Modern Screen 1948-10 Vol. 37, No. 5

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You can Say “yes” to Romance Veto says “no” to Offending? Veto says “no”’—to perspiration worry and odor? Soft as a caress... exciting, new, Veto is Colgate’s wonderful cosmetic deodorant. Always creamy and smooth, Veto is lovely to use, keeps you lovely all day! Veto stops underarm odor instantly, checks perspiration effectively. OCTOBER, 1948 modern screen Uh pill wagaya stories WHY CAN'T THEY STAY MARRIED?....0........c:ccccccesescscersscsscsenreseeeens by Hedda Hopper 28 BLOOPFACE AND THE BABE (Judy Garland) ..........0..:.008 by “Jimmie” Garland 32 LET’S HAVE A HAYRIDE (Farley Granger, Lon McCallister, Jerry Courtland, Geraldine Brooks, Mary Hatcher etc.)................ by Bonnie and Reba Churchill 34. THE GABLE WOMEN (Clark Gable )......:c:ccc:ccssscsscsescsteesteneeeess by Dorothy Kilgallen 38 LOVE IS SO TERRIFIC! (Jane Powell )...........cccccsccscesccscsscnseseecsesecsscrececeevseesevseuerseratcseseaeees 40 SHE WAS A GOOD GIRL... (Rita Hayworth)... by Eduardo Cansine- 44 THIS IS MY BEST .....by Cobina Wright 46 “EVIE’S OTHER HUSBAND” (Van Johnson ).............ccccceeeeeee by Erskine Johnson 48 FABULOUS HONEYMOON (Karin Booth )...........:cc:cccsecsseeeeeees by Christopher Kane 50 GUY MADISON: IN PERSON: ooo cicccccscscsccsescnsesnneeesnsecrenere -by Florence Epstein 52. “IT’S NOT A DREAM, DARLING” (Cornel Wilde-Pat Knight))............ by Ida Zeitlin 56 END OF A MYSTERY (Robert Walker )...........ccccccsscsccscsessessseseneesnecseeees by Jack Wade 58 FIGHTING LADY CLaraine Day))...........cccccscssescsssssesercecssseresesesseseeess by George Fisher 60 INTIMATE VIEW (Errol Flynn )).........0..ccccccccssssescesesssseecsersteeeeeneeseees by Carl Schroeder 62 features TOSQUR READERS (seo oc ecis cas cree cesses ce aes eo cao ae wae ee 4 6 14 27 departments MOVIE REVIEWS ie. io cts foi Sstcaceescsce teens i eee eee by Jean Kinkead 16 FASHION by Connie Bartel 65 YOUR: LETTERS cence eee iia coc cce eae n cea epee ch Rete acl ere Ree mE 68 INE WP ACES ee sites OSes Sa cet caee 8 SEC ae ANRC me aeRO 77 MUSIC emo week cn HOtee css cetera mc tecencete ie otee cate mest eee ee by Leonard Feather 78 SHE IGE ANG i eae rece te ee pn aaa tae ae eR eagle ep by Shirley Frohlich 84 BEAUTY: “Naturally Young and Pretty” by Carol Carter 94 BESO ‘SHOWING 102 Ss eo dS ee I en oer nee a reece ee ee . 118 ON THE COVER: JUDY GARLAND CHRISTOPHER KANE WILLIAM JEFFERS TOM CARLILE, western manager ROMA BURTON, western editor BOB BEERMAN, staff photographer BERT PARRY, staff photographer WADE H. NICHOLS, editor t story ies SHIRLEY FROHLICH, associate editor FLORENCE EPSTEIN, assistant editor FERNANDO TEXIDOR, art director BILL WEINBERGER, art editor CONSTANCE BARTEL, fashion editor Veto says “nmo”"— to harming skin and clothes! So effective...yet So gentle—Colgate’s Veto is harmless to nor- mal skin. Harmless, too, even to filmy, most fragile fabrics. For Veto alone con- tains Duratex, Colgate’s exclusive ingredi- ent to make Veto safer. No other deodorant can be like Veto! TRUST ALWAYS TO VETO IF YOU VALUE YOUR CHARM! MAXINE FIRESTONE, assistant fashion editor GLORIA LAMPERT, associate fan club director JEAN KINKEAD, contributing editor IRENE TURNER, research editor POSTMASTER: Please send notice on Form 3578 and copies returned under Label Form 3579 to 261 Fifth Avenue, New York 16, New York Vol. 37, No. 5, October, 1948. Copyright, 1948, the Dell Publishing Co., Inc., 261 Fifth Ave., New York. Published monthly. Printed in U. S. A. Published simultaneously in the Dominion of Canada. {international copyright secured under the provisions of the Revised Convention for the Protection of Literary and Artistic orks. Office of publication at Washington and South Aves., Dunellen, N. J. Chicago Advertising office, 360 N. Michigan Ave., Chicago 1, Illinois. George T. Delacorte, Jr., President; Helen Meyer, Vice-President, Albert P. Delacorte, Vice-President. Single copy price, 15c in U. S. and Canada. Subscriptions in U. S. A. and Canada $1.80 a year; elsewhere $2.80 a year. Entered as second class matter Sept. 18, 1930, at the post office Dunellen, N. J., under Act of March 3, 1879. The publishers accept no responsibility for the return of unsolicited material, Names of characters used in semi-fictional matter are fictitious. If the name of any living person is used it is purely a coincidence. Trademark No. 301778.

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With these Great Stars...and the Splendor of Technicolor... NAT SN AD \ /i PP i /i \ | presents Dumas’ Exciting Story of Love and Adventure! For the first time in motion picture history... the complete romance... the full novel just as Alexandre Dumas wrote it! om | Av Lana’ Turner Gene Kelly as Lady de Winter .. . lovely as a as Constance... golden-haired jewel, deadlyasadagger,thewick- | handsome soldier of fortune... beauty entangled in a web of edest woman in all Christendom! | a dashing, audacious lover! | treachery and intrigue! as D’Artagnan ... young and Ca LIER SE DS II EEE EAD LT LE LD SEE BRE EG OEE EE REPRISE LS ERT SOD m eR DN ha CN AS ae a Bie: Ry Ot shinee: Ro el M ct; -M presents Che uel Luma oS : ‘ngela Lansbury as Queen Anne... dazzling as her gilded palace... for her, men dared a thousand perils! as Athos... a rollicking ad- venturer, fighting to live and living to love! Frank Morgan - Vincent Price - Keenan Wynn - John Su ton: Gi g Young Screen Play by Robert Ardrey « Directed by GEORGE SIDNEY ~~ Produced by PANDRO S. BERMAN A Metro-Goldwyn-Mayer Picture

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VASELINE CUTICLE TRADE MARK® AND NAIL CREAM L- Helps prevent cuticle hangnails Dy Simple to use 3. Keeps cuticle smoother, suppler 4- Richly lubricating 5. Coaxes fingertips to petal- sofiness 6. Makes manicures quicker, sleeker Z Delightfully fragrant &. Gives hands that well- groomed look 9g, Daintily peach-colored LO. In sparkling crystal jar IT’S NOT THAT we dislike Clark Gable. There’s every reason to believe he’s a very good guy. Even plays a handy game of golf. It’s this business about the women—the way they fall before him like broken lilies. To them he’s apparently Don Juan and Lancelot and King Arthur combined. There are five ladies we can mention (and we do on page 38) who’ve given themselves to the Gable cause. As we said, the man’s all right—but he certainly makes it tough for the rest of us! COME TO THINK of it, Cornel Wilde doesn’t have it so bad, either. Lately, he’s been spending time convincing his gorgeous wife, Pat Knight, that she’s awake. They’re co-starring for the first time in The Lovers, and Pat’s in a daze. She’d been dreaming of this for ten years. But the dream-state doesn’t show. If you don’t believe us, you can see for yourself on page 56. PICTURE IT—a blue velvet night, soft breezes, the smell of alfalfa. We did more than picture it (on page 34): we climbed into our dungarees and went along on a hayride in the San Fernando Valley. The whole idea belonged to Reba and Bonnie Churchill (teen-age columnists who knew about these square- dance parties in the Valley). But the night _.. that belonged to us. WHICH REMINDS US of Moprern ScrEEN’s writers. We don't exactly keep them in chains (ask a few), but we take a sort of proud, benevolent interest in them. We've discovered, for example, that they've cornered the radio networks. Hedda Hopper (page 28); Louella Parsons (page 6); Dorothy Kilgallen (page 14); George Fisher (page 60); Erskine Johnson (page 48)—each one has a room with a mike... ERSKINE EVEN DECIDED he’d write a magazine story in soap-opera form. It’s called “Evie’s Other Husband.” The man is Van Johnson. The question is, are the Johnsons happy? The answers, as best a good reporter could learn em, are on page 48.

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is i: PEGGY, who gave one man something to love for — another some- —__ i thing to live for! —= WILLIAM HOLDEN Edmu nd Gwen ni oa this « JASON soy os ce HE ey = } | | | | JEANNE CRAIN plays Peggy plays Jason pieys the Pro iOS i | H Color by TECHNICOLOR Ta Directed and written for the screen by aes Sieur GEORGE SEATON eel | Ste: Produced by | i iS Fe ——IvE WILLIAM PERLBERG 20 .snmm S YOUR HEART A ___ NEW LEASE ON" 4iFzt— PICTURE THAT This is THE MAW behind “The Miracle on 34th eGR | Street” who discovers a new miracle — Peggy, herself! 2 | Remember September is Youth Month—Saluting Young America 5

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Hi Judy Garland is a sick, sick girl again, so ill her doctors say she must remain off the screen for months. When you stop to think what a round apple-cheeked child she was just a few years ago, these recurring col- lapses are just heart-breaking. Ginger Rogers was rushed in to replace Judy in The Barkleys of Broadway, with Fred Astaire. It is too bad that it took this serious illness of Judy’s to accomplish it—but reunit- ing Ginger and Fred, the best dance team we have ever had on the screen—is something to shout about. : When Fred first heard his former dance queen was about to sign as his co-star, he LOUELLA DONS ty ows Louella Parsons returned! with her husband, Dr. Harry Martin, on the S. S. America, after a European vacation. Louella visited her Hollywood friends now making movies in England, France and Italy, was feted at many parties. kicked up his heels, plenty. Not that he doesn't want to make a picture with Ginger— but he thought this might take the edge off an “independent” movie they are contracted for in which they share in the profits. But when he was offered another ‘‘dancing lady” (who shall be nameless) Fred gave in —in a hurry. He considers her the most “un- dancing” star of the screen. * % * Let's face it. Everyone on the inside in Hollywood knew things had not been going well between the Rex Harrisons for months! But how that girl, Lilli Palmer, came through when Rex Harrison was in the spotlight during the investigation into Carole Landis’ suicide! Rex had discovered the tragedy. Carole’s maid said he was a frequent diner at the house. Lilli, who had been in New York for weeks, caught the first plane back to Hollywood to be with her husband and to deny that they had been having any domestic trouble. She went up in everyone's estimation one hundred per cent and her loyalty and devo- tion has not cost her a single movie fan. Her voice was trembling, but determined, a few hours after her arrival when she said to the reporters swarming around their Mande- ville Canyon home, “My place is by the side

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Hollywood" show. Jane has moved into a:new home with Maureen and Michael. It's larger (old one was cramped) gives her more privacy. Spike Jones took his naw bride, Helen Grayco, to Paul Draper's opening at Slapsie Maxie’s. Spike was formerly married to Patricia Ann Middle- ton. They have a daughter, Linda Lee, 7. Helen sings with Spike's band. Marie Wilson, Ken Murray and a cast member eeleorateadk the seventh year of Ken Murray’s Blackouts with a huge cake. The birthday show was 3223rd performance! Marie and Ken are only original members left. Hedy Lamarr shared a Stork Club table with Bea Lillie (star of Broadway smash, Juside U.S.A.) and Robert Lantz. Hedy, who'll make Samson and Delilah for DeMille, says she and John Loder won't reconcile. of my husband. If he returns to England, I shall go with him. If he stays here, I shall remain—naturally.” There was not one word about her own career—or whether it would be best for her to stay in Hollywood where she is off to a good start. Her only thought was about Rex and their child. * * * Howard Duff has it bad for Ava Gardner and goes into a minor decline every time she steps out with someone else. This boy can really light up a torch when he sets his heart to it. Not long ago when Ava was “‘out’” when Howard called, he rang up all their friends begging them to use their influence with her. “What's he doing? Trying to get elected?” cracked Ava when she heard about it. * * * Frank Sinatra said a sweet thing to a 16- year-old would-be glamor girl who was em- barrassed almost to tears because her father called to escort her home from a party at nine p.m.! : “Don't you worry, honey,’ said Frankie. “In just a few years I'll be picking up my little girl at nine o'clock and believe me, she’s com- ing home at that time.” The occasion was a party at the home of Henry Ginsberg, popular executive at Para- mount. Henry had planned to have only grown-ups for dinner, but when his 19-year- ‘old son heard that songwriters Jimmy van Heusen (‘But Beautiful’) and Jimmy Mc- Hugh ("I Can't Give You Anything But Love’) PLUS Sinatra were to be among the guests, it turned into a bobby-sox fiesta. Young Ginsberg trouped in with 20 ‘teen- agers who immediately plunked van Heusen at the piano in the living room and McHugh at the piano in the den and had Frankie run- ning between them for hours. When Betty Hutton showed up—it became a Tin Pan Alley dream!

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Get hot, fresh, delicious Hi Pop Popcorn anywhere— the Nation's popular food confection. Served from sparkling Manley Popcorn Machines at your movie theatre and variety store or wherever good popcorn is sold. Ask your food store for Hi Pop in the red and white candy cane package. Make your own popcorn | at home. Remember —Hi Pop is the same fine corn movie shows feature. Enroute to Italy for work on a movie, Ty Power and Linda Christian stop off at Madrid, Because his divorce decree from Annabella doesn't become final until January, studio execs have asked them to put off proposed marriage in Europe. yd w= Only discord of the whole musical evening was when the fore-mentioned baby siren was hauled home to meet the curfew deadline. Said Frankie to the host, at closing time, ‘This is the first time I’ve sung for my dinner in years!” * * * Prettiest party of the summer was hosted by Dinah Shore and George Montgomery in their garden just before Dinah took»off for London. All the girls were invited to wear Spanish- type clothes—so most of them showed up in off-the-shoulder peasant blouses and bright skirts of every hue in the rainbow. A big, fat moon came up at just the proper time to illuminate the gleaming dinner table, almost bowed down with red and white blos- soms, and the shadowy figures of guitar play- ers strolling around the grounds. Alan Ladd, who ate three helpings of the hot Spanish food, was yelling for Susie to bring water to put out the fire. Alan is the envy of every actor (and actress) in town. That boy can really EAT and without putting” on a pound. Taint right, somehow. His leading lady, Donna Reed, one of the real beauties of this town, looked like a dream in all-white, very form-fitting, and the newly skinny Anne Baxter gave her a run for top beauty honors in an electric blue skirt and matching blouse. All the gals sported their new short hair- cuts—including the hostess. Dinah’s whole personality has changed with her new perky hair-cut. Says she feels “sassy,” too. The Montgomerys do a charming thing for their departing guests. They have big bou- quets of flowers picked from the garden and present all couples with armsful of posies just before they drive off. * * * I still have a few movie star memories from my trip abroad I want to tell you about: Rita Hayworth looked like a baby Camille lying on a chaise longue in the patio at the delightful cocktail party Freddie Brisson (Ros Russell's husband) gave in my honor in Cannes. Rita, just out of the French hospital after a serious siege of anemia, was still taking medi- cine and her doctors had told her to take it easy. : She looked dreamy with her hair now so dark it is almost brown and wearing one of the low-cut sports dresses. The surrounding scenery was out of this world, but I am sure the Frenchmen paying such ardent court around Rita’s chaise longue behaving like love-smitten Armands, nothing but la Hayworth. I might add that Rita has made up her last year’s feud with the French press. She even went so far being sweet as to give a Siamese cat to one of the Paris reporters for his little daughter. No, indeed—you hear no criticism of la belle Rita in la Belle France these days! If you ask me—you can forget those rumors that she has any intention of trying to effect a reconciliation with Orson Welles. and done with. * * * saw That is over Ingrid Bergman, never known as a “clothes horse,” had a most embarrassing moment in Paris until Schiaparelli, world-famed designer,

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ARNER BROS. WIDE-OPEN ENTERTAINMENT! OF SONG, & ‘WAHOO ! HOW THOSE DUDE-RANCH ROMEOS MAKE woo-woo! Aye SPECTACLE AND TERRIFIC. and DOROTHY PENNY MALONE - EDWARDS Screen Play byl. A. L. Diamond and Allen Boretz Suggested by a Play by Robert Sloaneand Louis Pelletier Orchestral Arrangements by Ray Heindorf DIRECTED BY PRODUCED BY DAVID BUTLER - ALEX GOTTLIEB

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Advertisement * * * * * Don't be Half-safel b Host John Garfield chats with Beatrice Pearson Y at a Hollywood party in her honor. Beatrice is VALDA SHERMAN debuting in Tucker’s People starring Garfield. At the first blush of womanhood many mys- terious changes take place in your body. For instance, the apocrine glands under your arms begin to secrete daily a type of perspi- ration you have never known before. This is closely related to physical development and causes an unpleasant odor on both your per- son and your clothes. There is nothing “wrong” with you. It’s just i another sign you are now a woman, not a girl...so now you must keep yourself safe with a truly effective underarm deodorant. SESS Two dangers— Underarm odor is a real handi- cap at this romantic age, and the new cream deodorant Arrid is made especially to over- come this very difficulty. It kills this odor on contact in 2 seconds, then by antiseptic action prevents the formation of all odor for j 48 hours and keeps you shower-bath fresh. | : It also stops perspiration and so protects ] against a second danger—perspiration stains. | Since physical exertion, embarrassment and ] emotion can now cause your apocrine glands { to fairly gush perspiration, a dance, a date, an embarrassing remark may easily make | | | See SSS SSS Leaving soon for London where he'll make Britannia Mews, Van Heflin and his wite dine at Stork. you perspire and offend, or ruin a dress. All deodorants are not alike—so remember | —no other deodorant tested stops perspira- , . : ‘ I | tion and odor so completely yet so safely as came to her rescue, in the nick of time. given by Edith and William Goetz of the film new Arrid. Its safety has been proved by Bergman had flown over from London to colony. She said to me, “Please, please, | doctors. That’s why girls your age buy more attend a big charity affair at the Eiffel Tower. Louella—say that there is no truth in the cruel | ee Heat! UE ERA 7OUNS S250 (OED: Up fact Beats She was told it was strictly an outdoor event rumors that my husband and I are separating. men and women everywhere use Arrid than : : : k ii ih any other deodorant. It’s antiseptic, used by —so she showed up with only a suit. I am expecting him to join me as soon as pos- ii 117,000 nurses. When she arrived in Paris and found it to sible. He wanted to fly. But I want him to ij be one of the dressiest occasions of the bril- take the boat because I fear for his safety.” liant social season—she didn’t know what Does that sound like trouble? Not to me. to do. BB ee ae * “If I do not show up,” Ingrid wailed to me The next week, in London, the Goetzes gave iy Intimate protection is meeded —so protect | | yourself with this snowy, stainless cream that } smooths on and disappears. This new Arrid, | with the amazing new ingredient Creamogen, will not crystallize or dry out in the jar. The American Laundering Institute has awarded Arrid its Approval Seal—harmless to fabrics. Arrid is safe for the skin—non-irritating—can be used right after shaving. Don’t be half-safe. During this “age of ro- mance” don’t let perspiration problems spoil your fun. Don’t be half-safe—be Arrid-safe! Use Arrid to be sure. Get Arrid now at your favorite drug counter — only 39¢ plus tax. over the ‘phone, “they will say I do not have the interest of the poor French children at heart. If I do appear, they will say ‘That Bergman—she has never known how to dress.’ And I do not have time to have a gown fitted.” But -when Schiaparelli heard of her plight, she sent her post-haste the most divine white gown you have ever put your eyes on and, believe it or not, the fit was so perfect you would have sworn it was poured. on Ingrid. She was the hit of the event, so cute with her speech in French with that slight Swedish accent! Later on, I sat next to Ingrid at the party a wonderful party in honor of Jack Benny, Mary Livingstone, Phil Harris and Marilyn Maxwell, who absolutely wowed the conser- vative British when their show opened at the Palladium. While we were still in the theater, Alice Faye rushed up and threw her arms around my neck saying, “I’m so homesick. Isn't it awful when everything is so exciting here?” Talk about modesty—that girl is ready to let Phil Harris take the bows for the family for the rest of their lives. ; When Alice was introduced to the audience they stamped and cheered but she just re- ¢

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Rebel bride of a man she’d Ss never kissed! Pledged to share ~ his home... but not privileged et .,\ovO oe ae to claim his love! Until one day We jaest aware | ...one fateful day... along gr ged ~ eerghe ie nance eae ie came a Tall, Dark Stranger! ve oS : SORT DORE SCHARY presents LORETTA YOUNG + WILLIAM HOLDEN ROBERT MITCHUM Produced by RICHARD H. BERGER Directed by NORMAN FOSTER Screenplay by WALDO SALT RKO RADIO PICTURI 11

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12 lovelier eyes in sixty seconds! Men’s eyes follow your eyes— when they’re large, lovely, alluring! Such eye-appeal is yours in sixty seconds with KURLASH, the patented eyelash curler— glamour secret of Hollywood stars! Gently, KURLASH upcuryes your lashes against a soft rubber cushion, makes them look longer, thicker, twice as glamourous! New PURSE-STYLE KURLASH is handy as your lipstick. Folds into smart, flexible plastic case, for use anywhere, any time! At all cosmetic «... 1:25 Standard Model KURLASH $1 KURLASH ROCHESTER, NEW YORK counters COPR, 1948 THE KURLASH CO. INC, Jack Carson threw a party at his Sherman Oaks home and invited hypnotist Fred Schneider to put his guests to sleep. Willing guests were Michael O'Shea and wife Virginia Mayo. Best subject was Janis Paige, who sang and rocked her arms when told she had a baby in them. Carson tried to hypnotize Janis, failed. ‘ fused to go up on the stage and take a bow. Close down in the front row I spotted Dana Andrews and his attractive wife. Dana was literally mobbed every time he appeared on the streets and I can say the same for Joe Cotten. Funny thing—at home, the fans do not al- ways recognize Joe. But the British seem to spot him ten blocks away. * * * And now I might add the topper which con- cerns the antics of Orson Welles—who else? Cannes will never stop talking about his “swim” in Le Loupe River in his birthday suit, surprising the astonished natives out of their wits and embarrassing friends unfortu- nate enough to be along on this bit of au- thentic “exhibitionism.” When I left Europe, he was holidaying in Capri with his fiancée, the beautiful Italian Lea Padovani. In Rome, ‘tis said, he is very jealous of his sweetheart and has a minor fit if she is out of his sight. * * * Audie Murphy is back from that junket to France, but just before he took off I asked him, “When are you going to marry Wanda Hen- drix?” He said, “We have to get engaged, first." And that's that. I think the real reason those kids don’t take the plunge is that Audie Tk : ~ oe With Schneider's help, Jack managed to get his pal Dennis Morgan into the pool. Carson hoped hypnotist would cure him of insomnia. teels he can't support her in movie-star style. Our most-decorated war hero doesn’t make a big salary. He is as proud as Lucifer, but I think little Wanda is really in love with him and I hope the kids get together. cd * * Don't say I said so, but Clark Gable and Marilyn Maxwell had a bit of a flirtation on the boat going to London. But once Clark arrived in France he had eyes for only Dolly O’Brien, the glamorous socialite, who makes no bones about being a grandmother. Clark is really crazy about Dolly, as I’ve said several times before. But whether or not Mr. Gable will ever get married again is a great big question mark. * * * Dennis Morgan tells me he’s not kicking up his heels about making more Two Guys pic- tures with Jack Carson. Certainly they have been successful at the box-office—but frankly, I wouldn't blame Dennis and Jack if they did feel they had made enough of them. Well, a long time ago, two big stars, Edmund Lowe and Victor McLaglen, got into the same kind of teaming rut—and when they separated they were never as successful. Incidentally, Dennis has been working so hard he still hasn't found time to furnish com- pletely his beautiful but enormous home near the Rose Bowl in Pasadena.

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Nothing ever held you like Alfred Hitchcock’s merecye eee PIGUNGOUR cecacarco ov WARNER BROS STARRING WITH / AN ES STEWART | EO CSP Soemeznenenmamie occ? A TRANSATLANTIC PICTURES PRODUCTION

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dorothy kilgallen Uff Congresswoman Jean Arthur, investigating Gl selects a foreign aHair’ “morale in Germany, discovers Army Captain John Lund ''fraternizing" with night club fraulein Marlene Dietrich. @ Once in a wonderful while, some Holly- wood genius achieves the perfect combina- tion of wit, plot, sentiment and Americana that comes out of the cinema oven as a brilliant confection of entertainment. Frank Capra has done it. George Stevens has done it. So has Preston Sturges. In the enchanting Paramount concoction called A Foreign Affair, Charles Brackett and Billy Wilder do it with the flourish of master chefs. Their theme is post-war Berlin and a Congressional committee assigned to in- vestigate the “morale” (here a synonym for morals) of the American troops sta- tioned in Germany—which sounds like a stuffy basis for a story but turns out to be wonderful fun. Its treatment is light- hearted, yet not without heart. It is full of jokes, but full of truths, too. It con- tains an admirable mixture of imaginative fiction and good eyewitness reporting. The result is a terrific piece of entertainment from the first laugh—when Jean Arthur is shown looking- remarkably like a rather well-known blonde ex-Congresswoman who shall be nameless because everyone will think of her instantly anyway—to the final boff when Marlene Dietrich exits to what one may assume to be a fate considerably better than death at the hands of five GI’s. Ex-Gl’s_ will roar with appreciative laughter at the predicaments of the prin- cipals in A Foreign Affair, which Army-wise, must have a loud ring of authenticity. The soldier sitting next to me when I saw it was coming apart at the seams. The film is remarkable not only for the quality of its dialogue but for its atmos- phere of authenticity. The-shots of Berlin —real ones, not studio sets or miniatures— are as fascinating and appalling as any post. V-E Day newsreels. It is amazing that their starkness could be mixed suc- cessfully with comedy, but Brackett and Wilder, those old celluloid alchemists, do it with a sure pair of hands. And the actors hired to assist them in the urfolding of a deft screenplay must have made the directing chore a pleasure. John (Ah, Girls!) Lund, in a new brunette and be-mustached guise, is as ruggedly sexy as Gable, but younger and smoother around the acting edges. Jean Arthur is her cus- tomary bright, raucous-voiced, enchanting self, and Marlene Dietrich gives every ap- pearance of enjoying herself hugely in the most suitable role she has had for a decade. Playing an amorous fraulein with a sharp eye for nylons, she-gives a genuine charac- terization and gets her laughs with the fine timing of a burlesque comic. There aren’t many like this one. See it!

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THE DRIVE! 40,000 hooves thundering across the vast plains and mighty rivers of a sprawling continent! THE RAILROAD! Pouring across ‘ the tracks, the herd reaches the farthest frontier of civilization! AND NOW =| _ HOWARD HAWKS’ GREAT roll aba THE AMBUSH! Bullet against flaming arrow as blood-mad savages ride the ring =} of death! THE FEUD! Vengeance . . . exploding — in the fury ofa desperate fight to the finish “7%, ... bringing new glory to a great new star— Montgomery Clift! Monterey Productions presents HOWARD HAWKS’ "RED RIVER” starring JOHN WAYNE > MONTGOMERY CLIFT - WALTER BRENNAN - JOANNE DRU With HARRY CAREY, Sr.- COLEEN GRAY - JOHN IRELAND - NOAH BEERY, Jr.- HARRY CAREY, Jr.- PAUL FIX From the Saturday Evening Post story, ‘The Chisholm Trail’, by Borden Chase i Screenplay by Borden Chase and Charles Schnee Executive Producer, CHARLES K. FELDMAN - DIRECTED AND PRODUCED BY HOWARD HAWKS . RELEASED THRU UNITED ARTISTS 15

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ies Brooding over his father's death which he has solemnly vowed to avenge, Hamlet denounces his mother, the Queen, for having married her husband's brother (also his murderer) in haste, a Ophelia, now spurned by the once-adoring Hamlet, is ultimately driven insane by the death of her father (accidentally stabbed by Hamlet). Wandering aimlessly into a stream, she drowns. Her brother Laertes blames Hamlet for ihe deaths of his kins- men. Egged on by the King, he challenges the unhappy Prince to a duel in which Hamlet shall die by both sword and poison. Movie VIEWS by Jean Kinkead HAMLET Laurence Olivier’s maj estic Hamlet is no mere photographed stage play. It is swift-moving, action-packed cinema, so beautifully directed and produced that one is scarcely aware that on screen it is the Thirteenth Century. Somehow, the time is now; the centuries-old problems, immediate and urgent. Shakespeare’s four- hour tragedy has been edited and cut so that it emerges as a two-and-a-half-hour movie. Many of its more obscure passages and obso- lete words have been changed and miracu- lously, this has heightened one’s interest in the story without in any way sacrificing the poetry and grandeur of the original lines. The story, familiar to every high-school stu- dent, is briefly this: Prince Hamlet of Denmark (Laurence Olivier) is grieving terribly over his father’s death, and is even more sick at heart that his mother has married his father’s brother, Claudius, when King Hamlet has been dead but a few weeks. The ghost of King Hamlet has been appearing nightly to the castle guards, and one night the distraught young prince stands watch to see whether his father’s rest- less spirit brings a message. A message it brings, and a grisly one. Seems that King Hamlet did not die of natural causes but was foully murdered by Claudius that the latter might gain both the throne and Denmark's fair Queen Gertrude (Eileen Herlie ) for himself. Hamlet’s ghost bids young Hamlet to avenge this hideous crime, and to that end the Prince now dedicates himself. He accomplishes (Continued on page 18)

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UNIVERSAL-INTERNATIONAL presents with EVE ARDEN « OLGA SAN JUAN * TOM CONWAY = | Screenplay by Harry Kurnitz & Frank Tashlin - Based on the Musical Play - Music by Kurt Weill - Book by S.J. Perelman & Ogden Nash - Lyrics by Ogden Nash i Directed by WILLIAM A. SEITER Produced by LESTER COW AN

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BELTS ree ee RET —-—— ee 18 DeLong Bob Pins hold your hair as firmly as a thriller holds your attention... The Stronger Grip DeLong boasts about is no mere slogan dreamed-up by ad-writers ...It’s a fact as cold and hard as the high-carbon steel that goes into these quality bob pins... Try them and see how much better DeLong Bob Pins stay in your hair, how much longer they keep their strength and springy action... You'll never go back to the wishy-washy kind of bob pin that’s in your hair one minute and in your lap the next. Always remember — Quality Manufacturers for Over 50 Years BOB PINS HAIR PINS SAFETY PINS HOOKS & EYES HOOK & EYE TAPES SNAPS PINS SANITARY BELTS his aim at frightful cost. He mistakingly mur- ders Polonius (Felix Aylmer), the father of his beloved Ophelia (Jean Simmons). Ophe- lia loses her mind. He sees his mother die by her own hand, accidentally kills his friend Laertes (Terence Morgan), and eventually dies himself. This wholesale slaughter as seen in a stage play is rarely moving or effective. Here it is both. You will walk out of the theater feeling shattered, yet strangely uplifted. Olivier’s Hamlet is really quite a thing! The acting is uniformly fine. Laurence Olivier is a sensitive Hamlet, with an excellent flair for humor. Eighteen-year-old Jean Simmons is a beautiful and tear-evoking Ophelia. Norman Wooland, in his first major role, is perfect as Horatio; the wise and steadfast friend, and Eileen Herlie is a strong and lovely Queen Gertrude. This is a history-making film, full of new visual and oral devices, but what i; more important—it is superlative entertainment.— Univ.-Int. THE ILLEGALS Meyer Levin, a young American writer, wrote, produced and directed this moving semi-documentary film about displaced Jews on their perilous way to Palestine. Not a mem- ber of the cast is a professional actor, not a penny was expended on expensive sets. Con- “sequently, the film is neither polished nor slick. It is merely the heart-breakingly accurate pic- ture-story of a brave, long-suffering people told with the poignance of understatement. Mika and Sara Wilner—played by Yankel .Mikalowitch and Tereska Torres (Mrs. Meyer Levin )—are young Polish Jews who want more than anything else to have their expected child born in Palestine. Via the new Jewish under- ground railway, the Brayha, they make their arduous way to a secret port in Italy, thence by Haganah ship across the Mediterranean to Israel. Their separation and reunion is the film’s personal story, but the big drama, of course, involves a whole people. The movie was photographed along the route actually taken by displaced Jews, and the people one sees being herded like swine into freight cars are not Hollywood extras, but human beings whose filth and terror are all too teal. The tired old man falling in the snow al-- most at journey’s end, the frightened girl in childbirth in the stifling hold of the Haganah ship, the patient little boy with his crust of bread, these are our fellow men experiencing the indignities of the lowest animals. The Illegals (as these homeless people are _ | known to the British Tommies ) is a crude film. It pulls no punches. It isn’t pretty or pleasant. Neither has it a happy ending. But we should all see it, with our hearts as well as our eyes, and having seen it, perhaps some of us will be moved to do something about it. Produced by Meyer Levin for Americans for Haganah.— 20th-Fox. THE BABE RUTH STORY Adapted from Bob Considine’s book of the same name and painstakingly produced by Roy Del Ruth, this is a heart-warming tribute to baseball's beloved Sultan of Swat. The Babe Ruth Story goes way back to 1906 when George Herman Ruth, a potential juvenile delinquent, was jack of all trades in his father’s saloon. Bitterly unhappy, George left his father and, of his own volition, went with his kind- eyed, soft-spoken friend—Brother Matthias—to a Baltimore orphanage—Si. Mary's Industrial School for Boys. Sustained by the Brother's faith in him, the high-spirited youngster grew up on the right side of the law, learned the tailoring trade well, but spent every free second on the baseball diamond. With the help of Brother Matthias, he got his first job—pitching for the Baltimore Orioles. The Babe’s career is followed faithfully, as he moved from the Orioles to the Red Sox to the Yankees, and eventually—as a paunchy slugger in his forties—to the Braves. The film's last scenes show him slugging for his life in New York's French Hospital. ; Although the Bambino’s gay days have been white-washed considerably, and there is no mention whatever of his stormy first marriage, Baseball’s bad boy, as shown here, is still no angel. There’s one sequence in which he turns up at the Children’s Hospital on Christmas The Illegals: Accurate picture-story of displaced Polish Jews on their perilous way to Polestine. /

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JERRY, WHATS SHORTCHANGING OUR ROMANCE IS A SUBJECT FOR YOUR DENTIST! ASK HIM ABOUT BAD BREATH, WONT YOU? PLEASE! JANE, I DONT GET IT! HOW COME I DONT REGISTER WITH YOU ANY MORE? TO COMBAT BAD BREATH, I RECOMMEND COLGATE DENTAL CREAM! FOR SCIENTIFIC TESTS PROVE THAT IN 7 OUT OF 10 CASES, COLGATES INSTANTLY STOPS BAD BREATH THAT ORIGINATES IN THE MOUTH! “Colgate Dental Cream’s active penetrating foam gets into hidden crevices between teeth —helps clean out decaying food particles— stop stagnant saliva odors—remove the cause of much bad breath. And Colgate’s soft pol- ishing agent cleans enamel thoroughly, gently and safely!”’ LATER -Thanks to Colgate Dental Cream 00 I REGISTER? BOY! YOU SAID IT! AND COLGATE DENTAL CREAM GETS THE CREDIT! COLGATE DENTAL CREAM Cleans Your Breath While It Cleans Your Teeth! Always use COLGATE DENTAL CREAM after you eat and before every date Eve, a very plastered Santa Claus, and another shows him cutting up in a Follies dressing room. These colorful bits give depth and meaning to a story that might easily have been over-sen- timentalized. All the cherished anecdotes are here, lots of good old songs, wonderful nos- talgia. It’s a baseball fan’s dream picture and solid entertainment for us bench-warmers who don’t know a base-hit from a hole-in-one. The story isn’t perfect. Bill Bendix as the teen-age Ruth is pretty unbelievable, and a few of the hospital scenes are just too corny. How- ever, Bendix’s portrait of Ruth is a warm, hu- morous and sympathetic one. Claire Trevor is adequate as his wife. Charles Bickford does a fine, restrained job as Brother Matthias and Fred Lightner, as Yankee manager Miller Hug- gins, is just plain magnificent—Mono. EMBRACEABLE YOU This is a maudlin little concoction about two kids—Dane Clark and Geraldine Brooks —who are living on borrowed time. Seems that Eddie Novoc (that’s Dane), a young hoodlum, is about to drive an unsavory- looking chap named Sig Kelch (Richard Rober ) home from an evening of gambling—and mur- der. The car plunges forward suddenly and, to Eddie's horror, it knocks down a girl. (That's Geraldine.) Kelch won't let Eddie stop to see how badly she’s hurt, but the thing preys on Novoc’s mtnd, and when he finds an account in the paper he goes to see the girl, Marie Willens, in the hospital. The newspaper siory had said that the girl had a brother in Milwaukee, and Eddie pre- tends he’s a friend of the brother's. When Marie tells Ferris (Wallace Ford), the detec- tive in charge of her case, about her visitor she confides that she’s just a bit puzzled for she has no brother in Milwaukee. She had fibbed to the newspaper reporters so that she wouldn't appear to be a waif with neither kith nor kin. Ferris immediately suspects that Eddie is the hit-and-run driver and when he learns from Marie’s doctor (Douglas Kennedy) that Marie has a blood clot in her bloodstream which means certain death within a few weeks, he decides on a course of action. He tells Eddie that he knows he’s guilty, but that he won't pull him in for a while, and he orders him to make Marie happy for the rest of her short life. Eddie sells his car to get some cash, rents a plush apartment for the bewildered Marie who has no idea that she is doomed. When he runs out of money, he blackmails Kelch to the tune of $1,000. Eventually, of course, Marie FREE SUBSCRIPTIONS! Want to save money? Don't buy MODERN SCREEN—get it for nothing! Get three issues free! November, December and January copies are waiting to be mailed to the first 500 of you who answer the Questionnaire below. The thing is— we want to write about the stars you want to read about. What could be simpler? What could be smarter than being among the first 500 on our mailing list? QUESTIONNAIRE What stories and features did you enjoy most in our October issue? WRITE THE NUMBERS |, 2, and 3 AT THE RIGHT OF YOUR Ist, 2nd and 3rd CHOICES. Why Can’t They Stay Married? by Hedda Hopper Blooptace and the Babe (Judy Garland) The Gable Women by Dorothy Kilgallen Love Is So Terrific! (Jane Powell). She Was A Good Girl (Rita Hayworth) This Is My Best by Cobina Wright. 0 “Evie’s Other Husband” (Van Johnson) Fabulous Honeymoon (Karin Booth) = Guy Madison: In Person......- “It’s Not A Dream, Darling” (Cornel Wilde-Pat Knight).... Intimate View (Errol Flynn)... . Fighting Lady (Laraine Day) End Ot A Mystery (Bob Walker) Louella Parsons’ Good News What 3 MALE stars would you like to read about in Tuture issues? List them, |, 2, 3, in order of preference What 3 FEMALE stars would you like to read about in future issues? List them, |, 2, 3, in order of preference What MALE star do you like least?..... What FEMALE star do you like least?... MI? MENA IBitcecencsocscenceososocusc My address is OU app. a0 OC Oloetico alco Oo ON OOS ooo 2 ADDRESS THIS TO: POLL DEPT., MODERN SCREEN, “BOX 125, MURRAY HILL STATION, NEW YORK 16, N. Y.

