Modern Screen 1954-11 Vol. 48, No. 12

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2 8 Q90909¢ : ej B £ & Vv J Z 2 O_. bits 4 Bt + RICA'S GREATEST MOVIE MAGAZINE~| WN Se | / { | } ee | a aa f | | @ ' | | | { x | { i | | | ! | | | ee | (Soaks : | | | | i | | J | | fat! | | 1 = Pl 1 = ' | i \ y f =a EOS Se VS be MARLON BRANDO REFORMS how long will it last? DEBBIE REYNOLDS

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LOOK! BRIGHT NEW PACKAGE! CREATED By PROCTER & GAMBLE with PRELL SHAMPOO SO SOFT, YET MANAGEABLE...SO SWEETLY CLEAN! Come-hither loveliness—that’s what your hair has after a luxurious Prell Shampoo! It’s caressably soft, yet so obedient! Yes, angel-soft, smooth as satin, glowing with that ‘Radiantly Alive’ look he'll love! And Prell leaves your hair really clean . . . fresh and sweet . . . and free of embarrassing dandruff! Prell is easy to use, too— so convenient. No spill, drip or break. Try Prell tonight—it’s wonderful!

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Be Destroys hidden decay and bad-breath bacteria. It’s yours today—a tooth paste il with a wonder ingredient so effective it destroys most decay and bad-breath bacteria with every single brushing. And Ipana combines this protection | with a new minty flavor your family will prefer. | Topped all leading tooth pastes in i 3159 taste tests. New-formula Ipana | Product of Bristol-Myers beat all other leading brands in 3159 | “masked-tube” taste tests. It’s the best- | tasting way to fight decay . . . stop bad breath all day. Taste it... enjoy it... trust your family’s precious teeth to it. At all drug counters in yellow and red- striped carton. f Send for generous sample tube. Mail coupon to- day for trial tube (enough for about 25 brushings). Bristot-Myers Co., Derr. D-114, Hillside, New Jersey Please send trial tube of new-formula Ipana. Enclosed is 3. stamp to cover part cost of handling; MAKE YOUR OWN TASTE TEST | Ipana A/C Tooth Paste (Ammoniated Chlorophyll) also contains bacteria-de- } —s- Stroyer WD-9 (Sodium Lauryl Sulfate) (Offer good in continental U.S.A. only. Expires Jan. 31, 1955.) Z Ry B . an ce cs cs ee ee

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pocror’s DEODORANT DISCOVERY SAFELY STOPS ODOR 24 HOURS A DAY! New Mum with M-3 won’t irritate normal skin or damage fabrics Ss x Proved in underarm comparison tests made by a doctor. Deodorant without M-3, tested under one arm, stopped perspiration odor only a few hours. New Mum with M-3, tested under other arm, stopped odor a full 24 hours. 1. *Exclusive deodorant based originally on doc- tor’s discovery, now contains long-lasting M-3 (Hexachlorophene). 2. Stops odor all day long because invisible M-3 clings to your skin—keeps on destroying odor bacteria a full 24 hours. 3. Non-irritating to normal skin. Use it daily. Only leading deodorant containing no strong chemical astringents—will not block pores. 4. Won’t rot or discolor fabrics—certified by American Institute of Laundering. 5. Delicate new fragrance. Creamier texture— new Mum won’t dry out in the jar. 6. Gentle, safe, dependable—:deal for sanitary napkins, too. Get new Mum today. NEW MUM. cream deodorant with long: aera lasting M-3 V7 (HEXACHLOROPHENE) 2 A PRODUCT OF BRISTOL-MYERS Nh Oa Pe AMERICA’S GREATEST MOVIE SAZIN| LOUELLA PARSONS IN HOLLYWOOD ................... stories THE TWO WORLDS OF MARILYN MONROE.....................00--00000..-- by Jack Wade 37 “SHE LOOKS LIKE A BRIDE (Debbie Reynolds-Eddie Fisher ) ....... by Steve Cronin 38 REPORT FROM EUROPE: WHY CAN’T THEY BEHAVE?............ by Sheilah Graham 40 A TIME TO THINK THINGS OUT (Jeff Chandler-Gloria De Haven) by Alice Finletter 42 HOW TO TAKE CRITICISM (Terry Moore-Rita Moreno)................ by Terry Moore 44 WHY TRY TO CHANGE ME NOW? (Jane Russell)... 0.00... by Toni Noel 46 WHAT MAKES MONTY RUN? (Montgomery Clift)... ... by Richard L. Williams 48 GOOD FOR EACH OTHER (Fernando Lamas-Arlene Dahl).....by Marva Peterson 50 THE GRANGERS CALL IT LOVE (Stewart Granger-Jean Simmons )....by Ida Zeitlin 60 GRANDMOTHER AND THE GOOD LIFE ...000000000..ecccccceceereeeeeeeeeees by Janet Leigh 63 NOBODY TOLD HER SHE WAS A STAR (Doris Day ).............ccccccesceseeseteeeeeeeeeeees 64 IT’S A BRAND NEW BRANDO.............0.00..c:c:cceeee: Shad eee by Alice Hoffmann 66 bonus pin-up section I'VE GOT A SECRET... MAN, MAN, IS FOR THE WOMAN MADE Linda; Damell. Se ee 52 6 Jan Sterling ......... 52 Nobex Weoner Douna Reeds. 52 Frank Sinatra7o..¢ n-ne eee 57 Anne Baxter............ ae 53 Rory: Calhouns 2... 57 Marilyn Monroe 53 : Virginia Mayo .... 53 Bob Mitchum.................... 58 Mary Murphy...-... ss Oe Jimmy Stewart 58 Simmons ..... 54 : 5 joan Scant i Ce 54 Dean Martin and Jerry Lewis........ 58 June: Allyson: eet 55 Alan: Ladd)i.3. 3 eee 59 featurettes OF POOLS AND: PONIES:CAlan: Ladd )):2.ccc..cccsteves easiest 6 HOW, DOTH THES EELT LES BUS Yai B ei reere ree ee by Barbara Stanwyck 25 WORDS AND MUSIC (Peggy Lee).......... snoncdideselditns eaccadgc it nt eee 26 MY? FIRST (LOW Bice ie een aa ee 2 Re nea ee by Mitzi Gaynor 28 FOR DANCERS ONLY (Cyd Charisse )...... ..by Reba and Bonnie Churchill 32 ADAM'S FALL (Julia Adams) 34 CLARK (GABLE oo... oscc: 2.5 pibecstheeie gies chos cote ce cne eee uae see er 35 departments THE: (INSIDE: STORY $22.57 eo seen ake cere Me us re ne er 4 NEW: MOVIES (irs et lhe oe ei cena eae Ree, ane com on by Florence Epstein 18 TV TALK ik oe ee Ue ee ee 30 MODERN. ‘SCREEN: FASHIONS i505. ¢- 055. soscccsesessecccsen eon eas eee ene 70 *Color portrait of Debbie Reynolds from MGM. She can be seen next in Athena with Jane Powell and in Hit The Deck. For other photographers’ credits see page 82. TS a a a LL aT ae EE DS SOE CHARLES D. SAXON PAIGE LOHR, story editor editor BARBARA J. MAYER, assistant editor KATIE ROBINSON. western editor DURBIN HORNER FERNANDO TEXIDOR, art director executive editor BILL WEINBERGER, art editor BOB BEERMAN, staff photographer CARL SCHROEDER BERT PARRY, staff photographer western manager RUTH RAKOW, research editor SS TE EE NOTICE TO SUBSCRIBERS Changes of address should reach us five weeks in advance of the next issue date. Give both your) old and new address, enclosing if possible your old address label. TMASTER: Please send notice on Fofm 3578 and copies returned under Label Form 3579 to 263 Ninth Ave., New York 1, New York a DERN SCREEN, Vol. 48) No. 12,/N ovember,1954. Published monthly by Dell Publishing Company, Inc. Mee of publication at Washington and South Aves., Danellen, N. J. Executive and editorial offices, 261 Fifth Avenue, New York 16, N. Y. Dell Subscription Service: 10 West 33rd St., New York 1, N. Y¥. Chicago advertising office, 291 No. LaSalle St., Chicago, Ill. Los Angeles advertising and editorial offices, 8701 West 3rd Street, Los Angeles, California. George 1. Delacorte, Jr., President; Helen Meyer, Vice-Pres.; Albert P. Delacorte, Vice-Pres. Published simultaneously in the Dominion of Canada. International copyright secured under the provisions of the Revised Convention for the Protection of Literary and Artistic Works. All rights reserved under the Buenos Aires Convention. Single copy price 20¢ in U.S. A. and Possessions, and Canada. Subscriptions in U. S. A. and Canada $2.00 one year; $3.50 two years; $5.00 three Yale) Foreign, $3.00 a ear. Entered as second class matter September 18, 1930, at the fost office at Dunellen, N. J., under Act of March 3, 1879./Copyright 1954 by Dell Publishing Company, IncJPrinted in U.S. A. 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. Trade mar!: No. 301778 ¥ be ¥ pte ih modern screen MODERN SCREEN'S 8-page gossip extra pt ec 5

