and enjoy
a favorite book again or listen to a radio
symphony concert.
He is a happy man at heart because,
after years of unremitting struggle and
intensive work, he can now live the dual
life he wants. That is why he is able to
portray his parts on the screen with such
attractive confidence and vigorous poise
and why it seems reasonable to expect
still more brilliant character studies from
Claude Rains in the future.
Sartorial experts: Roy Rogers and Bing
Crosby lend talents to broadcast.
ScREENLAND 69
SUSAN HAYWARD
speaking
Appearing in "AND NOW TOMORROW" a Paramount picture.
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SCREENLAND
Janie
Continued from page 49
.^ai vVestern land; you know, picturesque,
with things growing. What I want is a
ranch with a cactus on it."
Meanwhile, she and her mother and
grandmother are living in a triplex
apartment house that mother built in
Beverly Hills, before Joyce went into the
movies. "Gamin," an unpredictable
French poodle (christened by Charles
Boyer) , lives with them and responds
to the nickname "Gamey." For all
mother and grandmother knew, they
were going to have a pig in the family
circle likewise.
A gently dignified little piece, Joyce
nevertheless can play a trick with such
a straight face it would fool an angel.
After a visit to the rancho of Newton
House, the make-up man, she announced
that House had offered to give her a
baby porker. He had actually offered it,
but jokingly.
Mother hit the ceiling, and grand-
mother went right along with her. Grand-
mother, by the way, doesn't care for the
movies and has never visited the studio.
"Where can we keep it?" they both de-
manded.
"Oh, in the bath tub," Joyce replied.
Now, the bath tub is a pastel, wild-
rose creation; the perfection of dainti-
ness and art. "The tub! You wouldn't
put a smelly pig — "
"But, grandma, I couldn't offend Mr.
House by refusing it!"
And so on and on for a couple of
weeks, mother reading up on pig food
and deodorants, grandmother preparing
to move out, till Joyce confessed to the
gag. Grandmother felt, however, that
nobody could be blamed for swallowing
the pig, hook, line, and — shall we say? —
stinker; a pig in the tub was precisely
the zany type of thing you might expect
of a movie actress.
The movie actress in question isn't
above appreciating a joke on herself,
either, and telling about it. During the
production of "The Constant Nymph,"
fate played her an embarrassing joke
indeed. With Boyer and Joan Fontaine,
Joyce was sitting out a wait between
scenes, acutely conscious that this pic-
ture afforded a splendid opportunity to
make good. Acutely conscious, also, of
the distinguished company with whom
she sat. In an attempt to appear at
ease, she tilted her chair to and fro and
— went over backward!
"Can you imagine? There I lay, my
feet in the air," Joyce said, blushing but
mirthful, "just when I was trying to be
so nice! I thought I'd simply die. But
Mr. Boyer picked me up, and Miss Fon-
taine acted so concerned for fear I'd
broken my neck that, instead of feeling
humiliated very long, I almost began to
feel clever."
At that, it isn't every girl who can
be patted on the shoulder by Miss Fon-
taine. Or be picked up, literally, by Mr.
Boyer.
The way Joyce got into the movies in
the first place is an instance of real life
acting like a movie script. With Director
Mike Curtiz as the benevolent genie.
This is the way it all came about.
Joyce has a philosophy of her own. No
matter how much she wants a thing,
she won't eat her heart out for it, nor
set her mind on it to such an extent
that life will be blighted if the setup
falls down. She longed to become an
actress, certainly. She would do every-
thing possible toward that end. Then, if
she did become an actress, fine! If she
didn't, too bad — and yoicks, away! for
something else.
As part of a drama" course at the Uni-
versity of California, Joyce played the
role of Alice in "Alice In Wonderland."
A Warner talent scout who saw the per-
formance galloped round backstage to
offer her a screen test. The test brought
a contract. But Joyce doesn't believe
things till they happen; one run-of-the-
mill contract isn't success.
Two days later, Joyce was walking
across the studio lot to be photographed
in the portrait gallery when Director
Curtiz came along. He glanced at her
briefly, then with more care. Next morn-
ing, the U.C.L.A. freshman had a small
part with James Cagney in "Yankee
Doodle Dandy." That's when Joyce be-
gan to believe perhaps she truly was in
pictures, after all. It's worth remember-
ing that Bette Davis (Joyce's idol) went
through a lengthier trial-andrerror train-
ing before her first screen contract ma-
terialized.
The beginnings of success, though,
haven't gone to the Reynolds head. From
the start, she intended to make progress
— or else. "If." she said, "I hadn't got
somewhere within a year, I'd have quit.
I wouldn't hang around indefinitely,
merely waiting."
Yet there are circumstances under
which she would quit, anyhow, no matter
how much glory she achieved. For ex-
ample: "If I marry, I'll expect to con-
tinue with my acting. But if my husband
didn't want it that way. I'd give it up.
As between my home and my career,
there'd never be a question. Home first,
always. Nothing, to me, could be more
important."
This settled, Joyce went on to finish
the ham sandwich. It isn't her favorite
lunch — which is chocolate ice cream with
chocolate cake — but she had promised
mother to eat sensibly. Like most young
and healthy persons, she takes a keen
interest in food and can cook, when the
fit is on her, those peppery Mexican
dishes they often serve in Texas.
Being Texan, moreover, she learned
as a baby to ride a horse. Not long ago,
Edward Arnold's son took Joyce out to
the Valley to see a handsome palomino,
pale yellow with a silver mane and tail;
the pride of his stable. After earnest
persuasion, she induced him to sell her
the horse. And then the studio wouldn't
allow her to ride it until "Janie" had
been finished. "Afraid I might fall off!"
said Joyce with scorn.
But horseback riding is only one di-
version. You never saw a girl with recre-
ations so varied. Favorite indoor sport,
ping pong. Favorite outdoor sport, horse
racing. Somewhere in between, a spot of
dancing at the Cocoanut Grove or Mo-
cambo, when picture work or university
studies don't interfere.. And, high up on
the list — swimming.
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71
Boy! When the studio discovered she
could swim, they wrote in a swim scene
(and a swim suit) for "Janie" and
whisked Joyce down to Malibu. There's
where Joyce got her first taste of what a
movie personality is expected to endure.
A cold day, a cold sea. Joyce alternately
plunged into the surf, and allowed a prop
man to throw buckets of water at her —
for closeups — the entire afternoon. If the
Southern California Chamber of Com-
merce permitted you to have chilblains,
Joyce would have had 'em. "All over,"
she said.
But the picture held its compensations.
There's a scene with a company of Ma-
rines. They were real Marines, from a
camp outside Hollywood, and it hap-
pened to be the same camp where the
boy friend, Lieut. Lewis, had been sta-
tioned. None of the Marines knew the
Lieutenant but it brought him nearer,
somehow, to talk with them.
On top of this, Joyce discovered in the
cast two Texas girls, one of them from
her home town of Houston. Needless to
say, it precipitated an Old Home Week.
For Joyce loves Texas people, even if she
prefers California weather.
She was deep in reminiscences with
the Houston girl when they called Joyce
for a very emotional scene of "Janie."
The script demanded genuine tears, and
the director told Joyce she might have
time out to pump 'em up by thinking
sad, sweet thoughts or. by whatever
method she preferred. Let him know
when she felt good and mournful and
ready.
"I'm ready now," Joyce replied imme-
diately. She turned again to the Hous-
ton girl while the director gave aft order
to somebody. "And that ice cream place,
in the middle of town, remember?" she
said, "where they — "
The director beckoned, and she took
her place before the camera. The emo-
tional scene began, rising and rising to its
unnerving climax. At the proper mo-
ment, big tears welled in the Reynolds
eyes. The tears overflowed, ran down.
Joyce wept and wept in an abandon of
grief with sobs so heartbroken you began
to sniffle, yourself.
"Cut!" cried the director.
Joyce hauled out a handkerchief, wiped
her eyes and chin, and walked back to
the girl from Houston. " — that ice cream
place," she picked up the conversation
without a trace of any emotion except
happy recollection, "where they gave you
two scoops of chocolate — "
A few feet away, a man stood regard-
ing Joyce with the rapt expression of a
mortal beholding a miracle. He passed a
hand across his brow, and gazed again.
He was the dialogue director.
"I've seen those that can't cry a drop,"
he sighed, "I've seen those that finally
got worked up to it and couldn't stop
for an hour. But to go, cold, into a cry-
ing spell — and she must have felt it or
she couldn't have done it — then turn it
off like a spigot and continue a chat
about ice cream—!"
It appears that hardly anybody can do
this, even in Hollywood. The ability,
highly useful to an actress, is a plain,
utter, downright gift straight from
heaven. Like (if . we may mention them
just once again?) outsize brown eyes.
72
ScREENLAND
What's Happening to
Lon McCallister Now!
Continued from page 39
not a single fellow like myself wants to
see his folks. The really tough thing is
when a father is separated from his
kids."
After that, Lon stopped feeling sorry
for himself, though he still missed his
parents and grandparents pretty badly.
However, he'd given up any hope of see-
ing them again in wartime, unless some
day he were lucky enough to get a fur-
lough.
Then one day Lon received a very offi-
cial looking Army paper. It ordered him
to report to the "Winged Victory" Unit.
"Those were the most wonderful orders
any fellow in the Army ever received,"
said Lon. "I knew that ultimately the
'Winged Victory' company would report
to California. And that meant I'd get to
see my folks again. I'd get to see the
home at Malibu which I like so much,
and mom, dad, and my grandparents."
And sure enough, Lon's hopes came
true. "Winged Victory," Moss Hart's re-
port to the nation on the training of
the boys in the Army Air Forces, made
about a million dollars for Army Emer-
gency Relief during its run on Broad-
way. Now it's being made into a picture
at 20th Century-Fox, Lon's home lot.
(20th Century-Fox and Sol Lesser share
his movie contract.) If Lon weren't in
the Army, by this time he'd probably
have the star's dressing room to him
self, so great is the hit he made. Be-
cause he's in the Army, he shares a
dressing room with whatever soldier-
actors are working on the same day
as he.
The "Winged Victory" Unit is sta-
tioned at Santa Monica. When Lon isn't
working on the picture, he goes through
the same drills and calisthenics as any
other soldier. Even when he is working
on the picture, the Army has to know
where he is every minute of the time.
He's a soldier first; an actor second.
When he's lucky enough to get a two
or three day pass, he rushes home to
Malibu. There mom and grandma have
home-cooked meals waiting for him, com-
plete with lemon pie and all the trim-
mings. This is a welcome relief from
Army food — which is good but which is
never served like home-cooked food. The
food at the camp mess hall is also ex-
cellent; but how can it compare with
Mom's cooking?
Not, you understand, that Lon is com-
plaining. But when he tells you how he
feels about being home for even a day
or two, his face lights up and those dim-
ples on both cheeks flash disarmingly.
He'll probably be overseas himself be-
fore long. And he's mighty glad he has
been trained for this. Lon hears often
from his buddies, who are already on the
fighting fronts.
Lon is 21. His experiences in the
Army Air Force and his reactions are
similar to those of other boys his age.
And since so many women have young
sons, husbands and sweethearts in the
Army, I asked Lon what he thought of
his basic training.