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Brooks live, love excitingly on borrowed time. and Eddie fall desperately in love, and when Marie learns that she has just a week or two left to live, she begs him to marry her. Kelch shows up on their wedding day intent on putting Eddie out of the way—and there is excitement and gunplay. Is there a wedding? That we're not going to tell. The story, obviously, is pretty preposterous. However, it manages to generate a lot of ex- citement, and furthermore it’s quite a tear- jerker. That will appeal to the ladies, and for the guys, there’s Geraldine Brooks, who is really worth seeing.—War. THE BLACK ARROW This is Fifteenth Century England right after the War of the Roses. (The war between the House of York and the House of Lancaster.) Sir Richard Shelton, a Yorkist, returns victori- ously to Tunstall Castle to learn that his father is dead—murdered in cold blood by their neighbor, Lancastrian John Sedley—and that his uncle, Sir Daniel Brackley, is now in charge. Sir Richard can hardly believe his ears, for in spite of political differences, Sedley and Richard's father were always good friends. At length Uncle Dan convinces Sir Richard that the amazing news is true indeed, and he also tells him that the wicked man’s daughter, Joanna (Janet Blair) has been made a ward of the crown and placed in Dan’s custody. Sir Richard is prepared to hate the girl— flesh and blood of his father’s murderer—but she is very beautiful, and he falls for her instead. Joanna reveals to Richard that Uncle Dan is his father’s murderer, not Sedley; and that her pa—whom everyone thinks has been executed—is hiding out in the forest with a band of loyal followers. The young lovers try to take to the woods in search of dad and almzst lose their lives in the attempt. Daunt- less Sir Richard risks his neck several more times before he and his gal finally get together. This is spotty entertainment. It’s fine when one is watching Edgar Buchanan as Lawless, the Lancastrian archer who so accurately dis- patches black arrows with their rhyming mes- sages. He is hearty and invigorating. However, Louis Hayward—who is constantly referred to as “the boy’’—is a bit mature for Stevenson's dashing young Sir Richard. Janet Blair of the | As a skating partner, Beautiful—you keep the boys ; going around in circles...around you. And with Mum | for protection against underarm odor, you'll stay nice to be near. So never trust your charm to anything but dependable Mum. Remember, your bath only washes away past perspiration—but Mum prevents risk of future under- — T never sit out this number... arm odor. Get Mum today! um um um safer for charm safer for skin safer for clothes fi , % MUM \ BRT wERL2S OL Re, ~~ a, : we “Ehever« 04 98S Ay ae > lap uaranteed by @ 4 Good Housekeeping << we AS ADVERTISED. Product of Bristol-Myers Mum checks perspiration odor, protects your daintiness all day or all evening. Because Mum contains no harsh or irri- tating ingredients. Snow-white Mum is gentle—harmless to skin. No damaging ingredients in Mum to rot or discolor fine fabrics. Economical Mum doesn’t dry out in the jar. Quick, easy to use, even after you’re dressed. 21

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It’s a safe guess all Butch needs is a ‘change’. . . from itchy, half-clean clothes to things that are washed completely clean and sweet .. . with Fels-Naptha Soap. This extra gentle laundry soap—an exclusive blend of mild, golden soap and active naptha—gets out every stain, every source of irritation. Leaves dainty garments soothingly soft and white. Like other modern mothers, you'll find Fels-Naptha the perfect soap for doing a ‘baby wash’ cleaner and quicker! GOLDEN BAR OR GOLDEN CHIPS pie Fels-Naptha Soap BY FELS & CO. BANISHES “TATTLE-TALE GRAY” The Black Arrow: In |5th-Century England, Louis Hayward falls for his uncle's ward, Janet Blair. divine figure and flair for light comedy is a fish out of water as the sappy, eyelash-batting Joanna. Too bad that this costume film (adapted from Robert Louis Stevenson’s book of the same name) comes out simultaneously with Hamlet. The comparison is fairly odious.—Col. PITFALL This is a thriller with more than the usual impact because its characters are ordinary people like you and me. You'll find here no monsters or mobsters—just a plain guy, his pretty wife and their freckled-faced little boy. They look like the sort of family the song-writers love—Molly and me. That sort of thing. But they wind up in a tabloid murder case. Why? Because of the Pitfall—Lizabeth Scoit. The morning the trouble begins, John Forbes (Dick Powell) is complaining to his wife Sue (Jane Wyatt) about the deadly monotony of their lives. He’s weary of the insurance busi- ness, wants to do something wild and wonder- ful like sailing to the South Seas. He leaves home a perfect set-up for any kind of adven- ture, and when he gets to his office the adven- ture is waiting. Mac MacDonald, a private detective em- ployed by the insurance company to check up on claims, tells John that he has discovered some of the loot Embezzler Bill Smiley (Byron Barr) bought with embezzled funds; and he gives John the address of Mona Stevens, Smiley's girl. Smiley having been bonded by John’s firm, it’s John’s job to recover what goods he can. He finds Mona to be a singularly disturbing gal—reckless, beautiful, utterly un- orthodox in her approach to life. John goes off the deep end completely, can’t stay away from her. Where does it all end, and who kills whom? Go see for yourself. This is a tense, sophisticated job—all the more terrifying because it could happen to you. Dick Powell is excellent, equally at ease in the film’s funny and dramatic moments. Jane Wyatt is wholly believable as the wise and attractive Sue. Lizabeth Scott is more poised and even more beautiful than she’s been in her previous films. But the sock performance ee er ee ee ne ere ie

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& Pitfall: Seductress Liz Scott lures family man Dick Powell. ‘Raymond Burr provides chills. of the movie is Raymond Burr's. This hulking guy is as chill-making in his own way as Richard Widmark—and that’s really big-time. Don't miss this one. It’s a honey.—U.A. THE EYES OF TEXAS Good once more triumphs over evil and that dauntless Roy Rogers squeaks through still another hair-raising adventure. In this true-to- formula Western, Roy is a U. S. Marshal who tracks down two old baddies—flint-eyed at- torney Hattie Waters (Nana Bryant) and her current sucker, Vic Rabin (Roy Barcroft). This is the story: At Thad Cameron’s camp for war-orphanned boys, word is received that Thad’s (Francis Ford) favorite nephew Frank—believed dead in Anzio—is alive and headed for home. Thad’s lawyer, Hattie Waters, is attending to the de- tails of Frank’s homecoming, and when Thad goes to her office to talk things over she per- suades him to make a new will leaving half of his considerable fortune to his camp and half to Frank. On his way home from her office, Thad is killed (right before our eyes) presumably by wolves. U. S. Marshal Roy Rogers isn’t satis- fied that wolves caused the death, and when he discovers an injured dog near the spot where the body was found, he suspects some- one of deliberately setting wild dogs on poor Thad. Later, when a sharp-looking character blows into town purporting to be old Thad’s nephew Frank—well, our Roy just knows somethings up. His seach for evidence leads him into grave danger countless times, also—on the pleasant side—into the office of Dr. Cookie Bullfincher (Andy Devine) where he meets up with pretty Penny Thatcher (Lynne Roberts), Cookie’s nurse. There’s a satisfactory conclusion with a: minimum of mush, which will delight the kids, if not their big sisters. The scenes of Roy in the saddle and of Roy’s horse Trigger making friends with the wild dog are the best in the picture. The songs are easy listening, especially the screwy one, ‘’Grave- yard Filler of the West” sung by the Sons of the Pioneers. For the most part though, this is Fee cake sake ines RINGS Ces § SS Trade Mark? Registered Che “Proud Look’. The ring to symbolize your love . . _tt’s a Keepsake! . the ring to reflect your heart's devotion is a genuine registered Keepsake Diamond Ring . . . the most treasured and traditional symbol of the engagement. Only one diamond in hundreds meets the exacting standards of excel- lence in color, cut and clarity which distinguish every Keepsake Diamond Ring. Identify Keepsake by the name in the ring, and the words “guaranteed registered perfect gem” on the tag... as illustrated. Let comparison prove that a Keepsake gives you higher quality and greater value than an ordinary ring of the same price. Better jewelers are authorized Keepsake Jewelers. Prices from $100 to $5000. A. AURORA Ring Wedding Ring B. HEATHER Ring Anywhere in the U.S.A., for the name of your local Wedding Ri Keepsake Jeweler, call West- COGN ENING ern Union by number and ask for Operator 25. Also $100 to 2475 and in platinum $300 to 3450 125.00 C, MALDEN Ring 675.00 62.50 Also $575 ing Ri 150. 350.00 Wedding Ring 50.00 Man’‘s Diamond Ring 125.00 Available at $75 to 250 to 12.50 match all engagement rings All rings illustrated available in white as well as natural gold. Rings enlarged to show details. Prices include Federal tax. Look for the name “Keepsake” in the ring, and require the Keepsake Certificate of Guaranfee and Registration. KEEPSAKE DIAMOND RINGS, A. H. Pond Co., Inc. 120 E. Washington, Syracuse 2, New York Please send the useful 20-page book, “The Etiquette of the Engagement and Wedding” . a complete guide to social correctness in planning the betrothal and wedding events . . . with illustrations and prices of a Keepsake Rings and the name of the nearest Keepsake Jeweler. | enclose 10c to cover mailing. Zz a coun Oe oa a * Guaranteed by ” ’\ Street and No. Sood Housekeeping wus SUAS aoveanistD

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The Eyes Of Texas: Murder by wild dogs in this latest Roy Rogers film with Andy Devine. pretty predictable stuff, and it seems too bad that there is so much unnecessary violence in- asmuch as thousands of impressionable young- sters will see it. Sure, they’ll eat it up—but is that good?—Rep. THAT LADY IN ERMINE This was Ernst Lubitsch’s last film, and it’s unfortunate that his name—which used to be almost a money-back guarantee of quality— is connected with this weak and silly business. Loaded with talented people like Betty Grable, Douglas Fairbanks, Jr., and Cesar Romero, filmed in heavenly Technicolor, this should be something special, but—thanks to an atrocious script—it is an unmitigated disappointment. Betty Grable plays a dual role. She is not only Angelina, an Italian countess, in the year 1861, but also Francesca—Angelina’s great- great-great grandmother who saved the Ber- gamo Castle from the Hungarians 300 years be- fore. Angelina's portrait comes to life at mid- night every night, and this barefoot minx in the ermine coat bolluxes things up nicely for her great-great-great granddaughter. By day the Countess Francesca, recent bride of Mario (Cesar Romero) who is off with his troops, keeps a handsome Hungarian colonel (Doug Fairbanks) at arm’s length; but by night An- gelina comes out of her frame, pretends that she is Francesca and makes violent love to him. The poor infatuated colonel is mighty confused, as is the audience by the time this long nonsen- sical affair draws to its ridiculous conclusion. Betty Grable sings a couple of poor songs adequately, dances unspectacularly and hard- ly shows her legs at all. Her particular brand of verve is completely lost here. Cesar Romero struggles valiantly, but is pulled under by the weight of his lines. Douglas Fairbanks, Jr., who looks more and more like his stunning dad, is wasted in his stupid role. Designed, no doubt, as escape cinema, this one’s just a ponderous 24 mistake.—20th-Fox. MOONRISE Here is another youthful killer for whose plight the audience is supposed to bleed. This time it’s Danny Hawkins, hammily played by Dane Clark. Danny’s father was hanged for killing a doctor whose negligence contributed to his wife’s death, and Danny has grown up branded as a murderer's son, taunted cease- lessly by his contemporaries. One night, there’s a particularly bitter fight, and Danny, beside himself with fury, heaves a rock at Jerry Sykes, his enemy of long-standing, killing him instantly. On the heels of this bit of brutality, he borrows his friend's car and, driv- ing seventy or eighty miles an hour, cracks up, nearly finishing himself and the three kids with him. A few reels later, Danny hurtles from a moving ferris wheel to escape The Law, and shortly thereafter all but chokes the life out of Billy, the village idiot—well played by Henry Morgan. About here one’s pity for Danny runs out. That Lady In Ermine: Betty Grable plays dual role, confuses love-struck Doug Fairbanks, Jr. ‘Moonrise: One cannot help but compare this cowardly, violent young man with Bowie (Farley Gran- ger ) the youthful criminal in The Twisted Road who is essentially gentle, essentially fine. There is nothing fine about Danny, even though the incredible ending attempts to give him a heart of gold. Gail Russell, as Danny’s girl Gilly, is the film's bright spot. She’s lovely to look at and her under-playing is exquisite relief from Clark's heavy-handed emoting. Ethel Barry- more, strong-faced and with that wonderful, unforgettable voice, is excellent in her too-brief appearance as Danny's grandmother. Allyn Joslyn is splendid as the sheriff, and Rex In- gram is just right as Danny’s old crony. Pictures like Moonrise, and there are a lot of them, are a little like the gory third page of a tabloid. They carry you along with the - swiftness of their pace, with their cheap sensa- tionalism, but they send you home feeling just a bit dirty. Producer Frank Borzage can do better than this.—Rep. SORRY, WRONG NUMBER This celebrated radio drama by Lucille Fletcher has been sucessfully converted into a full-length movie, and while it has lost some of its heart-stopping force in transition, it is still a thoroughly terrifying business. It is the story of one evening in the life of Leona Stevenson (Barbara Stanwyck), bed- ridden with a heart condition. As the picture opens she is trying to reach her husband's office to learn why he hasn't come heme for dinner. The operator tells her repeatedly that there is no answer, but while she is stubborn- ly holding on to the receiver she intercepts a horrible telephone conversation. Two men are plotting a murder which is to take place that night at 11:15. Her murder. Leona tries unsuccessfully to trace the call, then frantically calls the police who tell her that with so little to go on, there is, of course, nothing they can do. All alone in the big shadowy townhouse, Leona’s nervousness mounts every second. Distraught by her hus- band’s failure to appear, completely unnerved by the phone conversation she has overheard, (Continued on page 116) As a murderer's son, Dane Clark leads bitter life, brightened by Gail Russell.

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BEFORE GOD AND MAN an opon Letter ts LWLiPeluor Dear Lilli Palmer: Some people say that in Hollywood there is no simple, human decency. They hold-that-the town lives by the law of the jungle; that its individuals are selfish—guided only by savage ambitions and desires. They find plenty of examples to support their argument. But you, Lilli Palmer, are proof that it’s not wholly so. When your husband, Rex Harrison, was dragged into the limelight after the death of his friend, Carole Landis, you and he were a continent apart. The inevitable rumors had already been spread . . . reports that you and he ‘had decided to go your separate ways. But in this time of crisis in the life of the man you had sworn to stand by “for better for worse,” you didn’t hesitate. You went to his side when he needed you most. “It would have been easy for you to judge, to place blame, to harbor a hurt in your heart. Easier still, , you could have stayed aloof, taking no chances with your es own brightly-hopeful career. SHS ae Se Slates _ You knew what the cynics would say. _ They’d see Landis suicide case. your act ‘of devotion as something arranged to place your husband, a great new box-office magnet, in a better light. They'd speak of you as a woman without pride, returning for appearances’ sake to a man whose love you’d been unable to hold. But you ignored the poisoned tongues. To you, as a woman of character, there was‘no question of what to do.- eae In the memorable words which Louella Parsons quotes elsewhere in this issue, you said simply, ““My place is by the side of my husband.” You honored a vow made before God and man. You remembered your promise—‘‘for better for worse’—when things were worst. : You're an honest woman, Lilli Palmer, and courageous, too. Gera dt WEced sls EDITOR

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"| shouldn't ever be married," Orson Welles told Hedda, while he and Rita Hayworth were still man-and-wife. Rita finally agreed—atter three hectic years with her genius. Stork Club was snapped just following their latest reconcilia- tion. At present, John is saying’ they should never part. Has Hollywood re-written the vows to read, ‘until we change our minds''? Hedda explains those Humpty- Dumpty movie homes— and why they fall! why cant ™ ‘‘T shouldn't ever be married, Hedda.” a famous young man once told me gloomily, knitting his heavy black brows. “I’m not the husband type. I’m an artist. When I work I actually forget I have a wite.” At that time, he was not only married, but the father of a baby girl. At that time, his wife had just walked out on him, unable io take his wild genius any more. She came back and he produced a picture with her, and it started all over again. Then again it stopped. He’s chasing his dreams in Rome, as I write, and she’s in Paris, having a nervous break- down. The baby’s in Hollywood, in care of a nurse. And Orson Welles, that irresistible, . irresponsible rascal, and Rita Hayworth, are divorced, their home smashed to bits for the second time. . “Tve made a jackass of myself, Hedda,” another tortured young man told me bitterly, calling me at home from his bed in a hospital. “I can see how cruel ’ye been, how I’ve hurt my wife. She’s too good for me, but if she ll just have me back I'll make’ all this right to her.” : “See that you do,” I told him, and, maybe he has. He’s signed over everything he owns to his wife and baby. He’s doing everything he can to control a temper made touchy by illness. His sweet little partner called me just the other day. She’d just visited Mark Stevens on location and Annelle said, “Things couldn’t be better, Hedda. We're more in love than ever. I’m going right back to Colorado to be with him. Weve so happy .. .” I was at Le Papillon Café in New York a few weeks ago and I ran into another charming fellow I know. “Have a cocktail with me,” he invited, smil- ing pleasantly, as he knows how to smile. I accepted and, after the first sip, he said. ““You’ve never liked me.’ I’m frank; I admitted he was right on that. “But,” argued this sophisticated young man pleas- antly, “you're a great friend of my wife’s, and I want vou to consider. You don’t think Gene would come back to me after a year’s separation, plan another baby by me unless—well, unless I had a few good points, do you?” “No,” I granted, “I don’t.” (Continued on page 30)

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? s outside activities were blamed. hey stay marr The break-up that shocked Hollywood was the Jane's career, Ronnie Reagans' (below with Maureen, 7). i | | i i | i { {

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30 We WH Mn, The name of Lana Turner figured briefly in the Grate split last December, but Frank soon came to his senses, ‘made it up" to Nancy. The new Sinatra baby has further cemented their marriage. out, and instead of Ultra-conservative Ray Millands have had their ups and downs, too. During The Lost Weekend, nervous temperament threatened their security. But deep affection and a mature outlook saved them. Pride was the trouble-maker in the Tierney-Cassini household. Gene i was a high-salaried star; Oleg, a struggling designer. But love won divorce, they're expecting another child soon. (Continued from page 28) Later I talked i to Gene Tierney, and changed my opinion | still further. Those three - ‘conversations, | | those three scenes (and more like them) | flashed through my mind the other day as’ i vivid as Technicolor and twice as real. The | reason was: I’d opened a letter on my desk. | It was from a puzzled young wife in the | Midwest. I’ve been reading a lot of others | like it from all over, lately. But this one | ‘uncannily: posed my own disturbed thoughts | in print, and I want to spell it out right, here, to bring into the open something Tve_

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been meaning to mention for many months. “Dear Hedda,’ she wrote. “Is nothing sacred in Hollywood? What’s this silly New Look that marriage is wearing out )there? Have they rewritten the vows to read: ‘until we change our minds,’ instead of ‘until death do us part’? Can't these | too-rich, too-famous couples make up their | minds? Can’t they stop picking daisy petals with domesticity and divorce? “Yes | we're married: no, we're not’? We know divorce back here, and we’re used to that. Hollywood divorces, of course, are famous | —or maybe infamous is the word. But : i | Bo 5 Mark Stevens’ torrid whirl with Hedy Lamarr was quickly and publicly repented. He, Annelle and Mark, Jr., are together again. this ‘yes-no-here-we-go’ business is too con- fusing for a country gal. I’m curious—and maybe you can set me straight. Has Holly- wood marriage turned into a quick-change - act?” Well, I know just what she means and ‘how she feels about Hollywood’s domestic ins and outs. Patchwork marriages, I’m tempted to tag them sometimes. On the surface, it seems all that holds some wishy-washy homes together is a helping of glamor glue, .or some not-so-Scotch tape, which is to say—too much money and too little sense. i Sometimes the Humpty-Dumpty homes of Hollywood, tumbling and cracking and patching together again, loom as downright disgusting. We've had more hot-and-cold couples this season than Mr. Anthony could handle in a week of Sundays. John Payne and Gloria DeHaven, for instance, whirling in and out of each other’s arms like adagio dancers. A model marriage of solid citizens, like Ronald Reagan and Jane Wyman, teeter-tottering throughout suspenseful months, with tickets to Las Vegas and return tickets (Continued on page 86)

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HM There’s a spot in Easter Parade where I let out such a yip, it’s a wonder they didn’t run me in for disturbing the peace. What probably saved me was that everybody else was whoopin’ and hollerin’ too. Only to them it was merely a riot. To us Garlands, it was all mixed up with old family stuff. At one point in the picture, Judy and Fred Astaire are walking down the street, and she wants to prove she’s as good whistle-bait as the next one, so he drops behind and tells her to show him. At first nothing happens, then all of a sudden, surprise! The heads start turning, and you get the ‘close-up of Judy pulling this face. The Bloopface, we used to call it. A little thing Judy stitched up one afternoon ... We were three kids in the back seat of the car. Nothing much on our minds. ‘“Let’s see who can make the most horrible face,” said Susie. Her contribution and mine are gone with the wind. But we both wound up hysterical over Judy, s sitting there with her eyes crossed and her cheeks ballooned and the tongue-tip sticking out, sober as a judge. It was always like that. Judy could fracture Susie and me, playing it straight. i | - Just then the signals change, Daddy pulls f up, and quick as a wink Judy has her face through the i window. Folks in the next car do.a bug-eyed double-take, but by the time Mother turns round to see what goes, our little pet’s snoozing peacefully in her corner. Anyhow, that’s when the Bloopface started, and for years we used it to scare people in cars. Then we grew up and forgot it, till Judy pulled it out for this scene in Easter Parade.’ That’s one thing I like about my sister. Judy can no more help being funny than breathing. She'll look at you out of those mournful big eyes, describe a session at the dentist’s where she really suffers, thee Coe and have you rolling on the floor. Her comedy sense by jim mie ga rla nd is something vou have to be born with, and she’d 1 rather play one clown than sixty-nine glamor dolls. She'll go out of her way to make herself look idiotic. Hi The day she reported to Wardrobe for the tramp ii routine in Easter Parade, they trotted out this | form-fitting tailored jacket. ‘‘What’s that for?” I For us, her sister “The framp number. Of course itll have to be H torn up and dirtied, but at least itll fit you.” opened a window on Judy wafted it away. “‘Let’s see what you've Hi got in men’s coats, size 40.” | a childhood world that She and Fred were supposed to be dressed alike. He’s not exactly the torn-and-tattered type, and he glowed with magic, wasn’t quite sure how far Judy’d want to go, so he’d try something on and ask: ““D’you think it’s too much?” a world of funny faces and One’ day comes a double knock on his dressing-room door, and there stands a vision. i} silly games and cotton Baggy trousers, oversize coat, crumpled silk hat iI on top of a fright wig, two front teeth blacked out. 1 candy, a Judy Garland you “Think it’s too much?” asks Judy, and he falls apart. I) That’s after they’d been working together never knew before .. . a while. Before they (Continued on page 108)

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Doug Dick and Martha Hyers. Chill night, full moon—and a hayride for Dick Moore, Reba Churchill, Farley Granger, Gerry Brooks, ide hayr

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M@ It was a perfect night ‘for a hayride. A cool ocean breeze was drift- ing in through the can- yons. Riding along on the fresh wind was the smell of newly-mowed alfalfa. And riding along in a newly-rented team and wagon were we, feeling slick, by cracky! The evening was cool, crisp and completely romantic. The fellas were sharing their jackets with their dates, and the girls would shiver a little and nestle closer. Occasionally a motorist would pass by and honk his horn and wave. The car’s lights would flash across the wagon. You could catch a glimpse of Gerry Brooks resting her head on Farley Granger’s shoulder . . . Douglas Dick holding hands with Martha Hyers . . . Then, the car would pass by, and it would be dark and quiet again. We felt we were miles from Hollywood. Yet, we could still see the giant searchlights from some premiére ‘piercing the sky. Looking westward, the mountains were silhouetted against the heavens, and the stars appeared very close. The way this party had come about was interesting. We—Reba and Bonnie, that’s us—write a movie column for the San Fer- nando Valley Times (and other papers) and we go around to studios to pick up news. The commissary at RKO is always meaty (or fruitful, if you’d rather) and this particular day, we were lunching with Martha Hyers and Johnny Sands. The talk turned to the North Hollywood Playground, where the Dosey-Do Club has weekly square dances, and suddenly the idea hit us, right between swallows of malt. Before we were through, we'd planned a moonlight hayride, a square dance, and a barbecue supper. Then we dialed some of our favorite people. “How would you like to go on a hayride?” we helloed. Right away, Lon McCallister said he’d come. So did Coleen Townsend, and Jerome Court- land, and Terry Moore, and Johnny Sands, and Mary Hatcher, and Richard Long and Dickie Moore and Farley Granger. . . . Which is a lovely way to begin a hayride. As we rode, we (Continued on page 37) = 5 Z ne = 2 ee gi’ SS for spareribs. They're Martha, Jerry Courtland, Terry Moore, Ride's over, so hungry hayseeds storm Redwood Village Restaurant i Johnny Sands, Mary Hatcher, Richard Long and: Bonnie Churchill. | ‘eS 3. > See — fee Doug Dick took a ribbing—along with his spareribs—for his flaming red-gold hair (dyed for his role in. Rope). (Below) Dick Long showed Johnny, Mary and Bonnie his pet table stunt.

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ie See ae Se a Pa Final stop: Dosey-do Club's square dance. Caller Dave Gray (at mike) chants: "Gals join hands, form a star; fellas clap hands where they are. az - 3 Terry had to stand on her toes to form her half of the arch with C Jerry, while Bonnie and Dick "dived for the oyster.’ T. and J. Jerry and Terry, his date, are taking courses at U. of Calif. They were the only accomplished square dancers; others learned fast. do same tests and homework as other collegians, but study on studio lot.

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oom see photos by bert. parry (Continued from page 35) serenaded driver | Shorty Haden with everything from ‘Working on i the Railroad” to “Waltz-Me Around Again Willie.” “| The repertoire also included a request number | from Geraldine Brooks. “Hey gang,” she called, “it’s Farley’s birthday. Let’s dedicate our next number to him.” “Shy guy,” Dick Moore said. “Why didn’t you tell us?” | “When you get up in years (23 you know) you don’t like to mention such things. And besides,” Far grinned, “do you call that noise singing?” | Later Mary Hatcher did some of the songs she sang on Broadway in Oklahoma! and it was all quite perfect. That is, it was until Shorty made that right-hand turn. The singing abruptly stopped. i We had deserted the main road and were clumping | down an unpaved lane, the team unsuccessfully trying to dodge the holes and rocks strewn in their path. The wagon rocked from side to side, and Farley \\ staggered to his feet, tapped Shorty on the shoulder i and moaned, “Stop the wagon. Were getting iW sea sick.” This from an ex-Navy man! Shorty, who could go along with a gag, turned the team around and (Continued on page 104) | I Lon and Coleen Townsend liked simple steps. She's making "| Chicken Every Sunday and taking mail courses at Brig- ham Young U. Lon has started new pic, The Big Cat. Le seri ” eS { Farley and Gerry Brooks (in Embraceable You) added a boogie beat of © A couple of beat square dancers were Dick Moore and authoress their own. Pencil-thin moustache he's grown for The Enchanted inspired Reba. After four months’ paralysis in Army veterans’ hospital, Dick's Lon McCallister to crack: ‘‘My good man, it makes you look hours older!" well again and is co-producing (with William Lasky) Feathered Fury.

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é gable women Gay, charming, beautiful—these are the current crop of Gable women. But can any of them lure Clark into marriage? Virginia Grey, who's lasted longest of Gable’s women, has the temperament of a saint. by dorothy kilgallen i 2 i iounai ae . Ba 2 Dolly O'Brien, 4-times married and grandmother of 5, is intensely feminine Iris Bynum (above with Bob Hope) is at the bottom and witty. Clark, a poor boy who worked his way to the top, was impressed of the list at this writing, but is likely to zoom with her social standing. She's Kilgallen's choice as ‘most likely to succeed." without notice. Their romance blows hot and cold.

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Anita Colby, who has pep and personality and is liked by everyone, is “only a pal.” Their dates, though very much publicized, are strictly for laughs. m@ A day before he boarded the Queen Mary to join urbane and fascinating Dolly O’Brien in what a con- siderable portion of New York society was predicting would be a European honeymoon, Clark Gable told a male friend: ; “Take it from me—no matter what you hear, Ill never get married again.” There -was no implication in this that he had given up romance, of course, and immediately subsequent events proved that anyone who assumed he was elimi- nating love from his life was a victim of groundless pessimism. - Twenty-four hours later, Manhattan ship news re- porters issued the surprising intelligence that it had taken’ him three hours and thirty-two minutes to kiss elegant divorcee “Slim” Hawks goodbye before the lmer pulled away from the pier—and waterfront pho- tographers turned in glistening-eyed pictures of Gable and Mrs. Hawks to prove it. That was a Friday. ; It was too late for some editors to kill Saturday color-section photographs showing Gable hovering with his dynamo smile over beautiful Anita Colby. The public that studies the amorous vagaries of mo- tion picture stars was left to pay its money. and take Newest entry in Gable’s life is Nancy Hawks, ex-wife of Howard Hawks. Gossips were agog when she spent 3!/, hours kissing Clark off to Europe. But it was a vain try at delaying sailing so a friend could make the boat. v1 Ege ae i. 2 ed eo ui its choice. The King of Rampant Masculinity had done his bit to give them plenty of choice. For in the background of what appeared to be an in- teresting romantic quadrangle—in the chatter at Romanoff’s and the notebooks of the gossip columnists —there loomed a pair of lush Gable-struck beauties, either one of whom might be considered, if they will excuse the expression, a dark horse. There was blonde Virginia Grey, the girl with the perfect disposition. There was also voluptuous Iris Bynum, the girl with the obvious-to-the-naked-eye allure. They, with Slim and Dolly and Anita, comprise the Gable Women. At the moment of going to press this is how they shape up on the Gable “dope sheet’’: Dolly O’Brien—Most Likely To Succeed, if anyone can. Slim Hawks—Out of Nowhere, a Big Surprise. Could be a mutual gag. Anita Colby—A Great Friendship. Lots of laughs, not much heat. Virginia Grey—The Longest Lasting, and always in the running. Ins Bynum—Blows Hot (Very Hot) And Cold. At the bottom of the list (Continued on page 97) 39

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High in the sky above Los Angeles, Jane Powell and Tommy Batten get a Hin | | , a : : panoramic view of the city. They're on the roof of Griffith Park's famed | Klis a kind ; planetarium. On clear days you can see the M-G-M studios 20 miles away. of feceting- --makes Jom want to uhislle, makes Jane want lo sing. Shey dont know f bs real, ' they onty hknow=== ls wonderful! ™@ They'd been going steady for a while. Tommy Batten would call for her in his broken-down car, and usually, they’d pray their way over to the Kappa Sig fraternity house. Sometimes, when there was a dance on, the boys at the house would have the cokes lined up, and the pretzels, and the piles of phonograph records. Maybe, they’d set lighted candles around, and that was it—the date, the night. She’d be wearing Tommy’s fraternity pin, and in the candlelight it would gleam, and in the candlelight they’d drift into each other’s arms, wishing the music could last forever... But that was a year ago. This year Jane returned Tommy’s fraternity pin. They were sitting around talking about their futures when it happened. “Do you ever think about going out with other fellows?’ Tommy had asked. Jane hadn’t thought about it. But she started then, and when she held the pin at arm’s length they were both ready to fall apart. “I only meant—” said Tommy. “You don’t have to explain,” said Jane. But it wasn’t the end that night. It was only a new way of looking at things. They’re both still at the beginning of their careers. Tommy, who’s 22, has just been graduated from USC, and is trying to get into tele- vision. Jane, who’s 19, has been studying hard for her first complete operetta, The Student Prince, which she’ll do at the Greek oes On their way to the beach they stop ott at wil Wright's, a tancy ice inh Theater. Her latest movie is A Date e 1 With J On cream parlor on the Sunset Strip. Wil's has become a local hangout for ith Judy; (Continued on next page) Jane (of A Date With Judy) and for the rest of the younger set.