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M-G-M brings you | F. Scott F itzgerald’s famous story of youth on a fling! a “We love each other. oe need each other, but we re no good for each other! a i A “ hey met and they kissed... for this was Laris, 4 a the city of love, in its hour of joy! ELIZABETH TAYLOR and VAN OHNSON entwined in a bittersweet romance by the spell of the song... | “THe LAST TIME I Saw Paris’ ei: 4 % COE . — NiCOLOLs co-starring WALTER DONNA : rie ee Winner : EVA GABOR: KURT KASZNAR im EED (“From Here To Eternity”) | | Screen play by Julius J, & Philip G. Epstein and Richard Brooks « Based on a story by F. Scott Fitzgerald } Directed by RICHARD BROOKS * Produced by JACK CUMMIN GS ° An M-G-M Picture Por ;

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We doubt that any product of interest to women gets more enthusiastic word-of- mouth recommendation than ‘Tampax! It’s not just a matter of I “‘like it”... or “Yes, I use it.” Tampax users almost seem to feel it’s their duty to tell other women about it. Perhaps the reason is that Tampax Sanitary protection is such a vast im- provement over other methods of solving what is admittedly a ‘‘problem.’’ Instead of a bulky, chafing external pad, you have a small disposable applicator hold- ing super absorbent cotton. Tampax is so comfortable it can’t even be felt once it’s in place. There are no edge-lines to “show... disposal, chafing and odor problems vanish. And Tampax is incon- spicuous to carry, for a month’s supply goes into the purse. The chances are that some friend has already told you about Tampax. Believe her! Trust her! Every word she says about its advantages is true! Get Tampax at drug or notion counters in choice of 3 absorbencies: Regular, Super, Junior. You're bound to like Tampax as much as all its other friends do. Tampax Incor- porated, Palmer, Mass. Accepted for Advertising by the Journal of the American Medical Association Want the real truth? Write to INSIDE STORY, Modern Screen, 8701 W. Third St., Los Angeles 48, Cal. The most interesting letters will appear in this column. Sorry, no personal replies. @. I understand there’s an actress in Hollywood named Mary Trouble-In- Front. For whom does she work? —V.E., New Orteans, La. A. Mary Trouble-In-Front is the name of a Sioux Indian girl hired by Uni- versal-International in South Dakota for a bit part in Chief Crazy Horse. @. How many times has Donna Reed been married, also Marge Champion? —N.N., Batu, N. Y. A. Both twice. Q. I’ve been told on good authority that Victor Mature is afraid of horses and that doubles are used for his riding scenes. Is this true? —E‘K., Detroit, Micx. A. Mature does not feel at home on a horse. @. Was Cleo Moore ever married to Huey Long? —J.J., Monrog, La. A. She was married to his son when she was fifteen. ®. Would you please settle a bet? Who has more hair: Fred MacMurray or Gene Kelly ? —L.H., Borpentown, N.Y. A. MacMurray. @. How much money did Cary Grant get for making Catch A Thief? —J.H., Ricumownp, Va. A. Ten per cent of the picture’s gross. @. Does John Wayne wear a toupee or a hairpiece in pictures? —G.K., Sart Lake City, Uta A. Sometimes. ‘. What is the name of Mario Lanza’s new son and how many children does he now have? —Y.R., PHMApDELPHIA, Pa. A. Lanza’s new son is named Mare. There are now two girls and two boys in the family. @. I’ve read that the richest woman in- Hollywood is Sonja Henie. Does she have more money than Loretta Young? —N.R., San Francisco, CAL. A. Yes, according to reports. @. What is the relationship between Mona Freeman and Bill Holden? —H.H., Los ANcEtEs, CAL. A. Good friends. @. That woman Bob Wagner is sup- posed to be crazy about—isn’t she really Barbara Stanwyck? —V.E., SPENCER, INp. A. Yes. 9. What is the connection between two women named Jill Winkler and Jean Garceau and Clark Gable? —E.D., Van Nuys, CAt. A. Jean Garceau is Gable’s private secre- tary. Jill Winkler is the widow of press agent Otto Winkler who was killed in a plane crash with Carole Lombard, Gable’s third wife, on January 16, 1942. After the tragic accident Gable gener- ously bought Mrs. Winkler a house in the San Fernando Valley. @. Wasn’t June Haver’s engagement ring once owned by Mrs. Red Skelton? —F.E., Fenton, NEs. A. Yes. It was turned in by Mrs. Skel- . ton to a jeweler who repolished and re- set and resold it to Fred MacMurray. @. Who has the most expensive house of all the movie stars? —R.G., SALEM, OREG. A. Probably the Gary Coopers. @. Has Ann Sheridan ever gotten over the death of Steve Hannagan? —A.L., New York, N. Y. A. Not yet. Q. Will Deborah Kerr ever make motion pictures again or is she through with Hollywood? —A.D., Battrmore, Mp. A. Miss Kerr is currently making a film in England, plans to make many more in Hollywood. @. Is it true that Corinne Calvet fol- lowed her lover all the way to Rome? —B.R., Franxrort, Ky. A. Corinne didn’t like being separated from Jeffrey Stone (who under the name of Johnny Anderson was once married to Barbara Lawrence). So she followed Stone to Rome, where she is working in a film. @. Is there any chance of that rich Mexican mogul’s marrying Maureen O’Hara? —S.L., PHOENIX, ARIZ. A. There are religious difficulties in- volved in securing an annulment or dis- pensation. @. What’s happened to Peter Lawford since his marriage to Patricia Kennedy? I’ve seen him in no pictures. —H.D., Danspury, Conn. A. Lawford is starring in a TV Series, Dear Phoebe, about a male lovelorn columnist who uses a female name. @. Is it true that Rock Hudson and Julia Adams once were a big thing? —T.W., Cuicaco, Itz. A. Yes.