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SCREENLAND
73
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"It wasn't nearly as difficult as I had
expected it to be," he said frankly.
"Let's face it — being in the Army is no
picnic. But I think that any chap in
his teens or early twenties would feel
the same way about the basic training
as I do — nearly all of us can take it.
The hardest thing to take is being away
from your home folks and from a famil-
iar background. But after the first ter-
rible wave of homesickness is over, you
learn to adjust yourself."
I wanted to know about Lon's private
life. Ever since he made his first hit as
California, interviewers have been asking
Lon, "When you kissed Marjorie Rior-
dan in that scene, was that the first time
you'd ever kissed a girl?"
The question flabbergasted Lon. Rally-
ing, he said, "I've never yet kissed a
girl and really meant it."
That answer still stands. According to
Lon, when you really mean a kiss, you
put your whole heart into it, because
you're very much in love. And so far
Lon has never been in love.
According to Walter Winchell, "Lon
McCallister and Jeanne Crain, the love
interest in 20th's film 'Home In Indiana,'
fell madly in love with each other, re-
hearsing the Cupid episodes."
But that isn't quite true. "Winchell
implies we're engaged. Why, we've never
even thought of such a thing," Lon said.
"Jeanne is a wonderful girl and I like
her very much. We've been out on a
few dates together. She spent one week
end at my house. Several people from
the wardrobe and make-up department
of 20th were there — and so were my folks
— my mother, grandmother and grand-
father.
"I just called up Jeanne a little while
ago, to ask her if she'd go to the pre-
miere of 'Wilson' with me — if I can get
tickets for it. On my Army pay, I can't
afford to pay $5.50 a seat, but if I can
inveigle someone at 20th into giving me
the tickets, I'd like to go with Jeanne.
She's a swell girl, and she's always good
company."
Although Lon says he isn't in love,
with Jeanne or anyone else, he admits
he'd had a good many crushes. And he
was perfectly willing to tell me his ideas
on love and on women.
Hollywood newlyweds: Gail Patrick and
Lieutenant Arnold Dean White, Navy flier.
74
SCREENLAND
Lon's first "date" occurred when he
was about seven years old. He had a
"crush" at the time on the little girl
next door. Lon, you know, was born in
and lived in Los Angeles. Perhaps the
crush was caused by the fact that the
girl had a bunch of doves. Those fasci-
nated Lon.
One day the girl suggested that Lon
and she get "married." Lon agreed to go
through the ceremony, which he felt
would be very picturesque because of
the doves. So the girl found an old
white veil of her mother's, and attired
herself as the bride. Lon played the
groom. A boy in the neighborhood, a
friend of theirs, acted as the preacher.
The doves flew round and round the
room. "That," says Lon, grinning, "was
my first date — if you can call that a
date."
Lon's next crush came when he was
attending high school. The girl was
Mary Lee, pretty motion picture actress,
now happily married. Mary Lee is the
girl who used to play in the Gene Autry
pictures, and who got so much fan mail
that Republic decided to star her. But
when Lon dated her, she was just an-
other high school kid, though prettier
than most. She's five feet one. a bru-
nette with dark eyes. But it wasn't just
her looks that appealed to Lon. "I liked
her because of her personality. She's a
wonderful girl — one of the most sincere
girls I ever met."
Though Lon hasn't met THE GIRL
yet, he knows that when he does meet
her, she'll have the same warm sincerity
that Mary Lee has. Since his success in
"Stage Door Canteen," Lon has had
some unhappy experiences with girls who
were not sincere. When he was on loca-
tion for "Home In Indiana," he met two
girls with such terrific lines that he was
almost afraid to be alone with them!
One girl had all the airs and preten-
sions of a social debutante. But she
didn't have either the background or
the good manners that a real social deb
possesses. Because Lon had become
prominent through his pictures, she made
up her mind that he must be her escort
to her school prom. Now Lon, when he
is actually working in a picture, doesn't
allow himself to have any dates. He
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knows that if he stays up late, he won't
be able to do good work the next morn-
ing. So when this girl asked Lon if he'd
be her escort, he turned her down, tell-
ing her that he had an early call for the
next day. The girl was furious. Even
before she had asked Lon, she had told
all her friends that he was going to be
her escort. She'd asked him not so much
because she liked him, but because she
felt that she was bagging a prize. None
of the other girls was going to have a
movie star to take her to the prom.
Instead of telling her friends the truth,
that Lon couldn't come, she told every-
one that she had decided not go with
Lon because she had discovered he
wasn't a nice guy — he was really a wolf!
Another girl whom Lon met on loca-
tion had a terrific Southern accent —
real or assumed. It was probably as-
sumed, because everything else about her
personality was, "I just love it," she said,
"when you-all talk to me about horses."
"That girl," laughed Lon, "didn't
know a thing about horses, and she was
probably bored to death when the sub-
ject came up. I'm sure she was really a
nice girl; and I would have liked her if ,
she'd just been herself. But she must
have read or heard some place that the
way to interest a man was to show an
interest in what he liked. She figured
that because I was playing in a picture
about sulky racing I'd be impressed 'if
she pretended to be interested in horses.
So she pretended — but her line didn't
get across. I don't think lines generally
do," Lon added. . "If girls only knew
how much more charming they are when
they're themselves!"
Lon likes simple, unsophisticated girls.
When Mary Lee and he were dating,
they used to sit at home in front of the
fireplace, roasting weenies and eating
apples on sticks.
"Lots of people," Lon said, "think
that the life of Hollywood youngsters
is very chichi and sophisticated. Actual-
ly, the life of the kids I've known here
has been very simple and almost naive.
I think that there may be some young-
sters in the East and Midwest who try
to live up to what they think are the
Hollywood standards of sophistication.
Among the youngsters I know, there are
no such standards.
"Personally, my idea of a wonderful
date is going for a swim at the beach,
stopping in at a drive-in afterwards for
some hamburgers, or going to a picture
show at a neighborhood theater. I've
been to Earl Carroll's once and to Mike
Romanoff's once. I think Romanoff's is
an amusing character place, and I saw
lots of movie stars there. But I'd rather
eat in a drive-in. I don't like night
clubs. I don't drink and I hate large
crowds. I find night clubs rather fright-
ening in a way.
"I wouldn't want to date a girl whose
idea of a good time was going to some
other swanky night club. The question
of how much money I spent on a date
has never been important to any of the
girls I've gone with. I can have more
fun spending a few dollars at the beach
than I could possibly have flinging
money around at an expensive night
club.
"Right now, I just have about $21 left
76
ScREENLAND
out of my G. I. pay check each month,
after the money for my mother's allot
ment and for my insurance is taken out
of my $.50. So naturally, I can't spend
a lot of money on dates.
"Even before I was in the Army, 1
was never very extravagant on dates.
Whenever I had any spare money, I used
to buy things for our home at Malibu.
We have a green and white beach home.
It's very simple, with nothing unreal
about it. The dining room is still bare.
The bedrooms have just beds in them,
but no elaborate furniture. But the liv-
ing room is furnished, just as we all
wanted it to be. Before I went into the
Army, I used my movie pay checks to
buy such things as lamps and antiques,
including an old German clock I picked
up in Kentucky, when I was on location
there."
When Lon marries, he hopes his idea!
girl will have the same interest in home
that he has. He expects to earn quite
a lot of money as an actor after the
War is over. He hopes the girl he mar-
ries will want to spend that money on
beautiful things for their home. And
that she will like simple social gather-
ings better than a lot of fanfare. The
girls he has had crushes on have always
had simple tastes.
When Lon was going to college, he
had a crush on a girl whom we'll call
Jean. "I met her the first day I was at
college, in my first class, in the very
first hour. I knew her for four months
before I asked her for a date. Then I
began inviting her to my fraternity
dances; and I went to her sorority
dances. We also went to the beach to-
gether and on hay rides with the other
college youngsters. Jean .was very un-
affected, and had a great deal of sim-
plicity. She didn't wear make-up. Not
that I object to women wearing make-
up; but on Jean no make-up at all looked
good. She did nothing to attract atten-
tion. She was an introvert, very quiet."
Lon thinks when he falls in love with
that Ideal Dream-Girl, she'll have the
same simplicity that Jean had.
"I won't care," he Says, "whether
she's a blonde or brunette , or redhead.
I've seen girls in pictures change the
color of their hair too often to feel that
the shade of a girl's hair is important.
Why, I went with one girl who was a
blonde when I first met her and who is
a brunette now. When a girl's an actress,
she often has to change the color of her
hair because of a director's orders. And
if a girl's not an actress, I think it's her
privilege to change the color of her hair
if she thinks another shade is more be-
coming. Just because a girl bleaches her
hair doesn't mean that her personality
is artificial.
"When I fall in love, it won't matter
whether the girl is beautiful or not.
There's an old saying, 'Beauty is in the
eye >f the beholder.' And that's true.
When I'm in love, the girl will seem
beautiful and charming to me.
"But I'm sure I'll never be attracted
to a girl who's beautiful but dumb.
When I marry, I'll want to marry a
girl with lots of common sense. Such
a girl, whether she's been in pictures
or not herself, will have a good sense
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ScREENLAND
77
mands of the picture business. The idea
of a woman being a complete clinging
vine doesn't attract me. I think there's
a happy medium. I shouldn't want a
woman who was completely helpless; but
I hope the girl I love will not be so in-
dependent that she can get along with-
out me.
"I like to think that when I fall in
love, it will be love at first sight; but I
don't know if I'm right. Perhaps love
will come more slowly than I dream;
maybe it will grow on me instead of
happening the first time I see the girl.
"I don't care whether the girl I fall
in love with has ever worked or not. I
don't even care whether she can cook or
sew. I hope I'll be able to earn enough
to pay someone else to do the cooking
and sewing, if my wife doesn't care to.
Those aren't the important things. Sin-
cerity and simplicity and a kind heart
are.
"I hate it when women — or men, for
that matter — say <unkind things about
people, particularly when they don't
know what they are talking about. My
ideal woman will never say anything un-
kind about anyone. There are enough
people in the world who say unpleasant
things. I hope I'll never marry a woman
who's petty or catty or gossipy."
I asked Lon whether the war will
make any difference in his ideas about
marriage.
"No," he said. "I've heard some fel-
lows say that they won't become en-
gaged or married while there's a war
going on. Sometimes I read an article
in a magazine in which someone says, Tf
Two French sailors have something to show
grandchildren — their picture taken with Mar-
lene Dietrich at the reception given for Gen-
eral Charles de Gaulle at Waldorf-Astoria!
you're in love, marry. Marry right away
because there's a war going on.' Then
the very next month the same magazine
will print another article by someone
else saying that you shouldn't get mar-
ried in wartime.
"I think that's confusing. I think
love is the issue — not war. If I fell in
love, I should get married, as soon as
the girl and I were sure of our love, re-
gardless of whether there was a war
going on or not."
In the meanwhile Lon is free of ro-
mantic ties, white and twenty-one. He
admits that he realizes that a single chap
has the chance of being more popular
with some people than a married actor.
Nevertheless if he were in love, he
wouldn't care whether it hurt his career
or not to get married. He'd get the
knot tied.