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love is so terrific! _> That day they went to the Clyde Beatty Circus held in downtown Los Angeles. Jane couldn't take her eyes off this day-old Shetland Jane had never been in a motor boat before, so Tommy rented one for a spin on the Santa Monica Bay. Later, they found a playground in a nearby park—went on the swings, tried out the see-saw! pony—tried holding it in her arms, but it squirmed free, ran to Mom. photos by don ornitz (Continued from page 41) ‘They both finally agreed that marriage was some- thing they’d better not talk about. There were so many other things to get settled, and they were young and they should be free. And somehow, after the fraternity pin episode, they were a little gaver. They relaxed. Now, about once a week, Tommy comes over to Jane’s house, and they plan their evening. Sometimes, it’s dancing at the Cocoanut Grove—rhumba-ing is their specialty. Sometimes, they go to the Blackouts (Ken Murray’s variety show). ‘They like to dine in small, out of the way restaurants—the Little Gypsy, the Bublichki—both on the Sunset Strip. They like moonlight cruises. | Daytime dates are lazy and long and full of salted peanuts. Picnics at i Griffith Park, visits to the Zoo, hours beside Jane’s tiny pool in her backyard. They sit in the deck chairs and talk about silly things. Question: Will a | toad swim? “Of course,” from Jane. “Not at all,’ from Tommy. They hunt for a toad and place him gently in the water and it swims. They talk about the circus sideshow they saw—what sort of rubber is in the India rubber man, what happens to the sword when it’s swallowed. And then they wander up to | the house and watch the carpenters and the plasterers pulling it apart and putting it together. Mr. Powell’s idea is to make more living space—a bigger dining room, a bigger kitchen, another bedroom—and Jane is getting a soda bar with a million taps for the playroom. Time passes easily, and too quickly, and memories begin to form. The other day, for instance, Jane went to the door and found Tommy standing there, a little paper carton in his hands, his eyes resembling .a St. Bernard’s. “Present for you,” he said, and turned on his heel. “Well, don’t run away,” said Jane, following him. She followed him down to the pool. There, he set the carton down and opened it. Three small gold- fish blinked their eyes. Tommy dumped them unceremoniously into the pool. “Keep you company when I’m not here,” he said. The goldfish died in two days. The chlorine in the water overpowered them. i And Jane was sad. “Oh, that crazy Tommy,” she thought. And then, with a smile, she softly repeated, “Oh, that crazy boy.” 42

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Dinner at the Little Gypsy, a small Hungarian restaurant.with Romantic violin music is provided at the Little Gypsy by Jack Scholl. plenty of atmosphere. George Justus, the headwaiter, always | Tommy and Jane love to go out dancing, but they're not night club fans. pays special attention to young guests like Jane and Tommy. Jane's been to Ciro’s only once—for the Photographers’ Ball last year. End of a perfect date. Tommy and Jane watch the sunset from the Santa Monica Palisades. Next stop: Jane's home in North Hollywood.

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She’s Rita Hayworth now, but her father still remembers the dark-haired girl she was, the Cansino girl, dancing with a rose in her hair... she was a good girt.. | | @ “Rockabye Baby” sounded like very queer i) music indeed for a Spanish dance. I stopped in the middle of my act at the 125th Street Theater in upper Manhattan and tried to take | | something to that funny rhythm. Then the conductor | | popped up in the orchestra pit before me and yelled right out before everybody, “Hey, Cansino—it’s a girl!” eh | They'd rushed the good news in to him from the office telephone. He knew it before I | ! did. That’s why the band had stopped i gypsy music and swung into a cradle refrain. | | Then I really danced—right off the stage, into the wings and all the way down to the hospital! That’s how I first heard of a certain young lady i| known as Rita Hayworth. I was one of the | i first guys to see her and, you can bet, fall in love with her. But then, I had a certain advantage. You see—I’m her dad. | We didn’t call her Rita Hayworth then. ; K We christened her Margarita Carmen (after her | two grandmothers) Cansino. The Cansino was, of \ course, after me—Eduardo Cansino, from. Seville, Spain. I know a pretty senorita when I see one, and when I : | saw my first born in her mama’s arms my grin | by could have lighted up Madison Square Garden. | re é She was dainty and rosy, with close black curls all over || | ; eduardo her cute head. I thought our Margarita was the | } : Ue 1 prettiest girl in the world, and I haven’t changed my || 2, aoe opinion on that in 29 years. I also thought, with a thrill Vly | CANS THO that maybe only a member of a theatrical family | = like the Cansinos could feel, “She'll be a great and a beautiful star some day.” (Continued on page 100)

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46 "| hate ginghams," ly in The Life of Monty Stratten. That's why, off-screen, Donna loves the exquisite tailoring of this wool gabardine suit. 2. itu b> J says Donna Reed, who wears them constant- @ No matter what the designers decree or the studios advocate for wear on the screen, our Hollywood glamor girls have very decided preferences in clothes they want for their personal wardrobes. Just listen to them: “T hate slacks!” says Dorothy Lamour. “T wouldn’t wear anything else but slacks if I could,” emphatically states Doris Day. “T adore colorful prints and casual house dresses,” de- clares Virginia Grey. “T can’t stand gingham dresses,” insists Donna Reed. “Love those Levis!” shouts Betty Hutton. Ida Lupino lives high in the ers go perfectly with a mountain top. They're practical for gardening, Pe 4 a ° » 2 he <2 = mountains and finds pedal push- plastering, or receiving her. friends for luncheon. With all these decided tastes, we decided to find out just what the stars like the best—and why. Last month we listened to the designers in filmland air their opinions, so this time, in answer to all the fan letters, we picked up our pencil, notebook and cameraman and set out to get the lowdown from the stars themselves. First we tackled Donna Reed and discovered that her preference for suits of all descriptions was influenced a great deal by the roles she plays on the screen. “T never get a chance to dress up on the screen,” Donna explained. “I always play the helpful wife, the help-mate, the little woman who is doomed (Continued on page 80)

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photos by bert parry When those movie queens pick their favorite clothes, it’s strictly a case of one woman’s pleat being another woman's poison! Dorothy Lamour (of Lulu Belle) shuns anything that re- sembles a sarong for her personal wardrobe. Favorite out- fit is embroidered cocktail suit designed by Jean Louis. Cohint ) \ She'd wear ‘em all the time, if she could. Her pets are these white |! sharkskins, which go well with either splashy jackets or striped blazers.

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Hollywood’s real life soap opera asks: Is Van happily married to his pal’s ex-wife? But over the answer hangs a veil of secrecy... vies other Husa M@ One morning five years ago, I tuned in my radio to hear a syrup-voiced announcer drooling against an organ background. He wanted to know whether Helen Hossenpfeffer would get married? Get divorced? Or get a new French Poodle? This morning, I tuned in again to find that poor Helen is still in the same highly confused state. Radio’s soap operas squeeze the last kernel of corn to a dry powder. Now, Hollywood has its own, real-life soap opera, and the eager ears of our town flap anxiously to- ward each new chapter of ““Evie’s Other Husband.” Evie is, of course, Evie (Mrs. Van) Johnson. Before that she was Evie (Mrs. Keenan) Wynn. Once upon a time she was just “Evie.” But that’s where the story starts and there are a couple of things you should know before we get into that. First, the studio js not talking (really) about Van and Evie. Second, Van and Evie are not talking about Van and Evie. Third, those are the (Continued on page S9)

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photos by hans knopf 5

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Hs nevi By Christopher Kane @ The co-pilot had plunked himself down in the seat next to hers, and was talking. “There’s a chimp in the Central Park Zoo,” he said, “he’s so smart he spits water at the people.” And if this wasn’t insanity, she thought to herself, what was? Flying from Hollywood to Palm Beach to be married to a man, and she so nervous she could hardly remember his face, and this maniac was breathing down her neck about a zoo in the city of New York. One week ago, she’d got the telegram in Allan’s lyric, simple prose. “Will you marry me?” it said, and it seemed a tremendously logical question. She was lucky in a lot of ways. The studio was pleasant about a leave of absence; there was this dressmaker, Madeleine, who could sew like a dream if you gave her the wisp of an idea; and every time she, Karin, looked at her wrist, she saw the heavy gold bracelet dangling from it, engraved in Allan’s handwriting, saying, “Darling, don’t forget.” It wasn’t a warning she needed; she never forgot anything, she never forgot she’d been little Junie Hoffman. Little Junie Hoffman, and how she grew. Maybe she’d write a book, full of unglamorous reminiscences. There wasn’t anything very glamorous about the whole Hoffman family, when you came right down to it. Good, pleasant people they were, but not fancy, ever. Till she was eight, Junie and the folks lived in Minneapolis. Junie had a younger sister, Jenis, and an older brother, Francis. Call him Francis, though, and he acted as if nobody’s said anything. He hated the name. Fritzi, he finally got tagged, and it’s stuck to this day, even though he’s (Continued on page 64) The Allan Carlisles honeymooned aboard the yacht, Tioga. Karin (of Big City) helped hoist the sails, manned the galley when the steward quit. )

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52 \ ™@ Especially in the summer, Princeton University is a beautiful place—acres of green lawn, tall trees thick with foliage; stately, Gothic buildings; music _ drifting out of open dorm windows. It’s old and serene and full of wisdom. And one hot night last July it was brimming over with bobby-soxers. Right at the edge of the campus is the McCarter Theater. ‘That night, Guy Madison was appearing there in the comedy John Loves Mary. All the seats in the house (1080) were sold out. But for a while it had seemed as if there'd be no play at all. Along about three in the afternoon the leading lady lost her voice. They sprayed her throat; they patted her on the head; they pleaded with her larynx, and finally, they sent her to the hospital. Guy put in a hurry call to Deer Lake, New Jersey, where he’d acted the week before, and his former leading lady, Virginia Gilbert, rushed -right over. “This is Virginia,’ Guy said to the cast. And ten minutes later the curtain went up. When it came down after the last act, the kids in the audience set up a shrieking that made the stone theater rock. Guy took five bows, and then he held out his quivering arms. “Please,” he said. “No more.” Someone had to come out from the wings, and lead him backstage. The way it is at the McCarter Theater—a couple of guys from show business, Harold Kennedy (he acts) and Herbert Kenwith (he directs) leased the place from Princeton for 14 weeks. They brought their own company along (the Princeton Drama Festival) and scripts of 14 plays. The set-up is strictly professional. You can’t’ sweep the stage in the morning and expect a walk-on part at night. You need a union card and the dust from Broadway on your shoes before Mr. Kennedy or Mr. Kenwith’ll even look at you. Every week another Hollywood star comes down and takes the lead. Joan Caulfield and John Payne appeared in The Voice (Continued on page: 54) He didn't get a degree at Princeton; he only got a booking. But Madison doesn't need a sheepskin to know he made the grade! BY FLORENCE EPSTEIN Summer session was on when Guy played at Princeton's McCarter Theater. Here, he walks with typically-dressed student. “This place sure is built!" Guy remarked later.

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pete mea ees am - ve Dee: 4 a Rehearsal on campus. Director Kenwith (center) found Guy eager to learn. Here, Frank Max- well, Madison, and other members of the John Loves Mary cast go over lines, After he finished run, Guy went down to Texas for the premiére of Texas, Brooklyn and Heaven. > ee FE AR: a op, a, RE A i aa eer ea esos VOM tates Out for a stroll. Guy met Lee (above). "Are you going ta murder me?" she asked. Guy said, "You don't have a worry in the world." 53

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GUY MADISON: IN PERSON (Continued from page 52) Of The Turtle. Lucille Ball, who feels like putting a gun to the head of every wise-cracking dame she ever played, went soft in Dream Girl. And Larry Parks tried out a new piece called A Free Hand. The stars like the feel of acting before a live audience. They can do the sort of-roles Holly- wood won’t let them try, and they learn a lot. At the beginning, for instance, Guy Madison would speak his lines, drop out of character, and wait around for the next cue with a smile on his face. The audience thought it was cute. The cast was slightly annoyed. All-day rehearsals broke Guy of the habit. Naturally, he’s the better for it. Some people think summer-theater work is a oe s = cinch. After all, it’s mostly in the country, and Guy starred in a radio show broadcast from a if an actor isn’t in the mood he can bury himself Trenton, N. J. dep't. store. 700 kids mobbed him! in a haystack. Actually, summer work is a grind. : a oN i You have to be a “quick-study” (learn your part in a hurry and never forget it), and you have to keep cool, because there’s usually no air-condition- ing in the theater, not even in Princeton. (The lemonade concession is a gold mine.) But the heat on the stage doesn’t bother Guy. “Tt relaxes you,” he says with a grin. “And the way your weight drops off, you can eat anything you want.” Ask him how he likes the idea cf walking on a set without tripping over one of Mr. Selznick’s cameras—and Guy’ll tell you he loves it. Then he’ll smile and strike a pose, “Lady,” he'll say, “how’s this for emoting?” 4 A a UYU a poe SST Wats EE Loy 222 KE solar = pear tapecian orig edad Director. Kenwith and Guy check receipts at the box- office. Opening night was a sell-out—1,080 stubs - 4 poe ANY Backstage, Guy Madison makes up for his role as re- Showtime: Virginia Gilbert, Ruth Harker, Bob Noe hear how Har- : turned vet. Last year Guy was at La Jolla Playhouse. old Kennedy (on knees) saved Guy's life. (Opp. pg.) Love scene. ih 54 ; -

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“ a be ANS ett OPS RARE ARSE

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A couple of kids dreaming the old dream. . . their names in lights, together . . . Cornel Wilde and Patricia Knight . . . And then Cornel whispering softly to Pat, “Oh, darling, darling, it’s come true...” BY IDA ZEITLIN ts not a dream, darting 1 qs i mS (\ | . i Wildes meet the fans outside Lucey's~ restaurant. ™ They were about to shoot the first scene of The Lovers. The lights were set, the cameras ready, the stand-ins had left, the principals were on. The young man turned from the filing cabinet—and here was this blonde vision in lavender linen. His eyes melted. “Why, it’s you, darling... .” His eyes weren’t supposed to melt, and the line is one you'll never hear from him in the picture. Him? That was Cornel Wilde, his heart in high because the blonde vision was Patricia Knight, his wife. “Excuse it,” he grinned. “This is an historic moment.” Historic was too dull a word for it. To Pat and Cornel, this was a symphony by Strauss, a Bendel bonnet, 4 Shakespeare sonnet, the tops. The culmination of dreams. Once a boy of 22 and a girl of 17 fell in love, deeply and well. Next to each other, they loved acting best. Batter- ing their heads against Broadway and Hollywood, they felt the bruises less because all the time they were building

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Elated over their co-starring film, The Lovers, Cornel watches Pat in her their own particular kind of shimmering castle in Spain. Their favorite castle was the one with the marquee whose lights spelled their names together—PATRICIA KNIGHT and CORNEL WILDE. - “Oh, darling—do you think it’ll ever happen?” “We'll make it happen.” You must know the story up to now: The long bitter struggle, the hand-to-mouth living, the hopes that dawned and died, the crashing disappointments. Personal heart- break on top of professional grief. The two children they lost before birth, and Pat’s slow journey back to recovery. But through the bleak pattern, one bright thread that never tarnished—their love for each other. If love flies out the window when poverty enters the door, the Wildes never knew it. Every hard knock drew them closer together. Often enough they had only their love to warm and com- fort them, but it served... . Then the lifting of the clouds. Wendy was happily born. Beer dressing room as she prepares for solo scene. Cornel broke through in A Song to Remember. Now Pat could have settled back on a silken cushion—only silken cushions weren’t the answer for Pat. Millions of‘girls want to act. Thousands try and give up, for any dozens of reasons. A few never give up. They can’t. They’re driven by the same need for self-expression that drives an artist to paint or a scientist to explore the universe. Tell them not to act, and you're practically telling them not to breathe. Pat was one of the few. Her faith in Cornel as an actor had sustained him through the discouraging years. His faith in her as an actress was equally staunch. When 20th Century-Fox signed her, they were like a couple of kids. Hauled their pet dream out of the mothballs and watched it glitter. “Maybe now itll happen!” “Now it can’t miss!” “Oh, darling,” breathed Pat, “it would be too perfect. But even if they don’t cast us (Continued on page 104)

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58 ho EO Barbara and Bob (of One Touch of Venus) say they'll have “millions of kids.’ Reports that Babs’ father objected to Bob are fal 7 of a mystery ° Because of Barbara, he's a strange, brooding man no longer. Because of her, life for Bob Walker has a sweet, fresh flavor all over again... By JACK WADE

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After a six-week honeymoon in their new Early-American (Last June, we featured a piece called “The Mystery of Bob Walker.” We told you how Bob, who'd gone to the top overnight, had suddenly walked out on his career, had turned into a moody recluse. Hollywood was bafied. But almost as suddenly as it happened, the mystery has had a happy solution. Here’s how.) @ Book One of Bob Walker’s life has just snapped shut, bringing to an end the phase of his career that saw. him as.a strange, even haunting figure on the Hollywood scene, after his divorce from Jennifer Jones. Book Two begins right now. The Bob who has been floundering about, professionally as well as romantically, is no more. The new Bob is the one who decided that life has a sweet flavor after all when he met brunette and vivacious Barbara Ford, daughter of the famous director, John Ford. The new Bob (and it had to be a new one; the old disinterested, apathetic Bob could never have swung it) is the one who conducted so whirlwind a courtship of Barbara, and so quick a marriage (after several false starts) that jarred movie columnists found themselves stealing each other’s favorite clichés in the confusion to hide the fact that they didn’t - quite know what was going on. But they can be consoled by the fact that neither did Bob and Barbara, most of the time. Their first idea had been to be married July 3rd at the Isthmus on Catalina Island. There was a reason for - (Continued on page 95) #57 ~ z A: 2 sais Si = oi Bob and Barbara (daughter of director John Ford) were married at Beverly Hills Club, July 9. Only attendants were Nancy Guild, Jim. Henaghan. style ranch home in Pacific Palisades (below), Bob will start About Lyddy Thomas. wk

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60 fighting | lady @ Fireworks? That’s too mild a term for what went on during the shooting of Laraine Day’s new and wonderful film, My Dear Secretary. This was war: A fantastic feud between a beautiful star and her producer. Their temperaments clashed so explosively that the whole affair sounded more like a supercharged battle film than incidental by-play occurring in the course of turning out an uproarious comedy. Producer Harry M. Popkin fired the first salvo. He. discharged Director Charles Martin—two days before the picture was scheduled to start. No one knows exactly what happened—except the two principals involyved—and they aren’t talking. In any event, Popkin, in a huff, ordered Martin off the lot. Now. Martin had written the screenplay, and having him chosen as director had pleased Laraine mightilv. Thus, when Producer Popkin called Laraine on the telephone that night and blandly asked her to approve another director, the second front opened. Then and there, Laraine refused in. ringing tones to approve any change in directors. Finally, before midnight, Popkin’s attorneys, Laraine’s attorneys and Martin’s legal eagle got in a huddle and ironed out this first difficulty—and Mr. M. was again set to direct the picture. The first day on the set, leading man Kirk Douglas, comedian Keenan: Wynn and Director Martin were beaming and shaking hands and wishing each other luck. Laraine’s dressing room looked like | a florist’s shop. Keenan. showed Laraine and co-star Helen Walker a card from Evie and Van Johnson—which «said simply, “Good luck.” Evie, of course, is Keenan’s ex-wife—which prompted Laraine, a fast girl with (Continued on page 110) She used to be "Sweet tararie Day, the most untemperamental girl in pictures. . | But a lady can turn into a tigress! E By George Fisher a: ’ in Pe NAN Director Charles Martin, Kirk Douglas and‘ Laraine in a rare moment of peace on My Dear Secretary set. After - a friendly start, Laraine gave her associates a rough time.

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rings you b inside rrol Flynn—a ‘ E iy,

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™ Short time back, a fellow named Errol Flynn bought a mink coat for a lady named Nora. She is his wife. Now, this fellow dislikes formal pre- sentations which require pat and tried expressions of thanks. Consequently, he simply spread the coat out on his bed. They were going to a party later. This gave him the opportunity to ma- neuver Nora into going into the bedroom alone. They were sitting quietly in the living room when Errol assumed a pained expression and inquired, “Why is it, my sweet, that you never get around to putting the studs and cuff links in my dress shirt? .-Other wives always do at least that much for their ever-loving husbands.” Nora looked up in amazement. “Why,” she exclaimed, “I’ve always thought you liked to have your things left alone. All you had to do was ask me.” “Huh!” Nora promptly went into the bed- room. She was back in less than a minute, her face red. She threw herself on the davenport in tight-lipped silence. Flynn pretended to be nonplussed. “What,” he said, “seems to be the matter?” j “What’s the matter?” she stormed. “Imagine you asking me that! Why,. there’s another woman’s coat in there on your bed, you... you... !!” “Well,” said Flynn reasonably, “why don’t you just wear it, honey? She'll never know.” Errol Flynn has been the target of more unfounded gossip than any guy you can think of. And knowing how the most innocent anecdotes about him— like the one (Continued on page 114) by CARL SCHROEDER

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@ ‘. of} - Cust uit ey, 1 Truniti i | a 6 44 iY ) een @ uv ves a Gl RUBS fortune is waiting CO: aoe » disposition, beauti- hers. And much of Milk in het formula. for babies because It _with plenty of pure vild strong bones 20 1 Carnation! Nation: brand of evaporated is safe, crystalline sound teeth. 90 7/4 wide sutveys indicate es ee Hee Bee a Carnation | i Ask yout octor baby. The milk every doctot knows.- WRITE for —36 pages ° on baby [care formula for ye that’s Carnation: “Your Contented Baby Vareetl suggestions Also, ask for tt ‘ “Book’’ of milk-ric! ‘ily. Both are { X-10, ane oc, Wis., tion Company, a mows or Los Angeles 36, Ca “Erom Contente ERY DOCTOR KNOW ¢ FABULOUS HONEYMOON (Continued from page 51) married and the father of three children. The year she was eight, Junie’s father bought her a bike. She hadn’t asked for it, but he figured she needed one; all the other neighborhood kids were bike-owners. She was halfway down the hill on which they lived, before she realized she didn’t know how to ride. It’s a talent she picked ~ up in an awful hurry. : The family moved around some. They . were in Portland, Maine, and in Canada, until Jenis got rheumatic fever, and one of the doctors said California was the ticket. They hit Los Feliz Hills, in California—it’s sort of a suburb of Los Angeles, as almost everything in California is. : Junie finished high school there, and de- cided to go to Canada to college. It was something her father wanted; his family was all in Canada. She was walking down a Los Feliz street one afternoon, mulling the situation over, when this apparently drunken driver pulled his car to a screech- ing stop in the middle of the street, and came tearing over to her. “I’m a photog- rapher,” he said. “Here’s my card. Id like you to model for me.” “Tm going to college,’ Junie said. “Look,” said the man. “I can’t talk. My car’s in the middle of the street—” Well, the fact is she never got to college. The even stranger fact is that within one week, she had a Paramount contract on the strength of some picture or other that some person or other had seen in some paper or other. “So quickly,” she said to her mother, un- believing. And her mother, who wasn’t quite sure how to take any of it, shook he head. : It wasn’t much of a Paramount contract, really. Junie hung around about six months or a year, and they didn’t give her any starring parts, so she left. “Starring parts?” people say to her to- day. “You expected starring parts?” “Well,” she says demurely. “Up until then, I was such a whirlwind of a success.” She was too impatient, there was no question of it, and she realizes it herself. She’d been a little spoiled, she had a lot to learn. But being the good-natured kid she was made so many people like her you can’t really figure that retribution ever caught up. She went from good to better. There was Lucille Ryman, who took her to Metro, and got her a contract there. One year at M-G-M, and no heavy dra- (Continued on page 75) Ann Miller— currently dancing her way through M-G-M's Easter Parade, models a blazing corduroy jacket and skirt we think will be a sure wow with your public. Regard, if you _ please—the chin-chin collar—high and hugging, double-buttoned—and with that smart New York look you can't miss. View the back—tull, flared—and a wonderful foil for the slim skirt. As for the skirt —we think there's something super- sophisticated about a slim one, for a change. This one has a trouser pleat, two pockets. And naturally you can mix and match the jacket and skirt with other clothes, too. Your choice of red, grey, dark green, maple or rust. Skirt, $7.95. Jacket, $10.95. Sizes 12 to 18. By Art-Mor. American Knit Gloves. Corduroy ballet shoes with crepe soles by Prima Ballerina, $4.95. For WHERE TO BUY, see page 82.

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. -- on the double, we bet, because where is the male who doesn’t go for a girl in a sweater and skirt? Girl on the left teams a bright plaid bustle skirt (see small photo) —with a long-sleeved flat turtle neck sweater. Plaid skirt comes in green, royal or red, in wool and rayon. About $5.95. By Derby. § Girl on right wears a corduroy skirt, smoothly flared in front, dreamily full in back (see small photo)---with short-sleeved notched collar sweater. Skirt comes in royal, red, grey, dark green, beige or brown. About $8.95. By Junior Vues. Wool sweaters in blue, pink, grey, yellow, red, pine green, aqua, brown. $4.98 each. Both sweaters by Shepherd. for where to buy these modern screen fashions see page 82

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fashion-genius colors for the smartest matching lips and fingertip % LIP-FASHION the completely new-style longer lipstick! LASTRON nail enamel—superlative standard of perfection! ALI-PLUS LIPSTICK classic gold-tone case—a beauty tradition! COPYRIGHT 1940. REVLON PRODUCTS CORPORATION

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Ne ee SS ee SS ees af g O Gulmd, WWE STYLES WITH LINIT creates a washable-starchable house-coat of great distinction, soon to be seen at the leading fashion shops. ‘For this and all washables,” says Dorian, “we recommend LINIT Starch. This finest of starches restores origi- nal finish and freshness.” Sucha versatile garment! —a practical breakfast- timer that's also a lovely tea-timer. LINIT* is versatile too—the ideal starch for men’s shirts, bed and table things, curtains, lingerie... LINIT: makes cottons look and feel like linen, keeps them resistant to muss and soil. Ask your grocer for LINIT. . FOR THE ccdbiiey Te ais ©C.P.R.Co., 1948 your letters eee ONLY PITY FOR LANA? Dear Editor. I am writing this after reading “Watch Your Step, Lana” in the August issue. The story implied Miss Turner’s “friends” were persecuting her in print, that she did everything to please-the press, be kind, generous and thoughtful to these “friends,” only to have them stab her in the back. Personally, I consider Miss Turner’s latest marriage, in fact her whole career, one of the biggest shows of exhibitionism ever staged. It only succeeded in making her look more unflatteringly conspicuous, and very stupid. Those who must contin- uously make a bid for attention deserve nothing more than pity. Mrs. W. J. Smith, Oakmont, Pa. "LANA WAS WONDERFUL" Dear Editor: Recently I saw Mr. and Mrs. Bob Topping at the Casa Carioca Nite Club in Garmisch, Ger- many, where she was making a personal appearance for occupation troops on vacation. It is my belief that Lana is in love with Mr. Top- ping and therefore I want to wish them all the luck in the world. I am writing this letter as I would appre- ciate your telling Lana and Bob that I sincerely want to thank them both for coming into the U.S. occupied zone and entertaining the troops. Lana was wonderful and Mr. Top- ping was a great guy. Please thank them for this average GI. Sid Bricks, Brooklyn, N. Y. (home) SORRY, WRONG PICTURE! Dear Editor: Re: your story, “The Ten Greatest Gable Stories,” in the July issue: In the caption under the picture showing Gable with his Oscar, you say he got the award for Gone With The Wind. Actually he re- ceived it for Jt Happened One Night. Sylvia Rosenwartz, Bronx, N. Y. ANYBODY WANNA FIGHT? Dear Editor: Why doesn’t Elizabeth Taylor wise up? She is very pretty, and she knows it, but I think Jane Powell beats her in looks and per- sonality and figure any day. I used to love Liz when she was younger, but at 16, she acts and dresses as though she were 24. Just because she’s a star, it doesn’t mean she’s Marie Antoinette. Let her be a sweet girl, like she was before. Please! Pat Bauer, Trenton, N. J.

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THOSE WoTHING TO WEAR BLUES ...and | haven't a thing to wear.’ How often have you heard a girl wail that little classic? How often have you moaned it yourself? That old “nothing to wear" routine gets to sound like a broken record whenever girls get together. Why? To hear the gals tell it, you'd think their closets boasted nothing more than a row of naked hangers and a pair of old galoshes. . Yet they're usually the very same girls who spend their lunch ‘hours prowling around the stores; spend all day Saturday shopping; and never come home on payday without an armful of packages. How come? We've sat in on many a feminine gab-fest on fashion, and along with the gen- eral chorus of no-clothes complaints, we've also heard a lot of other laments that seem to us to hold the key to the mystery. Listen closely, and you'll see what we mean: “MY COAT WON'T GO WITH IT. . .“" Susie just blew her bankroll on a dress-up date number that ought to wow the stag line. And what's Susie doing? Putting on her warpaint and getting ready to panic the people? No. Believe it or not, she's hanging her dress back in the closet-—because she has no coat to wear over it. Now, mind you, Susie has a coat—and a very nice one. It's black, it's well cut, its lines say nice things about Susie. But it's slim. And Susie's new dress has a skirt a mile wide. Point: slim coat—full skirt-—no go. “WHAT'LL I USE FOR SHOES? . . "Marilyn came home last payday all aglow with a new green velveteen suit. It's a knockout with snug, tiny-waisted jacket, silver buttons and a full skirt. It's the suit to show off Marilyn's petite figure and beautiful red hair. But ...! What's Marilyn going to do for shoes? She spent so much on the suit she can't possibly afford new shoes until the next time she collects her pay check. And now that she’s home in front of the mirror, she sees that all of her shoes are much too low-heeled to set off the suit. The skirt, naturally, has the new longer length—and it looks perfectly gosh-awful with low heels. (Not that some low heels don't look wonderful with a long skirt. But not on a tiny girl. The petite type definitely needs high heels to carry off avlong, full skirt.) So now Marilyn has to wait two fuming weeks before she can wear her new pet. Point: Heel height must go with skirt length—or you've got a flop on your hands. "I CAN'T MATCH THE COLOR . . ."" Bettina really shouldn't be surprised. What does she expect when she buys a handbag in a pistachio green? It's true the bag is handsome. It's a big shoulder-strap job in a really swanky calf. But where is Bettina going to find something else—scarf, hat, gloves—to match? If Bettina were the type to stick to one basic background color—black, say— or brown, or navy blue—she'd be all set. Her pistachio bag would make a wonder- ful accent against any of these. But our Bettina is a pushover for unusual color. She already owns a shocking pink blouse, a turquoise skirt, and a red coat—all hanging idly in her closet in perfect condition, all swearing at each other, and alll perfectly unusable. Now her new bag will take its place with the rest of the rainbow—because she can never get anything to go with anything else. Point: The most delicious color is pure calamity—if you can't mate it with something else. "IT WAS SUCH A BARGAIN . . ."" Ava's right. It was a bargain—in a sense. $10.95 —knocked down from $22.95. Big saving. But of course Ava wears a size 12, and the bargain happened to be a 14. Then too, Ava looks best in high necks—and this job had a neckliné down to here. That let Ava in for plenty of bra trouble— and even when she had bought a new plunging neckline bra, it still wasn't flattering. On top of that, the bargain was jersey—a fabric Ava always swore was too cling- ing for her. But—of course it was a bargain. Or was it? Point: No bargain is worth a single red cent—if you can't wear it. . CATCH ON? If you're continually being caught short on occasions when you want to look your very best, it probably isn't because you haven't enough clothes—but because you haven't enough clothes that were meant for each other. The only way out is to make sure ‘that every single thing you buy is right in color, silhouette and type for something else you already own. Once you've got your clothes keeping steady company with each other, you're ready, willing and tashion-able for whatever comes up! For these reasonably priced shoes, write for the name of your dealer PETERS SHOES COMPANY, SAINT LOUIS

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70 "looks like a good team..." Printed calico blouse in green, blue, red, brown. $5.95. Velve- teen skirt in green, blue, red, brown, black. $8.95. By Alice Stuart. The football team looks like a winner... and so will you in a trim top and skirt Two-tone shirt in ray- laine flannel. Green brown, black, with ivory con- trast. $7.95. Matching skirt. $7.95. By Freshy.

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Wool worsted jersey with gold centered leather buttons. Red, grey, cinnamon, brown, black. Blouse $5.98. Skirt, $7.98. By Rojay. Pins. by Dona. American Knit gloves. Belt by Criterion. Gabardine jumper in royal, green, luggage, dark grey, black. $7.98. Turtle neck blouse in wool worsted jersey. $5.98. By Loomtogs. Very tricky slim skirt with zigzag buttons on one side. Black, brown, dark green, grey rayon. By Cen- tury Sportswear. $7.95. Shepherd sweater, $2.98. for where to buy these modern screen fashions see pages 82 and 83 71

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3 = ae E. Bet he said he likes plaids— especially on you! Far left, ) Sar 5 ; Zi wine, pink, blue or black stripes. Yellow with grey. stripes. Beige with green or brown | stripes. Also solid colors. By Garland Knitting Mills, $5.98. Wool worsted jersey skirt with all-around unpressed pleats. Grey, oatmeal, royal, dark green or black. By Madison Sportswear, $8.95. Criterion belt, $5. for where to f buy these modern screen fashions see pages 82-83.