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WARNER BROS. PRESENT !T IN CinemaScoPE TECHNICOLOR AND STEREOPHONIC SOUND anticipated | motion picture of our time 7s now ready for your acclaim. ALSO STARRING JACK CARSON. BOHAKLES BIL } 0M NOONAN MOSS HART- GEORGE CUKOR.: SiBNEY LUFT: A TRANSCONA ENTERPRISES PROD.” WARNER BROS. E HAROLD ARLEN ano (RA GERSHWIN _ZHE man THat Got Away: o "IS A NEW WORLD" 0 ‘GOTTA HAVE ME GO WITH YOU’ @ ‘HERE'S WHAT I'M HERE FOR’ 0 ‘SOMEONE AT LAST’ ® “LOSE THAT LONG FACE"

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More fabulous than the tales of the Arabian Nights .more exciting than the travels of Marco Polo... # more spectacular than the splendors of Kubla Khan! WALTER WANGER'S Aud it] BABA ee with the revolutionary new anamorphic lens in Color by DE LUXE taneatnene we Who’s HAJJI2 Hajji was the most roman- tic barber (and masseur) who ever lived, the joy-boy of every beautiful babe who ever lost her veil, the hot-shot of every harem from Ispahan to Istanbul! JOHN " ELAINE DEREK - STEWART pai kesloias aa ee phar GOMEZ » ROSEMARIE BOWE Music writen & directed by DON WEISS « RICHARD. COLLINS » DIMITRI TIOMKIN Produced by Allied Artists Pictures Corp. Released by 20th Century-Fox in the Wonder of 4-Track High-Fidelity, Directional STEREOPHONIC SOUND

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LS pag LOUELLA PARSONS In hollywood AUN GLE ARE EL BOAT cee AN i / ,) “~\ ‘ a) | : ) J Timothy Patrick McNulty makes his = debut with Mama, Ann Blyth. A : / [ \ I IN THIS SECTION: GoodNews Hollywood Snapshots The letter box Love story of the month _ I was miffed at Jane Powell 1 nominate Martha Hyer

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IOUELLA PARSONS in hollywood louella parsons’ GOOD NEWS “] FEEL FREE AND HAPPY for the first time in two years,” Susan Hayward told me. I had thought Susie would be down in the dumps over Jess Barker's decision to fight Judge Walker's ruling that he is not entitled to any community property in their divorce and that Susan gets custody of the children with only rights of visitation for Jess. But I didn’t know my girl. She telephoned me and said, “I've been through so many months of horror I’m completely accepting the judge’s decision as final. “At no time did I want to drag our dirty linen through the courts. I even offered Jess a settlement because of the children. This he turned down, preferring to make a bad fight of it.” I had heard that Susan wanted to give Jess $100,000 to get her freedom and he turned it down! If this is true he must feel like jumping out the closest window, now that he gets nothing! The irony of it is that at the time of their marriage it was Jess who in- sisted that Susan make a pre-nuptial arrangement that the California Com- munity Property Law be waived and that she would get nothing from him, should they separate! He was earning much more at that time than Susan was. What few people know is that they separated in a matter of months after their marriage. She came to see me at that time. It never has been my policy to advise my friends about their marriage troubles. That's a personal thing. But I couldn't refrain from saying to the weeping Susan, “Oh, Susie! If he hit you and walked out on you once there’s nothing to keep him from doing it again.” Susan, today, says: “You were right, Louella. But if I had taken your advice I might not have my wonderful twin boys.” WHEN THE BELLES GET THEIR HEADS TOGETHER 1 parties and talk “girl talk,” they say Gene Kelly is the actor who puts the least ardor into love scenes. Gene heard about his “rep” and cracked: “I don’t mind roughing them up if they like it. I just worry about their make-up.” Jack Palance admits that he blew his top and was way out of line when hollywood snapshots It was a big month for romance—with all the fellows taking their best girls out on the town. he shouted and raved at two extra girls playing (Continued on page 12) QE N \d THE NEW GUY Madison is quite a man-about- town now. A favorite date is Sheila Connolly. PARTY OF THE MONTH was tossed by Cyd Charisse to celebrate Tony Martin’s Hollywood Bowl debut. po, GLORIA GRAHAME and Cy Howard were married at Cy’s home. Gloria wore black, carried sweetpeas. hs Ahr ~ x oP te a shores OLD FLAME burns for Zsa Zsa and Rubi- rosa, but whether thev’ll marry is unsettled.