However, that isn't very likely to hap-
pen in the near future. Right now Lon
is concentrating on his friends, his Army
career, and on the picture, "Winged
Victory." He's rather amused that in
"Winged Victory" he plays a married
man. "I never thought it would hap-
pen so soon in my 'movie career," he
says.
He's interested in his picture career,
even though he told me, "I feel it's sec-
ondary to something that is going to
happen to me between now and the time
I'm 25 or 30."
Lon doesn't want to be an actor all
his life. He'd like to go on an ocean
voyage around the world, some day
when the war is over. He also wants to
be a writer. He particularly enjoys writ-
ing poetry. In his spare time, he likes
to read poetry, particularly Walt Whit-
man, Keats and Shelley; he likes to listen
to his favorite records and to dance
to the music of Glenn Miller.
Once, he admits, he disliked dancing.
But gradually he's gotten to like it, par-
ticularly slow dances. Once he went to
a square dance with June Haver, and
he loved that. But he still doesn't like
jitterbugging.
He likes swimming, tennis, and the
acting of Tallulah Bankhead. He gets
furious when people criticize Tallulah.
"Because she's so far above any of the
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ScREENLAND
people who criticize her," he explains.
He looks forward to visiting the Holly-
wood Canteen some day; but so far
the Kansas City Canteen is the only one
he's been to.
Before he went into "Winged Vic-
tory" he appeared in a dramatic show
in the Midwest aimed at convincing
women that they ought to become WACS.
The show .was responsible for a tremen-
dous spurt in the enlistment of women
into the WAC. One girl came up after
the performance and told Lon, "Be-
cause of my seeing this show, my entire
life has been changed." Lon was glad —
because he realized how important it is
to our country, that as many women, as
possible back the men by joining the
services.
Although Lon is in the Army Air
Forces, as are all the other men in the
cast of "Winged Victory," he doesn't
believe he'll ever become a pilot. Only
a select few of the men in the Army Air
Forces do become pilots. Lon isn't eli-
gible for such a post because his vision
isn't perfect. But he will undoubtedly
be given some other vital job with the
Army Air Forces — as there are manv
technicians in the forces, all of whose
jobs are just as important as are those
of the pilots.
Before he went into the Army, Lon
had heard a great deal about the kid-
ding actors get when they join the serv-
ice. But for some reason, Lon wasn't
subjected to any of that. He thinks it's
because most of the men had never seen
him in pictures. Then one day at Camp
Crowder, they showed "Stage Door Can-
teen" and Lon made a personal appear-
ance.
Even though he played young Cali-
fornia, the men in the Army didn't be-
lieve for a minute that he was like
California. In fact, because he came
from Hollywood, they decided that he
must be just the opposite — very sophis-
ticated.
After that personal appearance, the
men pelted Lon with good-natured ques-
tions about Hollywood. They particu-
larly wanted to know what Marjorie
Riordan, Betty Grable. Lana Turner and
Hedy Lamarr were like. Lon had met
Betty and Hedy and had dated Mar-
jorie. "They're all nice girls," he told
the fellows. "And they are all just as
beautiful or more so than they appear
to be in pictures."
In "Winged Victory" Lon plays oppo
site Jane Ball. Jeanne Crain, his love
interest in "Home In Indiana," plays op-
posite Barry Nelson. One day Barry
pulled out a picture of Jeanne and
showed it proudly to Lon. "This is my
gal," he said. "I'm going to take her
away from you."
But if Jeanne is anything like a mil-
lion other girls all over the United
States, neither Barry nor anyone else
will be able to "take her away" from
Lon — if their friendship should ever de-
velop into real love. And here's one sign
that some day it really may. Because
Lon is only 5 feet 6 inches tall, he gen-
erally prefers to go out with a girl
shorter than himself. When Jeanne
wears high heels, she's five feet
inches tall. So when she goes out with
Lon, she always wears low heeled shoes!
Now I know why they say
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79
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80 SCREENLAND
Faye "Frames" Her Foibles
Continued from page 20
ninny, and say, 'What do you think?'
The next girl he'd talk to would nat-
urally jump with excitement and say,
'Why yes, of course I can play it!' Nine
times out of ten she wouldn't know
nearly so much about acting as I know.
But she had confidence in herself. a'id I
hadn't. And she'd get the part. And I'd
get a good cry.
"I never could run to the front offices,
the way other actresses do, and ask for
good fat parts in pictures I knew were
scheduled for production. My friends
would say to me, 'Faye, don't be a dope,
go in there and tell Hal Wallis you want
it.' But I never could. So after all I
can't blame the producers and directors
for assuming that 'The Emerson girl is
inclined to be a playgirl — she's more in-
terested in parties and night clubs than
in parts.' Well, they couldn't have been
further from the truth.
"Even as a child it nearly killed me
to have to ask someone for something.
I recall that my mother used to send
me to the grocery store to ask the grocer
to exchange a can of asparagus for a can
of tomatoes. That short block to the
corner was like the last mile to me. I'd
wish that I'd drop dead before I had to
face the grocer — who was really a nice
old man and quite hep to the whims of
housewives. Or if mother told me to run
across to the neighbor's next door and
ask for a cup of sugar, I'd suffer tortures
before I could force myself to ring the
doorbell.
"Nor did I outgrow this horrible shy-
ness, though I started building my de-
fense when I was twelve. The first pro-
fessional acting I did, for which I was
paid the princely sum of fifteen dollars
a week, was at Carmel, California. When
I was eighteen, and fresh out of college,
I joined the St. James Repertory The-
ater there. I had to live in a sort of
dormitory with the other girls in the
company. I was literally scared stiff
when I arrived. I remember the first
day I was so scared I just stood there
like a dope clutching at my bag — I was
so afraid I might put it in the wrong
place. After spending several months
with these girls, a grand bunch, and all
of them professionals except me, I broke
down and told them how thoroughly
frightened I had been that first day.
They burst out laughing and said, 'Oh,
come now, who are you trying to kid?' "
The director at the Carmel Repertory
was' very enthused over Faye's perfect
diction and her easy and natural way
of playing scenes. "I think you belong
in Hollywood," he said. So armed with
a glowing letter of recommendation Faye
called up an agent in Hollywood, and he
promptly took her out to the Warner
Brothers studio. That was in 1937. The
casting director, who is no longer there
by the way, didn't even bother to lift
his eyes from a newspaper he was read-
ing. "We've got twenty just like you
here on the lot," he snarled. Big scald-
ing tears filled Faye's eyes, and she lit-
erally fled to the San Diego train. "I
had become somewhat of a celebrity in
Carmel," says Faye, "and had managed
to gain confidence in myself. But that
man's rudeness ruined everything. He
slapped me down so thoroughly that it
was a long time before I could get up
again. If Hollywood's like that, I said
to myself over and over again, T want
none of Hollywood."
And it was five years before Faye
came to Hollywood again. In the mean-
time, back in San Diego, she married
young William Wallace Crawford, and
had a baby named after his father, and
nicknamed Scoop. The marriage didn't
work out very well and a divorce was
arranged several years ago. Crawford is
now in the service and four-year-old
Scoop lives with his mother in Brent-
wood.
Strangely enough it was a Warner
Brothers talent scout, Solly Baiano, who
saw Faye in a San Diego production of
"Here Today" and urged her to return
to Hollywood to make a screen test. In
spite of Faye's bitter, "But I don't like
Warner Brothers." The insult still
rankled, even after five years. See how
it is with sensitive people? Deep wounds
and long memories. If she hadn't allowed
herself to be crushed by a rude casting
director she probably would have started
her film career five years earlier. Some-
times she gets a little bitter about those
five lost years. "I was hot then," she
says.
We would like to say that signing a
nice lucrative contract with the studio
that once kicked her out was a happy
ending for the Faye Emerson story. But
it wasn't. Faye wasn't adjusted to the
Hollywood routine. She found herself
being discussed impersonally by a group
of top craftsmen who seemed to assume
that she was quite deaf. "She certainly
isn't pretty," said one, "and what pecu-
liar bone structure." "I don't see how
we can make her glamorous," said an-
other, "and will you look at that high
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forehead? She'll have to wear bangs."
Bad, bad, bad, nothing about her seemed
right. "I never thought I was a raving
beauty," says Faye with a sigh, "but
neither had I ever thought of myself as
a witch out of 'MacBeth'." Her inferi-
ority complex started working overtime.
Then someone decided that Faye, be-
ing a most capable actress, would be
just the one to do tests with all the
young boys and girls the studio contem-
plated signing. That was pretty galling
at the time, but Faye can laugh at
it now.
"There was a turnover in studio per-
sonnel," she relates, "and one day all the
new producers and directors were sum-
moned to the projection room to look at
tests of prospective young starlets. I
was always the person who gave the
cues and over whose shoulder the camera
shot. Fifteen or twenty of these tests
had been run off, and I was in every
one of them. The last test was of a
young player now on the lot. She was
supposed to be sitting at a desk, and
when she heard a knock at the door she
said, 'Who's there?' 'Emerson, who else?*
called out one of the new producers —
and sure enough I opened the door and
came on the screen for a hot second! It
brought down the house."
Faye began to get very self-conscious
about those screen tests. Sort of like
always a bridesmaid but never a bride.
But a good pep talk did wonders for
her. And who better could give it than
Bette Davis?
"Bette is my goddess," Faye has often
said. "I admire her so much I can't
even get words out of my mouth when
she is around."
Well, Faye was on her way to the
Green Room one day some weeks back
when she saw John Garfield sitting in
the entrance of a portable dressing room
outside of stage 9. "Hi, Johnny, you
old so-and-so," called Faye, preparing to
pay a friendly visit to one of her favor-
ite actors. And then, to her horror, she
saw that it was Bette Davis' dressing
room, and that Bette herself in person
was sitting across from Johnny. "Oh,
hello," gulped Faye feebly, froze in the
middle of a sentence, and beat a hasty
retreat, upsetting a basket of flowers in
the rush.
"That girl is a very interesting actress,"
said Bette. "I have seen her in a lot of
tests. What's the studio doing for her?"
"I have just finished working with her
in 'Between Two Worlds,' " said John.
"All she needs is a little more confi-
dence. She's a damned good actress but
she needs to be more sure of herself."
"H'mm," said Bette. "I'd love to talk
to her sometime. I think I know what
she's going through. I went through the
same thing."
The two girls finally met on the "Hol-
lywood Canteen" set, and between
scenes they got together for a cozy chat.
That is, Bette chatted. She told Faye
about her first awful years in Hollywood
when they bounced her around like a
basketball. "They told me at Universal,"
said Bette, "that my smile was crooked,
my mouth too small, my eyes too large,
my neck too long, and that my figure
was mandolin when it should be guitar.
One producer called me a 'cotton-dress
82
SCREENIiAND
girl,' another called me 'the little brown
hen' and another dismissed me with
'She has just about as much sex appeal
as Slim Summerville.' "
Bette also told her about the time she
sat in a projection room soon after she
came to Warner Brothers and watched
the test she had made for "The Man
Who Played God." When the test had
been run off, and the lights came on,
there was an ominous silence. Bette felt
the skin creep on her neck. And then a
director laconically remarked, "Well, all
she can do is act."