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74 what is so rare as a half-size suit? ™@ But here’s a trimming, slimming beauty—with v-pockets, jeweled buttons, and shoulder pleats to give a graceful line to the bosom. Grey, brown, green or purple. Sizes 1212-221. | By Queen Make in Tegra rayon. At Abraham & Straus, Brook- i lyn. Jordan Marsh, Boston. Carson, Pirie Scott, Chicago. J. W. Robinson, Los Angeles. Woodward & Lothrop, Washington. For additional store information see page 83 |

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FABULOUS HONEYMOON (Continued from page 64) matics scheduled for Miss Booth—by then she was Karin Booth—so she left again. She went to Warners, made atest. Lucille Ryman got hold of the test and trotted it back to Metro, and Karin was re-signed at Metro—to a much better contract. “The next year, she made Unfinished Dance. All the ballet dancing she’d ever done, she could have swallowed like an aspirin, but brazenly, she asked for the part. Joe Pasternak, a kindly gentleman who hates to dash anyone’s hopes to pieces, interviewed her gently. “My dear child,” he said. “We start this picture in six months. And for the other dancer, we have Cyd Charisse, who's a great artist.’ “In six months,” Karin said, “you'll see.’ She studied until she could have pee oee she studied until her mind was one jumble of entrechats, and tour de jambes, and glis- sades, and pirouettes; she studied until she could make her muscles obey her, and imi- tate, if not achieve, art. She wasn’t a won- derful dancer at the end of six months, but she could convince you that she was, and that was what counted. All her good breaks came together, as it happened. Two pictures—Unfinished Dance and Big City—and Allan. brief encounter .. . -She’d met Allan years before, briefly at a party. In 41, it was, right at the begin- ning of the war. The party was in Bev- erly Hills; a man named Jay Carlisle was throwing it. Karin went because her date ‘took her, Allan went because Jay Carlisle was his brother. They looked at each other, nothing happened, and they left it that ‘way. Then last year, they met again. For some reason, it was all different. For some reason, they went dancing every night, and they ate at a restaurant out at the beach, where the place was so small you almost had to order squab instead of chicken, and the stars hung so low over the sand they brushed your hiir as you passed. Neither Karin nor Allan is much of a gabber. Eventually, Allan said, “Well, I have to go tb Florida on business,” and they said goodbye, and off he went. His telegram of proposal came later. — June Ist, they were married at the home of the Byron Ramsings, in Palm Beach, on a street called Emerald Lane. The bride wore a grey, Faw silk suit, the friend who gave her away just barely showed up in time, and it was a lovely wedding. The honeymoon trip was going to be made on Allan’s yacht, the Tioga, so they didn’t have to worry about tickets, reser- vations, suitcases or flat tires. (All they had to worry about, it developed, was sea- sickness, lightning storms in the middle of the ocean, and various stewards who were either drunk or crazy.) After the wedding, Karin and Allan took stock. “We have a nice cocktail shaker,” she said. “It’s a present from Mrs. So- and-So.” . “But I just won a cocktail shaker,’ he said. “For that such and such race, with the Tioga.” “Umm,” She said. “Umm,” he said. They were silent. “You know,” he said, finally, “that’s a great way to start off a marriage. A, yacht, and two cocktail shakers.” The next day, they left for the Bahamas. They cruised around for a couple of months, stopped at Cat Cay, picked up some of the special gold dollars people on a style for every figure Budget-priced...I\n luscious colors... In stores from coast to coast LUXURAY, New York 1 “Reg. US Par Off y -) MART ah \\CONCERTO The loveliest styles you ever dreamed of .. . at the lowest price you ever imagined. In sizes 5% to 9, Narrows; 37, | to 9, Mediums. Dansant and Concerto: ; in Black, Brown Suede finish. Cuban Y = 2 ‘ & CONGO . and High Heel. , Congo in Black Suede finish, Brown, Red, and Green Alligator finish. High Heel only. l I rae Micki of Bootin 89 BEACH STREET, BOSTON, MASS. Please send me Smart Stuff Concerto [] Congo [] Dansant CL] | Size_____——Color_______; @ $3.98 \ High Heel (J; Cuban Heel (1) ' 1 ' I ' 1 J 1 ! I Name Address. Cifymaeninn eee State Check [_] Money Order L] C. O. D. LJ DANSANT

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| by trusted name ... Art-carved .. . beloved by | | GOWN BY HATTIE CARNEGIE Choose your diamond ring by name... brides of 1850 and today. America’s oldest and largest ringmaker brings you NEWPORT SET, an outstanding value in yellow gold. Engagement ring, fine diamonds . . . never ever before worn. He alone $375. Wedding ring, $200. ‘performs every step in the making of your Art-carved diamond ring. The savings from this world-wide operation are yours in prices from $75 to $5000. Ask your jeweler to show you the name Art-carved* in the ring, on the tag. Wedding rings from $8 = FREE! “How to Select Your Diamond Ring," anew, illustrated booklet. Write to J. R. Wood & Sons, Inc., Dept. S-7, 216 E. 45th St., New York 17, N. Y. Rings enlarged to show detail *Trade Mark Reg. \ helved Yr baides fer almist a hunted Yu (1850-1948) that island gamble with (Karin’s going to have a belt made of them), bought Karin a madras skirt, in Nassau, traveled up the | Eastern seaboard to New York. Somewhere along the line, Allan fished a | diamond wedding ring out of a box, and handed it to his wife. She'd wanted a plain gold one, but he happened to feel she deserved diamonds, and that was that. . Now she wears both of them at once. “It | looks kind of funny,” he says occasionally, | but he doesn’t put any conviction into his voice. She’s planning to buy a wedding ring for him, even though he steadfastly refuses to wear one. “I don’t like rings,” he tells her. “You'll be mad about this one,” she says. Life on the Tioga was pretty astonishing to Karin. She’d never been on a boat be- fore in her life, and she was frightened for | a while. “What if I’m sick,” she’d wail, “and disgrace myself?” “Don’t worry about it,” Allan would say serenely. Serenity is one of the most no- ticeable things about the man. He sits there at the wheel of his boat, his face tan and his eyes bright blue, the way the eyes of people who’ve lived a good deal on the sea sometimes get, and if he knows what it is to be troubled, you couldn’t guess it. Conceivably, he knows what it is to be troubled. He was studying music in Vienna when. the second World War broke out; he’d lived abroad for years. Much of his life, many of his friends were there. But | he’s got this quiet, unneurotic quality of peace about him; being married to him, Karin says, is pure, simple heaven. Anyhow, she didn’t disgrace herself on the boat; she learned to help with the sails, au learned to steer a little, and the days ew. The dream-like quality of the voyage was broken only by a_ succession of stewards. There was one—he was so per- fect everyone called him “Meadows”—and the only trouble with him was he got sea- sick every time the boat began to rock, so he gave up the ocean, and the Carlisles. water, water, everywhere .. . There was another—he couldn’t stand to see an open whisky bottle. Once a bottle was broken into, that poor fellow didn’t rest easy until it was drunk up. He drank up several of the best bottles around the place before he left. There was the steward who had the habit of cocking his head sort of thoughtfully, when Allan or Karin was giving instruc- tions. “Yes,” he would say; from time to time, “I suppose that will be all right.” Finally, there was the fellow who got the idea Allan and Karin loved jellied con- somme. Every lunch for a _-solid three weeks, he served them jellied consomme. They’d go shopping when the boat docked, buy dozens of cans of tomato juice, and leave them strategically placed around the galley. The steward didn’t bat an eye. One morning, in desperation, Karin ap- proached him. “Please,” she said, “this noon, might we have tomato juice?” He smiled at her sweetly, and for lunch, they had tomato juice and jellied con- somme. Right now, they’re without a steward, and suffering no pain. There are two cabin boys, everybody pitches in, and nobody’s gone hungry yet. They stopped a few days in New York at the Ambassador Hotel, saw several shows. Kind of a bang-up end to the honeymoon, complete with nightclubs and fancy clothes. Karin has to get back to the Coast soon, for a new picture, and this one ought to tell the tale. With two solid hits behind her, a good picture now could make her,a great big star. As for Allan, he’s willing to go along and watch. Whatever the girl wants is okay with him. ;

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new faces ROBERT ARTHUR WdS a disc jockey for a radio station in his home-town, Aber- deen, Wash., when he decided to chuck radio for a chance at Hol- lywood. He _ hitch- hiked all the way from Aberdeen and got a job a month after he arrived. His 20th Century-Fox build-up began with Green Grass of Wyoming and yowll soon be seeing him with Gregory Peck in Yellow Sky. Bob was 23 on June 18. He’s 5’ 9” tall and weighs 135 Ibs.; has blue eyes and brown hair. MONTGOMERY CLIFT whom you discovered in The Search and Red River, is a tal- ented Broadway vet- eran of 10 hit plays. His stage career be- gan at the age of 13, and he’s appeared since in Our Town, Skin of Our Teeth, with Martha Scott, and There Shall Be No Night, with Alfred Lunt and Lynn Fontanne. Montgomery was born in Omaha, Nebraska, in October, 1920. He’s 5’ 11”, weighs 160 Ibs., and is unmarried. He’s under contract to Howard Hawks and his next picture will be The Heiress. 2 SCOTT BRADY, who scored a hit with fans im Canon City, was born in Brooklyn, N. Y., on September 13, 1924, and is Lawrence Tierney’s brother. Later the Tierneys moved to Westches- ter, where Scott attended St. Michael’s High School. When he was discharged from the Navy in 1945, he enrolled in the Bliss-Hayden Dramatic School, under the GI Bill of Rights and ten months later was discovered by a scout! Scott's 6’ 2” tall, weighs 180 Ibs., and is an excellent swimmer, boxer and rider. Unmarried. LOIS BUTLER, who won the title role in Eagle- Lion’s Mickey with- out any previous act- ing experience, is 16 years old and a sopho- more at John Mar- shall High School. She’s only 5 feet high and weighs 97 pounds. She was born February 13, 1932, in Indianapolis, Ind. Lois has a singing range of three octaves, from G to G above high C, and has sung with the Los Angeles Philharmonic Orches- tra. Her favorite sports are volley and basketball, horseback riding, skating—and bread-baking. | “HI, HAYHEAD!” ... that was the uncom- plimentary way Don greeted me the night of the hayride party. Believe me, that was the last straw! I made up my mind then to do something about my dull-looking, unmanageable hair. HOPEFULLY, I consulted a leading hair- dresser. After a shampoo with Lustre- Creme, my hair revealed new loveliness. “It’s not a soap, not a liquid,” he said, “but a rich-lathering cream shampoo with lanolin. Use it at home, too!” from Hayride to Honeymoon For Soft Gleaming Glamorous Whether you prefer the TUBE or the JAR. you’ll prefer LUSTRE-CREME SHAMPOO fora lovely LUSTREGREME® Git ROMANCE SMILED on me after I discovered Lustre-Creme Shampoo. Don met me at a dance. “Golly . . .” said he, “‘it must have been dark the other night. I didn’t know your hair is so lovely.’’ He whispered, his lips brushing my Lustre- Creme tresses, ‘‘You are a dream girl. . . my dream girl.” inate YOU, TOO... can have soft, gleaming, glamorous hair with magical Lustre-Creme Shampoo. Created by Kay Daumit, to glamorize hair with new 3-way loveliness: 1. Fragrantly clean, free of loose dandruff 2. Glistening with sheen 3. Soft, easy to manage Lustre-Creme is a blend of secret ingre- dients—plus gentle lanolin, akin to the oils in a healthy scalp. Lathers richly in hard or soft water. No special rinse needed. Try Lustre-Creme Shampoo! Be a lovely “Lustre-Creme” Girl. 4-oz. jar, $1; smaller sizes in jars or tubes, 49¢ and 25¢. At all cosmetic counters. Try it today! Kay Daumit, Inc. (Successor) ,919 N. Mich, Ave., Chicago, Ill.

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DURA:-GLOSS nail polish WITH NEW NYLON BRUSH Lovely Jane Cartwright and Dura-Gloss deep-toned PINK LADY L404 new _ Ww keep ri aes 1936: 10% then 1448-100 T O° (le CARTWRIGHT Mrarling Cdl well apoomed SAYS JANE “Nail polish is most important to a finished, well-groomed look,” says famous model Jane Cartwright. “To give my nails that professionally-manicured appearance quickly and inex: pensively, | use Dura-Gloss. It’s so easy, now—with the Dura-Gloss nylon brush that directs polish just where | want it and the new Dura-Gloss Non-Smear : Remover that lifts off old polish neatly with- out a single smudge.”... More and more well-groomed women are turning to Dura-Gloss because of its many fashion-right shades, its ease of application and economy. DURA-GLOSS Nail Polish Remover, 10¢* and 25¢* DURA-GLOSS lipstick Hae "4 258 each * *plus tax ©1948, Lorr Laboratories, Paterson, N. J. © Founded by E. T. Reynolds hot by leonard feather **Highly Recommended *Recommended No Stars: Average FROM THE MOVIES EMPEROR WALTZ—Friendly Mountains: Sammy Kaye (Victor). LADY IN ERMINE—This is the Moment: *Jo Stafford (Capitol); Dinah Shore (Co- lumbia). If parentage means anything, this song has success in its blood. Music is by London-born Frederick Hollander, who wrote the musical score for the picture that brought Marlene Dietrich to Holly. wood (Blue Angel), and lyrics are by Leo Robin, who won an Academy Award in 1938 for Thanks for the Memory. Strawberry-blonde Jo Stafford sounds better with every record. MIDNIGHT WALTZ — Every Time: Jean Sablon (Victor). NORTHWEST STAMPEDE—Lazy Stream: Wayne King (Victor). THE NIGHT HAS A THOUSAND EYES—Love That Boy: Dinah Shore (Columbia); *Johnny Mercer and the Pied Pipers (Capitol). ROMANCE ON THE HIGH SEAS—Run, Run, Run TWO and The Tourist Trade: *Charioteers (Columbia). Remember the Cuban scene, when singer- dancer Avon Long gave the grim facts about the tourist racket? And the calypso warning to run, run, run when you see a pretty womun? Both these cute novelties were recorded by the Charioteers during a trip to England—which means they have real instrumental backgrounds, since there's no recording ban in Britain! GUYS FROM TEXAS — Hankering: *Gor- don MacRae (Capitol); Tex Beneke (Victor); Harry James (Columbia). | Don't Care If It Rains All Night: *Tex Beneke (Victor); *Johnny Mercer, (Capi- tol); Harry James (Columbia). There's Music in the Land: Art Mooney (M-G-M); Vaughn Monroe (Victor). Every Day | Love You (Just a Little Bit More): *Jo Stafford (Capitol); Vaughn Monroe (Vic- tor); Mindy Carson (Musicraft). | Wan- na Be a Cowboy in the Movies: *Korn Kobblers (M-G-M); Beatrice Kay (Co- lumbia). WHIPLASH—Just For Now: *Connie Haines (Signature); *Frank Sinatra (Columbia); Andy Russell (Capitol). ALBUMS BING CROSBY —*Crosby Classics, Volume I} (Columbia). Recorded back in the early thirties, when Bing's baritone was closer to a tenor, these eight tunes (including Temptation, Moonstruck and Ghost of a Chance) still make good listening. DUKE ELLINGTON—**Mood Ellington (Colum- bia). Eight original tunes recorded late in 1947. This album should dispel rumors that the Duke is slipping. SONGS TO REMEMBER—*Lorry Raine (Coast). Nice singing by a lovely 22-year-old redhead from Detroit, who started on records and radio with Mark Warnow. It's good to hear a revival of that great song I'll Remember April. Lorry should be in pictures soon.

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Sea LETTER FROM _ THE FASHION EDITOR Dear You: Think Louella Parsons does a lot of party-going? You should have seen the Fashion Department in the last couple of weeks! This is the season when all the design- ers and manufacturers put out the red carpet, pop the champagne corks, and. parade their winter collections for the fashion press. one single week there were |32—count ‘em—|32 parties scheduled. We didn't make quite all of them, but we lunched, brunched and dined at the St. Regis, Ritz-Carlton, St. Moritz, Waldorf and practically every other glamorous spot in town—took notes on dozens of swoony fashions—met lots of exciting people. We had ourselves a time, period. To give you an idea in To give you a mere hint—the Barbi- zon slip people threw a huge cocktail party for Marsha Hunt, Albert Drake, Faye Emerson and a couple of hundred other people . . . and then hosted the entire group at the theater to see the play of their choice. (We chose Faye Emerson and Louis Calhern in ''The Play's the Thing.) Oleg Cassini had a cocktail party in his sophisticated new salon, and we somehow found ourselves visualizing Gene Tierney in everyone of the dra- matic evening gowns he showed—won- der why? : One of the cleverest fashion, shindigs was put on jointly by jewelry, scart, glove and belt designers. They gave a very swanky party at the Pierre, and then sprang a surprise in the form of a movie screen on which a moving pen skillfully sketched fashion figures—a la the out- of-the-inkwell cartoons. Then a beau- teous model stepped trom behind the screen, wearing the fashion sketched, and demonstrated the miracles which could be performed on it with accessory switches. Naturally, we can't describe all of our giddy doings—that would take pages. But we can tell you that the pick of the fashions we saw will be turning up in forthcoming issues for you to wear. After all, the whole point of our party- ing is to snag the cutest fashions—the fastest—just for you. Connie Bartel PECEXaiae the BRA... with highness and roundness ..... separation and LIFT. All look like nature’s GIFT. Buy a wardrobe of FLEXAIRE BRAS... You'll look lovelier, more alluring. Insist on genuine FLEXEES. world’s loveliest foundations *Reg. T. M.

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Your Shoes — are Showing - you NEED gure SHOE CLEANER . ania scientific combination / of oily waxes helps keep shoes flexible—and new-looking longer. Shinola is easy to apply and eco- 2 nomical to buy. For good groom- onger wear — KEEP "EM SHIN- ing and | n Canada It's 2-in-1. ING WITH SHINOLA. | Send for our illustrated Catalog D showing the variety of styles you can order Fans by mail! Wa fi A inderella I AP is op Syoston 80 59 TEMPLE PLACE, BOSTON 11, MASS. THIS IS MY BEST (Continued from page 46) to wear housedresses throughout all the reels. That’s why I hate ginghams. They represent drudgery to me. “My favorites are suits. Cocktail suits, dinner suits, and my ‘very special’ is an all-service suit of light wool gabardine with a black skirt and a flaming red hip- length coat. I call it my ‘cheerer-upper.’ I always feel comfortable and well dressed in it and it really gives me a lift—the color, I mean.” In Is a Wonderful Life and now, again, in The Life of Monty Stratton, Donna has to wear house dresses, but she can at least go back and forth from the studio, ex- quisitely tailored. ; Dorothy Lamour likes suits, too, but she goes in for very elegant ones. Her pet is a svelte formal suit with an embroidered coat and a gracefully draped skirt which designer Jean Louis did for her before she started to work in her current film, Lulu Belle. Dottie hates slacks because she thinks they are so unbecoming to the feminine figure. She prefers flowing lines and rich materials. Anything reminding her of a sarong will be tossed right out the window. Doris Day, on the other hand, is a big slacks champion. “Brother, if anything ruffles me, it’s ruffles. I can’t stand these frilly things and, if the studio would let me, I’d wear slacks in pictures,” says Doris, who is now in My Dream Is Yours. “Maybe it’s the tomboy in me, but I don’t think anything is more comfortable and looks nicer than a beautifully tailored pair of white slacks. You can wear a bright coat or a colorful striped blazer and believe me, it’s a pick-up. I loathe dressing up, and perhaps that’s why I love California; I don’t have to. I don’t own a hat and don’t intend to. Those gals who want to get all frilled up and lunch at Romanofi’s can have it. It’s the casual life for me.” Ruth Warwick is “plaid-happy.” Her mother was Annie Laurie Scott, which may account for it. Anyway, she loves to wear plaids, preferably red, black and white ones. More than that, she even uses the same plaid material and pattern for her luncheon cloths, napkins and patio drapes as she does for her clothes. Another gal who goes for household materials is Virginia Grey. When Vir- ginia, who is currently in So This Is New York, saw the design that Barbara Baron- dess MacLean had made for the fittings for Ojai Valley Inn, she told Barbara, “I want to look like that chair!” So Barbara whipped up a peasant skirt of the gay and colorful print, combined it with a Valley Green crepe blouse. Ginny says, “I feel like a tea-cozy.” Ida Lupino’s pet is a pair of pedal pushers of blue and chartreuse. It isn’t *just because she likes to bicycle. Ida lives way up on a mountain top and she says that pedal pushers go with a moun- tain top—they’re free and breezy. Ida’s anathema is a beaded dress. For one of her first Hollywood parties she spent two weeks’ salary on a creation of bugle beads. “It served its purpose when it came to making an entrance, but the exit was a nightmare. A ‘friend’ of mine said, “Darling, you look ravishing, but there’s a loose thread there at your shoul- der. She pulled it and I literally un- raveled all over the party. My hostess was still picking up bugle beads around the house two days later. Since then I’ve felt about a beaded dress the way I feel about the electric chair.” Joan Bennett likes hostess gowns and Irene Dunne prefers dresses and suits of the utmost simplicity. But the most rugged individualist of them all is Betty Hutton. “No matter what Paris says,” declares Betty, “I’m not going to clutter up my life with bustles or hobble skirts. I like to dress appropriately for any occasion outside, but when I’m home, let me slip into a pair of Levis and live!” While most of the stars we talked to, Donna Reed, Doris Day, Ruth Warwick, etc., all seemed to like red or various shades of red, it’s the one color Hutton can’t stand in her clothes. “You know why?” she asked. ““When I first went to New York to sing with a band, the orchestra leader, who didn’t know clothes from a lead sheet, thought I should make my first appearance in a flaming red dress. I guess he didn’t have much confidence in my voice. I didn’t either, so I wore a red dress and I was so frightened and nervous I laid an egg. Since that_day I really see red when they show me anything to wear in that color.” eo ae ! AeYAR GLASS MODERN SCREEN

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how to buy modern screen fashions If there's anything the Modern Screen Fashion Department dotes on, it's letters from you requesting the fashions we feature. We get a distinct thrill out of each and every ''where can | buy?" letter you send us, and nothing makes us happier than knowing that you have walked into a store, and have bought, worn, and loved an M. S. Fashion. However, sometimes we worry that you have to wait too long for the fashions you request. If you're anything like us, you want a dress when you want it—practically immediately. In order to speed up your receiv- ing the M. S. Fashions you want, here are a few tips on how to buy:— buy in person: Go to the store in your city listed in the Where to Buy Directory, and be sure to go directly to the proper department and floor, which are also listed. To save even more time, take along the Modern Screen photo of the fashion you want. If you haven't the page from the magazine, be sure to tell the sales girl you saw it in Modern Screen. If no store in your city is listed, write to Connie Bartel for name of one. buy by mail: Order by Check from any store listed, whether in your city or not. Order by Money-Order from any store listed, whether in your city or not. Order by C. O. D. from any store listed, whether in your city or not. how not to buy: Please don't send checks, money orcas, or ©, ©, DIS” chit 110 Modern Screen. We're not equipped to handle them, and they only delay your order. Write us for store in your city— or any other information, and we'll respond promptly. But don't send us actual payment—that should go only to stores. Thanks for your cooperation—and here's to your receiving your M. S. Fashions but quickly! of St. Louis, M Dress by Martini Frocks You'll be lovely, too, in a} LOVABLE BRASSIERE CO. 358 Fifth Avenu New York iF N 81

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SS rey eS =539 SS Sa ae ss ee SS ee = \ The Secret of an Exquisite Bust-Line @ Why let an unappealing, dull figure spoil your chances for romance! Discover the secret of the wonderful, new EXQUISITE FORM ‘Disguise’ bra. ...Its cleverly hidden foam rubber pads will add “ah's'’ to your figure and romance to your life. ...lts new front opening that eliminates all back twisting is so convenient too. You'll adore the lovely lines you'll have once you've discovered the secret of a ‘Disguise’ bra. Order by mail from HOLLYWOOD today. “DISGUISE” ., HEDY OF HOLLYWOOD 6253 Hollywood Bivd., Hol BUST eer 32 33, 34, 35, 36 (Circle your Bust size). COLORS: Tea nose d color choice). - - ie ae aclesiig check [.] Money order [) cash ee (You pay postage)... Send C.0.D. (I'll cover B BRASSIERES Name. Sizes: (Please Print Plainly) 32, 33, 34, 35, 36 Address City =- NEY BACK GUAR) Moor entirely satisfie State____ Zone NTEE! Money back within 10-days d! You take no risk! Luxurious Satin in Tea-rose, White and Black HEDY OF HOLLYWOOD 6253 Hollywood Blvd., Hollywood 28, Calif TRY THESE FOR ¢ GHS Black or black and gold. Sizes 4 to 9, medium width only. because... your dress 1s | only as smooth Write for free booklet as your slp MASS. MS Send me__prs.NO €O hDat $2.98 4 pr. Size Color Name (print) Address City Zone Stafe Check O Money OrderO C.O.D. 0 WHERE YOU CAN BUY THE Prices on merchandise may vary throughout country Corduroy jacket with chin-chin collar and matching skirt worn by Ann Miller in the full color photograph (page 65) Los Angeles, Calif—The May Co.,Broad- © way & 8th St. (Jacket only) Madison, Wis.—Harry S. Manchester, Inc., 2 E. Miffin St., Thrift Center, Second Floor New York, N. Y.—Bloomingdale’s, 59th St. & Lexington Ave., Misses Sports- wear, Third Floor Oklahoma City, Okla—Kerr’s, Inc., 312 W. Main St., Budget Sportswear Dept. Washington, D. C.—Woodward & Loth- rop, 10th & G Sts., Sportswear, Thir Floor, North Bldg. : Ballet shoes worn in color photo (page 65) New York, N. Y.—Best & Co., 5ist St. & Fifth Ave. Plaid bustle skirt (page 66) 2 Detroit, Mich—Crowley, Milner Co., Gratiot - Ave., High School Shop, Fourth Floor Hartford, Conn.—Sage, Allen & Co., 900 Main St., Teen Shop ’ New York, N. Y.—Oppenheim Collins, 33 W. 34th St., Teen Dept., Balcony Pittsburgh, Pa—Joseph Horne Co., Pennsylvania Ave., High School Shop, Third Floor ar Flat turtle neck sweater worn with bustle skirt (page 66) Pittsburgh, Pa—Frank & Seder, 5th Ave. & Smithfield St. St. Louis, Mo.—Sonnenfeld’s, 610-18 Washington Ave., Accessory Dept., Main Floor Corduroy skirt with flare front, full back (page 66) Boston, Mass.—Filene’s, Washington St. Philadelphia, Pa—Strawbridge & Clo- thier, 8th & Market Sts., Junior Miss Sportswear, Third Floor Washington, D. C.—Woodward & Loth- TOP, 10th & G Sts., Junior Miss, Fourth Floor t Short-sleeved, notched collar sweater worn with corduroy skirt (page 66) Omaha, Neb.—Fred & Clark Haas, 205 S. 16th St., Sportswear Dept., First Floor 610-18 St. Louis, Mo.—Sonnenfeld’s, Washington St., Accessory Dept., Main | Floor Printed Calico blouse (page 70) Denver, Colo.—Denver Dry Goods Co., 16th & California Sts., Sports Shop, Second Floor Los Angeles, Calif—J. W. Robinson Co., 7th & Grand Sts., Blouse Dept., Street Floor New York, N. Y—McCreery’s, 34th St. & 5th Ave., College Shop, Fourth Floor Philadelphia, Pa.—Strawbridge & Cloth- ier, Market & 8th Sts., Separates Shop, Third Floor Two-tone shirt, matching skirt (page 70) Write to: Freshy Sportswear, 1410 Broadway, New York 18, N. Y. Wool worsted jersey top with leather but- tons, matching skirt (page 71) Buffalo, N. Y—J. N. Adam Co., 383 Main St., Sportswear Dept., Fourth Floor New York, N. Y.—Oppenheim Collins, 33 W. 34th St., Sport Shop, Third Floor Gabardine jumper and turtle neck blouse (page 71) Boston, Mass.—Filene’s, Washington St., Sportswear Dept., Fourth Floor Brooklyn, N. Y.—Martin’s, 501 Fulton St., College Shop, Casual, Fifth Floor Louisville, Ky.—Zellmer’s 2 New York, N. Y.—Gimbel’s, 33rd St. & Ave. of the Americas, College Shop, Third Floor

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| MODERN SCREEN FASHIONS | Rayon skirt with zig-zag buttons (page 71) | Brooklyn, N. Y.—Loeser’s, 484 Fulton $ .. ‘Lovely CINDY LOU BAYES, WI N 0 chosen by famous beauty judges 5 as Miss Stardust of 1948... St Sportswear Second Floor in Easy Stordust Letter Contest r r ‘ now a Harry Conover Cover Girl. airs % : closing Nov. 15,1948. Write for Miami, Fla.—Hartley’s, Sportswear, Main : Contest Rules to P. O. Box 51, Floor Murray Hill Station, N. Y. New York, N. Y.—Gimbels, 33rd St. & Ave. of the Americas, College Shop, Third Floor St. Louis, Mo.—Libson Shops Sweater worn with skirt (page 71) St. Louis, Mo.—Sonnenfeld’s, 610-18 Washington St., Accessory Dept., Main , Floor VA YW. Waukegan, I1].—Hein’s, Sportswear Dept., Second Floor One piece plaid dress with velvet bow at collar (page 72) ie off your suit or skirt with this Boston, Mass.—Conrad & Co., 19 Winter lovely Stardust Blouse, tailored so \ ae peter on Bieke Gs exquisitely in long-wearing acetate icago, Ill— ; 0 3 aaers State, Madison & Monroe Sts., Down- rayon crepe that's Life-Insured stairs for | entire year’s wear. Convertible paved, omc ce Halle Bros. Co., collar, long or short sleeves, at a uclid Ave. : ; | Philadelphia, Pa—Gimbels, 9th & Mar- Budge! conscious aver! | ket Sts. ke KKK Kw EY *y Pittsburgh, Pa—Kaufmanmn’s, 5th Ave & Smithfield St., Downstairs § t St. Louis, Mo.—Famous-Barr Co., Lo- d + cust, Olive & 6th Sts., Teentown, ar us Downstairs Life- Insured Blouses Ruffled broadcloth blouse with jeweled but- = ws UARANTEED tons (page 72) Se Chicago, Ill—Goldblatt’s, 333 S. State St. aio RE ee R | Milwaukee, Wis.—Gimbels, 101 Wiscon- eae in Ave., Hi School i Nese Vouk, a Se ae Pe LOOK FOR GENUINE Stardust SLIPS, UNDIES, Broadway, Teen Dept., Second Floor GIRDLES, GARTER BELTS, BRAS & BLOUSES. Philadelphia, Pa.—Lit Brothers, Market & 8th Sts., Teen Shop, Third Floor Stardust. Inc., Empire State Bldg..N Y.1 Phoenix, Ariz.—Diamond’s, Washington : at 2nd St., The Teen Town Shop, Sec- ond Floor SEND NO Glen Plaid skirt with side pockets, worn MONEY with ruffed blouse (page 72) St. Louis, Mo.—Salle Ann Shops SENT ON Striped turtle neck sweater and jersey 2 eee : skirt with unpressed pleats (page 73) -£ re ues eeea 2 Boston, Mass.—Filene’s, Washington St., > a Ae | a oe Sportswear Dept., Fourth Floor i _ ee Brooklyn, N. Y.—Abraham & Straus, : \CE ae a 420 Fulton St., Sportswear, Second SSS — Floor, Central Bldg. -q ; . Buffalo, N. Y.—Adam, Meldrum & An- derson Co., 398 Main St. San Francisco, Calif—Macy’s, Stockton & O*¥arrell Sts., Sportswear Dept., Second Floor Half-size suit with V pockets and jeweled buttons (page 74) Boston, Mass.—Jordan Marsh Co., Wash- ington & Avon Sts., Misses Thriftmode Dept., Fourth Floor Brooklyn, N. Y.—Abraham & Straus, 420 Fulton St., Daytime Dresses, Sec- ond Floor Chicago, Ill.—Carson, Pirie Scott & Co., State, Madison & Monroe Sts., Day- | time Dresses, Second Floor. Los Angeles, Calif—J. W. Robinson Co., ee California Patio 10-12-14-16-18. | 10-12-14-16-18. Washington, D. C.—Woodward & Loth- PREVIEW FASHION SHOPS © 275 Seventh Ave., New York 1, N.Y. rop, 10th & G Sts., Inexpensive Dresses, : ee Third Floor f PREVIEW FASHION SHOPS © 275 Seventh Ave., New York I, N.Y. Dept. DM-101 Send these lovely dresses on approval. I'll pay postman the total amount indicated, plus postage and €.0.D. charges. If not delighted, | may, re- furn any or all dresses for refund within five RHUMBA As refreshing as | All the thrill of flying down Rio way. | South American party=\ It’s the dress that | time is in this, your makes you look sweet most romantic dress... and charming, with a with its adorable gaucho hint of the glamorous } collar, frio of buttons and dangerous. Be- at the neckline, and witching Black Rayon Multicolored Satin Box Faille, Sleeves and | Striped Rayon Taffeta Top of Multicolored Sleeves and Belt Trim. Satin Striped Taffeta. In Black Rayon Faille. Sizes 9-11-13-15-17. | Sizes 9-11-13-15-17. Also in sizes | Also in sizes How to Order Modern Screen Fashions (1) Buy in person from stores listed. (2) Order by mail from stores listed. WRITE FOR Visit our (3) Write Connie Bartel, Modern Wilkes pee pss Yen ood FREE | 7 6 s Tax. ow two | re ee Me re heat | Pee re eae stardclven:, PLEASE PRINT CATALOG | 9 » Y— ore im your vicinity. : 288 ee S. Main $8,

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Se ‘(the fans — MODERNSCREEN FAN CLUB ASSOCIATION Ideas, Ine. Our request for club ideas has brought a slew of swell responses and we're going to pass them right along to you: Barbara Wright of L.A. has the simplest and easiest plan in the world for adding small change to your treasury. She says go out into the pantry or kitchen and collect those deposit bottles! The folks'll be happy to have them cleared away— and you can add those nickels ta the club’s worthwhile activity or snap fund. You'll be surprised how those five-cent pieces add up! . .. Urban “Red” Jones (Jimmy Lloyd Club) calls on all club prexies to put out a fan club “Who's Who” (like our own “Who's Who In Hollywood”) with one page devoted to each club honorary. Each club supplies copy, snap and its share of expense . . . Phyllis Pritchard writes that when her honorary, Joan Caulfield, mails out a requested photo to a fan, there’s a sticker pasted on the back that says, “Join the Joan Caulfield Fan Club” and gives the name and address of the prexy. It’s tripled member- ship in less than a year! .. . Lee Garber’s Mel Torme Club has a special way of attracting at- tention of movie-mag editors when clubbers request stories about Mel. Club artist Joan Cavaretta makes miniature facsimile editions ~ of each magazine solicited, with the name of the magazine, Mel's picture, the mag’s trade mark, price, etc., on the cover. It's very appealing and bound to get attention. For disk jockeys, Joan has made a tiny paper record in a petite jacket of its own. They’re cute souvenirs. (It takes a little imagination and lots of lovin’ care to dream up these ideas.) . . . Dale Dunham of Concord, Calif., suggests a White Elephant Sale. Everybody brings something they have no use for, but which may be very useful’to some- SHIRLEY FROHLICH : director GLORIA LAMPERT associate rackets? What's your solution? Louise Warnes, prexy of Jim Brown's Buddies, says, ‘How about more plugs for new clubs with new stars as honoraries?” Okay, Louise, here’s a batch of new favorites for whom we've got promising young clubs. For info on how to join them, drop us a card: Elizabeth Taylor, Gary Stevens, Ron Randall, Jane Powell, Art Mooney, Daryl Hickman, Nina Foch, Graham Covert, Vanessa Brown, Kirk Douglas, Gene Nelson, David Street, Rand Brooks, Martha Vickers, and Richard Widmark. New Prizes! We're putting new glamor in our Trophy Contest prizes! Starting this month, well give away Helena Rubinstein’s Lipstick Four-Casts to the winners of the “This Is My Best’’ Contest (best stories and / or poems printed in your club journals). The Rubinstein Four-Cast is a handsome plastic case contain- ing the four most becoming shades of lipstick for your type, so before we mail out your prize Cif you're a winner!) we'll quiz you on your hair-coloring. Then, you'll have the four lip- sticks you need to wear with your most flatter- ing costume colors! It's the New Look in lip- sticks, and it's as chi-chi as the name Helena. Rubinstein implies! Of course, we've still got our old favorites, too, and from your letters, we know you love ‘em! For the club artist, there’s TANGEE’s beautiful Trip-Kit, the smartest thing for travel, and just loaded with those superfine Tangee products—astringent, powder base, rouge, etc., also comb and mirror, to keep you looking like a movie star even on the bumpiest bus. And for you expert editors, we've got those ~ wonderful EBERHARD FABER Harmatone Pen and Pencil Sets. Handsome, smooth, they write like a dream! Finally, for the camera bugs, there are free subscriptions to DELL magazines, and DELL Pocket Books! (Suitable prizes sub- stituted for male winners, as always!) one else. You can put nominal prices on the items or sell them at auction. All money is added to club treasury. For a more ambitious club, Dale suggests a puppet show or a car- nival. By permission of the authorities, use a vacant lot and set up your tents or stalls—a candy and soft drink stand, of course, and a fortune teller! If you can, a “house of horrors” and a vaudeville tent . . . Here’s a wonderful game for club meetings, from Doris Burton of Richmond, Va.: either an individual or team of clubbers acts out a scene in pantomime, using be Succes? Loe 8TH SEMI-ANNUAL TROPHY CUP CONTEST re (2nd Lap) Best Journals: 500 points. League 1. Nelson Eddy Golden Notes (Nicholin). League 2. (tied) Reagan Record. Jive (Bob Crosby). Shirley’s (Temple) Scoops. Golden Comet (Jeanette MacDonald). - Musical Notes. League 3. (tied) Burt Lancaster journal. Data on Dick (Conte). (Joe) Cotten Chron- Icle. (Helen) Geraldites. Kamera on Kirk (Doug- las). Best Editing: 250 points. League 1. Janie Ham- . ilton, Bill Boyd R. H. News. League 2. Betty Petrie, Club Friendship journal. League 3. Audrey Cush- SSS : no BONES ABOUT IT ee Stays up without stays There’s a “Permaelift’* Pantie de- signed just for you — the comfort- able pantie preferred by millions of smartly styled women. The exclu- sive magic inset designed in the front panel is your guarantee that your ‘‘Permaelift” Pantie won’t roll over, won’t wrinkle, won’t bind, yet it stays up without stays. Be ex- pertly fitted at your favorite corset department. Buy and try a “Permae lift’ Pantie today— $5.00 to $12.50. Enjoy a ‘‘Permaelift’? Bra—Ame- rica’s favorite bra with ‘The Lift that never lets you down.” ** Perma.lift’’ and ‘‘Hickory’’ are trademarks of A. Stein & Company (Req. U S. Pat. Off.) em SPaRT a IS props which happen to be in the room. The others try to guess the movie the scene is taken from—and the stars . . . Finally, Loretta Verbin of Jack Carson’s club has a painless way of re- minding clubbers to renew membership. In- stead of notifying them coldly “to pay up, or get out,” Loretta has mimeographed a cute car- toon that says pleasantly, ‘For another fun- packed year, rejoin. ...” Thanks to you clubbers who submitted your pet ideas. Winners above each receive a year's subscription to MODERN SCREEN! Trouble Clinic: For years, studios who've objected to fan clubs have been yelling “Racket!” So here’s a solution from a famous MSFCA club prexy: “If the studios were smart they would whip up fan club organizations right in the studio with some authority on them who would not be afraid to bounce harmful fans out on their ear. Then they could work in conjunc- tion with the fan magazines and this way there could not be quite as much racketeering and trouble.” What do you think? Are fan clubs ing, Atomic (Bob) Atcher. Best covers: 250 points. League 1. Nelson Eddy Music Club journal (Mot- tola). League 2. Alan Ladd (Bellino) journal. League 3. (tied) Keese-Roberts journal. Swing and Sway Times (Sammy Kaye). Best Art Work: 150 points. Eugenia Holland, Desi Arnez (Stilts) journal. This Is My Best: 100 paints. Ruth Kellman, Editorial, Ralph Lewis journal. Georgia Eustice, “Typically Hollywood,” Ralph Lewis journal. Dee Fling, ‘A Tribute,’’ Reagan Record. Rosemarie Chaney, ‘‘Hold Fast Your Dreams,’’ Cotton Chron- icle. Anita Dobres, “Young America At The Movies,” Alan Ladd journal (Pearl). Guen Griffith, “Graduation,” Hi-Lites (Club Friendship journal). Membership Increases: 100 points. League 1. Bill Boyd Club. League 2. Dennis Morgan Club. League 3. Bobby Breen Club. Most Worthwhile Activities: 250 points. League 1, Nelson Eddy (Mottola) Club (donated $35 to Cancer Fund in honor of Nelson's birthday ). League 2. Jeanette MacDonald (Riley) (gave $30 to Children’s Village for Jeanette's birthday). League 3 (tied) Herb Fields Club (donated $15 to Jewish Relief Fund). Sinatra Club (Alfino) (collected baby clothing for French War Orphans). Candid Camera Contest: (First prize 100 points, others 50.) Marlyn Sclater, Roddy Mc- Dowall Club. Geraldine Schultz, Gene Autry Club. Ron de Armond, Charles Korvin Club. Virginia Pink, Bobby Beers Club. Kathy Campbell, Darryl] Hickman Club. Dory Gehrke Nelson Eddy (Mot- tola) Club. Best Correspondents: 50 points. League 1. Nancy Bryan, Bill Boyd Club. League 2. Rita and Jo Mottola, Rise Stevens Club. League 3. Shirley Warren, Garry Stevens Club.