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| ne AR RIN SERIE Aum teem HEAVY RUMORS of Grace Kelly and Oleg Cas- BING CROSBY and Phil Harris caught salmon. Bing wrote, “Fishing with Harris is a lot of laughs. He talks to the fish, even sings to them.” SS ‘- 7 ~ eS gy . A> 4 i a ’ 7; Fe (RPE Cae Adie am fe ee ¢ 2) er. ~astai a JUDY GARLAND is in Monte Carlo with Sid and Jack Warner. I hope pictures like this stop the silly talk of a feud between Judy and Jack. ; m P fe ae o ini marrying, but Grace’s friends disapprove. > LIGHT TALK for Pier Angeli and James Dean. He’s a Brando type—no car, many T-shirts. ROY ROGERS and Dale gave awards to high school kids who won acc1- dent prevention contest, talked to some who had been accident victims. \ % ; - dt 4 as Fam i Bez: GENE KELLY and his lovely wife are almost strangers, they've been overseas so much for Gene’s films. Betsy still hopes to do some acting. BRIGHT PAIR are cute Rita Moreno and Geordie Hormel, Leslie see eer Caron’s almost ex-husband.

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12 Like father, like son The resemblance between Jerry Lewis and his 9-year-old Gary just amazes me—especially when they’re doing their ‘mug- ging duet.” (These special photographs are the cutest I've ever seen!) They learned that mournful look from a cocker spaniel! (Continued from page 10) slaves just be- cause they were chattering on the set of The Silver Chalice. The company was shocked by his lan- guage and Jack is sincerely sorry it ever happened. He called me to say, “The reason for my outburst is that I was working with a ter- rible case of poisoning from a snake bite on location. My doctor advised me to stay at home for several days under medical treatment. “I didn’t want to do this because there were about 1000 extras working in the scenes we were shooting and I didn’t want to put the director and producers to the ex- pense of keeping these people idle because of my illness. “All I can say is that my nerves snapped when the girls kept chattering between scenes when I was trying desperately hard to memorize my lines under my terrific physical strain.” Okay, Jack. What more can you say than that you are sorry, and I'm sure you told the girls as well as me. ALTHOUGH BARBARA RUSH and Rock Hudson sent me a beautiful scarf from Ireland when I was in London, I didn’t get to see them emote in Captain Lightfoot for the very good reason that I didn’t get tc Ireland and they couldn't get to London. So I was surprised my first day back at my desk in Hollywood to get a phone call from Barbara who returned home the day after I did. She was both happy and upset—happy to be home and upset over rumors which had been flying that she and Jeff Hunter were on the verge of parting. “The only parting we've had is that my work took me to Ireland and Jeff's picture took him to Mexico City. “Really, there's not a bit of truth in the ‘reports of a rift,” she told me, and I believe the gal. In fact, she was so eager to see Jeff she was flying to Mexico to catch up with her traveling bridegroom. Speaking of Rock, he stayed on in Europe for a holiday on the continent, not a honey- moon with Betty Abbott, as had been freely touted. Betty was the script girl on Captain Light- foot as well as being Rotk’s best girl, so she had to return with the company to Hollywood to work on the cutting of the film and so on. Sooner or later I believe Rock and Betty will get around to getting married. He dates others now and then, but she seems to be the real heart interest in his life. THE PARTY OF THE MONTH was the lovely affair hosted by Cyd Charisse for her ever lovin’ husband, Tony Martin, fol- lowing his debut at the Hollywood Bowl. Cyd took over the new room at Ciro’s and turned it into a garden of flowers. At first some of the candid camera boys got miffed because Cyd wouldn't let them in to take pictures. But when Tony, who is a very easygoing guy, showed up, he had a little chat with Cyd and said, “Come on in, boys.” Mies

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Esther Williams surprised everyone. by dancing all evening in her bare feet. Some- one asked her, ‘Do your shoes hurt?” Esther said, ‘Nope, I just like to dance _ this way,” and that was that. Late arrivals were surprised to see Nancy Sinatra, ex of Frankie, apparently teamed up with Harry Karl, estranged husband of Marie McDonald. But Nancy laughingly ex- plained that Harry wasn't her date. He was just her supper partner and later drove her to her car which she had left in front of Barbara Stanwyck’s house. Speaking of Barbara, she decided to have some fun and showed up in the red wig which she wears in her new movie. Every- one thought it was striking but preferred her own natural silvery locks. Gary Cooper and Rocky looked thorough- ly made-up. They danced mostly with one another and he was quite devoted to her. Judy Garland and Sid Luft were excited about leaving the following day for Europe, all expenses paid by the boss, Jack Warner. Judy lcoked cute in a black and white chiffon. No one admires Audrey Hepburn more than I. She is a superb actress. But I’ve got some news for her firsthand: She has hurt a lot of friends and estranged many of the press by making—then break- ing—interview appointments in New York and by later refusing to talk with even the people who have helped her build her career when she arrived in London. I was in London at the time and some of her closest friends told me they were un- able to reach her even by phone. She left immediately for Switzerland where she again went into hiding. There are many reports that Audrey’s health is bad. It is also pretty generally believed that she is emotionally upset over Mel Ferrer, the big romance in her life. Although Mel is divorced, he is devoted to his children and is in constant com- munication with Mrs. Ferrer. Audrey, apparently, is so deeply in love with the actor, without whom she made no appearances in New York, that she is un- duly jealous and unhappy about him. SPEAKING OF AUDREY, ! bet she never expected to be compared to cute, pep- pery Debbie Reynolds. But one of the Lon- don critics wrote: "Debbie Reynolds in Susan Slept Here is the logical successor to Audrey Hepburn.” Pretty nice compliment to Debbie, I calls it. 1 GUESS I’M THE LEAST SUR- PRISED person in the world that Vic Ma- ture and his wife, Dorothy, got in such a battle at Del Mar that they went flying to their lawyers to talk divorce.. ‘ Like the Matures, I used to spend my own vacations at the little racetrack by the sea, and each season Vic and Dorothy staged some sort of a head-on collision. This one was more spectacular than usual. They had been sitting in the cocktail lounge of the hotel before going in to dine, apparently very friendly. Then, Dorothy- (Continued on page 14) I was really miffed about JANE POWELL @ | really don't know what got into Jane Powell to deny so vehemently that she had any idea of marrying Pat Nerney—and then, a bare ten days later, to announce to the world that she had received her engagement ring and that the marriage would take place soon! As I told you in this department last month, I didn't be- lieve Jane’s denials even when she herself was making them to me. Who in the world did she think she was fooling? She and Pat have been inseparable ever since they fell in love and all the stuff about their “never even discussing mar- riage’ was a lot of nonsense and I| knew it. And printed it! A reporter friend of mine wasn’t so lucky. This writer spent two hours with Jane at her home interviewing her about her romance with young Nermey. Now get this: Not only did Jane say she wasn't marrying Pat, she in- dicated that she was still in love with another man in her life! My friend wrote her story as Miss Powell gave it to her and it was in publication, too late to stop, when the blonde actress sprang her plans to marry Nerney just a few days later. All we reporters ask is a little fairness and honesty now and then. Is this asking too much?