Somehow or other it always helps the
sensitive folk of the movie industry to
know that someone else has gone through
the mill too. Faye felt better. And while
she was still floating on air following the
shot in the arm from Miss D. she met
Sinatra. It was at a huge party given
by Producer Pasternak, and Faye looked
across the room and saw Sinatra, whom
she admires very much, and almost did
a bobby-socks swoon. She was content
to admire at a distance, however, until
someone grabbed her by the arm and
said, "Frankie wants to meet you."
"Yes, Miss Emerson," said Sinatra smil-
ing. "I just saw the preview of 'Between
Two Worlds' and I thought you were
wonderful."
"I had opened my mouth to tell him
what a fan I was of his," said Faye,
"when he started right in praising my
performance. I stood there like a goon.
Nothing like that had ever happened to
me before."
Yes, it was just about that time that
Faye fo\md herself. She planted her feet
solidly in the Burbank soil. She dares
anyone to tell her that there are twenty
just like her on the Warners lot.
HOLLYWOOD STARS YOU KNOW
"Tall, Dark and Irish"
Continued from page 22
Barry and I were doing far more talking
than we were card-playing for the simple
reason that Barry is a fascinating con-
versationalist. He was born in New York
City and grew up there, a typical city
kid. In the summers, however, he used to
visit with relatives in Maine. He sailed in
the bay, went berry-picking in the woods,
and grew moderately equestrian by rid-
ing the broad back of a farm horse.
When he was jogging along on this
thoughtful beast, he had no idea that an
occasion was to arise years later in Holly-
wood, which called for him to mount a
horse in a western for Harry Sherman.
For this particular scene, he was to scorch
into a frontier town, glance upward at a
sign, throw back his head and laugh up-
roariously while emptying his six-gun
into the air.
Since his only previous dobbin experi-
ence has taken place on the dilatory nag
at the Maine ranch, he decided to take a
few riding lessons. The academy that he
patronized made it possible for him to
trot conservatively along hillside paths
where there were no other riders.
One day it occurred to Barry that it
might be a good idea to rehearse his ro-
bust scene on the back of a horse. The
beast had been plodding along, his nose
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City_
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aimed at the ground, his thoughts on
half-forgotten triumphs, when Barry sud-
denly stood in the saddle, fired an
imaginary revolver, and let out a Coman-
che yell. The horse, doubtless thinking
Custer was in trouble again, uttered a
roar of his own, picked up all four feet
like the jeep in the newsreels, and went
off down the bridle path at a speed un-
equalled since Ben fiur's chariot race.
One of the things I like about Barry
is that he freely admits that he clung to
the saddlehorn with both hands, locked
his long legs around the riag's barrel, and
began to pray that one misplaced city
fellow would still be able to walk in the
morning. He was. But not with either
grace or comfort.
But to go back to his early days: after
Barry finished high school, he was
awarded an athletic scholarship to Tem-
ple University in Philadelphia. Anyone
would guess to look at him that he would
make an adequate addition to a football
team. Incidentally, he earned an odd
dollar now and then in later years by
playing both pro football and pro basket-
ball.
While Barry was at Temple, the entire
football team was lined up one day, and
the tallest member, which happened to
be Barry, automatically became the lead-
ing man in the university production of
"Holiday." A scout for the 69th Street
Stock Company, one of the last of the
repertory companies, saw the play, de-
cided that Mr. Sullivan had what it
takes, and signed him. That did it.
The next thing he knew, Barry was
back in New York, trying to get»a break
in the theater, and remaining — most of
the time — broke, very broke indeed. Now
this is the part of Barry's story that I
particularly enjoy. Barry will tell you,
looking you squarely in the eye, that he
has reliable hunches. He isn't a particle
superstitious, you understand. He simply
has an occasional psychic, summons, and
he assures me that if he obeys that in-
stinct, he gets along fine. Well, March.
15, that fatal income tax day,, was' ap-
proaching as fast from one direction as
Barry's bank account was departing in
the other. He had been ill and out of
work; his first son hadn't been completely
paid for, and Mrs. Sullivan wasn't well.
Something really had to be done.
So Barry sat down and^by working
day and night for ninety-six hours^-'
turned out a play synopsis — and sold it:
Furthermore — and this is where the Sul-
livan Hunch System gets a workout —
Barry had worked in such successful
plays as "Mr. Big" with Fay Wray,
"Ring Around Elizabeth" with Jane
Cowl, and "Idiot's Delight" with Lunt
and Fontanne. He had achieved enough
notice so that Maurice Evans, the great
Shakespearean specialist, wanted Barry
to join his company. I have since kidded
Barry considerably about his having
passed up a pair of black tights, a velvet
jerkin and a sword for the outfit he wears
in "Rainbow Island" — a sweat shirt and
a pair of dungarees soiled more than
somewhat.
Much as Barry wanted to be associ-
ated with Mr. Evans, his psychic sum-
mons said no. The Sullivan Hunch said
wait. And then George Abbott offered
him a part in "Brother Rat" which ran
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on Broadway until Sullivan became a
local byword. "Brother Rat" was fol-
lowed by • other excellent parts until
Barry was signed by Paramount when
he was working in "Johnny Two By
Four."
If Barry has a hobby, I would say that
it is prowling around quaint shops in
search of the unusual. Sometimes he has
phenomenal success. One afternoon, for
instance, he was investigating the dusty
curios of a half-forgotten second-hand
store when he saw what he considered a
very unusual wedding ring in a tray with
hundreds of other ornaments. It was
dusty and dull from years of having been
abraded by other bits of metal, but
Barry bought it.
I have always maintained that success-
ful antique collectors must have some se-
cret pipeline to the eternal verities. The
Sullivan Hunch System again, I guess.
At any rate he took the ring to a mid-
town jeweler and had it polished. This
jeweler assured Barry that the ring was
practically invaluable; the design en-
graved around the band marked it as be-
longing to the Civil War period. Barry
likes to think that, in likeness to the
Melanie Wilkes incident in "Gone With
The Wind," some devoted Southern wife
gave her wedding ring to the Confederate
cause, and that in time, and after having
passed through many hands, it came to
rest on the finger of Mrs. Sullivan. You
see, when Barry and Mary Sullivan were
married, they used a dime store ring for
the ceremony on the ground that the ring
was merely a symbol and could be im-
proved upon at any time, whereas their
love was 22 carat and needed neither
symbol nor improvement.
On another of Barry's foraging expe-
ditions, he picked up a typewriter for
practically nothing. Now he could ex-
change it for rubies. Also he has amassed
an impressive libracy of old issues of
"Stage." When the Sullivans have guests,
Barry likes to bring these old magazines
out and show the time-honored pages to
theatrical people who appreciate them.
At present. I'd say that Barry has two
chief topics of conversation, the first his
son. John Cornelius, who is the proud
possessor of a vocabulary consisting
mainly of one word. Barry says this
word should be spelled "Whoowh" and
that Johnny can say it with more dif-
ferent inflections than a dramatic class
can apply to "Hamlet." Barry always
carries several pictures of his scion which
he will gladly show you with or without
encouragement .
The second Sullivan enthusiasm is a
character named Jasha Simkovitch, who
is a blonde cocker spaniel with blue plate
special ideas about house slippers, rugs,
or anything else that doesn't bite him
first.
Although I am not, personally, a great
reader, those word-eaters whom I know
in common with Barry say that he is a
great guy with a quote. He reads when-
ever he has a spare five minutes, and he
remembers everything he reads. I over-
heard him discussing the book "Citizen
Tom Paine" when I visited him on the
set of "And Now Tomorrow" — the pic-
ture he made with Alan Ladd and
Loretta Young. "The trouble with Tom
Paine," Barry was saying with great con-
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viction, "was that he was still a revo-
lutionary when the revolution was over."
Several listeners removed their pipes,
nodded sagely, and said Barry had the
right dope, so I nodded sagely, too.
I remember that, when we were finish-
ing "Rainbow Island," Barry was ears
deep in "Under Cover"; he refused to
discuss it with most people because he
said he was too 'likely - to. get' into a
political controversy. I've never seen Mr.
Irish Sullivan in a political argument,
but those who have, say that Emmett.
Burke, and Parnell must have passed on
some of their' forensic zeal to the gentle-
man who proudly boasts that he is the
seventh son of a. seventh son— all from
Eire.
Barry, like anyone else, has his faults.
One is that he is generous to the point
where he worries people. He is one of those
men who remembers at the last moment
that today is good old Joe's birthday, or
that it is his wedding anniversary, or
that it is Christmas Eve. Then he rushes
out, with a half-formed notion of what
good old Joe or some member of his
family would like. He buys without look-
ing at price tags, and hopes that he will
have enough morganthau in his pocket
to take care of the cost. So far he hasn't
been stuck to wash dishes.
His other character flaw is that he
worries himself to death. He's afraid he
didn't do this scene just right; he's afraid
he didn't put enough moxie into that
particular line. However, I think he's
now curing himself of the habit. Re-
cently he had to make some additional
scenes for "And Now Tomorrow"; the
script girl pointed out that Barry was
not wearing the same tie he had worn in
the previous sequences, so he had to dash
home to get the right cravat.
The situation was complicated by two
things, 1) the Sullivans were moving and
Barry had no idea where to start looking
for his wardrobe; 2) he had ridden to
work at Paramount in a car pool, so he
had to go round trip by taxi.
This latter fact proved to be a boon
because the taxi driver, recognizing Barry,
began to confide in him. "I used to be
in picture business," the driver said sor-
rowfully. "Yes, sir — those were the
days."
Barry swallowed, thinking, here is a
guy who had his chance and had bad
luck. Wonder if I'll be driving a taxi a
year from now.
The driver continued his reminiscences.
"Yes sir, I was really in the gravy," he
sighed. "But the talkies washed me up.
Ruined me."
Barry hesitated. He didn't want to
insult an erstwhile Cinema Great by ask-
ing his identity, so he inquired tenta-
tively, "What were some of your pic-
tures?"
The driver was expansive. "Oh, I could
name hundreds," he said. "I was an ex-
tra."
Barry, being a great gentleman and
the owner of excellent manners, con-
trolled himself; he didn't even smile at
this astounding tag-line. But I think it
was then that he began to relax and
enjoy the motion picture business.
From all the reports I have heard
around Paramount, audiences have long
since begun to relax and enjoy Sullivan.
86
SCREENLAND
Hollywood's Design for
Wartime Living
Continued from page 53
for each cake on greased, moderately
hot griddle. Bake until topside is full
of air bubbles and under side is golden
brown. Turn and finish baking. Yield:
2 doz. 4-in. cakes.
Butter is hoarded for a week before
this famous old standby American dish
is served. But it's worth it, because, as
Mrs. Marshal points out sagely: "Soya
flour contains the B vitamins as well as
thiamine, riboflavin and niacin, plus cal-
cium and phosphorus. And if you would
care to have me go into the protein value
in an ounce of soya flour, it's almost the
same as you find in meat, fish, eggs
or milk. Alan says I remind him of
Madame Curie making light conversation
with Walter Pidgeon when I go into my
vitamin act, but he can't kid me out
of it."