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- out of IO Screen, Stars My Beauty Facials leave skin softer, smoother, says Jane Wyman 5 This is a complexion care that really makes skin lovelier! In recent Lux Toilet Soap tests by skin specialists, actually three out of four complexions improved in a short time. ““My Lux Soap care brings quick new loveliness,” says Jane Wyman. “I work the creamy fragrant lather well in. As I rinse and then pat with a soft towel to dry, my skin is softer, smoother.” Don’t let neglect cheat you of romance. Take Jane Wyman’s tip! Another fine product of Lever Brothers

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86 a new kind of hobby pin! holds your hair in place 144% hetter Here’s the first real improvement in bobby pins! A new patented shape, scientifically designed to hold better. Stronger, yet flexible, easy to open. Yes, tests prove that Supergrip holds 144% better! SUPERGRIP “GAYLA” MEANS THE BEST IN BOBBY PINS, HAIR PINS, CURLERS © 1948, GAYLORD PRODUCTS, INCORPORATED, CHICAGO 16, ILL, #T. M. REG. U. S, PAT. OFF. WHY CAN'T THEY STAY MARRIED? (Continued from page 31) back, confusing everyone, including them- selves and their bewildered children, until Jane decided to call it quits for keeps. June Haver and her trumpeteer, Jimmy Zito, calling it off before it ever started, and then when it did start, calling it off again. How do they get that way? There are always stories behind the stories you read —and some of them, believe me, are lulus. For instance, the on-again, off-again mar- riage of Rita Hayworth and Orson Welles. The second act of that bizarre domestic drama opened right before Orson directed Rita in The Lady From Shanghai, and it ended right after the last scene was shot. I stood on that set and watched that patch- up in action. I saw Orson mopping up the stage floor with his beautiful wife in a high-tension, super-melodramatic scene— which was just what Rita craved, by the way. I call that connubial comeback, “The Eighty-Thousand Dollar Makeup—or Col- umbia Capers.” It had everything in it ex- cept what a true reconciliation needs, which is humility, sincerity and love. Rita should have known better. Heaven knows, she’d had plenty of the one-time Boy Genius the first time. As he says, Or- son “forgot” constantly that he had a wife, when anything else was on his mile-a- minute mind. Politicking, saving the world, making speeches, plotting sensational broadcasts, writing plays and scripts, act- ing, promoting, flying off here and there at the drop of an overnight bag. Orson’s not exactly a cozy kid to have around the house. That’s why Rita left him in the first place; she never knew, with his astral existence, whether he’d be coming in for dinner when she was having breakfast, or vice versa. So they split. Rita handled her career and home twice as easily without Orson’s jitters, and had time, too, for the gaiety she loves. Orson joined old Mercury The- ater pals on Broadway, launched a stage musical, Around the World in 80 Days—and lost his shirt when, owing to its fabulous production costs, it flopped like a flounder. Part of the shirt—in fact $80,000 of it—be- longed to a big shot at Columbia Pictures. And the estranged Mrs. Welles is Colum- bia’s biggest box-office star. Right then the machinery of a marriage makeup began to turn. ° rita plays the game... Here’s what happened: The big-shot wanted his loan to Orson back, had a prom- ise tied to it that Orson would make him a picture. Orson had to come through. Also, _ Rita’s Columbia contract was about to ex- pire, and Columbia wanted it renewed. How about Rita? Well, she was already a big success as a musical star, but she longed for finer things, yearned to be a dramatic, artistic actress. Add those factors up and what do you get? A second try at marriage on an artificial basis—one that should never have happened. Tl cut it short. Orson came back to Hol- lywood with a picture script. He went out to Rita’s. He’s a salesman. When he left, Rita’s head was spinning. At last she was to be a dramatic star, directed by the Genius, himself. Orson rewrote the script in eight days, building Rita a starring part. Rita signed a new seven-year contract with Columbia. Orson moved back in Rita’s house; they were “together again.” But were they? Yep, for six months—while the picture lasted. But Orson hadn’t changed, hadn’t any in- tention of changing. Anyway, a few days after I walked off that set, Rita told me in a dead-tired, emotionless voice, “Orson and I are through, Hedda. Forever. I can’t take it any longer.” Whatever made her think she could? Now they're divorced and she’s legally Rita Cansino again. Who collected the hits in that second inning? Orson? Rita? I haven’t seen Lady From Shanghai, but I hear it’s pretty weird. It’s doubtful if it will add to Orson Welles’ stature or prove Rita another Bernhardt, so they'll both wind up with errors. Who got his money back—also his meal-ticket star? That’s right, the Columbia big-shot. Now, that’s a pretty special Hollywood return engagement—but they’re all special, that’s the point. Hollywood has what it takes to blow a familiar domestic crisis into quicker flame. I’m thinking of Mark Stev- ens’ marriage mixup. A year or so ago in these very pages of Mopern Screen I picked Mark as the most promising young star of the year. He’d proved himself loaded with talent, author- ity, and ambition. One of his best assets was his young wife, Annelle. First time I met her, I said, “There’s a girl with her head set right on her shoulders.” She’d come to Hollywood to get in pictures herself. She’d tossed that over pronto the minute she said “T do.” She was expecting a baby. They were living in a tiny guest-house apart- ment in the hills near Pickfair, victims of the housing shortage. Mark was sick, racked with pain. He’d already been in hospitals numberless times to have his back, injured in boyhood, repaired. And Annelle had nursed him, dressed his wounds, min- istered to his moods (which ranged in Mark from sky-high elation to bottomless de- spair, as his frustrations drummed on his nerves). There were picture chances he was too sick to grab, there was cramped living, a pregnant wife. That was the setup —and both Mark and Annelle were young. I spotted Mark at once as an explosive character. His life story backed me up. Mark had blown -his top consistently throughout his wandering young career, ~ he’d been a problem child, a runaway, a rebel. He never thought he’d get married, he told me. “I’ve always been mean to women,” he admitted frankly. But still, I sensed character and guts in him. Now Mark Stevens is a small-town boy and there are millions like him all over, yearning for the Big League, its fame and its fruits. Only, when he got his at last, that’s hotly : Members of the movie industry get a chance to attend previews and are usually put on the spot when asked for their opinions. After a preview a producer cornered Oscar Levant and inquired, “How did you like my pic- ture?” “T didn’t like it,’’ said Levant frankly. “Who do you think you are, not to like it?” recoiled the producer. “Who do I have to be, not to like it?” asked Levant. from “Hollywood Merry-Go-Round” by Andrew Hecht

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Mark couldn’t use them. Annelle soon had her baby, but Mark was left with his frus- trations. That’s when he lost his head, de- cided to have this fling he thought he rated. Unfortunately, Hedy Lamarr swam en- trancingly in view at the psychological mo- ment and Hedy was fancy-free, having split with her husband, John Loder. Three chil- dren or not, Hedy must have someone to pay court and flatter her. That the great and glamorous Lamarr would make eyes at him was the most fatal flattery to Mark Stevens in his mood. So off the beam he went, leaving home and Annelle for a flirtation that Hedy’s husband, John, summed up the best I’ve heard. “It’s quite all right, my dear,” observed John drily, “but aren’t you making yourself rather ridiculous?” No more than Mark was. The difference was he came to, fast, and real- ized in a hospital bed with his bad back acting up again what a fool he’d been. That's when he called me and made the vows he’s kept, so far. As I said, Mark has signed over every cent he owns to An- nelle and Mark Richard, their baby boy. I hope he never crosses us up again—or rather, crosses up himself and his family. Now let me turn to another case. I said I'd never been the president of Oleg Cas- sinis fan club. Oleg’s grandfather was the Czar’s ambassador to Washington. He’s an aristocrat, touchy, proud, and easy to mis- understand. Gene has always been madly in love with her fiery little count. She followed him around from camp to camp during the war, just like any war wife. And Oleg did do the right things, I had to admit. He dropped his title, became a U.S. A. citizen, enlisted when trouble began and won his way up to a lieutenant’s bars. Frankly, I’ve always thought he was inconsiderate of Gene. He had so many fist fights and hot-tempered scuffles in public, and they embarrassed her so much. But that wasn’t what.split them up. Pride did that. pride and prejudice ... From the start of their marriage, Gene was a successful star. Oleg was an un- successful dress designer. Gene has told me, “Our trouble was just as much my fault as Oleg’s. I had my work, I was making a big salary. Oleg had only his pride. But I love him and I want the world to know it.” Gene told me that after they’d reconciled, after, I firmly believe, both knew they were more in love than ever. Two months after their makeup, Gene found she’d have a second baby, which she’s expecting soon. I wish her and Oleg Cassini all the luck in the world. But no matter how I feel about Oleg, there’s another boy I haven’t changed my opinion of yet, and he’ll have to show me before I will. I mean John Payne, whose shaky child-bride marriage with Gloria De Haven will be wagging Heaven knows which way by the time this sees print. At the present, John is saying, “I love my wife and my children and we all love each other and we should never, never part,” or words to that effect. And little Gloria is saying nothing. John has always thought he was God’s gift to the screen. I think he’s a spoiled, over-conceited boy all wrapped up in himself and happy being unhappy—like a character in a Russian novel. I used to see John sitting and scowling in Hollywood’s night clubs back when he was married ‘to Anne Shirley. “For Heaven's sake,” I told him one night to his long, sad face, “if you’re that bored with it all, why don’t you go home? Why sit here and torture yourself?” “Anne likes it,” sighed Payne. I’ve seen him sulking the same lackadaisical way lately, with—and without—his bride. Truth is, John doesn’t know what he wants, and hasn’t for years. He thought he wanted a Va FRESH CREAM DEODORANT STOPS PERSPIRATION PS. Test FRESH yourself at our expense. See if FRESH isn’t more effec- tive, creamier, smoother than any deodorant you’ve ever tried. Only FRESH can use the patented combination of amazing ingredients which gives you this safe, smooth cream that doesn’t dry out . . . that really stops perspira- tion better. Write to FRESH, Chrysler Building, New York, for a free jar. 87

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No picture Colbert makes is a fail- ure and her smart French mind figured the ‘way to get a performance out of John Payne, cast with her in Remember the Day. She flattered the socks off him. She built up his ego until he came through with a real job, the best of his life. He’s con- sidered himself a great thespian since, which I’m sorry to say he’s not. Neither is pretty little Gloria De Haven. Gloria’s a child of separation and a child of the theater. Her mother and father, the Carter De Havens, were always splitting up and coming back together again—which has nothing to do with Gloria, except that the background is familiar. M-G-M ‘signed ther purely on her famous stage name and her looks. She got a build-up far beyond her talents. When Gloria said in one separation spell that she was going to leave John and return to her career, people asked, “What career?” One gnawing misery that colors John’s yes-and-no home life is a very big mistake he made at the studio which made him a_ star. Johnny had an iron-clad contract with 20th Century-Fox, at $4000 a week for four more years. But the accumulated ego of many Hollywood years wouldn’t let him accept the fact that new faces with new voices—say, like Dick Haymes—were get- ting the parts he figured he should be hav- ing. When he was offered a screen job beneath what he considered his dramatic dignity he stalked into Darryl Zanuck’s office and asked for his release. To his stunned surprise, Zanuck grabbed his offer like a fielder grabs a pop fly. He was out. A few days later John came back in. “I made a mistake,” he began. “Maybe you did,” Zanuck told him, “but we didn’t.” ” I could go on forever with case histories of Hollywood’s switch marriages, bright one minute, blacked-out the next. Stars act like children of the rich in their domestic dipsy- doos; they lose perspective and tie their private lives too often to the erratic kites of their public careers. They magnify the real importance of this hit, of that flop, lose their heads over success or over an honor and forget what’s really important to their lives—their existence as persons. oscar, the home-wrecker .. . I don’t think Jane Wyman would ever have let a wonderful guy like Ronald Rea- gan slip out of her life—even temporarily— if she hadn’t been nominated for an Acad- emy Award. Jane’s a cute, smart little girl with considerable talent. She came up from nowhere and struck the greatest fortune a girl can have—a home, beautiful babies, an adoring, distinguished husband, and career enough. I'll never forget the night she showed me her first mink coat, a beauty that cost $5,000, if it cost a penny. She couldn’t stop stroking its soft surface. “Tsn’t it beautiful, Hedda? Aren’t I lucky? Isn’t Ronnie wonderful to buy it for me? I don’t deserve it,” she said. Jane was thrilled then with everything: her home, Ronnie, the kids, her friends. She took her picture career in stride, run- ning it in second place, where it should be with a lucky girl like that. Now the home’s sold. Jane sold it when Ronnie moved out. Ronnie, who was so wonderful all those years, is complained about publicly in her divorce suit as having bored Jane with his Screen Actors Guild activities. Jane came out in print with the silliest statement I ever expected to hear from a star—that she, a wife, couldn’t stand Ronald’s constructive brilliance—when it’s his very activities that guarantee her salary WE PINE FOR YOU Ah, Indian summer—we love it. We wait for it all year round. And we wait for something else, too—your “I Saw It Happen” letters. Really. We sit here with $5 bills falling out of our pockets, just pining for your anecdotes. You know what we want. True, short and amusing incidents about you and a movie star. We'll pay $5 for every one we use. Make us happy. Make your- selves happy. Fish for your underwater pen—and write to the “I Saw It Hap- pen” Editor, MODERN SCREEN, 261 Fifth Avenue, New York 16, New York. and the career she now prizes so highly! Why, you’d think a wife would be busting with pride that her guy was that smart! But there go your realities in a fog of sudden fame. Now all Jane wants out of life is more fame. She just missed the Oscar in The Yearling. Trying to rate it in Johnny Belinda ‘was what snapped her home ties. Forgotten are her safe anchors in life, her husband and the confused kids, whom faithful Ronnie still takes care of as “sitter” at Jane’s Malibu place, when she has to run off to a radio show or a personal appearance. i She may come to her senses, of course, as another star up from nowhere, Frank Sinatra, did, when the accumulated power of mass hysteria sent him spinning in pur- suit of Lana Turner. He’s made it up to Nancy by now and I, for one, am very glad indeed that Frank’s popularity has quieted down a bit. I know he’s simply crazy about his new daughter, Christina, and kicks him- self every time he thinks of his strange interlude, because he’s told me so. But Frank had ‘the basic character to face facts and choose right. Others around this town have, too. Ray Milland and his marvellous Mel, for instance, have had their ups and downs under pressure. When Ray was making The Lost Weekend and earning his Oscar, he brought his creative nervousness and irritations into his home. But Mel is one of the most understanding women in the world. When Ray realized he was miser- able without her and begged forgiveness, it was there. A.deep affection, cemented by years of marriage and their son, an older and better-balanced outlook on life, mem- ories of the tough times they’d shared— in short, maturity—enabled them to work out a solution, and save what was so im- portant to them both. I’m not dismayed too much when younger stars grope and grapple awkwardly with their happiness. Maybe it’s to be expected of kids like June Haver and Jimmy Zito, Mark and Annelle, dizzied by too sudden fame. But when I witness the same wobbly wedding-waltzes going on with experienced couples like the Reagans, Greer Garson and Richard Ney, Rita and Orson, I hang my head. I don’t even want to look. There’s no real excuse, even in Hollywood. Because, even in Hollywood, people can live together if they have the stuff—faith in each other and love—as well as they can in Podunk, where the same domestic dis- cords grate every day, only you don’t hear about them. Hundreds of happy star homes I can name prove that. So—it isn’t the World War’s aftermath, or flying discs, or the threat of television that agitates Hollywood’s patchwork homes. It’s just people—nine times out of ten—who’ve lost. their good sense to glamor and for- gotten this elementary fact of adult life: That marriage is one act which doesn’t thrive on Hollywood’s overemphasized “I.” The magic pronoun that still turns the trick is “we.”

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EVIE’S OTHER HUSBAND (Continued from page 49) Gudeleime uenmé smile wins a passport to a bright new world ! only ones who are not talking about Van and Evie, except Keenan. The rest of Hollywood is having plenty to say. And the strong winds of gossip blow all sorts of questions around these parts. “Will they get a divorce?” . “Will they stay married?” “Why doesn’t anybody see pictures of them with the baby?” “What’s the matter with Van’s studio? His publicity is terrible!” No matter how thin you slice it, Van Johnson has been in trouble since the day he took his best friend’s wife unto himself to love, cherish,and buy knick- knacks for. y And now it’s about time to go back and pick up the thread of the beginning of Hollywood’s leading soap opera. The story starts in New York, with three people walking around through show business, arm in arm. They were pals. The dark-haired guy on the left was Keenan Wynn, son of the famous come- dian, Ed Wynn, a headliner on Broadway. The girl in the middle was Evie, shar- ing her smiles and her doughnuts equally with the dark man on the left and the big blonde baby-faced boy on her right... a Broadway chorus-boy, Van Johnson. These “Three Musketeers” had great fun | | on the main stem, living high when the shows were running, splitting pennies when they weren’t. Taking snapshots in Central Park and sipping malts at Schrafft’s brought them closer together until finally, as usually happens. Evie had to decide between the two of them and take one. The one she took was Keenan Wynn, but the marriage didn’t break up the threesome. It was left for Hollywood to do that. Van Johnson was the first to get the siren call from the Glamor Capital of the World. The radio soap operas would have made a big thing out of that parting, with Evie dissolved in tears and a strong handshake saying volumes between the two men. Well, Evie did get a bit dewy-eyed over Van’s leaving New York, and there was the strong handshake between Keenan and Van, and then the train pulled out of Grand Central. In Hollywood, Van went first to Warner | Brothers, where the egg he laid would | have done justice to a fair-sized ostrich. It wasn’t Van’s fault. He just didn’t click. He wrote big fat letters back to his two best friends in New York. He bragged about the California sunshine, and the Madeleine Swenson, French War Bride, was a Paris manicurist when an American soldier fell in love with her smile. Two years later, she was one of France’s most popular cover girls . . . and on her way to Mason City, Iowa, to marry her soldier fiance, Warren Swenson. Madeleine’s chance at cover-girl fame came after Warren re- turned to the U.S. and began sending her pack- ages which contained, in her words, ‘always your wonderful Pepsodent.”’ ‘So I thank Pepsodent today for my big chance,”’ Madeleine says. “‘Al- ways now, my smile is a Pepsodent Smile!”’ The smile that wins is the Pepsodent Smile! JUNE ALLYSON SAYS... “Do you ever think how lucky we are in this country? Oh, yes, we may com- plain about prices and conditions, but all we have to do is read the foreign news to make us realize that our troubles are smaller than we think. And one of the best things about our Ameri- can system is that we provide, right in each community, Red Feather services for the health, recreation and welfare of all. There are more than 1,100 Com- munity Chests in the U.S.A. Give gen- erously this year—give enough for the child care, and the nursing services, the youth activities and the social work. The Red Feather needs your contribu- tion. Someday, perhaps, you may need its help.” ANOTHER FINE LEVER BROTHERS PRODUCT Madeleine Swenson knows it, people all over America agree —the smile that wins is the Pepsodent Smile! Pepsodent with Irium is their 3-to-] favorite for brighter smiles. Wins 3 to 1 over any other tooth paste —families from coast to coast recently compared delicious New Pepsodent with the tooth paste they were using at home. By an average of 3 to 1, they. said New Pepsodent tastes better, makes breath cleaner and teeth brighter than any other tooth paste they tried. For the safety of your smile use Pepsodent twice a day—see your dentist twice a year!

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A , oe 90 \S i : i c : ‘ i ‘ cf i | : A | E i 4 al DULL DAYS CAN BE GAY DAYS RELIEVES FUNCTIONAL PERIODIC PAIN CRAMPS - HEADACHE -"BLUES; “What a difference Midol makes” CHASES “BLUES” fe picture business. Then, he let his hair down and told them how much he missed Broad- way and the stage, and them . . . mostly them. In New York, Evie and Keenan read Van’s letters and said, “Poor Van, he should have stayed in New York,” and Evie cried another little tear and Keenan shook his head, knowingly. Then they both sat down and wrote Van a letter, telling him to “Buck up, Old Pal, things are tough all over.” But just three chapters later in our little soapsuds drama, Van moved his freckled grin from Warner Brothers’ Studio over to the M-G-M lot, and things started hap- pening. M-G-M used him for decoration in a couple of musical pictures, and bobby- soxers over the nation hailed their new king! Overnight, Van Johnson changed from a nobody to a somebody .. . a somebody with B-O, standing for “Box- Office.” He had more scream-appeal than a strawberry-float, and the M-G-M officials all joined hands and danced around in a circle, singing. “Goody, Goody, Now We'll Make A Profit,” to the tune of “I Got Rhythm.” Evie and Keenan wired Van their con- gratulations when he was chosen “Chief Pull” with the bobby-soxers. Then, I guess, they wrote and told him how much they missed him in New York. Before long, just as Van was right on top, they came out of the New York heat into the Hollywood heat. The reason for their coming was to give Keenan a chance to make a screen test at M-G-M. The way I get it, they thought that Keenan was going to be a hot comic (which anybody will admit he is), and they wanted to see if he’d go all right on the screen. If the test turned out okay, the offer, they say, was to be $3,000 per. (That’s per week, that is!) The Wynns moved into the Beverly Wilshire, with the swimming pool out back, and told M-G-M they had landed. The appointment was made, the test was made, and Keenan waited for the verdict. A morning or two later the phone rang and the studio said, “Come on out, Keenan. We want to talk.” Evie hinted out loud that she hoped that “what they wanted to talk was ‘tur- MODERN SCREEN was key,’ at three G’s per,” picked up her towel, flicked Keenan a kiss and headed for the pool. At the studio, they told Keenan that the test was pretty fair, but not quite what they had ‘suspected.’ a “No three-grand grade, I take it,” said Keenan. “No, but we'll offer you $350,” they countered, and Mr. Wynn said “yes” by putting his name in the small space over the dots. Then he returned to the Beverly Wilshire, Evie, and the pool. “I know,” greeted Evie, “the test was terrific and you signed for the three thou- sand ~er week . . . Whoopee!” “The test,’ said Keenan, “was fair, and I signed for three-fifty per week.” With which Evie pushed Keenan in the pool. ; TPve often wondered why. I forgot to mention a couple of things, and where the radio dramas would have devoted most of the two years to them, I’m devoting the most of a couple of lines. The two things were Ned and Tracy. Ned and Tracy are boys, age six and four, res- pectively, and they are the sons of Keenan and Evie. Now they’re in the drama if we need ’em. Along about the end of each chapter of a soap opera, they take time out to recap all that has gone before and bring you up to date. At this point we have the Three Mus- keteers in Hollywood, Evie and Keenan married, with two sons, Ned and Tracy, aged six and four, respectively, and Kee- nan has a job at $350 per week at M-G-M. The third Musketeer, Van Johnson, is the idol of the bobby-soxers, and the salvation of the M-G-M treasury. His weekly stipend hits a healthy four figures, which means he knows where his next meal is coming from. So much for the recap. The next chapter is a heart-wringer. Van Johnson is hurt in an automobile accident. You may remember. More sym- pathy spilled through the mails to Van in Hollywood, than is spent on the starving millions all over the world today. When they patched him up, he went to live with the Keenan Wynns for a period of recuperation. Van was “their best friend” and they took care of him. Every- body knew it and considered it wonderful © "Let's go to the drive-in theater—they're showing a punk movie.”

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7 aan he) si b: dees < ~ that Van had good friends like that to take care of him. The friendship was publicized all over the country. True friendship was something grand in Hollywood. Now listen for the organ mood music backgrounding the tragic scenes. One day in 1946 a small cloud passed over the Hollywood scene, and its shadow touched the Three Musketeers. I don’t know what was said, but the soap-opera writers would put down the dialogue something like this: NARRATOR: It is evening ... we are in the Wynn parlor . . . Keenan is sitting reading the paper and Evie is just sitting. She looks at him restlessly, then suddenly, she speaks -. . EVIE: Uh, Keenan. KEEN: Hunh? EVIE: I was just thinking .. . KEEN: Uhhunh. 3 EVIE: Are you listening? KEEN: Yes, dear. EVIE: I said ... uh... I was just ’ thinking. KEEN: Uhhunh. EVIE: Keenan Wynn! Put that paper down and listen to me. KEEN: Huh? Oh... Yes, dear. . down. EVIE: Well, fold it! KEEN: Okay ... (SOUND OF PAPER) . . there .. . Now, what’s on your mind? EVIE: Well...uh... We can talk like sensible people, can’t we? KEEN: Why, I don’t know ... but I'll try. What is it now, the gas bill, or did I drop cigar ashes on the fl— EVIE: NO! It’s not that... uh... Oh, you're not making it any easier for me! KEEN: Making what any easier, honey? What is it? Spill it. EVIE: Keenan, I want my freedom. KEEN: Freedom? Why, what do you m—? EVIE: I mean, I want a divorce... in love with somebody else. KEEN: Honey, you can’t mean that! Why, we’ve been... EVIE: I know . . . we’ve been married for seven years ... and now KEEN: And now you're . . . oh, no, . it’s TY’m Evie . . . wh—who is it? EVIE: Van! KEEN: Van Johnson? My BEST FRIEND! And right there, you would get a music bridge and the drooling announcer with the syrupy voice would ask you seventeen silly questions about how you thought the whole thing would turn out. Then he would sell you enough soap to cleanse the world, and fade out begging and brow- beating you into tuning in tomorrow for the outcome . .. as though you would miss it for anything short of going down to one of those audience participation shows where you could win an electric kitchen, a free permanent and a second honeymoon under Niagara Falls. Well, that’s the way it turned out. can't we be friends? .. . On January 24th in 1947, Keenan and Evie were divorced in Juarez, Mexico, and just 23145 hours later, Evie married Van Johnson in the same little Mexican village and Keenan was the first to congratulate them. And such a storm as broke from the announcement of that marriage hasn’t been seen in this hemisphere since before this century. Immediately, a written wave of protest hit the studio. Eight million or more letters flooded the mails asking embarrassing questions about why the baby-faced, be-freckled idol of the teen- agers had married his best friend’s wife. Everyone had known about the friend- ship and thought it was wonderful. Now CYD CHARISSE, FEATURED IN METRO-GOLDWYN-MAYER’S TECHNICOLOR MUSICAL “WORDS AND MUSIC” Cyd Charisse changed my whole life I was but definitely a lonely heart. UNTIL: ONE DAY | READ “Want to attract a man?” says Cyd Charisse. “Soft hands are a kind of love-spell. What hand care do I use? Oh, I always use Jergens Lotion.” So I started to use Jergens, too. Used by More Women than Any Other Hand Care in the World “AND NOW -a man all my own, saying my hands are so soft... .saying he loves me. It’s true—Jergens is for even softer, smoother hands today, thanks to recent research, Actually—2 skin-care ingredients many doctors swear by are both in today’s Jergens Lotion. 10¢ to $1.00 (plus tax). And no oili- ness; no sticky feeling. See / why the Hollywood Stars use Jergens Lotion, 7 to 1. | For the Softest, Adorable Hands, use Jergens Lotion 94

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Wes, i in 36 minutes your hair can look Loreen Fresh lustre and radiance, natural color tone and glamour— these are yours with Glover’s 3-Way Medicinal Treat- ment—quickly, in your own home! Ask for Glover’s Mange Medicine, GLO-VER Beauty Shampoo, Glover’s Hair Dress at Drug or Cosmetic counters —or mail Coupon today for sampler. The 3-Way Medicinal Treatment SS ——— eee Glovers, Dept. 8510 101 W. 31st St., New York 1, N. Y. Send free Sampler Package in plain wrapper by return mail— Glover's Mange Medicine, GLO-VER Beauty Shampoo, Glover's Imperial Hair Dress in 3 hermeti- cally- sealed bottles — with free booklet. I enclose 10¢ to cover cost of packaging and postage. everyone heard about the marriage and thought it was horrible, disgraceful, dis- gusting, and other disagreeable things. Within the next week, hundreds of re- ports came in from theatres throughout the country playing Van Johnson pictures. Box-office, they said, had slumped to noth- ing and then disappeared. Customers pro- tested, and stayed away in droves. Even blasé Hollywood lifted an eyebrow in surprise. The studio publicity department sat and floundered and said less than nothing. But they must have called Van and told him to keep his trap shut, or-words to that effect, because he and Evie weren’t talking to anyone. Evie has a reputation in Hollywood for living rather high. Van went right out and bought a $125,000 house, formerly owned by Cedric Gibbons, M-G-M art director, and they moved in, taking the two boys, Ned and Tracy, with them. Hollywood tongues wagged a little over the set-up because even though Van’s sal- ary hits four figures per week, he really doesn’t keep much when deductions are deducted. There were rumors of his having borrowed on his salary to meet his new obligations. As often happens, some gos- sipers had them separating before they’d been married a week. But time went on, and the main head- ache of the Johnson household and Van’s studio’ was the fall in box-office take on his pictures. M-G-M tried a new tack. They put Van in two dramatic roles: He did the press agent for Spencer Tracy in State of the Union, and turned in a good job. He played an Army sergeant under Gable in Com- mand Decision, which, at this writing, has not been released. This was a move in the right direction for Van and the studio. They seemed to realize that their baby-faced boy had lost his bobby-soxers, and so they were shoot- ing for a different audience. Meanwhile they said nothing more about the marriage of Van and Evie. blessed event... But somebody upped and announced that Evie was “expecting,” and the soap opera started all over again. Hollywood’s Secret Marriage was on the conversational front page once more with the birth of. Schuyler Van Johnson, January 6, 1948. The birth of a baby in a star’s home is news in our town. The press wanted to take pictures; the fan magazines wanted layouts for a spread on “The Van John- sons In Their Happy Little Love Nest,” with pictures of the baby, and of Van playing father. Van said “No!” The studio said, “No!” The people said, “What’s up, what goes?” —and then started their rumors again. They were sure that now the baby was born, Van and Evie would separate. But they didn’t, and Van went on to make a picture with June Allyson, titled, The Bride Goes Wild. It was a return to the old type for Van, and it let the box-office records stay intact. Keenan continues on his merry way, riding his motorcycle, smoking his cigar, dating a different girl every night he goes out, and finding time between other com- mitments to appear in little-theater plays. He was among the first to congratulate Van and Evie on the birth of Schuyler Van Johnson, and he continues to be a fre- quent visitor at their house . . . to see them, and to see his two youngsters, Ned and Tracy. When Van and Evie decided to take a Honolulu vacation for a couple of weeks, recently, Keenan went over to sit.with the kids. But something happened to the ‘happy? I SAW IT HAPPEN While standing around in the lounge of the Racquet Club in Palm Springs, my attention was at- tracted by a strik- ingly beautiful woman. Everyone im my party won- dered who she was. I turned to the man standing next to me. “Who is that gorgeous girl?” I asked him. “She’s my wife,’ he proudly replied. “Yowre indeed a lucky fellow,” I said, “and what is your name?” He smiled down at me as though I were a child and answered, “Cornel Wilde, honey.” Mrs. Morton Phillips Eau Claire, Wisconsin vacation. The Johnsons sailed to Hawaii, all right, but when they arrived, they stayed right with the ship and came right back home. The gossip train rolled on that one. They blamed the return on everything from a final scrap between Van and Evie, on down to Van’s getting seasick. But they came back home, thanked Keenan for sitting up with the kids, and things went on as usual. Now comes the time for the end ae our little soap opera, titled, “Evie’s Other Husband.” And here’s the way it sums up, from the way I see it. Granted that Evie’s other husband was her first husband’s best friend. They write songs about that sort of thing, and the friendship, after all, doesn’t seem to be broken. Keenan has played the gallant, if jilted, gentleman throughout. He has never had a bitter word to say, which takes care of his side of the story. He still goes - to the house to see Van and Evie and his kids. But what about Van and Evie? Are they Or miserable? A neighbor says, “You can’t always tell, but from all I see, I’'d say they’re as happy as any newlyweds anywhere. They’re generally laughing and singing when I see them out in their patio. And Van’s a mighty proud father. He takes little Schuy- ler out for a sunbath and keeps turning the baby over like a pancake. It looks like a mighty happy family to me.” A tradesman came back from the John- sons’ with this report: “I don’t know, but Van looked like a sorehead to me? That guy’s got something on his mind, and whatever it is, it ain’t good.” Then from a different slant, are they completely content behind their wall of secrecy, and just because of that secrecy have become victims of vicious gossip? A close friend said to me at a cocktail party, “Erskine, you should lay the whole thing wide open. Those kids are as happy and contented as larks—I know. Ive known them both for years. Why don’t people let them alone! Vicious gossip has ruined more than one otherwise happy marriage in Hollywood. Look what loose tongues did to Ronnie and Jane. I think it’s a crime.” But I had only to walk across that room to hear, “I think there’s something mighty peculiar about Van and Evie’s marriage. If everything’s jake between them, why don’t they go out more together? And why all this secrecy? Somebody’s trying to cover up. I’! bet it doesn’t last another six months.” And what about the studio? What do they have to say? “Of course Van and Evie Johnson are happy. Why shouldn’t

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they be? They’ve got a new home, a fine baby. Evie is a good wife and a won- derful girl, and Van’s ‘successful in pic- tures. What more could you ask as proof of their happiness?” - But. a source claiming to be “on the inside” says, “If you ask me, the studio has told them they have to keep up a front on their marriage to save Van’s career. His box-office has fallen off. That’s enough reason to keep up a front, isn’t it?” Now what about the most important reaction of all? What about the fans? They don’t have the facts, except that Van is married and a father. But they know how they feel about that. Here’s what one lady wrote to me: “I never had much respect for Hollywood, and now I have none. What kind of a town is it that sanctions the business of a man taking his best friend’s wife?” But there were more letters like this one from a young lady of twenty: “I am no bobby-soxer anymore, but I am a fan of Van Johnson’s. I resent every word said or printed against Van and Evie. Why not face it? Love does some funny things. Maybe Evie should have married Van in the first place! I have every sympathy for Keenan, but I believe Van and Evie de- serve to be left alone to be happy in their own way. I, for one, wish them the best of everything, and I’d like to choke the people who are making their lives miser- able with whispered slander.” It’s a cinch that here is one case where headlines dealt a body blow to a Holly- wood career. Ordinarily, those headlines, no matter what they say, are a boost to a star’s success. Headlines never hurt Charlie Chaplin, Errol Flynn, Laraine Day or Kay Francis, that’s for sure. Not so with Van... he may never recover com- pletely from that first announcement of his wedding in Mexico. And what about the studio? They have kept that wall of secrecy about this mar- riage. It is customary to invite the press and fan magazines up to the house and let them take pictures and ask questions like crazy. In this case, the studio publicity department took one picture of Van and Evie and the baby .. . then they passed that picture out to the press. If Van and Evie are happy and contented, then the studio is making a mistake in not releasing complete stories on them, letting the whole thing blow over like other Hollywood stories have. Under the present method of handling, all tongues are set to gossip over the least little tidbit, Van and Evie are stifled under a hush-hush blanket, and all ears are eagerly waiting for the next exciting chap- ter in Hollywood’s real-life soap opera “Evie’s Other Husband.” 1 SAW IT HAPPEN Robert Alda was spotted by some people waiting outside a broad- ‘casting studio, and soon there was quite a crowd around him. Ev- eryone insisted on getting his auto- graph and he was very nice about it, but there was one young boy in the crowd whod gotten his autograph _ four times and was asking for another. Robert Alda turned laughingly to him and said, “If you get my autograph five times, you can turn it in for one of Cary Grant's!” Jean Freeman Columbus, Ohio Hor the skin that doesnt like heavy foundation a Here is a different foundation creaam— a specially designed to take powder smoothly L 5 3 and lastingly—without “coating” your face! © we we Greaseless powder base! No oily feel— : e ( No “‘coated”’ look! Sheerer, more natural! o m4 It’s so easy to have make-up look softer and more LE Lf becoming! Before powdering, smooth on a thin film ( << ; : of Pond’s Vanishing Cream. Feather-light! Grease- \ = | 2 less! Leaves no oily shine—no “‘stifled” feeling. — fy 3. SO Can’t streak or discolor. “Pond’s Vanishing Cream ee eS | is perfect for powder base,” says Lady Daphne Straight. (AL j ‘Before make-up” facial—so quick! This glamorizing 1-Minute Mask \ “Re-style” your complexion with Pond’s Vanishing \ \. Cream smoothed on for a 1-Minute Mask! Cover face, except eyes, with a cloak of the cream. After one minute, tissue off. “Keratolytic” action “of the cream loosens clinging dirt and dead “ein flakes. Dissolves them off! Your skin looks clearer, softer. Make-up ‘stays smooth all evening! pl Tt always save 60 seconds for a beauty ‘lift’ with a 1-Minute Mask ee I go out,” says' this beautiful English peeress. “Right away, my skin looks brighter, so much smoother!”