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(Continued from page 13) went to a phone booth. Suddenly, in a towering rage, Vic went to the booth, jerked the door open, stepped inside arid other cocktail loungers - were treated to a full view of the battle through the glass door although not a sound came through! . Sooooo, they say they are headed for di- vorce although you can pick up some easy bets that before this latest vacation brawl reaches the judge, these two ardent battlers will make it up as they have done three times in the past. SHORT SHOTS: Two new children are living at Lana Tumer’s house these days. Don't get excited,’ they are the son and daughter of Lex Barker who have come to live with Lana and Lex while their mother is in Mexico City for a year. Lana is a good mother, wonderful with the kids, and they adore her. Can't make up my mind whether I like Arlene Dahl's new short and straight hair cut or not. But with that face she can do almost anything. i The reason Ava didn’t divorce Frankie when her six weeks were up in Nevada is because not only does she want him to pay all court costs but also defray all expenses on the big house which she occupied with her family at Lake Tahoe. And he ain't about to do it, he ain't. Ethel Barrymore is crazy about Frank Sinatra, whether Ava is or not. The Grand Lady of the theatre took to Frankie and vice i] I nominate . ae versa like chocolate syrup to ice cream. for stardom: Ethel couldn't get over Frankie’s blowing her to a champagne and cake birthday par- i ty on the set of Young At Heart. “Frank is,” MARTHA HYER 2 3 drawls the one and only Ethel in that mag- —-—“ = nificent voice of hers, “a livin’ doll.” Speaking of dolls, no one in years has given such expensive gifts to the crew and cast following a picture as those Johnny Ray handed out after There’s No Business Like 1 i) | | i Show Business—gold watches and cuff links, | @ She has the same look of quality Grace Kelly has and traveling bags, cases of champagne, ex- | an even more exciting figure. In Sabrina Martha loses Bill pensive briefcases, and to the assistant prop lovely to look at it’s understandable that she gets him back. eS ALE TOR NOW EE ee ae She's twenty-five years old, weighs 116 pounds, is five feet, six inches tall and is currently redheaded. Her hair has been bleached, dyed and tinted different colors so — often she has almost forgotten she’s a natural brownette. Every time she’s cast in a new picture she has to switch her hair color to contrast with that of the woman star. She says she will know she has reached official stardom when another girl has to dye to contrast with her. She was born in Dallas, Texas, where her father is an assistant district attorney. She’s one Texan who doesn't hesitate to admit she prefers living in California. H For two and a half years she was married to Ray Stahl, | the writer-director son of the late John Stahl. At that time she rated (careerwise) only leads in westerns. i It's probably just a coincidence that her career took a sharp upturn just about the time she divorced Stahl. She had excellent roles in So Big, Sabrina and Lucky Me. Unlike many babes in the Hollywoods, Martha has had solid training in her profession at both Northwestern Uni- \ versity and the Pasadena Community Playhouse. An important man at Paramount tells me, ‘Watch Martha Hyer. She can and may be another Grace Kelly.” | Holden (temporarily) to Audrey Hepburn but she’s so boy, a new TV set! | Joan Crawford got award as Fur Fashion Woman of 1954 from top furrier Al Tietelbaum.

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My favorite love story of the month: | The Glenn Fords relive their romance. : | oe ee . om Mh oa Seepeatie , wre. fe 3 a : | Tt all started on. their 11th wedding anniversary when Next, the scene of Glenn’s proposal—a sidewalk ice cream cafe. (Glenn had wanted 4 Glenn and Ellie discovered a trunk full of thei old an un-Hollywood atmosphere.) “I can’t recall what I said when I asked her,’ he {| letters, written during Glenn’s Mafine Corps days. confessed..“But I know that I ordered a chocolate soda—and I hate chocolate!” Glenn dragged out his uniform, swore he could get into ~ it, but didn’t. He was a sergeant when he married Ellie —who had her pick of Hollywood's most eligible stars. Ris ~ se ‘ | we ‘First on their memory lane was the house they were Glenn gave Ellie a tiny diamond ring—all he could afford on his Marine Corps pay. married in. Pat O’Brien had introduced them, told Ellie, Ellie, then at the top of her career as a movie star, insisted that he take her to *T know a guy youd get along with real good.” St. Augustine’s Episcopal Church (where Glenn had been a teacher) to put it on. MORE PICTURES ON NEXT PAGE