The Bathbones aren't kidding either
about the wartime measures they have
taken. Their menage covers nearly two
acres of ground, very well used up with
victory gardens, fruit trees in eight deli-
cious flavors — apricot, plum, peach and
fig, as well as grapefruit, lemon and lime
and orange — a beehive that produced ten
gallons of honey this year, and chickens
that furnish them eggs.
"In 1937, when we bought the house,
we had a large family and liked to enter-
tain," said Basil. "Someone was always
stopping with us for as long as we could
persuade him to stay. We had a large
staff then and the place seemed none too
big, but now that my son Bodion and
his wife have gone, my wife's niece has
left for her own home, and the staff has
shrunk, we are obliged to streamline ex-
tensively. We've closed the dining room
for the duration, the drawing room is
rarely opened, and a number of the bed-
rooms are closed."
"We've put away most of our silver,
so that cleaning is eliminated; all my
beautiful linens are packed up, for we
have no laundress. Laundries seem to
snatch out delicate monograms and tear
lace and embroideries to shreds," added
Ouida. "I bought some plain, very
strong sheets and towels, and found some
pretty monogrammed paper table mats
and napkins. So I have no laundry
problems."
The most lived-in room is the morning
room, restful in soft greens. One side is
mirrored, the other has enormous win-
dows through which the morning sun
pours. There are huge cushioned couches
where the Bathbones relax, listen to the
radio or their favorite records, play with
the baby, read and talk. A slender table
that can be pushed back against the mir-
rored wall serves as dining table for all
meals.
A crystal pitcher usually contains what
is rapidly becoming a "specialty of the
house: "
HONEY FBESH OBANGEADE
2 to 4 tbsp. honey
2 tbsp. lemon juice
6 tbsp. orange juice
1 cup spring or charged water
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Mix fruit juices and honey thoroughly.
Fill iced tea glasses with cracked ice
and pour mixture over this. Let stand
three mins. before serving.
When Basil began work in "Bath-
ing Beauty" at M-G-M, he was intro-
duced to the drink, the ingredients for
which are all produced on the place.
"My husband, baby, her nurse, my sec-
retary and I take High Tea in the morn- .
ing room when we're alone," confided
Mrs. Rathbone. "When guests drop in,
we find it a most satisfying way of en-
tertaining them.''
"We used to say: 'Stay .for dinner,. old
man,' or, 'Don't pop off now, we're just
eating!' " contributed Basil. ""But that's
out for the duration. It's hard enough to
keep a cook without complicating the
ration books."
The menu for a "duration" High Tea
includes eggs, usually soft-boiled, hot. bis-
cuits— instead of the old time muffins — .
scones and Sally Lunns, because no but-
ter is necessary for them, and, of course,
honey, jelly, marmalade and jams — all
home grown products.
"If you've never tried lime marma-
lade," said Ouida, "you've missed some-
thing wonderful. Our cook makes it with
the same recipe she used for orange mar-
malade and it is a heavenly green color.
My favorite is lemon, made the same
way."
ORANGE MARMALADE
12 thin skinned oranges
3 lemons
3 qt. water
Sugar
Wash and peel oranges. Cut peel in
paper-thin slices; pulp in chunks; slice
lemons. (All may be run through a
food chopper.) Add water, simmer 5
mins. Let stand overnight. Then cook
until peel is tender. Measure. Add
from 2/3 to 1 cup sugar to each cup
of fruit and juice, depending on sour-
ness of fruit. Boil rapidly to the jelly-
ing point. Pour into jars and seal at
once.
"We have an eggless, milkless, butter-
less cake that is a wartime specialty. For
this, as well as for the biscuits, we've
discovered that you can eliminate ration
points for shortening by using meat drip-
pings. Of course we save waste fats for
Uncle Sam, but he doesn't want them
until they're useless for food."
EGGLESS, MILKLESS,
BUTTERLESS CAKE
1 cup brown sugar
ly^ cups water
1 cup seeded raisins
2 oz. citron, cut fine
V2 tsp. salt
1 tsp. nutmeg
1 tsp. cinnamon
2 cups flour
5 tsps. baking powder
1/3 cup shortening
Boil sugar, water, fruit, shortening, salt
and spices together in saucepan 3
mins.; when cool, add flour and baking
powder which have been sifted to-
gether; mix well. Bake in greased loaf
pan in moderate oven (350°) 45 mins.
The secret of good shortening from
meat drippings lies in straining the drip-
88
SCREENLAND
pings through cloth, keeping sausage fat
separate from the rest. Cool at room
temperature, cover tightly, and store in
refrigerator. More shortening can be se-
cured by trimming excess fat from un-
cooked beef, lamb and pork. Chop this
fine or grind through food-chopper, ren-
der slowly over a simmer burner or in a
double boiler, strain through cloth, cool
and store.
Sandwiches, in variety depending upon
how much time can be spared for their
preparation, are substituted for the plat-
ters of cold meat that used to be served.
Wilted cucumber, watercress, toasted
marmalade, cinnamon and cheese are
Rathbone favorites. Ouida's cinnamon
toast comes in dainty cut-out shapes of
bread lightly spread with butter, just
enough to hold the brown sugar and cin-
namon, and served hot.
Cucumbers are sliced paper-thin, salted
and left to wilt overnight in water;
drained and placed between very thin
slices of bread lightly buttered and cut
out in heart shapes. (If you are very low
in points, or butter is hard to get, you
can cream a very small amount with
thick cream or gelatine and make a most
delicious spread.)
Ouida's watercress sandwiches are
made with very fine slices of bread,
spread with cream cheese and chopped
watercress, then rolled and kept wrapped
in a damp cloth until ready to serve. Use
a slice of bread the length of your loaf,
roll it and slice into small rounds like
miniature jelly cakes.
Only Ouida can make the tea for these
delightful occasions.
"To make good tea," she explains, "you
must have two teapots, well heated.
When your kettle is 'just on the boil,'
pour the water into one pot in which you
have placed one spoonful of tea for each
cup, plus one for the pot. Allow the tea
to steep for a brief time, according to
how strong you like it. Then pour off the
strained liquid into the other heated pot,
ready to serve."
Such are the hostesses of Hollywood
these days. They make every govern-
ment restriction a challenge to their in-
genuity.
Taming The Wilde Man
Continued from page 33
used to surprises. I'll also have a chef's
salad. And coffee. Put several cups in
front of my friend here, too. Maybe
they'll help to keep him awake during
this interview!"
We were sitting opposite each other in
Lucey's, one of the better Italian restau-
rants in Hollywood. It was a very spe-
cial day in Cornel Wilde's life. The night
before, Columbia studios had previewed
"A Song To Remember." Cornel, in the
coveted role of Chopin, opposite Merle
Oberon and Paul Muni, all but walked
away with the honors. "Cover Girl," a
smash musical from the same lot, had
grossed 125 audience cards when sneak-
previewed. Over 400 comments came in
on "A Song To Remember." At least
two-thirds wanted to know: "How could
they find anyone who could act and play
the piano like that? Where on earth
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have you been hiding Cornel Wilde?"
A little over two years ago, when we
first became friends, a bewildered and
disheartened Cornel Wilde said: "Some-
day I hope I'll be- important enough for
you to do a story on me. I know it will
be a good one."
Thanks to Screenland magazine, this
story is proof of Cornel's "importance."
Here's hoping a personal enthusiasm, in-
spired by the bond of friendship, will
help to do him justice, j Looking back,
it's almost impossible to believe that the
relaxed and humorous Cornel who . sat
there in Lucey's, is the same individual
who was once almost too confused to
go on. A "little bit" of success has in-
deed worked its miracle.
Unfortunately, Hollywood is not inter-
ested in failures. And Cornel was a
failure. Not through lack of ambition.
Certainly not because olv^ck of talent
— for Hollywood had never given him a
chance to prove or disprove his talent.
Not to coin a phrase, it was' "just one
of those things." Not a new situation.
Still, just as painful. Had he' been 21.,
single, stepping across the threshold of
life, Cornel might have regarded it as
one of those magnificent adventures they
write about in scripts.
But he had struggled honestly and sin-
cerely. Struggled for years. Then there
was Pat. There was Pat, his loving and
beautiful wife, who had struggled along
with him. Pat, who believed in him and
knew that someday he would make good.
Cornel grew impatient. At times he was
unruly, bitter, usually misunderstood.
To get the true picture, we must go back
to the beginning. Who better than Cor-
nel is qualified to tell the complete
story? Let us start with —
"I was born on October 13th in New
York City. The family moved to Brook-
lyn soon after. My father was Austrian,
Hungarian, and some English. ,He was
brought up in Hungary, married in Bu-
dapest, but carried on his business of
importer and exporter in New York. He
was called back to Hungary when the
United States entered the war. The
family went with him. We lived through
the balance of the war in Budapest.
After the war we returned to New
York.
"Our house was nicely furnished with
beautiful paintings and statues, which
my father had collected. I didn't have
the usual taste of kids my age. I read
everything — mythology, history, all the
romantic dramas of kings. I had a pas-
sion for fencing. Used to make swords
out of sticks and umbrella handles.
Father once had a duel in Hungary and
received a long gash across his forehead.
There were many exciting versions of
this same scar. I never tired of hearing
any of them.
"I became captain of the fencing team
at the Townsend Harris High School.
We won the inter-scholastic champion-
ship. In 1931 father got a recurrence of
shell shock. We went to Europe for ten
months, where I fenced with the best
fencers in the world. Back in New York
once again, I went to Columbia Uni-
versity. But not for long. Father
couldn't work. So I went to work at
Macy's, part time. I made a little
money at painting and drawing. Won a
90
Screenland
poster prize at Wanamaker's in an S.P.
C.A. contest. I also worked for the
oldest French newspaper in the United
States, getting ads. At times the snow
was so deep, I'd have to go to the public
library and sit 'til I got warm. There I
would catch up on my reading.
"I got a job at nights in a pharmacy,
went to City College which was free
and took up a pre-medical course. Fin-
ishing my credits in two years, I was
admitted to the Columbia School of
Medicine. In the meantime, one of my
co-workers at Macy's had introduced me
to Theodora Irvine, who gave me a
scholarship in her dramatic school. I
went in my 'spare' time and tried to
read Shakespeare while my knees and
voice shook and trembled. She saw I
was sincere and felt I had something to
offer. It is only now that I am able to
pay her back in cash. I can never repay
her for her faith and confidence.
"Then I realized I didn't want to be
a doctor. I wanted to act. Oh, fatal
decision! From then on it was one the-
atrical agency after another. I managed
to eat by taking a job in a children's
summer camp. I was the drama coun-
sellor and fencing master. Came my
first break as the lead in 'Moon Over
Mulberry Street,' which played forty
weeks. That did it! After that came a
series of flops.
"The following fall I met Pat — Pa-
tricia Blake then. I was wearing a dash-
ing gray suit and homburg hat to match.
I was just 22 and very grown up — I
thought! While getting into a taxi I saw
the most beautiful blonde swinging down
Seventh Avenue. I assure you, there is
such a thing as love at first sight. I
followed her for three blocks into a drug-
store. She ordered a coke. I didn't have
nerve enough to speak to her, so I went
into a phone booth and made a call I
didn't have to make, When I finished
she had gone. I could have kicked
myself.
"I saw her again two days later. I
dashed into the building after her but
the elevator doors closed in my face. I
waited out in front. When she came out
I followed her to the RKO building.