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I4 You cant } shut _ your ears... to the chorus of praise about Tampax! “Marvelous” to the enthusiastic type, “sensible’’ to the practical-minded and “dainty’’ to the fastidious— whatever the point of view—the praise of Tampax grew louder as its users mounted in num- bers to the present millions. Tampax dis- cards all belts, pins and external pads for monthly sanitary protection! Is it any wonder it’s popular? An invention of a doctor, Tampax is made of highly absorbent cotton com- pressed in easy-to-use applicators. It is worn internally—and when in place 7 can neither be seen nor felt. No bulkiness. No chafing. No “ends” to show under, smooth-fitting skirts. Odor cannot form. Tampax is quick to change. Disposal no trouble (only 1/15 the size of external pad). Something else women appreciate —there’s no need to remove Tampax before taking bath.... The many-sided advantages of Tampax help keep up your morale on the difficult days. Buy it at drug stores or notion coun- ters. Three absorbencies — Regular, Su- per, Junior. Average month’s supply slips into purse; economy box holds 4 times this quantity. Tampax Incorporated, Palmer, Mass. NO BELTS NO PINS NO PADS NO ODOR Accepted for Advertising by the Journal of the American Medical Association naturally Lois Butler, Eagle-Lion star, has lovely young-American-girl look with light makeup. young and pretty - by Carol Carter, Beauty Editor H@ Of course you want to be a glamor girl; perhaps you even see yourself as a type of femme fatale! Oh, sure, we know—mother says “no” as though she means it when you show a little daring with the lipstick. Very frustrating. You're perfectly right in try- ing to be as charming and attractive-as possible and mother is completely sound in objecting to an over-sophisticated paint job simply because it isn’t artistically right for you. A makeup expert in New York or Hollywood would tell you the same thing: Freshly-scrubbed and shining-maned youth is so lovely to see that you should use only the lightest little touches of lipstick and powder when you're early-teen-ish. Mother is very likely to relent if she sees that you have artistic sense enough to Carol Carter, Beauty Editor choose a lipstick in one of the new soft pink shades, along with a lipstick brush with which to follow the natural outline of your lips. * Your nail polish should be a pretty, natural pink too—leave those dark and daring shades for your 30-year-old aunt. A light dusting of powder is fine, espe- cially over the shiny spots. Always press your powder on with a clean puff or fresh ball of cotton and then remove the excess with a powder brush. For the next year or two, concentrate on the good health, bathing and hair-brushing that will give you the spic-and-span look that is the very basis of beauty. That will also show your mother you're old enough for real makeup! MODERN SCREEN MAGAZINE, P. O. Box 125, Murray Hill Station, New York 16, N. Y. Please send me the booklet you have on Teen-Age Beauty written by a leading American authority on skin care and makeup. NAME Please Print your name and address: ADDRESS 0D ———E——— eS eee

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END OF A MYSTERY (Continued from page 959) picking this date. As Barbara explained to Bob, it was the 28th wedding anniver- sary of her mother and father. All was arranged and it was a closely guarded family secret until, as family secrets will, it leaked out, and it was a pretty sure bet that when Bob and Barbara got to the Isthmus of Catalina, that end of the island would be about the worst place in Southern California for a quiet wedding. But by this time the two of them had come to realize that their plan-making had been a bit love-muddled for other reasons: 1. Since Bob was due to start a new picture at M-G-M there could be no honeymoon trip if they married im- mediately. 2. Rennick, the decorator, wouldn’t be’ through with the new Pacific Pali- sades home Bob has purchased for at least a month to six weeks. 8. The only other place they could live was Bob’s Beverly Hills apart- ment, but in that case they would have to share it with a bachelor friend of Bob’s, who wished them all the luck in the world, but was darned if he would go out house-hunting. 4. Their best friends, Dick and Joanne Haymes, could not attend together be- cause Dick was in New York. 5. Barbara, with a world of clothes to assemble, wasn’t ready anyway. So they decided to wait a few months. If only they had told the world the truth there would not have been those days of wild guessing and even wilder conjecturing on the part of the newspaper reporters, who seemed column-bent to predict another “miss-out” for Bob. But it’s not Bob’s way to court the press and Barbara was too steeped in plans to think of it. And when reporters phoned Bar- bara, when Bob was present, she didn’t know what to say. “We just thought we’d go together a little while longer,” she ventured. press puts on pressure... That brought on a flying barrage of questions from the always skeptical jour- nalists which snowed her under and away from the telephone permanently. Her mother, Mrs. Mary Ford, was a little more informative. “They’re just two kids who have fallen in love, and haven’t taken time to think about other matters,” she said. “They have lots of things to work out.” Well, what worked out was that Barbara couldn’t stand the incessant ringing of her telephone as friend after friend (and some people who are just paid to find out about these matters) called for complete reports on what was going on. When would they get married? Where? Why had they can- celled the Catalina wedding? It was too much. Barbara made a sud- den decision. Bob agreed. It was so sudden that even her own mother didn’t know about it and had departed for a Catalina week-end only a few hours before. Bar- bara got hold of her friend, Nancy Guild, and Nancy’s husband, Charles Russell. Bob reached his ever-faithful pal, Jim Henaghan. Inside of a few hours, arrange- ments had been made and the two were married at the Beverly Hills Club. “Well!” said those of Bob’s friends who felt that they should have been let in on the arrangements. “Good!” said those of his friends who were so tickled he had found an answer to his problems that they had no time to feel disgruntled about being kept in the auf! (nproved ! Richard Hudnut Home Permanent ' This New Home Wave Keeps Your New Short Haircut Salon-Sleek! Give your smart new short coiffure just enough wave for body...just enough curl on the ends to keep it a sleek, close cap... with the new, im- proved RICHARD HUDNUT HOME PER- MANENT. Right at home...as easily as you put your hair up in curlers ...you can give yourself this soft, salon-type permanent. You use the same type of preparations and the same improved cold wave process used in the Richard Hudnut Fifth eas PARENTS'” Mi ineRaNE. CONSUMER SERVICE BUREAU. Avenue Salon for expensive perma- nents. Save money and tedious hours at the hairdresser...try this glorious home wave today! Price $2.75; refill without rods, $1.50 (all prices plus 30¢ Federal Tax). lis 7 Ways Better | °° / Saves up to one-half gO: usual waving time. One-third more waving lotion...more penetrating, but gentle on hair! Longer, stronger end-papers make hair tips easier to handle. Double-strength neutralizer anchors wave faster, makes curl stronger for longer. Improved technique gives deep, soft crown wave... non-frizzy ends. Only home permanent kit fo include reconditioning creme rinse. Two lengths of rods. Standard size for ringlet ends; extra- long for deep crown waves.

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96 ingest deodorant. Tubes or jars, 10¢, 30¢, 60¢. Avoid underarm irritation... . Wonderful! Yodora stops perspiration odor safely, quickly ...yet is positively soothing to normal skin. Made with a face cream base, with no harsh acid salts to cause irritation, Yodora actually helps soften your skin, like a face cream. No other known deodorant gives this PLUS protection. ‘\ry Yodora, the soozn- McKesson & Robbins, Inc., Bridgeport, Conn. ENT OR A REF S Kor * Z>> © Guaranteed by @ Good Housekeeping NS ip Yo, SD ZAS apvenrist WEE dark until the whole thing was settled and all over with. Yes, Bob has found an answer. He has ‘told it to his folks, to the heads of his studio (and were they glad to see a smil- ing Bob, instead of a long-faced, sober one, for a change!) and, of course, to Bar- bara, when, on a week-end trip aboard her father’s yacht, The Araner, he put into words what had, so far, been only a | strangely happy beating of his formerly aching heart. The whole story of Bob and Barbara was foreshadowed when he first made up his mind about her a few months ago, and the best guess as to where this happened places it in the home of a mutual friend, Dorothy Miles, publicist at 20th Century- Fox Studios. (That is, Dorothy knew both Bob and Barbara, but they didn’t know each other.) It seems that Barbara, who frequently visits at the Dick Haymes home, heard Dick talk about. Bob when the two men were working in One Touch of Venus. ~ Later on Barbara, idly talking to Dorothy, observed that Bob sounded interesting. Now change the scene and we find Dorothy just happening to ask Bob if he’s ever met Barbara. She learns that he has, but that it was just one of those fleeting intro- ductions, so typical of Hollywood parties. a solid "click"... Whether Dorothy knew she was start- ing something is anyone’s guess—Dorothy won't tell you—but it is a fact that she invited each one to drop in at a little affair she was giving. Barbara came, and came alone in her own car. Bob came alone in his car. They left separately, too, but each with plenty to think about. Be- cause, between their arrival and departure they had been a solid pair, a “click” that had been evident to everyone else in the . room. It happens that way sometimes—even in Hollywood. Bob had seen a girl who was a revela- tion to him; a vivid, dark beauty; petite, trim, essentially feminine in every way, yet with a mind as sharp and clear as anything he had ever encountered. As he warmed to the animation of her, Bob may have felt a growing conviction that here was good medicine for him, here was one who could help widen his interests and maintain a living pace that would pre- clude any sinkings into the despondencies that have reportedly been dogging his life and threatening to mess up his career. At any rate, that was the way Bob had acted; as if he *sensed such a girl was all too rare for Hollywood; not just a pretty little somebody with a mental horizon circumscribed by such matters as clothes, jewelry and gad-abouting, but a pretty little somebody who gave every evidence of knowing that a full life con- sists of much-more than all those pleasant but superficial things. Barbara had seen a man she had heard a great deal about from his friends—and who lived up to their best reports. Be- hind his light kidding and in the general exchange of their banter, she detected heart, compassion and, perhaps, a little disillusionment with Hollywood. With it— and all the more effective because she, as well as everyone else, knew what he had been through—was an easy, mellow atti- tude towards life in general and his ad- versities in particular that drew her strongly to him. Once before there had been a romance in Barbara’s life—a short-lived one with an older man. Because of the difference in their ages, among other things, her family had disapproved, and she had come to see it their way. This time she felt that her father and mother would second her choice. She was right. Mary and John Ford like Bob very much. Their approval is a pretty good testimonial for Bob. John Ford knows men. He has done nothing but handle men for the best part of his life. For that matter, he knows women; and that Barbara has not only been a daughter to her father, but a companion as well, is as great a compliment as any that could be paid her. Barbara Ford is everything you’d expect John Ford’s daughter to be. ‘That was the beginning of the new Walker story. It will continue now, but half-hidden from the world, in a secluded avocado grove in Pacific Palisades where stands a California ranch-house on a slop- ing three acres, bounded by a_ white- washed corral fence. The house, sur- mounted by a shake roof and towered over by an enormous oak, reaches wide arms out to anyone who comes up the dusty road to the gate. The Santa Monica hills hide the ocean from it, but, in turn they have furnished a curling ridge of land that forms as warm and cozy a pocket as - any home site has ever had—even in the State of California. There is no pool, but there are stables, and a stream, and the avocados are grow- ing like sure-fire prize-winners all over the property. Inside the house all the ceilings are heavy beamed and the decoration is Early American to match. Pine, cherry, and maple furniture, brass and pewter orna- mentation and accessories, early dishware —that’s what Barbara had the decorator install. The living-room fireplace is a walk-in; the one in the master bedroom, where Rennick has set up a huge canopy bed, is only slightly smaller and set in a corner. By As movie-colony houses go, it is far from pretentious, but it is comfortable and, more than that, it has an air of solidity about it. It’s there, and for Bob, who has long needed an anchor, it represents an uncertain future turned into a prospect of long happiness. There remain only two more figures who must be considered as a result of this marriage and Barbara has met them both: Bob’s two sons, Bobbie and Michael, whose custody he divides with Jennifer. They were very much in the picture throughout the events leading up to the marriage— in fact they were to have attended the first planned wedding in Catalina. Only the suddenness of the decision prevented their being brought to the Beverly Hills Club ceremony. one of the boys... : It is a pretty sure bet that the boys, whose liking for Barbara is already evi- dent, are going to be even more enthus- iastic after they go to sea with her on The Araner. (Incidentally, John Ford in- sists his 110-foot ship is a ketch, not yacht—whatever a ketch is.) Wait till they see Barbara hook and: land a swordfish bigger than she is—as she has a number of times off Acapulco, Mexico. If - that doesn’t win their respect,.she is ready to don her jaunty blue denims, take the wheel and show the boys how to make a 110-foot yacht—beg pardon, ketch—do figure-eights on the waters of the blue Pacific. The girl Bob Walker has married is a personality in her own right, easily capable of re-shaping a man’s life and making it count, where before it had missed. It is quite possible that she has already performed this little miracle—the miracle that women have so often done before. A few days after the marriage someone asked Bob how he felt. His an- swer was full of enthusiasm and right to the point. “Like a new man.” What else could any man ask for as he gets away to a fresh start in life? | | 1 | a 1 yi |

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ae THE GABLE WOMEN (Continued from page 39) momentarily, but is very likely to zoom. They make an intriguing quintette. Any producer who could capture their personal- ities and biographical sketches on celluloid would have a screenplay as bright, brittle and in some scenes as acid as anything ever tossed off by Clare Booth Luce. Any host- ess who could gather them all around one dinner table would be giving the Party Of The Year. And although they seem to be widely different types, in aggregate they prove two things: 1—Clark’s eyesight is still in fine shape. 2—He-men like good-natured women. To millions of feminine minds all over the world, and to comparable numbers of surprisingly unresentful men, Clark Gable more than any other public figure symbol- izes supercharged virility. Sinatra fans may come and go, Robert Taylor’s profile may seem the prettiest thing in the world for a season or two, and there will always be garden-club members who worship Nel- son Eddy; but Gable owns the largest dis- cernible supply of the magnetism described as animal, and few women breathe with souls so dead who never to themselves” have said “Wow!” when that 18-cylinder look of bold insinuation was magnified on the neighborhood movie screen. It may be reassuring to these myriad females to know that Gable’s sex appeal is not a matter of greasepaint and cinema magic. He has approximately the same effect on Glamor Gertie at ten paces as he has on Fannie the Fan who is separated from him by the measureless distance be- tween Hollywood and the topmost row of the Music Hall balcony. A case in point is Dolly O’Brien—full moniker: Dolly Hylan Heminway Fleisch- man O’Brien Dorelis—who has had a full quota of romance, millions, popularity and glamor in her half century of uninhibited living but who, despite her sophistication, can’t seem to get That Gable Something from under her skin. , Dolly might be described as a mature Southampton Helen of Troy. She is in- tensely feminine, witty, socially glossy, and rather like Ina Claire in appearance. Her clothes are always superbly chic in an ex- pensive, understated way that no Holly- wood producer would accept‘as authentic in a wealthy society matron; her light hair is short and crisply waved, her smile warm as a tropical sun. The jewelry she wears invariably seems to be set in next year’s that’s ho Two starlets were talking about a third. “She married an actor,” said one. “And a swell guy, too.” “What ?” exclaimed the other. “That’s bigamy !” And Laurence Olivier tells that when Robert Morley heard that a young girl of his acquaintance was about to marry a well-known actor, he observed, ‘‘She might do worse. But for the life of me I can’t think how!” from “Hollywood Merry-Go-Round” by Andrew Hecht hair at ho ee beauty cream Shampoo e makes home permanents “take’’ better! Shasta-washed hair “takes” a better permanent. Even a fresh new wave looks softer and more natural the very first day. Soaping your hair with the most expensive creams or liquids won’t give you Shasta’s perfect results! emakes pin-curls comb out softer! Your pin-curls comb out softer—your hair stays lovely all day long. Shasta gives you better results than any soap shampoo—every tvme. You'll see that Shasta is made especially for girls who do their hair at home! Shasta leaves your hair more lustrous, easier to manage! Notice how much more lustrous and manageable Shasta leaves your hair. See the brilliant highlights and silky softness. Tonight, Shasta-shampoo your hair! Procter & Gamble’s new beauty miracle NOT A SOAP...LEAVES NO DULLING FILM 197

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She is built like a figurine; her manner is gayer than a debutante’s. Clark’s friends figure that her charm for him is compounded of all these obvious assets plus the not-to-be-underestimated fillip of her social position. Protocol and blue books often have an exotic fascination for graduates of the school of hard knocks. Clark is one of these. He came from a poor family, sweated in oil fields, hopped freight trains and spent. nights of his youth in flea-bag hotels; he will never get over being impressed by women who know more than he does about finger bowls and footmen and crepe de Chine sheets. Dolly’s life story is a real cinema saga— give it to Bette Davis or Joan Crawford and the audiences would say, “Good picture— but what a plot! All that couldn’t happen to one woman!” Her first husband, Louis Marshall Hem- inway—rich, of course, and the father of her two sons—died a few years after their marriage. Her next husband was Julius Fleischman, the multi-millionaire yeast king, who married her knowing she did not love him but wanting her at all costs. She lived the life of utmost luxury until she fell madly in love with J. Jay O’Brien, a professional dancer and gentleman Toca and asked Fleischman to release her from their union. He did—giving her $5,000,000 as a farewell settlement. Soon after she married O’Brien, Fleisch- man died. If she had waited just a little while, her fortune would have been $50,- 000,000. a few millions, more or less... . But Dolly never seemed to miss the extra millions. She and O’Brien lived in what ap- peared to be bliss until his death in 1940, and after a period of mourning she began to be linked with other men—always famous, wealthy, interesting or all three. Jimmy Walker, gadabout Mayor of New York, was one of them. Jimmy Cromwell, once married to Doris Duke, was another. Handsome socialite Ronald Balcom, ex- husband of Millicent Rogers (who, inci- dentally, had a brief whing-ding with Gable) was a third on the list. Then Dolly met Clark. Perhaps because she had the gift of camaraderie, which he prizes in women, they clicked instantly. He adores women who are amusing, who like to tell—or at least listen to—a bawdy joke, who will drink with him and stay up late and laugh a lot. He likes women to be good-tempered, easy-going, anything but neurotic or demanding. Dolly filled the bill. Before long they were haunting hideaways to keep the ser- iousness of their romance from hitting the newspapers, but when they arrived in New York simultaneously and checked into the same hotel, even a cooperative management couldn’t keep the secret from breaking into excited print. From then on no restaurant was dim enough to hide the fact that they were holding hands. But Clark—just like in the movies—had a rival. He was Jose Dorelis, a smooth Bul- garian perfume- manufacturer i in his forties who wore a monocle in his left eye and could top Clark at that old non-American custom, hand-kissing. What happened was the thing that could not possibly have happened in the movies: Clark lost. In the middle of what everyone thought was his big romance with Dolly, she married Dorelis. And to her intimate friends she offered an explanation com- pletely foreign to the Gable legend: topping our list of stars for november lana turner on the cover of modern screen on sale october 8 Clark was a wonderful guy, she said. But Jose! Ah!—he was so much more romantic! It did not seem to occur to her that salle ing Dorelis more romantic than Clark Gable put him several notches above Superman. However, Superman lasted only a little over a year. Dolly filed for a friendly divorce, they exchanged extravagant com- pliments, and she flew back to Gable’s muscular arms. When she decided to go to Europe this season, Clark decided to take a boat trip, too. There was every indication that he was not going to France just to see the Louvre. But the experts who had it all doped out that he was sailing to pay court to the fabulous Dolly were completely thrown by the cosiness of the scene when he appeared at the Cunard-White Star pier with Nancy “Slim” Hawks on his arm and proceeded to enact a loving farewell. Slim is the much-publicized “best- dressed woman” who most of Hollywood thought was going to marry Leland Hay- ward when his divorce from Margaret Sul- lavan became final. Her unabashed fond- ness for Gable in the last hours of his New York stay threw the wisies into complete confusion. And what of Anita Colby, Hollywood’s most glamorous executive? The fans were asking that one, because of all the Gable dates, she has received the most publicity. Anita is one of those girls everybody likes. It seems inconceivable that a girl could have pep, personality and perfect features and still be liked by women as well as sighed over by men, but Anita has been doing the trick for years and shows no sign of losing her grip. She is as smart as the - well-known steel trap, ambitious as a girl ean be, and successful—a combination that generally produces spectacular unpopular- ity. But her sense of humor, her hearty laugh, her lack of cattiness and her obvious good character have made it possible for her to stay friends with glamor girls, big executives and casual beaux, without any- one resenting her beauty or her steady climb up the movieland ladder. His intimates are convinced that if ever Gable had a platonic love, this is it. He loves taking Anita to parties, because she is so pretty and such a good sport, and she loves going with him because he’s a good sport, too. He’s also Gable and every other girl in the place is gnawing her nails in envy and the attendant publicity is very good for a girl who’s out to get ahead in the world. isut nobody thinks it will end in marriage. They believe Anita’s religious convictions would preclude her marrying a man who had two previous wives still liv- ing, and they believe anyway that the romance has never reached the point where

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: ‘it was that serious. It was always more in | the newspapers than in the heart. r) e I Some months ago it was rumored that ; 3 | Clark and Iris Bynum had eloped, and he y = | called her up to kid about it. This was, in a way, a natural reaction, because their re- lationship, while close, has never been par- ticularly sentimental or likely to wind up at a lily-banked altar. Iris is a black-haired Texas beauty with a widow-peaked forehead, spectacular topography, long lacquered fingernails and an avid look. Her sultry brand of appeal has been appreciated by such connoisseurs of torridity as Tony Martin and George Raft, to give her the highest possible kudos, and it is obvious to the most naive - observer that when she and Clark share an evening at the Racquet Club in Palm Springs, it’s dynamite meeting T.N.T. Their love story has had its ups and downs, and the last time they parted Iris expressed herself rather loudly on the sub- ject of Clark’s off-hand treatment of the women in his life—particularly her. “T’m tired of running when he calls up,” she said, in a who-does-he-think-he-is- ‘Clark-Gable tone of voice. “No more!” The betting among the Hollywood and ' Vine bookmakers, however, was that a - phone call and the right tone of voice from El] Gable would right matters with Iris. A complete contrast to Iris is Virginia Grey, the girl who has lasted longest in the -Gable story. Most students of his biog- raphy think she was his first love after Carole Lombard’s death, and he has con- tinued to turn to her for warmth, solace and adventure. She is an actress, in films and ' on the stage, although for the most part her stage work has consisted of nothing more exciting than summer stock, and those who kn h ks lik So ee eee ee Gnd. SWEETHEART SOAPS Of all the women in his life, she, obviously, | ; loves him the most, however he feels about : FLOATI NG LIET B Cauiy Cow Makes Dollars and Sense! her, for whenever he tires of a new love, or quarrels with a wild love, she takes him back. She is always waiting. She has never ® “My complexion’s precious! For it’s really the reason I get so many big-pay posing jobs,” says Ellen. “So it’s just good sense to use SweetHeart been known to reproach him or criticize him. She is simply there. She has been quoted as saying: “Whatever happens, he always comes back to me.” Care. It leavesmy skin honey-smooth with a lovely has his other girl friends, his other pink and white freshness.” romances, ae ane meyer Cuieet), doesnt ae — You’ll love SweetHeart’s Floating Lift Care! fa Rare = little girl.” S Bley MS Ut otss BE READY FOR ROMANCE! For pure, mild SweetHeart gives fragrant, creamy, : extra lather. Lather that’s luscious-soft and heay- A mutual friend of hers and Clark’s said with amazement: “Tve never seen anything like it. He And there’s the big question mark. e Let SweetHeart’s Floating 1 le! For it h STB Who will get Gable, of all his women— Lift Care help your skin look enly gentle! For it has a floating lift. the sweet one, the one who’s a pal, the softer, smoother, lovelier. Night Pictures taken through the microscope prove Se pei ene) experienced one or the un- ge aie eas el that countless bubbles bathe the outer pore open- one? ace for one minute wi Rae Bias) Fas ae: ‘ Maybe even Gable doesn’t know the an- SweetHeart’s extra lather. Pic . ». lift off—float away—dirt and dry skin eran tor that Rink ea eon coll flakes. Lovely natural smoothness and true radi- anions Slbin os Glommecsl, GRE ance are revealed. And SweetHeart’s exquisite | F lated, more radiant—delicately fragrance completes your glamour! | SAW IT HAPPEN pees. A while ago, I moved into a The Soop strange neighbor- hood where I thot AGREES with didv't know any- 5 one. While shop- Your Skin ping in Beverly Hills one day I spied Judy Gar- land and rushed up to get her au- : tograph because I knew I'd never see her again. When I got home I saw a familiar looking person standing in front of the house across the street. It was Judy Gar- land—almost my next door neighbor! ‘@ For tub and shower, you can now also e@ Men treat Ellen like a little princess. I Mary Lee Scamahorn get SweetHeart in the new, large bath Flowers! Gifts! Dates at the swankiest | | Los Angeles, Calif. size. SweetHeart’s extra lather with its night clubs! For her SweetHeart complex- i floating lift is marvelous. ion is exciting as the sparkle of champagne. 09 al

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I danced professionally with my sister then. Her costumes were never safe when Mar- garita was around. Sometimes, right before our orchestra cue, my sister would cry out desperately, “My lipstick, my earrings, my comb, my castanets—they’re gone again! Where’s that Margarita?” And she’d run out and rescue them just in time, but not without a struggle. Because even then you couldn’t get a pretty costume off Rita without a battle. Even then, she knew when she looked wonderful. She was super-feminine from the start. Much has happened to my Margarita— many wonderful things. She is a beau- tiful woman now—and a famous star. That’s what she always wanted to be and what we always wanted her to be, too. That was her heritage. born to dance... We Cansinos come from Seville, the city almost all Spanish entertainers call home. Dancers, singers, actors, opera stars, mata- dors, toreadors, even strolling gypsies spring from there. I don’t know why that is. But there are Seville families who have been theatrical for generations be- yond memory. In our clan there are three generations of dancers that we know of. My father was a dancer (and a bull-fighter, too). My mother danced, my brothers, my sisters, my nephews, nieces, cousins, sons and daughters dance today. I married an American dancer— whose maiden name—Hayworth—Rita took when she became a Hollywood ac- tress. Rita’s blood is Irish-English on that side of the house. But Irish, English, Spanish, or what—it was all a stream of talent. Rita was literally born to enter- tain. From the start, I caught myself sizing her up critically with a dancing master’s eye, watching for every trait of talent and temperament. When Rita was a baby, we lived near Central Park in New York, and Mrs. Can- sino liked to take Rita and her brother, Eduardo, Jr., there for fresh air and a stroll in the sun. One day, two huge stallions broke loose from a carnival and thundered wildly down the path straight for her. There was just time for my wife to snatch Rita and Ed away from their hooves and throw them against a stone wall that bordered the walk. That day the two-year-old Rita missed death by inches and my wife was ill for a week from the shock. Not Rita, though. Al- though her head was bumped badly by the stone wall, she didn’t cry. Instead, she scrambled up and toddled after the wild horses, crying, “Pretty horsies!” When I heard of the narrow escape I was frightened, of course—but pleased, too. Margarita had courage. More im- portant—even at that age she had an eye for color and drama. That was good for a future dancer to have. I was touring road-show and vaudeville circuits constantly when Rita was a baby —all over the United States. Often I was gone for months at a time. I took Rita on tour with me once when she was only four years old and again when she was six. We traveled from coast to coast. We rattled here and there on jerky night trains, slept in theatrical hotels, lived the irregular, rugged life of show people. Some of my friends thought I was crazy to take a little girl out on a long tour like that. But I reasoned, “She can’t learn too young.” As a result, she was a sea- soned trouper by the time she was seven years old—although she had never set foot on a stage. When Rita was still a small girl we moved to California, where I opened a dancing school. It was a Cansino family enterprise. My wife took care of the business. I taught, and all my children, nephews and nieces, were pupils. I put Rita in every class in my school. I fig- ured she could never do any dance too many times. Right after her public- school classes she always came running straight to my dancing school. She didn’t have time to play with the other kids in the neighborhood. Sometimes, we’d all go, family fashion, down to the beach for a swim and as an extra treat take in the Venice Fun Pier, which Rita adored. But mostly it was dance, dance, dance for Margarita—learn, learn, learn. And al- ways far in the back of the class. Not that she wasn’t good enough for the front. But her old man was the teacher and Rita couldn’t shine in his classes without caus- ing trouble! Rita understood. I knew she was good, but I didn’t know what Rita thought about herself—until her first performance. I didn’t see it— but I heard about it, from Rita. Her public school was putting on a show. and they picked Rita to do—of all things—a Japanese dance. She really looked a lot like a little Jap girl then. Her eyes were button-bright, her thick hair shiny black and worn in bangs and a glossy bob. I worked out a Japanese dance for the occasion and rehearsed her. But the day of the show I couldn’t get away from school to see Rita. She came home, flushed and happy. “Well,” I asked her, “how did you do?” “All right,” said Rita. “Just all right?” “I was good,” conceded Rita. “How good?” I pressed. Rita came out with it. good,” she said. “That’s it!” I said. “Always be very good, always be certain you're very good. That’s the way a star has to be.” Con- fidence—that’s essential to any entertainer —and I knew it. Rita’s had it all her life from that moment on. “T was very the beginning and the end.. . Rita handed me a surprise on her first professional appearance. That was on the stage at the Carthay Circle Theater, where the studios held, and still do, many big premieres. My school was near the Carthay at the time. We Cansinos often danced in the Franchon & Marco stage prologues the Carthay featured in those days, and we were engaged to do so that week. Including Rita. Oddly enough, this one was to be my last theatre engagement—and Rita’s first. To me then it was like passing on the torch of the family profession to Rita. I taught her the Spanish dance she did for the Fiesta prologue. She danced it with her cousin, Gabriel Cansino. My father, Antonio Cansino, gave Rita an old pair of castanets which had been in the family (I still have them as one of my prized souvenirs of Rita’s youth.) My wife sewed the costume. I had no idea before she went on how good she'd be. I knew she knew how to be good. But you’d never guess what Margarita could do by her days in school. She was easy= going and relaxed. Rita was not one to

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i [ } { ba herself out in her dad’s classes. i! - ence between my act and hers and saw the whole thing. Soon I was grinning and _ shaking my head. | | | | 1 oy That night I sneaked down into the audi- “She is good,” I told myself. “She has real talent. She’s a Cansino, all right.” Because even in that simple little Spanish dance Rita showed fire, and grace and personality. She and Gabriel got $150 between them for the spot, which was important, because it was the first money she’d ever earned as an entertainer—but even more, she got her first big applause. From that night on— - as I look back—I can see that all Rita had eyes for was a career. She thought she was ready right then to turn professional. I didn’t—and very soon, because I didn’t, I almost broke her heart. Rita was thirteen at the time of that stage debut. Next to the surprise of her grace and beauty, the biggest eye-opener to me was how grown-up my girl was getting to look. Until that night I had never seen Rita from out in front, sitting in an audience; never seen her lighted, or costumed with lipstick, powder, jewelry and form-fitting gown. When she came on stage, I remember exclaiming to my- self, “Why, she’s a young woman—and a beauty!” It shows how stage glamor can hypnotize even an old trouper like me. But Rita was still just a little girl, I thought, when I saw her the next day. In fact, I frowned to myself sadly, she was a fat little girl. That was my great- est worry as Rita passed from girlhood to womanhood—her weight. At fourteen, I remember, she weighed 122 pounds. It’s hard to realize when you see her trim, tall and perfect figure today—but as a growing girl she was actually chubby. impatient maiden .. . Maybe that’s why I kept thinking of her as a little girl who ought to stay in school, rather than as Rita saw herself— a young lady, grown up enough and im- patient to start a career. Those opposite viewpoints brought some tears to Rita’s eyes one day—and they opened mine at the same time. The depression hit into the success of my dancing school and business was fall- ing off around 1931. I decided to return to the dancing career I’d abandoned to teach. When I was offered an engage- ment at the Foreign Club, over the Mexi- can border in Tia Juana, I decided to take it. But I had to have a partner, a young, pretty dancer. In my school was a very talented girl whom Xavier Cugat, an old friend of mine, had sent to me to train. She was frem Mexico, and later became famous as a stage and screen star her- self. Her name was Margo. Margo was my prize pupil, a fine dancer, and more mature than Rita. I decided on Margo for my partner and started to make plans for the dance act. One night I announced my decision at home, to my wife. Rita was listening. Suddenly I heard sobs and I stared in amazement as Rita ran out of the room and slammed the door. “What's the matter with her?” I asked my wife. ‘ She shrugged. “I have no _ idea.” Neither of us suspected the truth. Rita locked herself in her room and cried most of that evening. But my wife finally wormed the truth out of her. She came out to tell me, “Margarita can’t under- stand how you can be taking anyone else but her for your partner. She’s terribly hurt.” t I lay awake long that night facing the realization—always hard for a father— that my little girl had grown up. I had been tipped off unmistakably by her tears that she wanted a career—right now. I GLAMOROUS STAR OF OPERA..-SCREEN..-SAYS..c says: “I always® use CREAM tojie © keep my hands lovely...and cream means Pacquins, of course!”’ Try it for 3 days...a 12-second massage with non-sticky, non-greasy Creaguins Iori eam ...in the morning...at night... Massage your hands with snowy, fragrant Pacquins... morning...night... whenever skin is rough, chapped, or dry and you'll know why Pacquins is the choice of so many famous beauties! Your own hands will tell you why! They’ll be softer...smoother...truly patrician! If household tasks have rough- ened your hands, soothe them... smooth them with Pacquins. Do as opera star Gladys Swarthout does...fot dream hands —CREAM them regwlarly with Pacquins! GLENYA WESTBROOK, R.N., adds, ‘‘We nurses scrub our hands 30 to 40 times a day. Pacquins Hand Cream was made for us. I use it faithfully.’’ ( Pacquins was originally formulated _ for nurses and doctors. ) Among the famous stars who use Pacquins are: GERTRUDE LAWRENCE VERA ZORINA RISE STEVENS LYNN FONTANNE On Sale at All Cosmetic Counters ‘ in United States and Canada whenever your skin needs softening 101

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That was the real start of Rita’s career. We practiced for three solid months— four hours in the morning, four hours in the afternoon without let-up. Rita’s girlish pounds melted away, her figure slimmed out into the right curves in the right places. I polished every Spanish dance I'd taught her. I put on the fin- ishing touches and made her a profes- sional dancer. Rita was only 15 when we danced at the Foreign Club. In one way, we were a curiosity. People would bring their friends to watch us and have them guess what we were. They'd always say “brother and sister.” They couldn’t be- lieve we were father and daughter and I suppose a lot of bets were won that way! Soon we had a better offer and went to Agua Caliente, just below the Border. Agua Caliente was then in its hey-day and the favorite resort for Hollywood pro-. ducers, directors and stars. Many of my old New York stage friends, now in the movies, looked me up—and all fell for Rita. The big shots of the studios saw her, too—and soon we were commuting between "Agua Caliente and Hollywood, making screen tests. We made six. None was any good. Because the camera saw what I saw, be- neath Rita’s dance-floor costumes and grown-up grace: she was still a little girl —too young to play the parts they lined up for her. One still makes me laugh to think of it—they tested Rita to play a vampire. At fifteen! Rita was impatient, but never impulsive. I never saw her get angry or tempera- mental. She took my advice. She was a good girl, a good daughter. Finally our chance in Hollywood came—not much; only a solo dance for Rita, a few feet in the Fox film, Dante’s Inferno. But I knew it was a good showcase for Margarita, and I wasn’t wrong. Studio executives raved when they saw the rushes. Rita was in pictures! And she was only 16 years old. couldn't say “boo”... At the time she was signed, of course, Rita was no actress at all. She could barely say “boo” when it came to speak- ing lines. But she plunged into drama school and worked as hard as she had at dancing. It was six months before she said one line into the mike—and Ill never forget that first disastrous part. It ‘was just a few lines in a picture, a Warner Baxter picture, El Gaucho. The Argen- tine theme was, naturally, what got Rita the job; and she was a dancer again, but with dialogue. She prepped for her big moment, working like a beaver. Her call was for seven in the morning. We thought that meant seven at make- up, filming later—but no! Seven was the hour set to shoot pictures and we arrived with no makeup or costume at that fatal hour. What was worse, Rita’s scene, with the star, Warner Baxter, was the very first scene of the day. They could do nothing until they filmed that. It was a terrible morning. While-poor Margarita tried to throw on her costume and makeup for the biggest chance of her young life, the assistant director barked angry scoldings over her shoulder every. minute. The company waited an hour and a half. By the time Rita did arrive she was so nervous she was in tears. And, of course, too, she blew her precious, well-studied lines sky-high! I doubt if she ever would have got through her first scene without a certain gal- She was a Cansino and © lantry which Ill always remember A Warner Baxter’s part. He saw -the ter-— rified, nerve-wracked girl in a spot and | after her third blow-up made a terrible one himself. “You see,” he laughed, and Rita was all right. Ill always believe | that Warner blew up on purpose. | I never felt so sorry for Rita in my life | as I did that morning, unless it was a morning several months later when she | suffered the greatest heartbreak of her ex- perience—a wound, incidentally, which still gives her a twinge to remember today. | Rita was picked by Winfield Sheehan. Fox’s production boss, to play the title role in Ramona. She had taken all the tests successfully; the part was hers. She even had her costumes made and fitted, | Cay; } can do ‘it, too.” That broke the tension J her script memorized. Then, 24 hours || before she was due to step on the set, Fox merged with 20th Century and Dar- | ryl Zanuck moved into the production seat. my wife nor I thought Margarita was ready to star. Just the same, to Rita it | was like seeing the pot of gold at the rainbow’s end snatched right away from | outstretched fingers. It was a terrible | disappointment to a 16-year-old girl with — stars in her eyes. | She was heartbroken. day and into the night—at home—not at the studio; Rita was too proud for that... I told her, “Now listen, honey, that can | happen to anybody at any time in show business.” For a whole week, I took her | to the beach, to picture shows, anywhere He canceled Rita’s star job in Ra- || mona. Probably he was right; neither || She cried all | to get her mind off the disappointment. || But she never forgot. when 20th Century-Fox borrowed her to | star in Blood and Sand, Rita had the satisfaction of being brought back at a big star’s salary—many times what her contract paid her then. And she couldn’t | help gloating a little over that. She’s very | human, that daughter of mine. Some years later, || Only a few weeks after Ramona was | snatched away, Rita’s first picture con- || tract ended—and with it Rita’s budding | career as a Hollywood actress. She fought her way back, the hard way, through Hollywood “horse opera” Westerns, tack- || ling them with the same determination || and courage (she’d never ridden a horse | in her life until she did for a camera) || that she had everything else. Along the way, perhaps I helped some, but mostly MODERN SCREEN ° \] "Couldn't find her!"