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16 in hollywood the letter box (First, a word of explanation to those of you who complain that I fail to use your letters in this de- partment: I try to use comments of general interest to all fans and if yowll just bear this in mind, I’m sure you'll see print. Thank you.) Now let’s hear from: JUDY TIKwoRTH, Bradenton, Florida, who resents a letter from Pat Kennedy (xot Mrs. Peter Law- ford) criticizing Robert Wagner’s upstage conduct while on location. “T, too, had the opportunity to watch Mr. Wagner making scenes and I found him gracious to the fans and a delightful young man to meet, very modest and.a gentleman.” “In my opinion,’ pens BETTY CAMPBELL of Dorchester, Mass., “John Agar is the best-looking man in Hollywood and one of the finest actors. I am glad Universal-Inter- national is giving him the break he has so long deserved.’ Evidently John is very popular in Massachu- setts. CAROL SHEIL, of Boston, also writes glowingly of him in Bait. RUTH VILEISis, Naugatuck, Conn., spent part of her vacation in Jack- son Hole, Wyoming, and writes: “As I came out of a small cafe I saw a crowd gathered around a big car—and there were June Ha- ver and Fred MacMurray. They were all smiles, giving autographs right and left and thanking the people for asking for them! How do you like those dolls?” Pretty nice, I agree. MARGARET CANELLIS would like to make three comments: “One, Three Coins In The Fountain is the year’s most delightful picture. Two, Robert Stack is the year’s most improved actor in The High And The Mighty. Three, I had Fernando Lamas all wrong. He’s my favorite again since he married Arlene Dahl.” Wow! Did I start something when I challenged Robert Mitchum to prove himself in Not As A Stranger. Lots of letters, mostly agreeing with me. But not BETTE COLLIER, Coal City, Ill., who blasts: “T bet you won’t be able to dig yourself out of the mail you'll re- ceive from Robert Mitchum’s many fans protesting your comments. He is perfect for Mort Thompson’s novel about the young doctor.” Dowt say I didn’t give you your say, Bette. Sot TS ‘ Ou ie Feast wade ‘ aS ae : aes a After their honeymoon Glenn shipped out for a year. (That’s when they wrote those letters!) When he came home they lived over a garage, thought the beach the world’s most romantic place. cs — 7 They ended their reminiscences with a trip to The Beachcombers, their favorite restaurant, then drove down the Old Ox Road near Malibu, where they had first told their dreams to each other.

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i} 149 Madison Ave. ! $ wherever you go... whatever you do... BE THE ATTRACTION ~ Power-Glide GIRDLE and PANTY 2-way stretch power net that bends and blends with every move! No question about it, for your active life Power-Glide is the girdle that stays — put — never rides up — no matter how your body moves ... as it performs figure slimming miracles. In 2 lengths... average or long. White only. $4.00 PANTIES Average $400 Long $500 BRA $200 Long Send for your FREE copy of ‘‘Lewella’s Secrets of Figure Loveliness.’” Write Dept. D. Give name | of store nearest your home. : LEWEL MFG. co. YOUR BUDGET } New York 16, N. Y¥. 18 NEW MOVIES bilo citi Brigadoon isn't on their map, but Gene Kelly and Van Johnson wander into it on the dream town's one day of existence in the 20th Century. = bs B.S Gene and Brigadoon's prettiest girl, Cyd Char- isse, fall in love, dance together, sing ‘The Heather On The Hill.’ Gene did choreography. After taking part in the festivities for a wedding, Gene and Van return to New York—but not permanently. Other songs in this adaptation of the Broadway musical are “Almost Like Being In Love,’ "Come To Me, Bend To Me," "Waitin' For My Dearie,” "I'll Go Home With Bonnie Jean.” Picture of the Month: BRIGADOON ™ For those who fancy fantasy here’s Brigadoon rising in the Scottish Highlands like a misty dream. And that’s what Brigadoon is, a dream town whose perfection is preserved because it comes into existence only one day in every hundred years. The day that Americans Gene Kelly and Van Johnson stumble on it while grouse hunting. A wedding is in progress and gaiety prevails—until the jilted suitor (Hugh Laing) declares he’s leaving Brigadoon. If he does, the village will disappear for- ever. Van Johnson saves the day. Giving Gene Kelly time to fall for Fiona (Cyd Charisse) and sing that popular ballad, “Almost Like Being In Love.” Trouble is, Kelly has a fiancée in New York. Not that he really cares. She (Elaine Stewart) is a social climber. But if Kelly stays in Brigadoon he'll be lost to our civilization, swallowed up, as it were, in a dream. Johnson persuades him to come home. However, it isn’t easy to forget Fiona. Kelly broods about her and finally goes back ° to Scotland. “I know Brigadoon isn’t there,” he says, “but I’ve got to see where it was.” You know what they say about true love. They say when you love some- one anything is possible, especially miracles. It’s a warm, romantic musical with ex- cellent dancing and the Technicolor is beautiful. A smash hit as a Broadway musical, it should be just as much of a success as a movie. Cast includes Barry Jones, Virginia Bosler, Jimmy Thompson.—MGM

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Ih . 35-hour danger periods e 66 @ e your skin des a little Every day for periods of 1 to 3 hours, your skin is “open” to trouble, dermatologists say. This is immediately after you wash your face. In washing away dirt, you also remove natural skin protectors. Your skin takes 1 to 3 hours to re-establish its defenses. Meanwhile, real trouble can “breed”: Dryness .. . “shriveling” Stretched pores .. . roughened, grainy texture ~ Some signs of skin ‘‘un-balance” show up right after washing: é. The “drawn” feel of your face. Flakiness; often a splotchy look. These are the first warnings of skin -“un-balance.” But in the 1 to 3 hours Nature takes to re-protect __ skin, more disturbing problems can take root. Dry lines deepen. Inside moisture evaporates away. Outer skin “shrivels.”’ Skin secretions harden in pore-openings—cause en- larged pores, blackheads. Should you avoid washing your face? “Of course not,” say leading skin specialists. “But after each washing, ‘re-balance’ your skin instantly...” 60 times faster than Nature A quick Pond’s Cold Creaming right after washing “re-balances” your ~ skin in one minute—at least 60 times faster than Nature does. It combats dryness, shriveling. Keeps pore-openings cleared— keeps skin texture fine and smooth. More women use this one cream than any face cream ever made. Get a large jar today. Begin giving your skin quick daytime “‘re-balancings”’ ... deep clearings each night with Pond’s Cold Cream. It’s the world’s most famous beauty formula—never duplicated, never equalled. a ~ a Read what skin specialists recommend to prevent these serious skin problems .. . After each washing— é “re-balance” your skin Always leave on a bit of Pond’s Cold Cream for continuing skin “balance” under make-up. A deep clearing at bedtime Besides a 7-second “re-balancing” after each washing, most skins need a thorough clearing at night. A deep Pond’s Cold Creaming dislodges water-resistant dirt from the pores. Keeps skin looking clear, vibrant! Start this complete beauty care with Pond’s Cold Cream today. Soon your friends will be saying— “Your skin looks marvelous lately!” Among society beauties who use Pond’s MRS. FRANCIS IRENEE DU PONT IT THE DUCHESS OF LEEDS LA COMTESSE JEAN DE CARAMAN MRS. GEORGE WHITNEY, JR. LA COMTESSE DE LA FALAISE Met Hoy 0 Oded Young Mrs. Carhart, of New York and South- ampton, shows her love of simplicity and perfection not only in her choice of dress—but also in her complexion care. “I find that the simplest skin care is also the-most effective,’ she says. “‘It’s a quick smoothing with Pond’s Cold Cream the moment after I wash my face. And I always give my skin a deep clearing with Pond’s Cold Cream every night at bedtime.”