'Haven't we met somewhere before?' I
inquired with great dignity, as I doffed
my homburg. 'We certainly have NOT,'
she replied icily. That was our first
chat!
"Two days later I saw her again.
'This has nothing to do with me,' I
explained. 'I'm not trying to pick you
up. I was just wondering if you were
interested in getting in the movies. I
know you are an actress. I'm making
a test this week and I understand they
are looking for new faces. I would like
to take you up and introduce you to my
agent.' That worked!
"We had dinner and went dancing that
night. I got her phone number. Then
followed ten months of courtship. I was
so much in love that I missed a cue in
a play three times and was fired. Soon
after we met I ran out of money. I used
to get due bills on advertising done for
restaurants, at a discount, and would
have to take it out in food. So for ten
days straight I took Pat to the Cape
Cod Oyster House. To this day the
smell of fish makes us sick.
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"Finally we bought a five-and-dime-
store wedding ring that turned green in
a month. We eloped to Maryland, came
back, and broke the news to our par-
ents. It took us five years to buy real
wedding rings. Now we both have the
widest and biggest gold bands we can
wear. We've been married seven years.
As I look back now, I don't know what
would have happened to me if I hadn't
met Pat when I did and married when
I did. At the worst times it was good
to know that somebody wonderful had
picked me instead of ten other guys!
"Both of us had a series of more flops.
Sometimes the same flops. I made money
at numerous jobs intermittently, televi-
sion, drawings, translations from French,
Hungarian, Italian. Pat posed for mag-
azine covers. But gradually both of us
became exhausted from the years of
doubtful security. Pat had a complete
breakdown. We struggled through many
setbacks and disappointments, too nu-
merous to relate. Too dull to be inter-
esting.
"About this time a friend called and
asked me to teach him fencing. He had
a very good chance of getting in the
Laurence Olivier- Vivian Leigh produc-
tion of 'Romeo and Juliet.' So I taught
him. If I hadn't, probably all that has
happened to me since wouldn't have
happened. My friend said they were
looking for someone to play Tibault. I
tried out with a hundred other hope-
fuls. I got the part. I said I could also
stage all the fencing scenes. They de-
cided to give me $125 a week. Not only
that, when they met Pat they signed
her to understudy Vivian Leigh. Our
spirits were soaring.
"At this time Paramount in New York
decided to test me. But when I arrived
in Hollywood to start rehearsals with
Olivier and Leigh, the Paramount studio
was reorganizing. They didn't sign me.
In the meantime the play opened in San
Francisco, played in Chicago, closed in
New York. Warner Bros, saw me in it,
tested me and signed me. I had fine
notices, a contract, but we had to get
back to Hollywood. We were flat broke.
We owed $225 in back rent to Perry
Frank, manager of the St. James Hotel.
Not only did Frank and his wife be-
friend and trust us, he even handed me
$25 out of his own pocket for expense
money.
"Hollywood was the pot of gold at the
end of the rainbow. Or so we thought.
We arrived here with hope and faith
born anew. Money would be coming in
every week. My chance had come at
last! We almost felt strong again. Six
months later Warner Bros, dropped me
from their contract list. I played the
small part of a Mexican heavy in' 'High
Sierra,' a series of small parts and three
line bits. That was it. During that
period the one friend I made, the one
person who tried to give me hope and
encouragement, was the one who is writ-
ing this story.
"Through this same contact I met
Nat and Charlie Goldstone, Hollywood
agents. They took me under their wing.
They boosted me, battled for me, never
gave up. What followed could only hap-
pen in Hollywood. MGM was all set to
sign me when one of the executives
threw a . monkey wrench in the well-
known wheels. He had turned me down
once in New York and didn't want to
have his decision reversed. Mr. Mayer
allowed himself to be persuaded with
the admonition. 'If Wilde becomes a star
at another studio, heaven help you.'
"I am now under contract at 20th-
Century-Fox, who share my contract
with Columbia for one picture a year. I
haven't become a star yet, but Columbia
assures me that *A Song To Remem-
ber" will change everything. Pat and
I have our fingers crossed. My first few
months on the 20th-Century-Fox lot
were as black as those at Warners. We
began to think the breaks would never
come. To build up our waning confi-
dence, we used to go into the studio
projection room and run off a test that
had won me my contract and rated me
a fine notice in Louella Parson's column.
To my shocked surprise I learned that
I was being criticised for being an
egomaniac.
During this time I was something of
a wild man, I guess. Pat has often told
me that when I'm angry I frighten
people. I must have frightened a lot of
people. In New York it had been a
constant struggle. But there was always
something to struggle against. Here
there was nothing to do but sit and wait
for a call — sit and fume and boil inside
and fall into black and furious moods.
When these would get the better of me,
I would go over to the studio and say
and do all the wrong things. Ofttimes
we would decide to go back to New
York. Then some hope of a good part
would appear, only to vanish after a
few days.
"This is the way it was until my role
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of Chopin came true. In this picture,
with a Sidney Buchman script, Charles
Vidor as director, I was so utterly happy
that though I worked every day for four
months and every night and Sundays on
the piano, I was sorry when it was fin-
ished. In those four months I shed the
"wild' man and became a happy and
grateful one.
"I had just finished the picture when
I was called for my Army physical. I
was ready for that, too, now. I had
Chopin back of me. I wasn't leaving
Pat with any debts. But one of those
Army doctors looked at some X-rays
and said, 'What happened to those two
vertebrae?' I told him that was from
my first and only football game, when
I was a freshman. He scribbled on my
chart, 'No combat for you, son.' So I'll
have to do my bit some other way.
"Now we have a nice rented home,
not completely furnished yet, but we
make it do nicely. We are out of debt
for the first time in seven years! We
have an adorable fifteen - months - old
daughter named Wendy. She makes me
shave every morning because she ex-
amines my face. If I'm not shaved, she
won't let me hug her. I don't care too
much about clothes but I like to buy
them for Pat. She had to wear the same
things so long, it gives me real pleasure
to go with her and shop for new things.
We have a black French poodle named
Punch. We like swimming at the beach.
We like to dance. I think I love every-
thing about my life right now, except
our own home-cooked food! Pat makes
wonderful fudge and brownies. I can
make a roast and goulash but I seldom
do.- We've raised three Victory gardens.
Whenever they were ready to harvest,
we invariably moved to another place.
Someone else got the benefit. I did my
first water color the other day — the first
in twelve years. It represents a won-
derful sign of progress to me.
"In time I hope to completely get
over the sombre effects of past experi-
ences. I still don't find myself quite as
free and lighthearted as I'd like to be,
but I know I'm much better. Pat always
manages to buoy me up and correct me
in such a way that I don't mind it. I
can take honest criticism if said kindly.
I just can't get used to senseless criti-
cism. I'm still too easily upset over
things that happen, that you can't do
anything about. I still cannot get used
to dishonesty and people who draw you
out, then twist what you say and smack
it back at you.
"I have always loved freshly starched
pure white shirts. Never been able to
have enough of them. After finishing
'A Song To Remember,' I went out and
ordered myself two dozen. On the way
home I bought a beautiful silver fox coat
for Pat, a 'potty' chair that plays music
for Wendy, and a red patent leather
dog collar for Punch. That wiped out
the bank account but for once I didn't
care. I like my life, most of the people
who are in it. Perhaps if it continues
to run as smoothly, I will be remem-
bered for the Wilde man I now am in-
stead of the wild man I used to be.
This is the way I want it to be, For
Pat and Punch and Wendy. For those
who believed in me!"
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94
Here's Hollywood
Continued from page 57
T^HERE was a new door man on the
*- "Christmas In Connecticut" set, who
evidently isn't much of a movie fan.
One day he knocked on Barbara Stan-
wyck's dressing room and said, "There's
some man on the telephone named Tay-
lor. He insists you'll talk to him and
that you know him." Thinking the man
was kidding, Barbara replied, "Never
heard of him. Brush him off." When
Barbara got out to the phone, she found
the receiver up on the hook. What made
it even worse, Bob had called her long
distance.
fV/I ICKEY ROONEY, who is now with
a horse calvary unit in Kansas,
won't be forgetting one of his last nights
in Hollywood. He went to a party at
the Mocambo. Diosa Costello, billed as
the "Latin Bombshell" (and brother,
they weren't kidding!) was the star at-
traction. Diosa came over to Mickey's
table and tried to get him into one of
her exotic dance numbers. Mickey po-
litely refused. They turned the spotlight
on him. Everyone applauded. Diosa be-
gan moving everything but her feet. She
did her whole dance right there for
Mickey. He got redder by the moment.
IRENE MANNING'S divorce, her sec-
*- ond marriage to Keith Kolhoff, spe-
cial police investigator, and the death of
her father — all took place within two
week's time. Irene, who was playing the
wife in "The Doughgirls" when this all
happened, never held the company up
for five minutes.
TVTOW THAT FRED and Lily Mac-
■L ^ Murray have adopted a second
child, they haven't enough room in their
lovely home. Five minutes after they
put it on the market, Fred had a dozen
fabulous offers. Houses are that scarce
in Hollywood. However, so far the Mac-
Murrays can't find anything better them-
selves. Fred is thinking seriously of turn-
ing his room into a nursery and building
himself sleeping quarters in the attic.
\ FAN WROTE to Alan Ladd, said
he would buy a thousand dollar
Victory Bond if Alan would have lunch
with him. Not only did Alan have lunch,
he took the fan to the studio and toured
the sets with him. The fan was so grate-
ful he went right out and bought a
second bond.
TOAN FONTAINE, at a luncheon,
*J found herself sitting next to a per-
fectly strange woman. "I'm a very high-
strung person," Joan said to her. "I'll
probably make you very nervous." The
woman eyed Joan humorously. "I'll bet
I do it to you first," she answered. Joan
was so startled she couldn't think of a
comeback.
TUNE ALLYSON no longer suffers
" from insomnia. Since her big hit in
"Two Girls And A Sailor," the little
cutie gets hundreds of fan letters. When
she can't sleep she answers them. She
has so many to answer she gets sleepy.
You take it from there!
ScREENLAND
Shirley Temple, storlet of "Since You Went Away,"
with Andy Hotchkiss of the opening in Hollywood.
John Shelton and Kathryn Grayson, together again,
made a pleasing picture for gala premiere crowd.
Susan Peters and Richard Quine, still happy newly-
weds, were also seen among the stellar audience.
PREMIERE
Judy Garland was escorted by Guy Madison who
plays a sailor in the David O. Selznick hit film.
Deanna Durbin lent more glamor to the occasion,
appeared with Henry Willson, Hollywood agent.
Dovid Rose, Judy Gorland's ex-husband, attended
with MGM's new white hope, Gloria De Haven,
She'd Rather Be Wright
Continued from page 37
a good part in the picture, "North Star."
Teresa, however, became seriously ill and
for a while all plans for her career had
to be abandoned. For the first few
months she thought of nothing except to
fight to get well. Later when she was
strong enough to be out of bed she be-
gan to get restless. When she was a little
girl she had been determined to live a
full life and to gain everything possible
from all experiences. She wondered how
she could profit from her enforced vaca-
tion.