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ia RE al ler Ne aes ne? TAY te Roe Be ee ea een ick ae was Rita who soaked up camera know- ow and confidence, and brought her checks home to her mother to bank. Rita still carries with her to every set the toy monkey doll we gave her for good luck on her first picture part back when she was sixteen. She still loves to gather with our family—all the dozens of dancing cousins—on every birthday and Christ- mas—for a family fiesta to dance and sing the old Spanish songs and dances. She ean still twirl into-a flashing chapanecos or step with me into a gay side-splitting jota while her grandfather strums the guitar. When she made her first visit to Mexico—long after she was a star— and saw her first bullfight, she came back home and acted it out for the whole Cansino family, moving through the ac- tion with the grace of a natural-born toreador. She’s our girl, still! In fact, we all have to watch our step or shell shower us with generosities. During the war I mentioned the need of a record machine for my dance studio. Next day Rita took the one from her own house—which she couldn’t replace—and sent it down. I had a two weeks’ vaca- tion last Christmas. When I let that slip to Rita, she sent me tickets to Mexico City, which is my favorite place to visit. Right after Rita’s own baby daughter, Rebecca, was born, my wife took seriously ill. Rita left her own hospital bed and insisted on taking over the care of her mother, with the finest doctors obtain- able and every medical attention. And when Mrs. Cansino passed on at last, Rita, realizing the depth of all our grief, courageously took over to comfort us all. Some things are different, of course. . Rita’s career, for one thing, has grown ? ? far beyond any need for my guidance and advice. Rita Hayworth has managers, secretaries, and studio advisers enough. But I’m still the first one she tells her picture plans to, the first to visit her new sets and the one whose opinion she wants first after the picture is previewed. old home week... The making of Rita’s latest film, The Loves of Carmen, has been like old home week for us Cansinos—Rita’s Uncle Jose dances in one gypsy number; her brother Vernon takes the part of a Spanish dra- goon, and I have been choreographer and~ technical adviser on the Flamenco dances. Having Rita play Carmen is one of the greatest thrills of my life. It’s a part I feel she was destined to play. My mother, you know, was named Carmen—and in fact, like the fictional character, she worked in her youth in a cigarette fac- tory in Seville. So it’s a part very close to the Cansino heritage. I deeply hope that my 83-year-old father, Antonio—the head of our family—who went back to Spain this year to die in the land of his birth, will live to see his granddaughter bring Carmen to life. One Sunday not long ago, little Re- becca came out of her nursery, toddling into the front room. She pattered across to my father, who had not yet left us. | “Aaah, so!” my father beamed happily. “She walks well. Now she must dance. It is time to start her lessons.” Rita, her brothers and myself all protested, “She’s too young!” But my father snorted an- grily, “A Cansino is never too young to learn!”—and believe me, he meant it! Well, Rebecca’s name is not really Can- sino—her name is Welles—but the dancing blood is there, because she is Margarita’s daughter. I know my father saw her that _day—even in her baby dress—as Rita her- self must see her at times. Just as I see Rita Hayworth often when I close my eyes—a graceful girl with sparkling eyes and a flashing smile—a Cansino girl, dancing with a rose in her hair. — contains no sticky oils, nothing to hide in any kind of water—needs no lemon or “Soaping’ dulls hair Halo glorilies it! V Not a soap, not a cream— cannot leave dulling film! ¥ Quickly, effectively removes dandruff from both hair and scalp! V Gives fragrant, soft-water lather Yes, ‘‘soaping”’ your hair with even finest liquid or cream shampoos hides its natural lustre with dulling soap film even in hardest water! ¥ Leaves hair vA ; lustrously soft, easy Halo—not a soap, not a cream : to manage—with colorful natural your hair’s natural lustre with dulling highlights! film. Made with a new patented ingredient, Halo brings out glossy, shimmering highlights the very first time you use it! Its delightfully fragrant lather rinses away quickly, completely yy SSSA WN vinegar rinse. For hair that’s naturally colorful, lustrously soft, easy to manage—use Halo Shampoo! At any drug or cosmetic counter. Ra Se ne een ONT i ep 2 A 103

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Host Frank Tomlinson’s cheery greeting is best of all. He has an uncanny way of knowing just what hungry hayriders want. We remember Douglas Dick happily wading into his spare-rib dinner in the best Henry VIII tradition. He would take a few bites of the meat and then pretend to toss the bone over his shoulder. This he did until he got a king-size rib. “Ah, me proud beauty,” he cried, leering at Martha Hyer, and waving the bone in the air, “this brings out the cave man in me.” Striking his best hero pose, Dick Moore protested, “Unhand that woman. And pass the olives.” After dinner, we strolled out into the patio, left our pennies at the brook, and made our wishes. Then we were. off to the Hollywood Playground and the dance. The playground, when we arrived, was erackling with country atmosphere. A split-rail fence criss-crossed one corner. It was laden with weather-beaten saddles, bridles and lariats. A cow’s skull, in not- too-healthy condition, sagged against the fence. Bales of hay dotted the dance floor. In the background was a shiny red sur- rey. The kind that was made for courting. Lon and Colleen made it to the play- ground before the rest of us; Terry Moore and Jerome Courtland came in much later. “They don’t call you ‘Cautious Court- land’ for nothing,” we could hear Terry saying. “Honestly, you drive like mo- lasses.” Mona Freeman, listening to the music, was one of the first to take the floor. “Come on, Pops,” she said to Pat. “Let’s dance.” : “Humm,” grunted Pat, “thought you said you were beat after dancing all day in The Heiress.” Frankly, most of the guests were like ourselves, loaded with enthusiasm, but lacking in the swing-your-partner tech- nique. Only Jerry Courtland (“I’m from Tennessee, ma’am”) and Terry Moore were accomplished square dancers. Or at least they didn’t have two left feet. They, coupled with the playground’s directors, David Gray and Virginia Pinta- rell, soon had all fourteen of us sashayin’ smartly to the music. The caller would sing out, “Swing your partners.” The fellas would tighten their hold on the girls’ waists and start twirling madly. You could hear the clicking of high heels, and the girls’ hair would trail be- hind and their skirts spin full. It was as colorful as a rainbow. Everyone looked so competent and con- tent—until the caller changed tunes. How confused can 16 people get? “Allemande left with your left hand,” came the order. The music and the caller continued on, but not the gang. Johnny Sands was al- ways searching for the little hand that wasn’t there. He constantly seemed to miss Mary. Hatcher and wind up with Dickie Moore. “And he isn’t my type,” moaned Sands. Richard Long followed Farley Granger’s lead and improvised a few jitterbug steps into a number. The three-point landing he glided to was not the finale he’d planned. But for the rest of us, the dance was a wonderful ending to a wonderful eve- ning. ; Let’s have another hayride! IT'S NOT A DREAM, DARLING (Continued from page 57) together, at least we’ll both be working.” She couldn’t have been wronger. They kept her under contract for fifteen months without handing her a lick of work to do —except for tests that were called terrific and led to nothing. It happens often. In Pat’s case it was aggravated by the fact that she was Mrs. Cornel Wilde—a fact that seemed to loom larger at the studio than her acting qualifications. Not that it helped her to so much as a walk-on. Nor that she wanted it to. On the contrary. She’s a proud girl—too self-respecting an actress to climb on any but her own com- petent feet. Yet whatever involved Cornel somehow reached out to involve Pat as well, nulli- fying the hard-and-fast line she insisted on drawing between Cornel’s wife and Pat Knight, professional. Sure, they were dy- ing to work together, but even that receded into the background beside Pat’s fierce de- termination to prove herself. This she was given no chance to do. Twice she asked for her release from Fox, and finally got it. Went out and found herself a new agent. Made a picture for Sol Wurtzel and another at Republic. Tossed her blonde head and figured that, horse operas or no, at least she was working and on her own. As for Cornel, whatever hurt Pat tore at his nerves, already frayed by overwork: Their brief separation was no separation in the ordinary sense, though Hollywood tried to make it sound like one. Cornel went away and got a perspective on him- self. Pat stayed home and did the same. In love for ten years, four weeks were all they could stand apart... . Last winter they went to New York to look for a play, but couldn’t find the right one. So Cornel had his leave of absence postponed till fall—by which time they hope the right one may turn up—and re- ported back to TC-Fox for Roadhouse. Meanwhile it looked as if something were breaking for Pat. The first hint came from Milton Pickman, executive assistant to Harry Cohn at Columbia till he left to go into independent production. Pickman was a good friend of the Wildes. In New York he stopped at the same hotel. “[ve got ideas about you,” he told Pat one day. “I caught a test you made—that scene from Golden Boy. Got me all steamed up, and I don’t steam easy. I may work something out. . .°.” “What is it?” Pat implored. “Take it easy, honey—it hasn’t jelled yet.’

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Back in California, Pickman phoned one morning just as Pat and Cornel were about to take off for a week end at the Racquet Club. “Hold everything. I’m coming over with a script.” All the way to Palm Springs, Pat held the precious thing in her lap—a screenplay by Sam Fuller called The Lovers. Sat down to read it the second they arrived. Turned the last page and handed it to Cornel. “Like it, baby?” “You read it, then Ill tell you.” He looked up into the shining eyes. “You’ve told me already. .. - It was an unusual story, built around the characterization of an unusual girl. The girl’s part was a standout. When Cornel finished reading, his eyes were as bright as Pat’s. “This is it.” “Took, do me a favor—don’t let’s talk about it any more now.” He kissed her hair, knowing exactly how she felt. Who should know better? He’d been through it all himself. You can take just so many disappointments. After that, hope’s afraid to lift its head. A few days later, Milton was giving them the deal. He’d taken an option on The ‘Lovers. He’d persuaded Helen Deutsch, top writer of such hits as National Velvet and Loves of Carmen, to read the screen- play and see Pat’s Golden Boy test. As a rule, Helen would have no part of re- writes. But such was her enthusiasm over Pat and Pat’s rightness for the part, that she’d agreed to make an exception here. Milton planned to produce the picture in- dependently. All he needed now was financial backing. With the Deutsch re- write and the Golden Boy footage, he an- ticipated no problems. At this point, Cornel was merely a by- stander—an ardent bystander on Pat’s ac- count, but definitely offstage. His contracts with TC-Fox and Columbia ruled him out of any independent production. In fact, he was beginning to paw the ground about his next and final commitment at Colum- bia. The deadline was July 12th, and they had no picture ready. And then Mr. Pickman clapped hand to brow. “What am I doing?! This thing is called The Lovers!” He phoned Pat. “Honey, I’ve got an idea for the leading man. It’s up to you to okay him.” “Who?” “He’s no Gable, y’understand.” “Never mind the build-down. Who is it?” f green 7 that’s hol Yvonne De Carlo tells about the star- let who met another starlet and said, “Darling, you look wonderful. What happened ?” Description of a producer’s wife, “She’s so fat she out- numbers herself two to one.” ... Speaking about a pet hate, Ella Raines hissed, “If they’d cast her as Lady Godiva, the horse would steal the scene!” ... “I guess it’s true that men find beauty in a girl’s mind, but it isn’t where they start looking,” re- marks Judy Canova .. . “She looked good enough to eat,” says Irving Hoff- man. “And boy, did she!” from “Hollywood Merry-Go-Round” by Andrew Hecht _ New York's Largest Mail Order Jewelers MAIL ORDER DIVISION FINLAY STRAUS, INC. 25 W. 14th St., NEW YORK 11,N. Y. Dept. D2 Established 1878 indicate your selection on the coupor below and forward it with $1 and a brie note giving your ge, occupation, and g _few other facts about. yourself. We w open an account. for you and send you selection to you subject to your examing tion. If completely satisfied, pay the Ex pressman the required Down Payment o the balance in easy monthly payment Otherwise, return your selection and your $1 will be refunded, BULOVA | Excellency’s ) Milf SEND $1 WITH COUPON — PAY BALANCE OF DOWN PAYMENT AFTER EXAMINATION L. W. Sweet, 25 West 14th St. (Dept. D2) New York 11, N. Y. j Enclosed find $1 deposit. Send me No. | Price §$. . After examination, | i agree to pay $________________ and required § balance: monthly thereafter until full price is paid, | otherwise I‘Il return selection and you will refund my dollar. | NAME ADDRESS. f CITY. STATE: a ore Re ee 105

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LINCOLN < SCHOOL of PRACTICAL NURSING Y, CHICAGO 40, sane Use spare time at home preparing for profit able art career. A complete home study course with money back agreement. For details and talent test give age and occupation. “SCHOOL OF BOX 8066 e AMERICAN DIVISION D COMMERCIAL ART DALLAS 5, TEXAS Hair ‘OFF race Lips..-Arms...Legs Now Hopeyt ! Thad ugly superfluous hair...was unloved...discouraged. Tried many things...evenra- zors. Then I developed a simple, inexpensive method that brought satisfactory results. Its regular use helps thousands retain admiration, love, happiness. My FREE book about Superfluous Hair explains method, proves success. Mailed in plain envelope. Also TRIAL OFFER. Write MME. ANNETTE LANZETTE, 106 P.O. Box 4040, Mdse. Mart, Dept. 476, Chicago, Ill. “Some character name of Cornel Wilde.” Dead silence. Then: “You haven’t been out in the sun or something?” “Could be. Could be the whole thing’s a pipedream. ... Are you in this evening? ... OKay, lay a plate for Uncle Milton.” Pat and Cornel listened to the pipe- dream unfold. Columbia had Cornel, but no story. Milton had a story, but no mas- culine lead. Dovetail the two, and what do you get? Knight and Wilde in a Co- lumbia story called The Lovers. True, Pickman’s plan had been to produce inde- pendently. But this he could be talked out of by the right kind of deal from Columbia. “Guarantees,” said Milton, “I can’t give you, but here’s what I’ll do. Harry Cohn’s at the Arizona Biltmore with Sylvan Si- mon. I’ll take the script and Pat’s Golden Boy test and fly there tonight. If it’s no go, I'll be back tomorrow evening. If it looks like they’re buying, T’ll phone you before twelve.” Came the next evening. No Pickman. Came ten and eleven and twelve. No call. Pat lay awake, too tense for sleep. Cornel lay awake to see if Pat were sleeping. In the morning he produced one dozen ex- cellent reasons why the call hadn’t come through, none of which sounded terribly convincing to Pat. Then inspiration hit him. “Maybe the plane crashed!” “False,” said Milton, entering on cue. They leaped at him. “Why didn’t you phone?” “Took till 1:30 to out. Well, kids—we got a deal! Then with Pat’s lipstick all over his face and his shoulder sore from Cornel’s thumping, he gave them the details over bacon and eggs. iron the wrinkles 1? silence is golden . . “We sat round the pool while Harry and Sylvan read the script. Then I showed them Pat’s test and kept my mouth shut. The story, the test, the re-write had to speak for themselves. I could have talked my throat raw without adding a thing. Well, the boys went into a huddle and came out with a wire to New York: WHAT DO YOU THINK OF PAT KNIGHT AND CORNEL WILDE IN PICTURE CALLED THE LOVERS? I sweated it out till the answer came back: RE KNIGHT-WILDE LOVERS GUARANTEE NET OF HALF A MILLION.” An irrepressible squeal broke from Pat: “Then it’s set?” “All but a few details that you don’t have to bother your pretty head over.” “Tet’s celebrate!” said Cornel. Pat laid a hand on his arm. “Not yet. Not till I see it in black and white.” “But, honey, these contracts take days and weeks to draw up!” “Even so, let’s wait.” That’s how it was with Pat through all the preliminaries. Jubilant one minute, seared silly the next. Helen Deutsch was re-writing the script till the last minute. She’d known Cornel at Columbia, she’d never met his wife. In order to study Pat for her characterization, she’?d come up to dinner. “Tell us one scene,” they’d beg. “Just one little scene.” She’d describe some bit of action, and they’d be all over the living room playing it, to the delight of their huge poodles who were firmly convinced that the whole thing was being staged for their benefit and knocked themselves out trying to get into the act. “You know you're crazy, don’t you?” Helen would inquire. “That’s the scene they’ll probably toss out tomorrow.” Not till the contracts were signed, sealed and delivered, did the celebration take place. “What’ll we have?” “Champagne, of course.” “And caviar?” Pat wagged her head “yes.” “And Milton-Pickman-on-toast!” In a way they did have Milton Pickman on toast. He raised his glass, and offered the first one. “To the lovers,” he said, courtly as any cape-slinger. “And to The Lovers.” * Ep ae “You said when you saw it in black and white, you’d believe it!” “But there must be something wrong. No director, no supporting cast, no an- nouncements . . “These things take time. Relax, honey. Kick up your heels and enjoy yourself. Nothing can spoil it now. We’re in!” Variations of this dialogue went on for the next several weeks. Pat couldn’t help herself. The way had been so tough, the goal so long in coming. The dream about to be realized was so dazzling she could ’ hardly look it in the face. “I won’t get the jitters,” said Pat, getting the jitters. Cornel appointed himself: comforter-in-chief. Gay and tender by turns, he knew when she needed his arms around her, when she needed to laugh. He’d take her to dinner and the movies, bring home flowers and perfume and silly little gifts to distract her. One by one, the pre-production prob- lems were solved. They'd been trying to get Douglas Sirk to direct. Sirk had pre- vious commitments, but The Lovers got under his skin, too, and he managed at last to re-juggle his schedule. Columbia decided to test John Baragrey, the bull- fighter in Loves of Carmen, for the other man. Pat was to work with Baragrey in the tests. She was ill with nervousness the night before. “Maybe they won’t like me. Maybe I'll be horrible. Maybe they’ll fire me.” That was another white night for the Wildes. Next morning Cornel kissed her, whispered “Good luck!” and sent her off alone. Sirk met her on the test stage, noted that her lips were dry and her hand cold as he shook it. If Pat could have read his thoughts, she’d have set them to music. It pleased him that her hands were cold and her lips dry. An actress should be like a race-horse, all tension before the starting signal. A cart-horse Mr. Sirk would have had no use for. After a couple of rehearsals she calmed down. Now the feel of her personality began to come through, vibrant, compel- ling. Her terrors vanished. She felt easy MODERN SCREEN "Wasn't it terrible? | could hardly sit through it the second time."

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HAPPEN Last summer my family and I were vacationing in California, and we were in Los An- geles seeing the movie High Bar- baree. Behind us there was a girl who kept saying impolite things about the girl star of the show. Things like, “I know I can do better,’ or “What a drip.” Finally, I became so irritated I couldn't resist turning around and saying, “Well, then, why did you come in the first place?” You can imagine my surprise and embarrass- ment when I discovered that she was no other than June Allyson, the star of the show. Celia Wright Des Moines, Iowa IT 4 at home, right—like any workman doing the job he was meant to do. The following day Cornel went in with her for wardrobe and makeup tests. They were supposed to see the rushes with Sirk and Sylvan Simon, but the fittings took longer than planned, and they came out just in time to run into the whole tribe emerging from the projection room across the way and just about popping with pleasure. Simon threw his arms around Pat. “You were great! Cornel, better make up your mind that you're just going to support her in this one.” Of course the guy could have lain awake all night without fetching up a line more warming to the cockles of Cornel’s heart. For an extra fillip, and in case there hadn’t been commotion enough, Cornel sprained his ankle the day before shoot- ing started! It turned out all right. A few shots were re-arranged, and Cornel was_ seated through most of the early shooting. Ex- cept for the first scene. In the first scene he turned from the files, and there was the girl paroled in his custody, and he was supposed to say something sensible. Only he couldn’t. The impact of Pat sitting there hit him head on. This was the hour, the moment they’d waited for. His eyes melted. “Why, it’s you, darling,” he said... . * * * Now they've been working together, lunching together, spending all their time together as in the early years of their mar- riage. Watching them, you couldn’t help being caught up in the glow of their happiness, and your mind raced back through time to a couple of kids with stars in their eyes. ... “D’you think it'll ever happen?” ~ “We'll make it happen!” And so they did. Not right away. And not all by themselves. Circumstances helped. At first the breaks were all.against them. Then suddenly everything fell into place. Pickman’s purchase of the story, his interest in Pat, Cornel’s being free, the fact that Columbia had nothing else ready for him. It was a matter of timing, so essen- tial in this business. But more essential was the faith and the will and the love of these two.... And the names of two lovers—PATRI- CIA KNIGHT and CORNEL WILDE—will blaze with equal brilliance from the mar- quees, exactly as they once blazed on a castle in Spain. For hair that’s dreamy-soft, like moonlight... shining, like bright star-light . . . use Fitch Creme Shampoo. Made with PURIFIED LANOLIN—to soften, and the FINEST OLIVE OlL—for sparkling highlights. A small dab of Fitch Creme Shampoo whips into heaps of lather that rinses out with a swish of plain water. After shampooing, your hair glistens as though it had been brushed—and brushed—and brushed . .. your hair is wonder- fully-soft, and a joy to arrange. Use Fitch Creme Shampoo regularly — for softer, shinier hair. (©) CREME SHAMPOO 10c and 49c & TUBES 79c JAR No federal cosmetic tax BE WISE — BUY JU. S. SAVINGS BONDS feel as brisk as an Autumn morn’... For that exhilarating tingle, that feeling of well-being, there’s nothing like a daily massage. ilbert Vitalator ‘That magic machine that brings to you—at home—all the eagerly sought benefits of “Swedish” massage. $15.00 At your favorite beauty counter or x better drug and appliance stores. The A.C. Gilbert Co.,New Haven,Conn. 107 -

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a ~ NEW...DIFFERENT BEAUTIFUL ae ONE CARAT MAIL ORDERS Promptly Filled Sent postpaid .. . Send Ring size please Add 20% Fed. Tax—Colo. add 2% sales tax Send Cash or money order—NO C.O.D.'s MONEY BACK GUARANTEE If you are not satisfied, return rinas within 10 days and get your money back. QUINCY MAIL ORDER HOUSE | 201 Quincy Building * Denver 2, Colorado BLOOPFAGE AND THE BABE (Continued from page 32) started, she wasn’t quite so chipper. Judy has no vanity, and to her Astaire was some- thing fabulous. She’d dreamed about a pic- ture with him, but never really believed it. Of course Gene Kelly has no flies on him either, but Judy was used to him, Gene was like family. Astaire was like someone you read about in a book. Besides, she’d heard all these stories about Astaire—what a perfectionist he was. Not that Judy’s ever been afraid of hard work. But it was pretty scary for a girl whose specialty is singing rather than dancing. “!’'m conserving my strength,” she told me one day. “They say with Astaire you rehearse eight hours a day. If you sit down, he hates you. If you collapse, he yanks you up by the hair, drapes you over his arm, and waltzes you around again willie, dead or alive. Oh, Jimmie, I’m petrified!” Well, of course what it all added up to was that no one could have been more considerate than Fred, and the sweeter he was, the more Judy knocked herself out. He’d keep urging her to rest, she’d keep saying she wasn’t tired, till it got to be a regular Alphonse and Gaston act. One day she came out with it. “Where’s this whip you’re supposed to crack?” ° He grinned that cute grin of his. “Honest, Judy, I never cracked it over anyone but myself.” Man, woman or child, I don’t know any- one more stimulating than Judy. Never will I forget our eight days in New York when nobody knew we were there but the family, and they weren't telling. At 4 o'clock we had no idea of going, at 6 we were on our way. That’s how my sister operates when the mood takes her. the lady is bored... She called me that afternoon. “What are you doing?” “Nothing.” : “Well, come on over, I’ve got things to say.” : I found her in shorts and bandanna. “What’s on your mind?” “T'm bored. Vincente’s cutting his pic- ture, and mine doesn’t start for two weeks. What can we do?” “Oh, I don’t know. Let’s run down to Laguna for a couple of days.” On that Vincente walks in. We tell him our problems. He solves them. “Why don’t you go to New York and see the shows?” Judy sits up like she’s shot. “Why don’t you Judy Garland?” she said, suspiciously. “Who, me?” The girl was my sister, but the voice was the voice of Miss Duffy. “Gee, that’s certanny a thrill, my boy friend’s a’ways tellin’ me I oughta be in pitchas, oney he thinks ’m more the Jane Russell type.” That’s the nearest we ever came to being caught. Next: day we were on the train. Judy fixed her hair, made up her face, and bought us each a new outfit in Chicago. The hats looked fine, but the suits needed altering. We arrived in Hollywood, looking real glamorous with our skirts tucked up and our coatsleeves flapping. Judy’s always buying and doing things for the family; she stays close. When we were kids, playing the Orpheum together, she had a funny way of talking about the three of us as if we were one. “Hi, Daddy, bring us some pineapple juice, our throat is thick.” In many ways it’s not so differ- ent now. We always know when Judy’s been shopping for herself, because stuff starts coming for Susie or me or Mom or Judaline, my ten-year-old. Only the other day Judaline nearly went out of her mind over a little sealskin hat and muff that Judy sent from Don Loper’s. My youngster thinks her aunt’s some- thing pretty special which, believe me, has nothing to do with pictures. In Judaline’s heaven there’s only room for two stars, Roy Rogers and Trigger, and the greatest of these is Trigger. This tickles Judy. Not long ago she had Judaline out to lunch at the studio, and introduced her to Arthur Freed. “Like to be in your Aunt Judy’s picture?” Mr. Freed asked. “Any horses?” “No horses.” “Well, thanks just the same, I wouldn’t care for it then.” I think that’s one bond between Judy and Judaline. They don’t impress easy, they’re both direct and honest. Judy can smell a ham a mile away, and calls ’em as she smells ’°em. There’s her portrait, for in- stance, never mind who did it, but comes the grand unveiling, followed by a loud silence. Till Judy’s voice, slow and dreamy, breaks it: “Who killed Cock Robin?” | SAW IT HAPPEN In a recent golf match between ease Pane — Crosby and Hope, Bing was giving Bob a run for his money. In _ this | match all the luck was with Bing. Every shot he’d make would slice or hook into the rough, hit a rock or a tree and come bounding back again into the fairway. Hope stood this for quite a while but it finally got the best of him. Teeing off on the tenth hole, Bing sliced one far out into the rough. It looked like a lost ball. Suddenly, a big pine tree loomed wp and sent the ball at a 40 degree angle right back into the middle of the fairway again. That was the one that got Bob. He turned to Bing and said loudly enough for the spectators to hear, “Man, you must have a rela- tive in every tree.” Keith C. Stacy Spokane, Washington we? The Chief leaves at 6. We can get the reservations in Jimmie’s name. Vin- cente, you’ve got to promise not to tell a soul. For once I’m going to New York - without publicity.” I said: “You’re crazy, we'll never make These “Don’t be silly, of course we'll make it. Pack up your oldest duds, we'll come by for you at 5.” : Mother helped me throw a bunch of . junk into grips. The train was moving when Vincente boosted us on and heaved the suitcases after us. We had eight glor- ious days in New York and saw ten shows, including two matinées. Never once did Judy dress up, never curled her hair, never used a speck of makeup, including lipstick. From the taxi into the theater she’d wear my horn-rimmed reading glasses, which made her practically blind, so I had to lead her. Every so often people would turn and stare, and we’d hold our breath, trying to look extra dumb. Mostly they’d give us that oh-it-can’t-be expression and fade. But the last night one woman came up. “Aren’t — SS aa The Liquid Facial Cleanser — Removes Dirt . . . Leaves No Grease in Pores. © At Department, Drug and Ten Cent Stores |) 108 «: < ey.

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i MS i+ Ite i aR a : a ; Since then, for reasons that have nothing to do with art, we’ve grown quite attached to the picture. Judy refused to have it around, so Mother took it. “After all, it is -an oil painting.” “Tf it?s oil you crave, Mother, I'll go out and buy you a bucket,” “And the frame’s so gorgeous, you can’t just throw it away.’ First we hung it over the mantel. Then the rains came and made a crack in the ‘entry -wall. Mother wouldn’t have it fixed till:the rains were over, so first thing you saw when you opened the door was this crack. _“Judy’s picture would just about cover it,’ said Susie. Next time Judy opened the door, there was the picture. “Personally,” she said, “I prefer the crack.” In the course of time two things happen. The wall gets fixed. Susie and her GI hus- band, who’ve been living with us, move into their own GI home. Susie asks for the picture. “It goes with the colors of my room.” Now Judy tells everyone it’s a portrait of Susie. Calls their attention to the likeness. The expression of the eyes. “Wouldn’t you know them out of a million for Susie’s?” Kids the shirt off this picture—an attitude I find very refreshing. So would you, if you’d seen as many Portraits as I have with a capital P, and how you're supposed to approach them on bended knee and knock the ground with your forehead. she'll take chocolate ... When Judy’s not working, she brings Liza down every Wednesday right after her nap. Otherwise the nurse brings her. Liza’s a very dainty little girl, with her daddy’s huge dark eyes and Judy’s mouth, and his lovely high Italian forehead. Looks like a dream and plays like a roughneck with Judaline. Cutest thing is to watch her pick up her skirts and dance when you start singing Liza. “She’s got Judy’s rhythm. Also Judy’s passion for chocolate. Candy, ice cream or cake, Liza’ll take chocolate or know the reason why. Judaline’s always called my mother Nonna. You’d expect the little one to pick up the name from her, but no, Liza’s an individualist. “Want to go see Nonna?” Judy asked her one day. “Yes, I want a banana.” “Here’s a banana, now shall we go see Nonna?” “Go see Grandma,” said Liza firmly, and that was that. Judy’s awfully good with the baby. Gives her plenty of rope without letting her get out of hand. One evening Liza was at the dinner table with ‘the rest of us. Started kicking the underside of the table, which made her highchair rock back. Quite a thing, she decided. Judy thinks it’s fine for kids to learn their way round in the world, but not at the risk of breaking their necks. “Liza, stop.” Liza gives her the who’d-you-think- you 're-kidding routine, and kicks some more. Judy picks her up, whacks her once on the bottom, and sticks her into Juda- line’s old crib. A few minutes later the door opens, and there she stands with the halo round her head. “Yiza good. Yiza no bop table.” Then she turns on the charm-tap, melting brown eyes and all. “Mommy good. Mommy no bop Yiza.” A very logical child. Tve been to lots of parties at Judy’s house. I’ve had lots of fun. But I never have more fun than when Judy and Vin- cente pop in unexpectedly. Mother fixes a snack and we sit round the fire gab- DIN oven Like one night they’d been to a show _ and came in around 11. Judy wanted pan- WHY DOES HER HUSBAND PREFER TO STAY OUT NIGHT AFTER NIGHT? A. Because this wife has not bothered about their intimate marital happiness. Q. How has she failed 2 A. By not practicing sound feminine hygiene witha scientifically correct preparation for vaginal douching . . .“Lysol’’ in proper solution. Q. Wouldn't soap, soda, or salt do just as well? A. Never! They're makeshifts. They can’t compare with “‘Lysol” in germ killing power. “Lysol” is gentle to sensitive mem- branes, yet powerful against germs and odors .. . effective in the presence of mucus and other organic matter. Kills germs on contact. Q. Do doctors recommend “Lysol” for vaginal douching ? A. Yes, indeed! Many leading doctors advise their patients to douche regularly with “‘Lysol”’ brand disinfectant just to insure daintiness alone. Safe to use as often as you want. No greasy aftereffect. Three times as many women use “Lysol’’ for feminine hygiene as all other. liquid products combined! KEEP DESIRABLE, by douching regularly with “Lysol.” Remember—no other product for feminine hygiene is more reliable than “‘Lysol”. . . no other product is more effective! c---- OO 1 For Feminine Hygiene rely on safe effective | FREE BOOKLET! Learn the truth about intimate v t hygiene and its important role in married happiness. s Mail this coupon fo Lehn & Fink, 192 Bloomfield Avenue, Bloomfield, N. J., for frankly informing FREE booklet. 66 Brand Disinfectant AEG. U5. PAT OFF. NAME. Easy to use... economical STREET. A Concentrated Germicide (is CITY. STATE { D.M. -4810 Product of Lehn & Fink eee |