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Now=—a pressed powder for dry skin! New Puff Magic’ | oe & e # f ed ih} AS LC Uy ano Un £ THE DETECTIVE A comedy that’s gentle, soft spoken, | ' unexpected, can be lots of fun. This one is. It stars | Alec Guinness as a priest with the refreshing point of view that anyone can commit crime but most peo- ple don’t because, fortunately, they don’t want to. | e e i New make-up clings longer, softens skin— His self-appointed mission is to convert criminals into good citizens. He’d rather save their souls than send - ~ : them to prison. This doesn’t sit well with Scotland 1} comes in 5 flattering new shades Yard but it sits rather jauntily on Guinness who for his work has acquainted himself with jujitsu and various thugs. Now he becomes involved with a master thief, Flambeau (Peter Finch), who makes off with a treasured cross that Guinness is taking to Rome. Guinness resolves to find Flambeau, lead him into the fold. Flambeau is a tough customer, but Guinness exhibits saintly patience and persistence along with quite human frailties that delightfully pay off. With Joan Greenwood, Cecil Parker.—Col. SHIELD FOR MURDER Any killer is dangerous but when a cop turns homicidal in the name of the law that’s worse. Detective Nolan (Edmund O’Brien) has a reputation for being trigger happy. Now he shoots a bookmaker in the back, lifts the 25,000 dollars he was carrying and claims to Detective John Agar that the shooting was accidental. But Nolan was observed by a deaf mute and even if he hadn’t been, his actions are suspicious. He overplays his hand by taking his girl friend Marla English to see an expensive model home and telling her he’ll buy it. The story builds to a high pitch as Nolan’s sanity gives way and he fights desperately with himself, with a gang boss to whom the bookie was delivering the 25,000 and with his friend Agar. Nolan is a hot-headed and some- what simple minded guy, but Edmund O’Brien gives depth to his characterization that raises it above the usual chase theme.—U.A. DAWN AT SOCORRO Too bad there weren’t any psychoanalysts in New Mexico in the 19th century. Would have saved a lot of gunpowder. Take Rory Calhoun, a gambler with an odd sense of honor. It surely made him sad to kill people but he had such good aim. And it made him sad to see a flower like Piper Laurie plant herself in David Brian’s gambling casino at Socorro. (Piper’s father had disowned her because he thought she was wicked which, of course, she wasn’t.) Right from the start Calhoun doesn’t want to do anything but retire to Colorado Springs because he has a racking cough due to a bullet lodged | ee by LADY ESTHER in his lung. But he has to shoot down about six men PRESSED POWDER WITH LANOLIN FOUNDATION before he can get to the railway ticket office and | $400 gamble away his life’s savings and rescue Piper jf ; c. from herself—and from David Brian. That’s a large | I Mirrored case. 1? Tax ® Scroll case. 595 Tax order for a man with a cough that shakes his ankles. 7 Technicolor—U-I. j 20 ALSO AVAILABLE IN CANADA

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RO CK HUDSON. ct “Magnificent Obsession” star. sensation THE LAW VS. BILLY THE KID The law wasn’t good enough for Billy The Kid (Scott Brady). He didn’t even trust the governor, a nice old guy, who promised | The story of a him freedom if only he’d stop drawing blood. Billy | { Love that was greater wanted freedom and he wanted Betta St. John for a bride, but most of all he wanted revenge against a than Honor...and a crooked sheriff and his men who planned to take over all the ranches in the territory. Billy had found a little peace on this particular ranch owned by Paul Cavanaugh. He might have gone straight, too, Courage that stood alone || SS — : : ; under his influence if Cavanaugh hadn’t been shot i| ‘ ee against the fury of down in cold blood by said sheriff and men. There 1} : : 28 . are some kids whose destinies are marked by violence a India S Great Rebellion! and tragedy, and I suppose Billy was one of those kids. Although it gets kind of boring to hear them tell it. Even in Technicolor. With Alan Hale, Jr., James Griffith.—Col. ey AFRICA ADVENTURE If you want to go to Africa, go alone. After seeing what it’s really like I’m not budging. Robert C. Ruark, the newspaper columnist who made this documentary, has omitted all the fraud. “‘So much nonsense about African safaris” has been pawned off on the public, he says. I like the nonsense; it made everything so romantic. Now we see the heat, the drought, the nomads digging for water, the vultures fighting over a carcass, the bull rhino showing his temper. ‘‘And if the camera shakes,” says Ruark, “it’s because the cameraman was frightened.” Well, the camera doesn’t shake too often. A rather absorbing record of an African safari that starts in Nairobi, Kenya, heads for the northern frontier, moves along the Abyssinian border. You'll see some fascinating shots of native tribes and of Ruark’s party turning Africa into a bit of home. Pathecolor—RKO A Universal-International Picture starring NAKED ALIBI With all this emphasis on brutality in movies it’s no wonder some teen-agers take it for granted. Sure the murderer pays, but first he has a ball. Slaps cops around, drives toward Mexico to live it up with a blonde night club singer (Gloria { Grahame) and almost gets away with three slayings. j i Only thing that stops him is Detective Chief Sterling k URSULA ie q Hayden, who is fired because newspapers think he’s co-starring ' sadistic. Hayden spots Willis (Gene Barry) for a killer the minute he’s hauled in on a drunk charge. Next day detective Casey Adams, who questioned e . +] . : with Torin Thatcher: Arnold Moss - Daniel 0 Herlihy ae him, is murdered. But Willis leads a respectable life, Directed by LASLO BENEDEK- Screenplay by RICHARD ALAN SIMMONS-Produced by TED RICHMOND has a wife (Marcia Henderson) a child and a bakery, so what if he acts insane? Nobody can prove it. Hayden proves it on his own time, trails him to Border City, kidnaps him, brings him home kicking. It’s exciting, it’s suspenseful—and Hayden gets his job back, which apparently puts this film on a high moral plane.—U.-I.