Thinking it over, she decided to learn
to cook. When she told her husband
this idea he was rather dubious, as she
had done a little cooking before they
were married which had turned out dis-
astrously. Undaunted, Teresa baked some
gingerbread which Niven had to admit
was plenty good. To this day his young
wife has never told him that she used a
prepared gingerbread mix. All she had
to do was to empty the contents of the
package into a bowl, add some milk,
mix it up, pour it into a pan and put it
in the oven. Simple, but guaranteed to
touch the heart of almost any man. Since
the gingerbread, though, she has really
learned to cook to such an extent that
last Christmas single-handed she cooked
the dinner, turkey and all.
Not to be outdone by his young wife
Niven also took up the culinary art as
a hobby. Recently some friends arrived
in town with their two children. Teresa
and Niven invited them to dinner. They
could not accept as they had no one to
look after the children. So the Busches
brought dinner to them. Niven declared
it took women too long to' cook and
he would cook the meal in twenty min-
utes. It took him thirty, but it was such
a delicious Italian dinner everyone for-
gave him the extra ten minutes.
Sewing was another accomplishment
Teresa achieved during her convales-
cence. She spent many long hours be-
side the swimming pool resting and
making house dresses and playsuits. In
the evening Niven would read her parts
of the book, "Duel in the Sun," which
he was writing and they would discuss
it. Recently the book was published and
Teresa was surprised that her husband
had dedicated it to her. In fact the
honor meant more to her than winning
the Academy Award.
When Teresa was strong enough she
underwent an operation. At the hospital
her patience, kindness, and thoughtful-
ness won her many friends. The hospital
was a new experience and as usual the
actress wanted to gain all she could
from it. As soon as she was able she
visited other patients. Among these was
a young girl named Irene Loyd, who had
been bedridden with infantile paralysis
for ten years. The two girls became
friends and had good times chatting and
playing cards. Teresa said, "Irene's phil-
osophy was so wonderful that it could
not help but enrich anyone who came
in contact with her."
After she left the hospital the two
girls remained friends^ And whenever
SCREENLAND
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Hedy Lamarr and Paul Henreid re-
hearse romantic scenes for "The Con-
spirators," story of underground activity.
Teresa goes shopping she tries to find
something Irene would like. Her last
gift was a lovely flower for her hair with
earrings to match.
Now that Teresa was on the road to
recovery Samuel Goldwyn began to look
for a suitable story for her to make a
comeback. He decided there had been
so much recent unhappiness in her life
he wanted her to do a comedy.
In the meanwhile she and her husband
went on a vacation. Their first stop
was Tucson, Arizona. Here they took
long walks before breakfast. After break-
fast Niven would write and Teresa
stretch out in the sun. Occasionally she
would go shopping. Leather things fas-
cinate her and she bought a complete
cowboy outfit. She looks very cute in it.
All she has to do now is to learn to ride.
From Tucson they spent a few days
in Mexico and then on to New York.
This was the actress' first visit since she
entered pictures. Somehow it all seemed
different and she could not understand
it. Then she remembered that be fore
she had been playing in the theater and
had little time for social activities. Be-
sides this, her father had moved from
New York to Detroit, so it did not seem
like home.
She was invited to innumerable par-
ties but before she accepted - ny invita-
tions she insisted upon visiting her Aunt
Lee. The lady was not really her aunt
but she had taken care of Teresa since
she was a little girl. Aunt Lee now ran
a restaurant in a nearby town in New
Jersey. With her husband and father-in-
law Teresa went to see her. The res-
taurant was crowded as all restaurants
are this day and age. Aunt Lee was
sitting behind the cashier's desk. At first
she did not recognize the little actress,
but when she did she shrieked, "Muriel!"
which is Teresa's real name. She got so
excited she started to laugh and cry at
the same time. She told the customers
who Teresa was and how terribly proud
she was of her. She had kept a scrap-
book of her press notices and she brought
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Carol Thurston plays another in-
terest intriguer in Warners' "The
Conspirators" with Paul Henreid.
this out for the customers to see. Need-
less to say many dinners got cold. But
it was a big moment for Aunt Lee. The
customers realized this and there were
no complaints. It was a big moment for
Teresa also, because it gave her a good
feeling to know she had been a credit
to a person who had given her loving
care as a child.
During her stay in New York, Teresa
really played for the first time in her
life. She met many members of her hus-
band's family, she renewed her acquain-
tance with people she had met in the
theater, and she saw all the current
plays.
■To make her holiday perfect, return-
ing from a party one night she found
her father and step-mother waiting for
her at the hotel. Her father had arranged
his business affairs in Detroit so that he
could spend some time with her. It was
the first time they had seen each other
in three years. Being separated is not
so pleasant but Mr. Wright declared he
had one 'advantage over other fathers,
for when he gets hungry for the sight
of his daughter he can go to the movies
and see her on the screen.
It was the first meeting between her
husband and father and Teresa, with a
twinkle in her eyes said, "They got along
just swell."
Another highlight in her visit was see-
ing Helen Hayes in the play, "Harriet."
Helen Hayes has always been her favor-
ite actress and an autographed picture
of her is one of Teresa's most treasured
possessions. She and Niven saw Helen's
show at a matinee and when they came
out of the theater, Teresa noticed posters
advertising a coming attraction across
the street. The posters were announcing
Margaret Sullavan in a new play, "Voice
of the Turtle," which was opening the
following week.
Teresa a little wistfully expressed her
disappointment that they had to leave
town in two days and would be unable
to see it.
Niven said, "How about going to
Philadelphia to see it?" Then before
Teresa could answer he hailed a taxi
occupied by two soldiers. The soldiers
readily agreed to let them ride to the
station with them. They barely caught
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the train and had to stand up all the
way. In spite of this it was fun.
Arriving at the theater, however, to
their dismay they found the lobby
crowded and the "sold out" sign hung
on the ticket window. It looked as if
their impulsive trip had been for noth-
ing. They decided to go backstage to
pay their respects to Miss Sullavan.
Upon hearing of their plight Margaret
made arrangements for them to see the
show and it was one of the most exciting
evenings Teresa ever spent in the theater.
Back in Hollywood again Teresa did
her first acting stint in months. She
played her original part in "Shadow Of
A Doubt" for the DeMille radio show.
At the end of the program Mr. DeMille
introduced Teresa to the radio audience
and remarked that she had never been
to a night club. This practically caused
a boomerang in the Busch household
Niven received telegrams demanding to
know why he did not take his young
wife to a night club, and friends joshed
him about it. He got terribly tired of
explaining that his wife did not like
night clubs so consequently they never
frequented them.
In self defense he feels he and Teresa
should put in an appearance at the Mo-
cambo. The only thing which would in-
fluence Teresa to go is that she would
like to see the real parrots which are
behind glass in one of the walls of the
club.
"If those parrots could really carry
on a conversation," she said, "I bet they
could tell who's going with who, even
before Winchell."
A few days after the broadcast Samuel
Goldwyn telephoned her the news; he
had arranged for her to play in the
comedy, "Casanova Brown," opposite
Gary Cooper. And to make it perfect
she was to be directed by Sam Wood,
the same man who directed "Pride Of
The Yankees." When "Casanova" was
finished Gojdwyn was going to star her
in "Those Endearing Young Charms."
So after long months of patient wait-
ing little Teresa was to start her career
again. At first she did not know whether
to laugh or cry — she did neither. Instead
she went to the bedroom. Here Niven
found her in the closet frantically search-
ing for a pair of shoes. After an exten-
sive hunt she found them. They were
specially built shoes to increase her
height so she would not look too tiny
beside the tall Gary.
All in all Teresa is very grateful for
her enforced vacation, as It has really
taught her that everyone should strive
to have a full life. During this past
year she has learned many things and
although she wants her career, if it was
taken away again she feels she still would
have a great deal to make life wonder-
ful. Even more wonderful now — because
in "Casanova Brown" she has a baby.
That is, the heroine she portrays has
one; and in the Second week of shooting
Teresa herself discovered that she was
going to have a baby, too. Life is pretty
wonderful for the Wright girl.
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"Mr. America"
Continued from page 47
tractive and livable rooms in the movie
colony. Here the Donlevys entertain in-
formally. Friends always seem to be
dropping in, especially on Sundays, and
Marjorie, even in these harassing ration-
ing times, always has food in the Frigid-
aire ready to trot out at the right mo-
ment. Marjorie has a passion for an-
tiques, especially for antique clocks. She
has three of them in the playroom, and
they don't make the least bit of sense.
They strike any old hour they want to,
any time they want to, and it's all very
confusing, and can easily drive you
crazy. "When the war is over," Marjorie
apologizes, "and I can find a good clock
man I'll have them coordinated."
Brian is a great one to tell jokes. His
favorite at present has to do with the
two little sardines who were swimming
around in the ocean off San Diego. Said
one little sardine to the other, "Let's go
up to Los Angeles for the weekend."
Said the other little sardine, horrified,
"Heavens, no — and be packed in like sol-
diers!" And then he follows this one up
with the one about the Mother Termite
who took her Baby Termite into the liv-
ing room of a California house, and for
the first time the Baby Termite saw
Venetian blinds. "Look, Mamma," cried
the Baby Termite, "they're slicing our
bread now." Well, these are what Brian
calls his "mixed company" stories. When
there are only a gang of the fellows
around he can do much better. And does,
I hear.
Like most Americans who can afford
it, Brian has a hobby. His hobby is min-
ing. He is part owner with another man
of a tungsten mine in the Mojave Desert
near Death Valley. When he is between
pictures he spends much of his time at
the mine, actually running the thing. He
has read every book he can find on the
subject of mining, and swears that when
he retires from the screen he is going to
settle down in Death Valley and spend
the rest of his days being a darned good
miner. "I'm a desert man myself," says
Brian. "You can have it," says Marjorie,
who doesn't care for sand in her face.
But Brian has neglected his hobby
considerably this past year, and spends
much of his time away from the studios
visiting the Army and Navy hospitals. He
is one of the few actors who doesn't balk
at visiting the poor unfortunate boys in
the blind wards. Brian has just the right
approach for these boys, and they always
seem to like having him around kidding
with them. Naturally he's badly shaken
after one of these visits. And he still gets
all choky when he tells about it, espe-
cially the incident when one kid groped
for his hand and said, "Mr. Donlevy, the
last picture I saw was 'Wake Island.'
And I'm awfully glad because it was
awfully good."
In another hospital, mostly leg wounds,
Brian became quite cocky because all the
boys recognized him the minute he en-
tered the wards, and greeted him enthu-
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I must be a pretty important actor, and
I was getting as puffed up as a pouter
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pigeon," says Brian, "when one of the
fellows let the cat out of the bag. Seems
that the night before they had all seen
'The Remarkable Andrew' in the hospital
auditorium."
Brian is a pushover for any kind of
gadget on the market. He drives to and
from the studios in a green Ford pick-up
truck that is loaded down with mirrors,
lights, horns, radios, and even electric
writing pads. In case he wants to write
something. He is inordinately fond of
the color blue, and wears a lot of it —
especially blue sports shirts, which he
has a hard time getting to fit him be-
cause his shoulders are so broad. When
Marjorie wants to please him she buys a
blue dress. He pretends to scoff at
women's clothes, but Marjorie has often
heard him whisper to someone in a group,
"Isn't that a cute dinkus Marjorie has
on her head? I picked it out myself."