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Send today for your 20 get-acquainted Enlargement Coupons to hand out FREE and also get our amazing offer of a beautiful simulated Birthstone Ring correct for your month of birth, also qiven when only half of the coupons are used. DEAN STUDIOS, Dept. X-103, 211 W. 7th Street, Des Moines, lowa. cakes. “Will you make some, Mother?” “Sure,” said Mom, then remembered there wasn’t an egg in the house and the stores were closed. So we all pile into the car and drive to Restaurant Row, as they call La Cienega. Mother and I slink round to the back door of one place, and go into a spiel about this sick uncle and you can’t let a man die for want of an egg. The guy didn’t say yes and he didn’t say no. He said: “Boiled or fried?” “Pickled,” I hear this voice behind me mutter. It was Judy. “Just eggs,” said Mother, very loud and clear. “The way they come from the hen.” We got ’em. Half an hour later we were eating pancakes on a cardtable by the fire. What always happens at these sessions, we get started on the old days, which fasci- nate Vincente. In fact, he’s the one who eggs us on (pardon the expression), though it doesn’t take much. I remember one night Judy absently called me H.B. ji “Meaning what?” asks Vincente, we're off.... It was on that long trip to Chicago, which finally landed us at the Oriental and changed us from the Gumms to the Gar- lands. Mother did most of the driving, and we kids whiled away the time playing silly games. “Tm S. N.,” said Susie, bowing her head and folding her hands together. “What do you do?” “Get sung.” That wasn’t so tough. We figured her out pretty quickly as Silent Night. I was H.B. and I whistled at girls. It took them about eight miles to get Hiya, Babe. “My initials,” said Judy, “are E.B.B.” “What do you do?” “Nothing.” “Then how can we guess who you are?” “Tm very famous.” — We tried everything from Elizabeth Bar- rett Browning up and down, while our dear little sister kept looking smug and smug- ger. After forty miles, we got desperate. “Oh all right, who are you?” “Eric Budge Bullick.” “Who in the name of common sense is and Eric Budge Bullick, i we “T made him up.” “You said he was famous.” “He is. I made him up famous.” Those names stuck for years. We still have pictures inscribed by the Duncan Sis- ters to Silent Night, Hiya Babe and Eric Budge Bullick. “They should’ve brained you,” says Vin- cente. ; “They did worse than that. Stuffed themselves full of cotton candy right under my nose and wouldn’t give me a shred.” We adored that junk. Gorged ourselves every chance we got, till Mother’d call a halt. We never seemed to get enough. Which reminds me of Liza’s last birth- day party. Liza was bouncing back and forth like a hostess, informing the world it was “Yiza’s party.” She took Judaline under her wing, and Judy steered me past the big table with balloons tied to each chair, and round a bend. There stood a cotton-candy machine, and a man to work may ask?” “So the kids can have all they want,” said Judy. “What kids?” She grinned. Budge Bullick.” To anyone else it would have been double-talk. To us it was a window that opened on memories we shared and the childhood that glows with magic from a distance. We looked through the window “You and S.N. and Mr. together for a minute, then linked arms and went back to the party without saying a word. There wasn’t any need for words. Maybe that’s what I like best of all about my sister. Just that she’s my sister. * oo Oo Editor’s Note: Judy Garland was all set to begin work a few weeks ago on another co- starrer with Fred Astaire—M-G-M’s The Barkleys of Broadway. However, Judy’s doctor decided she'd better have a three- months’ rest before starting Annie Get Your Gun early in the fall. Her role in The Barkleys was then taken over by Ginger Rogers. ; FIGHTING LADY (Continued from page 60) a quip, to say: “If my ‘ex’ ever sent me flowers and a good-luck note, I’d doubt- less be billed for it at the end of the month.” Everyone laughed. Tension, it ap- peared, had eased off. At the end of the day, Charley Martin grinned happily. He was already two days ahead of schedule, having accomplished three days’ shooting in one day—truly a feat. The next few days, everything was peaceful. But the false honeymoon was short-lived. Harmony suddenly changed to raucous discord. It happened just before lunch on the fifth day of shooting. Up in Producer Popkin’s office, Laraine’s agent, Marty Martin—who also serves as her business adviser and personal representative—re- quested that Miss Day receive two port- able typewriters for posing in publicity stills with the machines. This was granted. Then Martin discovered that the typewriters used in the stills were new electric models—and insisted that Miss Day receive two electrics instead. As it happened, the electrics were not yet in production; one was used in My Dear Secretary, but it was a heavily-guarded pilot model and very top-secret. Popkin was in no position to accede to that request. He pointed out that Miss Day’s contract required her to make pub= io Tg licity stills with the typewriters that were available. Martin insisted. Thereupon Popkin or- dered the agent off the set. Martin stomped out of the office, walked — onto the sound stage and whispered some- thing to Laraine, who was just about to begin a- scene. Without a word, she walked abruptly out of the scene, went to her dressing room, put on her hat and coat, and strode off the lot with Martin. Cast, crew and director were bewil- dered. They chased Laraine. “You can’t do this!” they yelled. “You can’t leave without an explanation!” Laraine paused a moment. “Mr. Pop- kin ordered my agent off the lot,” she said icily. “I’m going with him.” Then, as she strode through the studio gates, she called over her shoulder: “And further- more, I’m taking the first plane I can get to New York!” You can imagine the excitement that caused. But reason prevailed. In a few hours, Laraine’s attorney and the Screen Actors Guild convinced her she’d better return. So, along with Agent Martin, return she did—but madder than a wet hen. The following day, newspaper headlines sereamed versions of the story from coast to coast. During the next few days, conflicting 4

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| of flying East to comfort her beleaguered 1) husband, whose team was wallowing in statements were issued by both sides. - Rumors flew. One had it that Laraine had walked out with the avowed intention the National League cellar. Another re- }| port had it that Laraine had been prom- ' ised three days off the picture for a brief trip to New York and that when she hadn’t got them, she’d walked. In the weeks that followed it was small wonder that Laraine wasn’t talking for |} either the studio publicity department or the press. Laraine was unhappy. She saw herself as the center of what she re- garded as a merciless plot to blast her out of pictures. Well, Laraine herself was- largely re- sponsible for what happened to her after the walkout. She heatedly told news photographer Ray Scott, who visited the set one day, “I think all newspapermen should be shot.” Naturally, that sort of talk can lead only to trouble. And that’s exactly where it did lead—to plenty of trouble with the press. Suddenly, as if a magnet were attract- ing them, reporters were swarming over the set. Few were permitted to talk to Laraine personally; she had strategically withdrawn into her shell. But they were busily digging up stories about her. And the temperamental star was giving them plenty of material. Laraine has been quoted as saying that she was so cooperative that she worked until eight and eight-thirty p.m. on many occasions, in order to help Producer Pop- kin and Director Martin. This, she has said, resulted in the picture’s being com- pleted three days ahead of schedule. Let’s look at the record, the actual pro- duction reports—certified copies of which are in the files of the Screen Actors Guild. The truth is, Miss Day put in exactly 30 working days. Only once did she work as late as seven o'clock. Of these 30 working days, Laraine worked fewer than eight hours on 14 days . .. some days as little as one or two hours, after which she was through for the day. For those 30 days, she re- ceived $100,000. Not bad. Producer Popkin acceded to a very out-of-the-ordinary request by placing a Cadillac and chauffeur at Laraine’s dis- posal. The car called for her each morning and brought her home each night. But one day, when her scenes were fin- ished quickly arid she was through for the day at two-thirty, her car was missing. The star stalked up to Production Man- 1 SAW IT HAPPEN amie. «€«=S-—sSs|._:«Swas: seeing the show A Streetcar Named Desire and Gregory Peck and his wife were sit- ting very near me. After the show, when we came out of the theater, the streets were full of melted snow, hail and mud. The mud was so deep you couldn’t cross the street and there were no taxis available. Mrs. Peck was wearing evening sandals. Sud- denly, Mr. Peck and the red-haired man they were with, stooped and lifted Mrs. Peck under the elbows. All the ladies who were watching, cheered, turned to their escorts and asked to be carried across in the same fashion! Nina Fassler Long Island, New York Running HOT WATER ing DLEG: Wo any COUD WATER FAUCET? een sie Ne : | —— -——— =————S For every For quick kitchen need shaving beauty aid Seems too good to be true until you see hot water running continuously from any cold water sink faucet! With the revolutionary new KEM INSTANT HOT WATER HEATER you get hot water—from luke- warm to real hot right when you want it! No Boiler or Tank Needed w . [ TO! S No waiting or fussing with fires. Just Turn Faucet To Regulate Temperature A slight turn of your sink faucet gives you water of any desired temperature from lukewarm to real hot. Easily and Quickly Attached Takes only a few seconds to attach or remove KEM INSTANT HOT WATER HEATER. No special skill or knowledge required. Easier to operate than the average electric iron! Fits Any Standard Faucet KEM INSTANT HOT WATER HEATER fills a long and urgent need in basement, garage, cottage, tourist camp, office and factory—and when home hot water supply fails in kitchen or bathroom sink. Fully Guaranteed Heater is skillfully made and guaranteed against any and all defects in material and workmanship. With or- dinary care, it gives many years of satisfactory service. SOLD ON MONEY BACK GUARANTEE if Kem Heater Fails to Give Instant Hot Water! Don't be inconvenienced another day by lack of hot water in home, cottage, office of factory. ORDER YOUR KEM HEATER TODAY! SEND NO MONEY. Just pay the post- man $3.98 plus postage when your heater is delivered, or send $3.98 and we will pay postage. KEM COMPANY Dept. 245 18 E. 41st St., New York 17, N. Y. Just Out— Tne New FALL Issue OF RADIO ALBUM EXCLUSIVE PICTURE STORIES OF STARS OVER 100 TOP RADIO AND THEIR PROGRAMS Plus * COMPLETE TELEVISION PHOTO SECTION * OVER 40 STARS OF DAYTIME SERIALS Don’t miss this great issue—now on sale everywhere 111

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Have yo AGGLCSS.. 0500. nnsecrcncscustensenagensvsesensnhesostsoscecgetetadeduarogs=nsetensseseus ager Joseph Nadel and demanded to know why her chauffeur and car were not standing by. “We didn’t know your scenes would be finished so early,” Nadel told her. “We sent your car over to the doctor’s office to pick up Mr. Popkin’s mother.” That was the signal for Laraine to de- mand that the chauffeur be fired—in- stantly—for leaving the lot without her permission. On another occasion, Laraine’s scenes were concluded at eleven-thirty one morning—half an hour before the usual break for lunch. She called her stand-in to come along to lunch with her, but the assistant director in charge of set produc- tion had other ideas. “The crew of the picture,” he told her politely, “has not yet been dismissed.” “But that does not apply to my stand- in,” Laraine replied acidly. “Oh, yes, your stand-in, too,’ she was told plainly. “We need her to light your next shots, which take place directly after lunch.” “When I go to lunch my stand-in goes with me, and she’ll come back when I return,’ Laraine snapped. And she pro- ceeded to take the girl with her. Result: the crew was told to lunch until Miss Day decided to return. That incident cost the company $3,000 in overtime. But that’s not all. From that moment on, the assistant director assumed the shape of an ogre in Laraine’s eyes. Next day she demanded he be fired. Popkin laughed. And every day for the next ten days she refused to cooperate with him, and each day repeated her demand that he be replaced. Finally, Laraine flatly refused to do a scene if said assistant were at any time in her line of vision. (As this is written he is preparing to file a suit charging Laraine with defamation of character, personal threats, etc.) diamonds in the kitchen .. . One day, as Laraine was about to do a scene with Keenan Wynn calling for their “cutting up” in the kitchen, she spotted a jewelry salesman on the set displaying a very large pair of ornate earrings. She called the studio wardrobe woman over and told her she wanted to wear the ear- rings in the scene. The woman protested that they would look ridiculous with the outfit Laraine was wearing. Laraine walked off the set and up to Producer Popkin’s office. A few minutes later she had the earrings and was per- mitted to wear them in the scene—in spite of an expert’s better judgment. At still another time Director Martin had a particularly difficult scene to shoot with Laraine and Rudy Vallée. It was a long scene—involving three pages of dialogue. Martin put it through rehearsal after rehearsal. After shooting it once or twice, he still was not satisfied and called for further rehearsal. Finally, after two and a half hours of careful direction, he decided that the scene was ready for the camera. But by now five-fifty-five P.M. had rolled around, and Laraine’s quitting time was six o'clock. She looked at her watch and walked off the set leaving Rudy, the director and the crew looking after her in amazement. Next day, the entire morning was required to shoot the scene—which could have been done, in all probability, in a single take the evening before. Miss Day’s demand to have the set closed at all times was denied by the studio. So, on a number of occasions just before a scene was to be shot, she would motion the visitors off and have the set cleared before she would work. Yet, she frequently brought her own friends and their children to visit her on the set. 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SS Noe Once Director Martin was heard to say: don’t know what to do with her—I an’t argue with her because I have to ork with her. Somebody will have to talk turkey to her.” This resulted from frequent arguments about how certain ‘scenes should be played—and also caused much rewriting on the set. The studio felt that since Laraine had approved the script in the beginning, she should have stuck by it, rather than demand the many changes after shooting was well under way. Yet, despite all this temperament, a few days after the picture was completed Director Martin thought it politic to buy a full-page ad in the Hollywood trade papers thanking Laraine Day for her “wonderful cooperation” during the pro- duction of the picture. Producer Popkin sums up the warfare by saying: “I don’t think Laraine was at fault as much as the people who advised her.’ And the producer blamed a lot of the trouble on the failing Brooklyn Dodgers—who, of course, were being man- aged at that time by Laraine’s hubby, Leo Durocher, and were, to loyal La- raine’s dismay, floundering at the bottom of the league. for better, for worse... The complications that beset Miss Day and agent Marty Martin were largely avoidable. Her mistake was in signing for a picture under conditions that were not wholly to her satisfaction. Once she was in for it, she should have made the best of it. In any event, the picture was completed —and three days ahead of schedule. But as I write this, another explosion has just reverberated: Director Martin is suing Producer Popkin for $7,500. Martin claims that Popkin failed to pay him a promised $2,500 for each of those three days that were saved. Right or wrong, or in the middle, Pro- ducer Popkin now finds himself owner of one of the greatest comedy pictures ever turned out. This is not hearsay; I’ve seen My Dear Secretary, and I know what ’m talking—and still laughing—about. And Laraine Day? In my opinion she will emerge, on the basis of this per- formance, as one of the all-time great comediennes. As an indication of that, her severest critic, Mr. Popkin, told me: “Td still like to sign that girl for another picture—whether she likes Harry Popkin or not!” MODERN SCREEN “Now walk backwards slowly and keep a oe steady nerve!" ¢ “But make sure your own knowledge is just as scien- tific, up-to-date as it’ can be! In these modern times no girl or woman should have to be told how important vaginal douching often is. But this, she should learn and learn immediately. No other type liquid antiseptic-germi- cide tested for this use is SO POWERFUL yet SO SAFE to tissues as modern ZONITE. Scientists have proved this beyond doubt. Warns against weak or dangerous products It is indeed an unfortunate woman who, from ignorant advice of friends, still uses such ‘kitchen makeshifts’ as vine- gar, salt or soda in the douche. These are NOT germicides in the douche. They never can give the great germicidal and deodorizing action of zoniTE. If only you’d realize now how important it is to use a germicide intended for vaginal douching—one powerfully germicidal that deodorizes yet one SAFE to tissues. So benefit by ZONITE now! Li onile feminine hygiene 7 ~ Davi hide from your daughter Yehe Shamita ysieal ea! ZONITE positively contains no phenol, no mercury—no harsh acids—over- strong solutions of which may damage tissues and in time even impair func- tional activity of the mucous glands. ZONITE is a modern miracle! You can use it as directed as often as needed with- out the slightest risk of injury. It’s posi- tively non-poisonous, non-irritating. Developed by a world-famous Surgeon and Scientist ZONITE destroys and removes odor- causing waste substances. Leaves you feeling so sweet and clean. Helps guard against infection. ZONITE immediately kills every germ it touches. You know it’s not always possible to contact all the germs in the tract. But you can be sure amazing ZONITE does kill every reachable germ and keeps them from multiplying. Any drugstore. FREE! NEW! For amazing enlightening NEw Booklet containing frank discussion of intimate physical facts, recently published — mail this coupon to Zonite Products, Dept. MR-108, 370 Lexington Ave., New York 17, N. Y. Name. Address. City State.

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Just write— Write For FREE “POLICY: SELECTOR” 624 Service Life Bldg INTIMATE VIEW (Continued from page 63) Phy Oe Eh ERM gE A digg ye Tenis Se rea ity above—have sometimes been distorted into lurid sensations, he yearns for pub- licity about his private life the way he yearns for measles. He has consistently refused to open his home life to the public. Yet, around the studio, the appearance of members of his family, unannounced, is a familiar thing. Recently, in the mid- dle of the afternoon, Nora rushed onto the set where Flynn was working. She Was wearing a stunning evening gown. “Good heavens!” said Flynn. “Is it din- nertime already? Where has the day gone?” “Of course it isn’t dinnertime, darling!” said Nora. “My new gown was just de- livered—and I couldn’t wait to model it for you.” Sometimes, incidentally, members of the family can be disturbing to an actor’s equilibrium. Consider the visit of three- year-old Dierdre Flynn to one of the Silver River sets. Flynn, for once, was at-- tired in modern clothes. And right elegant ones, too: dove-gray suit, flowing cravat, gray hat. Daughter Dierdre, who seldom has seen him in anything but a tattered sweater and blue jeans, couldn’t contain herself. “Look!” she shouted. “Isn’t Daddy pretty!” But Flynn was scarcely in modern clothes when I stood behind the Techni- color camera crane not long ago and watched them shoot a scene of Don Juan. Flynn, who was Don Juan, was seated in a large chair in a baronial hall, looking grim but relaxed. A rapier blade swung through the air, and—varrup!—there was a neat gash in Flynn’s costume, just below the neckline. “Next time,” snarled a nasty voic@ whose owner was just out of my eye-range, “I may cut deeper.” Flynn lifted himself from the chair slowly, his calm expression unchanged. “Next time,” he said to the off-picture threat, “V’ll wear more clothes.” Quite a scene, that. It will be a gaspy moment when it reaches the screen. I hung around and watched it being done over and over again as Flynn exposed his jugular vein and the expert on the other end of the rapier lashed out until the sound had just the right vicious quality. skin they'd love to touch... Afterwards, in his dressing room, as the actor quizzically examined his slashed cos- tume in the mirror, I said, “That was a nice bit of acting.” I referred to the casual manner in which he had delivered his_ lines while the rapier whistled by his Adam’s apple. “Tve been conditioned,” said Flynn with a thin smile. “Lots of people have taken swipes at my throat in my time—and they weren't just trying to come close.” Yes, there are a number of self- appointed authorities around who have peddled some remarkable fantasy about the actor. For instance, I was told con- fidentially awhile back that Flynn was “out” at Warner Brothers and that the news would soon be released. While this fascinating fiction was circulating, Errol was in the midst of negotiations for a new contract for fifteen years straight! (“Think of it,” he told a friend, “fifteen years! Why, I’ve been around here almost thirteen already. Ii I finish out my new deal, they'll be wheeling me on and off the set in a chair!”) Flynn has learned to his sorrow that insatiable Hollywood gossip can make a man exquisitely uncomfortable. A few ~ months ago at a party, some hostess with a violent sense of humor seated Flynn be- tween his fiery former wife, Lili Damita, and Nora. If the purveyors of Hollywood gossip had got hold of that item, they’d have had a field day with it. Despite any printed reports to the con- trary, Errol has never been suspended by | his studio, which is something rare among top-flight actors. That is not to say that he hasn’t had some bang-up arguments, but these have always been with the bosses—whereas the practice of some prominent figures is to stage quarrels with minor studio employees to establish their importance, while at the same time they’re practically shining the shoes of the men in the front office. — An example of Flynn’s attitude is seen in an incident which occurred some time ago and involved a director who believed that the only way to get a performance is to dish out abuse to actors—with spe- cial emphasis on the extras who can’t answer back. flynn to the rescue... Quietly, Flynn had gone to the great man on several occasions, and told him to lay off. The director managed to curb his temper for a brief period and then began to get rough again. One day, without warning, Flynn stopped in the middle of a rehearsal, declaring, “Tm walking off this set and I’m not com- ing back.” : A short time later the director, con- siderably subdued, sought him out and told him, “I’m cured. No more outbursts. It will never, believe me, happen again.” “I believe you,” Flynn said. The twa shook hands. The director has never broken his word, even when Flynn was not in his pictures. And some years back, there was a nice little guy who worked on a number of Flynn pictures. But the little guy had a_ | problem. He couldn’t leave the bottle alone. =‘ It happened one day that he was ta appear in an important scene right after lunch. The time arrived—but not the little guy. After waiting a few minutes, the director sent out an alarm. In a little while, the offending actor showed up—arm in arm with Flynn. He appeared to be steadying Flynn, who reeked of Old Mountain Dew. So Flynn got blamed by the director and crew for going on a lunchtime spree,. and the little guy emerged from the in- cident with a saver-of-souls reputation. What actually happened was this: Flynn had spotted the inebriated character in an off-the-lot restaurant. He’d sobered him up—and then had gargled a straight slug, spilled some liquor on his own clothes and made himself appear the culprit! Later, he took his young friend aside and said: “My lad, I hope you observed that a so-called big-shot star can get away with -something foolish once in a while. But let me assure you that if I have to do anything like this again, you ‘shall suffer a terrible and unspeakable doom.” The lad has been a teetotaler ever since. i Flynn is always on the side of the underdog. He has consistently fought the forces of oppression, wherever they occur. A sentence in a letter he wrote not long ago, in answer to a critical story about him in a foreign newspaper, sums up well his political philosophy: “You can keep a man ‘hungry,’ Flynn wrote, “you can 3 ee ue eee

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a + Ra eae bl a him like the devil—you can even ‘push him around, but you cannot keep him without some hope of the future.” _Flynn’s a curious mixture of earnest- ness and high playfulness. To illustrate, there’s a hitherto-unpublished story of his ' clash with Bette Davis several years ago. If the matter had gotten out at the time, - it’s a cinch the story-factories would soon have built it up into a full-scale saga. _ Here’s what really happened: _ Miss Davis did not care much for Mr. Flynn, because he never seemed to look '|| her in the eyes during close-ups, and she is the type who notices that people are either direct or not direct. ~ ‘|| What she didn’t know was that Flynn, || being so much taller than she, had to look _ down at her—and when he did, his eye- lids lowered so that if he looked her squarely in the peepers the camera re- - corded him with his eyes shut. Accord- ingly, the cameraman had instructed him | to avoid this doped effect by gazing no - lower than Bette’s hairline. | Try having someone around who just - looks at your hairline. Drives you a little - nutty. It did Bette. As a result, Errol got his, but good, _ during a big scene for Elizabeth and Essex. _ Flynn marched across a long hall. He ' stopped before Bette. “And where,” said _ she, “have you been, My Lord Essex?” “T have been in Ireland, Your Majesty,” Flynn replied. __ Whereupon Bette lifted one delicate hand, on which there was a ring as big as a roll of wrapped pennies, and smacked Flynn on the jaw—an unpulled punch. Flynn, completely unprepared, saw sev- ; eral minor constellations. “I excused my- | self and went to the dressing room,” he | told me. “I looked at my two heads in the mirror. Something, I said to myself, had to be done. Perhaps I should com- plain to the director. I discarded that— not manly. I pulled myself together, went over and knocked on the dressing-room door marked MISs DAVIS. living the part... “A voice called, ‘Come in!’ I entered and found myself looking at Bette in the mirror. She said, ‘I know what you’re going to say, and I’m sorry, but I simply eannot do the scene unless I do it as it should be done, even in rehearsal.’ “My mouth opened and I heard myself say, ‘I see.’ I left her dressing-room”’ Later, when the cameras rolled, Flynn marched across the long hall and stopped before the Queen again. She said, “And where have you been, My Lord Essex?” There was a long wait, “I don’t re- member,” Flynn finally said. “Cut!” Flynn went back to try it over. He was seething. It didn’t matter that Miss Davis was the queen of the lot—when she cracked his jaw with that ring, he was going to let her have it. He made the long march again. “And where have you been, My Lord Essex?” His eyes blazed. “I have been in Ire- dand, Your Majesty!” He doubled his fist as Bette swung. Then it came—her blow grazed his chin like a feather duster. “Great, wonderful!” beamed the director. He didn’t know how great or wonderful it might have been to have had the lot’s top feminine star in the hospital. But Miss Davis knew how close it had been. She and Mr. Flynn understood each other. And Bette, who is not unreasonable, also appreciated the humor of the thing. i To appreciate the complicated Mr. Flynn one should, obviously, approach the sub- ject with a bit of understanding—and with a good supply of salt to take along | with the highly-colored tattle about him. eri She a: ‘ s i ~ Delightful New Dell Romances by Famous Authors oA 5 Cc each Great Nowel of Youth and Love in the Big City A Life stretches out excitingly for pretty and am- bitious young Lynn Harding. She doesn’t have time for marriage—yet. Lynn’s godmother finds her a good position in New York and tries to keep her out of the way of eligible young men. But Lynn meets Tom Shepard, an ex-football player, and wealthy, exciting David Dwight, and her life becomes a tumult of confusion and_ heart- ache. How it all works out makes this one of Faith Baldwin’s most heart-warming, understand- ing and engaging romances of the problems of two young people in love. No. 236 Raised in seclusion by a miserly father, lovely Clem- entine yearns for adventure, wealth, and a nice dash of wickedness. Then she meets Ferdy, who meets all re- quirements, and Chris, who doesn’t. When Chris runs for office against her father, she becomes unwittingly in- volved in situations that make another of Maysie Greig’s amusing and absorbing romances, packed with chuckles and thrills. Candidate for Love ty maysieGreig THE UPSTART — by Edison Marshall 239 A superb drama of love and daring, set in gay No. 234 18th century England—the story of Dick Fin- : ; gers, who longs to be a gentleman, and of sweet Penny with the pagan heart. 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High school education is very important for advancement in business and industry and socially. Don’t be handicapped all your life. Be a High School graduate. Start your training now. Bulletin on request. No obligation. American School, Dept. H714, Drexel at 58th, Chicago 37 Sorry, Wrong Number: Terrified Barbara Stanwyck cuts in on call plotting her murder. (Continued from page 24) she begins making frenzied calls—to her father in Chicago, to her husband's secretary, at length to a hospital where she begs in vain for a nurse to come and stay with her. Relieving the terrific excitement of the phone call sequences are flashbacks explaining Leona’s past as the pampered, neurotic daughter of a drug tycoon, her strange, un- happy marriage to Henry Stevenson (Burt Lancaster) and the innumerable complica- tions which lead to this fateful night. This is high-pitched drama, with Barbara Stanwyck doing some of the finest acting of her life. Burt Lancaster isn’t in top form in the husband role. However, he is a dream to look at. Ann Richards is splendid as Sally Hunt. And Harold Vermilyea is outstanding as the little old chemist who very nearly breaks your heart. For a suspenseful and memorable evening, don't miss Sorry, Wrong Number.—Para. THE WALLS OF JERICHO Based on Paul Wellman’s well-known novel, this is the engrossing story of life in Jericho, Kansas, in the year 1908. Dave Connors (Cornel Wilde) is an upstand- ing young county attorney married to Belle, a sharp-tongued alcoholic (Ann Dvorak). His best friend is Tucker Wedge (Kirk Douglas), publisher of the Jericho newspaper, The Clar- ion, and recently married to Algeria (Linda Darnell), a beautiful and extremely ambitious gal. When Algeria learns that Dave—who is slated for the political big-time—is unhappily married, she makes several unsubtle passes at him, but is consistently rebuffed. Furious, she makes up her mind to get her own husband into politics, induces Tucker to malign Dave in his newspaper. When The Clarion eventually headlines that local boy makes good, Tucker Wedge is that boy, not Dave. Dave’s home-life becomes more and more unbearable, and when he falls in love with a pretty lady lawyer named Julia Norman (Ann Baxter), no one could possibly blame him. No one, that is, but Algeria who turns their wholly respectable relationship into a statewide scandal. There is plenty of drama both in and out of the courtroom before the picture arrives at its happy ending. Here is really top-flight acting, Cornel Wilde is at his best. Linda Darnell is outstanding as | the gorgeous shrew. Ann Baxter plays her part | with her special brand of humor and gentle- ness, and Ann Dvorak is superbly slatternly. The picture’s big fault is its talkiness. All too often one grows impatient with the incessant palaver, one wants to get on with it. Granted that Ann Baxter's excellent seven-minute court- room speech is a remarkable feat of memory, it is nonetheless just too darned long. : Despite its chattiness, this is a better-than- average love story and some fine acting more than compensates for its weaknesses. Go see. —20th-Fox. JOHNNY BELINDA Here is that rare film: one which—highly- touted for ages before its release—doesn’t let you down. A gripping story, distinguished act- ing and fine photography make Johnny Belinda one of this year’s movie treats. It is—of course a great personal triumph for Jane Wyman. Cast as a deaf-mute, she is superb in the most demanding of roles. Lew Ayres is fine as the wise and gentle young doctor who takes an interest in her, and Charles Bickford and Agnes Moorehead head an exceptionally able sup- porting cast. The story is this: Black MacDonald (Charles Bickford) owns a flour mill which he runs with the help of his sister Aggie (Agnes Moore- head) and his deaf and dumb daughter Be- linda (Jane Wyman). Belinda, whose mother

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Low cost, easy terms. | LOUIE MILLER SCHOOL OF MILLINERY | 225 North Wabash Avenue, Dept. 1810, Chicago 1, III. i | Please send me your FREE catalog describing your training course in professional millinery. Johnny Belinda: Doctor Lew Ayres doggedly teaches Jane Wyman the sign language. died in childbirth, is known as The Dummy and is an object of ridicule in the little Nova Scotia community where she lives—until Dr. Robert Richardson (Lew Ayres) comes to town. He doggedly teaches her the sign language, ignoring the scornful looks of his flirtatious housekeeper, Stella (Jan Sterling), bucking constant discouragement from Belinda’s father. Dr. Richardson, realizing his own limitations, persuades Black to let him take Belinda to Magill University where specialists study her case. After days of examinations, the young Doctor learns that Belinda will never be able to hear or speak. He learns too that she is going to have a baby, the father of which is unknown to anyone but Belinda. All the scandalized townspeople erroneously assume that the doc- tor is the baby’s father and his slim practice disappears entirely. Stella, still half in love with Dr. Richardson, marries Locky McCormick (Stephen McNally ) not knowing that he is the father of the child, and when she discovers it—well, that day is a momentous one for all concerned. Cheers for Jane Wyman’s sensitive portrait of Belinda and for a picture that packs a hard right to the heart.—Warners. | SAW IT HAPPEN My mother, sister and I were on vacation in Lake Arrowhead. Moth- er thought she'd give us a treat and take us on a tour- ing boat around the lake. I was enjoying myself immensely, but my sister was bored stiff. All of a Sudden my sister jumped up and let go with such a yell that I thought she’d fallen out of the boat. I turned around to see what she was so excited about. Then I knew. Van Johnson was racing through the water on skis and waving gaily to us as he passed! \ Agnes L. Golden San Diego, Calif. 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also showing... WEBE A DATE WITH JUDY (M-G-M)—Very pleasant comedy about attractive young people and their problem parents. Elizabeth Taylor, Jane Powell, Robert Stack, Carmen Miranda, Selena Royle,- Wallace Beery and Xavier Cugat and band are all vastly helpful. BEYOND GLORY (Para.)—West Pointer Alan Ladd is accused of having caused Tom Neal’s death in the war, before he became a cadet. (This thing is told mostly in flashbacks.) Alan loves WNeal’s widow, Donna Reed. Things look bad—and so does the picture, which is sternly silly. DEEP WATERS (20th-Fox)—Jean Peters, who hates the sea, loves Dana Andrews, a Maine fisherman. Complications! But they solve *em. While not too believable, this still man- ages to be fresh and entertaining. With Dean Stockwell, Anne Revere, Cesar Romero. DREAM GIRL (Para.)'—A one-woman show with Betty Hutton as the girl who takes refuge from a hum-drum existence in a lurid dream world. Macdonald Carey is -the lit- erary critic who turns out to be better for what ails Betty than a corps of psychiatrists. I¢s lots of fun. EASTER PARADE (M-G-M)—Fred Astaire, Judy Garland, Peter Lawford, Ann Miller, Irving Berlin’s tunes, lovely girls and witty lines make this a practically perfect musical. The story’s amusing, too, the dancing superb and Charles Walters’ direction is bright. Dorothy Kilgallen chose this as her Selection of the Month for August. ESCAPE (20th-Fox)—Based on John Galswor- thy’s play. Rex Harrison is unjustly im- prisoned for the accidental death of a plainclothesman. In jail, his resentment mounts and forces him to escape. He’s aided along the way by Peggy Cummins. The cli- max is tragic, but, dramatically satisfying. GIVE MY REGARDS TO BROADWAY (20th-Fox) —A folksy little tale that will tug at the heart-strings of old-timers and delight the bobby-sox admirers of Dan Dailey, as well. Barbara Lawrence, Nancy Guild, Charles Winninger, Fay Bainter and a host of old songs keep you smiling through your tears. HATTER'S CASTLE (Para.)—Very sordid and depressing drama of one man’s (Robert Newton’s) ruthless ambition to be a Some- body in his town. The entire family is sacrificed to his insane drive. Deborah Kerr is the daughter driven to ruin because of ’ a B y | Lauren Bacall, Edward G. Robinson, Key Largo. fear and James Mason is the sensible doctor who loves her. HOMECOMING (M-G-M) —Clark Gable is rough and tender in this story of war-interrupted marriage. Lana Turner, as a nurse, is a bigger interruption than the war. Anne Bax- ter is Gable’s wife and John Hodiak, his old school chum. It’s an old story, but you'll shed tears just the same. KEY LARGO (Warners)—Humphrey Bogart and Edward G. Robinson act out a war of nerves and gun-play in this old-fashioned gangster thriller brought up-to-date with modern social overtones. Plenty of excitement and good performances by Lauren Bacall, Lionel Barrymore and Claire Trevor. LULU BELLE (Col.)—Dorothy Lamour is a se- ductive songbird of the gaslight era. Crazed with desire, George Montgomery, Greg Mc- Clure, Albert Dekker and Otto Kruger get in a peck of trouble over her. Gad, what drama. Stay home. MELODY TIME (RKO)—Seven fine Disney shorts put together like a vaudeville show. Swell music supplied off-screen by Dennis Day, Frances Langford, Freddie Martin, Ethel Smith, and the Andrews Sisters. Roy Rogers’ voice is also present. A delight for everybody. MICKEY (Eagle-Lion) —A warm, homespun tale of a pretty little tomboy: who grows up despite herself. Debuting in the title role, 16-year-old Lois Butler is generally enchant- ing—and sings well. With John Sutton, Bill Goodwin, Irene Hervey, Skippy Homeier, and Leon Taylor. Good fun. ; ROPE (Warners) —A Hitchcock masterpiece of horror, in Technicolor. Two rich young psychopaths coldly commit murder to prove superiority. James Stewart is professor who suspects then solves the crime. Terrific suspense, new technique, superb acting. Not for the kiddies. SO EVIL MY LOVE (Para.)—The moral disin- tegration of a beautiful and highly-respected woman who falls under the spell of an almost wholly evil man. Ann Todds deft acting makes the corruption of the woman (from blackmail to murder!) a hideous thing to watch and Ray Milland is fiendishly attrac- tive. SO THIS IS NEW YORK (U. A.)—Henry Mor- gan makes his film debut in a hilarious movie about an unromantic husband who takes his wife (Virginia Grey) and her sister (Donna Drake) to New York for one big splash. The girls have inherited $30,000 and it’s Henry’s job to see they save a little of it to take them back home to South Bend, Ind. Hugh Herbert, Rudy Vallee and Bill Good- win make his task a tough one. STATE OF THE UNION (M-G-M)—Spencer Tracy and Katharine Hepburn enjoy themselves in a merry satire on the Ship of State that takes a few telling swipes at politics and politi- cians. Van Johnson’s giving the performance of his career as Tracy’s leg-man and Angela Lansbury is a powerful newspaper syndicate boss who'd like to manage Tracy's presi- dential campaign—and Tracy, as well. TAP ROOTS (Univ.-Int.)—Despite some excit- ing hand-to-hand fights and lovely Techni- color landscapes, this story of Mississippi at the outbreak of the Civil War misses fire. In there pitching but miscast are Susan Hay- ward, Van Heflin and Boris Karloff. (The latter, with his heavy English accent, plays a pesky redskin!) THE DUDE GOES WEST (Monogram)—An ane- mic Western, strictly for the less discrimi- nating of horse-opera fiends. Gale Storm, Eddie Albert, Jimmy Gleason, Binnie Barnes, and Gilbert Roland are mixed up in this. They should shoot their agents. THE STREET WITH NO NAME (20th-Fox) —4 cops-and-robbers thriller, documentary-style, taken from those fascinating FBI files. Rich- ard Widmark scores as a murderous gang- leader as do Mark Stevens and Lloyd Nolan as G-Men. First-rate of its type. THE TIME OF YOUR LIFE (U.A.)—A brilliantly- acted version of William Saroyan’s fascinat- ing play. It all takes place in William Ben- dix’ San Francisco waterfront saloon and among the intriguing characters who wander in and out are James Cagney, Jeanne Cagney, Jimmy Lydon, Wayne Morris and Paul Draper. THE VELVET TOUCH (RKO)—Rosalind Russell plays a hot:headed actress in this murder movie. She’s the killer. (This isn’t a mys- tery.) Claire Trevor, Sydney Greenstreet, Leon Ames and Leo Genn are concerned. Excellent acting, needless to say, and a slick production. A bit talky, but swift and enter- taining. TWO GUYS FROM TEXAS (Warners) —4 very lightweight comedy which brightly recounts the breezy adventures of a pair of hungry night club entertainers, expertly played by Dennis Morgan and Jack Carson. Newcomer Dorothy Malone proves she’s here to stay and there are some good songs. Relax and enjoy it. Widmark and Stevens in Street With No Name.

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