Brian hasn't seen any of his pictures
since "Wake Island." He agrees with
Barbara Stanwyck that working in pic-
tures "is nice work if you can forget it."
He never goes to his previews. "I like to
think I am pretty good on the screen,"
he says, "and I don't want to take any
chances on being disillusioned."
At present he is working in Para-
mount's version of "Two Years Before
The Mast" with Alan Ladd, Bill Bendix,
Barry Fitzgerald and Albert Dekker. "I
look at them," says Brian, "and I say to
myself, what chance have I got with this
professional bunch of scene-stealers. And
if having them around wasn't bad enough
there's a guy who pops up in all my
scenes with a big white bath towel
around his neck. Bath towels, yet. I
turned to him the other day and said,
'Now look here, bud, you can't always be
taking a shower.' "
Although the Donlevys have their fam-
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Carole Landis indulged in a little side
play with Jerry Colonna before she left
for tour of Soufh Pacific with Jack Benny.
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Brian feels that Marjorie only really let
him have it once. He still gets hurt, and
mad, when he thinks about it. It was
about two years ago when he was doing
a Navy Day broadcast for free with
Walter Huston. It seems that there's an
old stage expression called "beating the
ladder." In the early days of the Amer-
ican theater there was always a rope
ladder in the wings of the theater, and
an actor who wanted to work himself up
to a magnificant emotional pitch for his
big scene would "beat the ladder" before
the curtain went up. "Well," says Brian,
laughing, "on that broadcast Walter
Huston was doing as fine a bit of beat-
ing the ladder as I have ever seen. I
knew the only way I could make myself
felt on that broadcast was to yell louder
than he was yelling. So I did. When I
got home that night I expected Marjorie
to throw herself into my arms and say.
'Darling, you were wonderful — you man-
aged to hold your own beautifully.' But
she didn't. What do you think she said
to me? She just looked up coldly from a
magazine she was reading and said, 'Do
you stink!' "
It's no thanks to Brian that there is a
Veronica Lake today. Remember, Ver-
onica made her screen debut, with her
hair over one eye, in one of Brian's pic-
tures, "I Wanted Wings." Anyway, Ver-
onica, who was Constance Ockelman.
late of Brooklyn, was using the name of
Constance Keane at the time. She didn't
like that name and was on the hunt for
something better. "Brian." she asked one
day on location, "what do you think of
Veronica Lake?"
"That's terrible," said Brian. "It's a
lousy name. Sounds like a health resort."
So Constance Keane, nee Ockelman,
became Veronica Lake. And no one has
ever mistaken her for a health resort.
"Yes, Please?"
Continued from page 24
One morning, to the astonishment of
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"Veil, maybe a leedle — "
Dennis' father and mother came from
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New York, where Eugene Dennis Mc-
Nulty was born on May 21, 1917. He is
the third son of a large and lively family
to go into the Navy. Another brother
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He, himself, went to Cathedral High
School and studied law at Manhattan
College, where he won the Mayor's
Scholarship. However, he didn't take
his bar examination because graduation
and the depression were simultaneous.
"It was a choice of clerking in a store
or driving a truck or — the radio," he
said. "And, since I'd always been sing-
ing— in church and school and at home
— I chose the radio."
After some months of sustaining spots
on small New York stations, he heard
that Jack Benny was looking for a singer
to replace Kenny Baker, who had left
the program. On the slim chance of
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being considered, Dennis sent a record-
ing of his voice over to NBC.
"I didn't have much hope of ever
reaching Mr. Benny," he explained. "I'd
heard they'd auditioned more than 530
people already. But Mary Livingstone
listened to the record and took it to
Chicago, where they were broadcasting
that week. I was called there and sang
for them for an hour and a half, so
scared I hardly knew what I was doing.
Then they told me I could stop and
rest."
He turned to ask his accompanist how
the songs had sounded just as someone
in the control-booth called, "Oh. Den-
nis— "
"I answered 'Yes, please?' just the
way I always answer whenever I'm
called," he continued. "Later, Mr. Benny
told me that 'Yes, please?' had sold me
more than the hour-and-a-half's sing-
ing!"
He was given a round-trip ticket to
Los Angeles and put up at the Holly-
wood Athletic Club, with instructions
not to talk to anyone.
"They meant, of course, not to dis-
cuss the program or the character. Then,
if I were selected, the announcement
would come as a surprise," Dennis ex-
plained. "But I took them literally and
for three weeks didn't speak to a single
soul. I just walked up and down Sunset
and Hollywood Boulevards and all the
side-streets north and south and didn't
say a word to anybody. I've never been
so lonesome in my life!"
After he was chosen for the program
and the contract signed, he brought his
father and mother to Hollywood and
bought a house for them. He moved in
with them and they took up again the
home-life they'd always had before he
left New York. It's a merry menage,
full of Irish wit and laughter. Mrs. Mc-
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so badly that, because of loss of blood,
he didn't walk until he was five years
old. Later, at the family's summer cot-
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his bare foot on broken glass. He hobbled
the two miles back home, spouting gore
at every painful step. On another dis-
astrous occasion, a playmate pushed him
onto the stone steps of the schoolhouse
and split his forehead open. Accidents
happened so often that my mother made
a habit of watching out the window for
me every day. When she saw me drip-
ping blood, she'd just reach calmly for
the telephone," he said. "The Fordham
Hospital ambulance made regular round
trips, practically on schedule!"
He enters the Navy with the rank of
ensign, but doesn't know yet to which
branch of the service he will be at-
tached. His particular fitness will be
found out in the two months' intensive
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of Arizona at Tucson.
He loves the Navy and is proud to be
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SCALP ODOR-
"Poor Little Rich Girl"
Makes Good
Continued from page 29
And I was gradually living down my so-
ciety background and becoming known
as a working girl. The added experience
also gave me more self-assurance."
Jane explained that during this time
she lived between two worlds. "High so-
ciety naturally frowned upon my career
as an actress or I wouldn't have been
dropped from the Social Register," she
elaborated. "But at the same time I
could not get the kind of recognition I
needed from the theater because my col-
leagues still remembered my name had
once been listed in the book."
From 1930 to 1933 Jane learned to
take the expression, "poor little rich girl,"
seriously. So often spoken in jest by peo-
ple who had never faced an experience
like hers, the words were filled with bit-
ter irony because even though she and
her family were penniless the stigma of
wealth still went with her name.
"Serious people in the theater take for
granted that a society girl is hard to
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were merely to flatter my ego and to get
notoriety, and because of this I actually
shunned publicity. This was naturally,
bad for my career, because people in my
work depend upon a certain amount of
public notice to get ahead. And instinc-
tively I shunned the limelight because of
the reaction from my old social set. Most
of my former companions were certain I
was deliberately seeking acclaim for its
own sake, and to prove they were wrong
I tried to keep my name out of the
papers as much as possible.
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"It was difficult for me to face hard-
boiled producers, too, because I knew
what they were thinking. My life had
been a sheltered one through no fault of
my own, and because I had been used to
the formal politeness of society I felt that
many of them were purposely cold and
abrupt with me. The truth of the mat-
ter was that I had not really grown up
in my new world. This business of be-
coming a nonentity in a new world is
probably the hardest thing a society girl
has to face if she is serious about a career
in the theater. I felt this struggle keenly
because in my previous circle I had been
looked upon with importance and I was
a natural object of courtesy and consider-
ation merely because of my family's posi-
tion."
In this ironic state, resented by pro-
fessional people as well as formal society,
Jane also carried a major worry in regard
to her family. She told me that her
mother never let on for a moment that
she was anything but happy, but she
knew better at times and it plagued her
while she was trying to concentrate on
her work. "And this also was true," Jane
reflected, "that each little disappoint-
ment was twice as hard for me to bear,
because unlike the girls who had had to
make their own way, everything had been
handed to me on a silver platter."
Jane got her first firm grip on the
lower rungs of success by her role in the
Somerset Maugham play, "For Services
Rendered," in 1933. Then she succeeded
Margaret Sullavan in "Dinner at Eight,"
playing the role for six months in the
New York and Chicago productions.
And then, with a couple more successes
to her credit, the movie offers started
coming with regularity.
"In 1934 I finally signed a contract
with Universal," Jane said, "because of
all the offers this studio would allow me
time to go back to the theater for a part
of the time each year. I had worked so
hard to gain stage recognition, and
against such strange odds, that I suppose
I had become sentimental about the
theater," she laughed. "I had such an
uphill climb, in fact, that when I did
start collecting all that money in Holly-
wood I was actually bored with it. Once
I had had all I needed and more, but
having lost it I had grown used to the
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laughing out loud at my change of atti-
tude."
It was in November of 1935 that Jane
married Edgar Bethune Ward, an eastern
business man whom she had met a few
years previously at a social gathering at
Franklin Delano Roosevelt's Hyde Park
home. And in 1937 her first child, Chris-
topher, was born. Between that time and
now Jane has divided her time between
Hollywood and New York, except for an-
other year she took off to have her sec-
ond baby. This child, Michael, had a
twin who did not survive for long after
his birth last September.
In "None But The Lonely Heart" Jane
was directed by Clifford Odets, who was
doing the plays for the Group Theater in
New York in 1940 when an agent flatly
refused to take her to the theater for a
reading. "He told me that the Group
Theater would not take me seriously be-
cause of my background," explained
Jane. "So you can see how long it takes
to live down a past like mine." But she
and Odets met this last time on the com-
mon level of two successful people who
were working towards the same end in
their respective fields, a good movie.
They proceeded to become fast friends.
As Mrs. Edgar Ward (he is Eddie to
their friends) Jane now is mistress of a
nine-room English type of home in Holly-
wood proper. The Wards represent an
average American family except that
'Mama Ward happens to be in the un-
usual position of movie stardom. They
like to entertain friends at small, infor-
mal dinners in their home, and visitors
are impressed by the beautifully main-
tained English garden at the rear of the
place. It is largely Jane's handiwork.
Most of their friends are successful
people from films or from the stage, but
they are very tolerant and even occa-
sionally invite someone whose name still
is in the Social Register. "But I like best
the kind of society typified by Holly-
wood," Jane told me. "Out here it doesn't
matter who you are. It's what you do
that counts. After all, look what I was.
And I made the grade."
Stand Up For Beauty
Continued from page 16
impression that you make and certainly de-
tracts from even the most exquisite clothes.
Powers' models are taught to walk with
knees close, toes turned out ever so slightly,
arms relaxed and heads high. The whole
body should move in one piece and not fol-
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right foot is ahead, the left shoulder should
be forward — and vice versa. This opposi-
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the body creates symmetrical fluid move-
ment. Try it and see.
As you know, every gesture and little
action before the camera must be lovely or
the whole impression can be ruined. When
you go to the movies observe the manner in
which your favorite star shakes hands, picks
up a book or reaches for a cigarette. Doesn't
she do all these things in a relaxed and easy
fashion rather than in a tense, hard way?
Ann has concentrated on improving all her
movements — and the result is obvious !
At first you may be discouraged by your
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their personalities.
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_ _ - - -
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106
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