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Jackpot of the Month: WHITE CHRISTMAS If the title White Christmas is familiar, it should be. It’s the song Irving Berlin wrote and Bing Crosby introduced twelve years ago in the musical Holiday Inn. Aside from that there’s nothing old about this film. Its score includes fourteen fresh-off- the-piano hits by Berlin. It’s the story of a retired Major General (Dean Jagger) who has no place to go when the Army has finished with him. So he opens an inh in Vermont. But even a general can’t ~ order snow or requisition customers. That's where Bing Crosby and Danny Kaye come through. They met in the Army, teamed up afterward and hit it BE on Broadway. The boys found out about the inn when they went to Vermont to visit a sister act (Rosemary Clooney and Vera-Ellen). Now they want to do Jagger a good turn, promote a little busi- ness for him. Naturally, the sisters misunderstand Crosby’s and Kaye’s intentions; they think they want to promote themselves. Naturally, the sisters are in love with Crosby and Kaye. There are all kinds of romantic, sentimental complications that re- solve themselves in snow flakes and good. will on Ge Christmas Eve. Meanwhile there’s dancing on costly | Technicolor sets, and singing and a kind of glow which these four stars can project like nobody’s business. Besides all this, White Christmas is the first picture ever filmed in VistaVision, a really ex- citing development that gives you an even larger pic- ture than the other new techniques. It’s unusual, too, in-that VistaVision can be adapted to any size screen —even for drive-in movies—and still give you a clear, sharp picture.—Para. 3 g sf ee: eee 3 ia “ THREE HOURS TO KILL When Dana Andrews comes back to town everybody reaches for a gun. Dana is not liked. Dana makes everyone in Furnace Flats feel guilty because three years ago they tried to lynch him for a murder. The corpse was Donna Reed’s brother (Richard Webb) who opposed her marrying Andrews. Now the sheriff (Stephen Elliot) gives Dana three hours of freedom. Who was guilty— saloon ownet James Westerfield, barber Whit Bissel, gambler Lawrence Hugo?. Maybe it was Dick Coogan who married Donna and was supposedly her broth- er’s best friend. Anyway, all of these boys were ‘ right up there with the noose and tree three years ago. It’s quite a shock for Donna to see her lost ee fiance again. Hotel owner Dianne Foster is more 4 thrilled than terrified. Anyway, a few hours is plenty of time for Andrews, who not only finds the mur- goer but also patches up his love life.—Technicolor. —Col. : BSG chy NE aw ba Slow down—this is a red you have to see! A bright, blazing, stop-and-look red . . . hard to miss, but awfully easy to wear. For Look-Out Red is all red— no trace of orange or blue—and perfect with every stitch you own. It’s a Cashmere Bouquet red that stays red and stays on— hour after hour! _ Conover Girls Pick Cashmere Bouquet Advice from the Beauty Director of the Conover Schoo!: “Use a lip } brush for a sharp, clear outline. | Then fill in with short, down strokes of your Cashmere Bouquet tipstick.” it (Soucy tows cashmere bouquet -INDELIBLE-TYPE LIPSTIC Super-creamed to Keep Your Lips Like Velvet 7 Cover-Girl Colors 49 ¢ plus tax Z

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Should the hostess be served— [_] First [] Last [J In turn If you lived in the days of the poison-dealing Borgias, you might want to de-jitter your guests ! So—you’d be served first, to prove no cyanide lurked in the soup. But today, etiquette scowls on “me first” hostessing. Here, service should start with the femme in foreground (at right) —continuing clock- wise; hostess to be served in turn. Being sure builds poise. That’s why, on those days, you choose Kotex — assured no outlines show, thanks to special flat pressed ends! To dress up a plaid suit, add a — [J Frilly blouse Faille purse {Tam All wrong—the answers above! It’s a sad plaid that’s teamed with ruffles, a silky purse; instead, add an elegantly simple blouse or sweater, good leather handbag. Smart tailored accessories are what’s needed. And for certain needs, try the 3 sizes of Kotex—there’s one just “‘tailor-made”’ for you. P.S.: No mistakes with Regular, Junior or Super, as Kotex can be worn on either side, safely! What’s a good wampum-magnet? [J Your piggy bank [-] A bureau Need extra mazuma? Have Mom help you set up an after-school-jobs bureau. Neighbors phone you for help wanted (to rake leaves, wash cars, run errands). Job minded kids apply to you, pay you 15% of their earnings. And at calendar time, let Kotex keep you com- fortable. That chafe-free softness holds its shape; and you get non-fail absorbency ! More women choose KOTEX than all other sanitary napkins fos | Se ae Ry MCEREG CUS ISEEPATCIOKE> Know someone who needs to know ? Remember how puzzled you were when “‘that”’ day arrived for the first time? Maybe you know some youngster now who’s in the same boat. Help her out! Send for new free booklet ““You’re A Young Lady Now’’. Written for girls 9 to 12, tells all she needs to know, beforehand. Write P.O. Box 3434, Dept. 10114, Chicago 11, Ill. SUDDENLY Here’s an interesting, fast-paced little study of a man who tries to assassinate the President of the United States. Happens in a small town called Suddenly where nothing has happened in years. One day the place is flooded with FBI men. They’re clearing the way for the President who'll get off his train at Suddenly on his way to a fishing trip. Frank Sinatra (the assassin) and his buddies arrive about the same time and take over a house above the sta- tion in which live Nancy Gates, a war widow, her young son (Kim Charney) and her father (James Gleason). Nancy is terrified of violence, terrified of life and for months has been turning down Sheriff Sterling Hayden’s offer of marriage. The ordeal! she goes through now teaches her plenty. And Sinatra, as the “nobody’’ who became a ‘“‘somebody’’ when they handed him a gun in World War II, sheds a lot of light on what makes madmen kill—U.A. RECOMMENDED FILMS NOW PLAYING BROKEN LANCE (20th-Foz): This dramatic story of early ranchers is not an ordinary Western. Fast-paced and well written, it deals with the struggle for power between rugged Spencer Tracy and his scheming son, Richard Widmark. Bob Wagner, Katy Jurado are on Spencer’s side. There’s romance with Jean Peters as well as plenty of action. CinemaScope and Techni- color. REAR WINDOW (Para): The best Hitchcock thriller in some time, this one has Jimmy Stewart, Grace Kelly, Wendell Corey, Thelma Ritter and a quietly terrifying performance by Raymond Burr. Besides top-flight suspense, the dialogue sparkles, there’s hu- mor, romance and Technicolor. THE BLACK SHIELD OF FALWORTH (U-/): If you like Tony Curtis in armor and Janet Leigh in danger, you'll love this one. Barbara Rush is in it, too—and enough jousting, intriguing and reyenging to satisfy the most avid knighthood fan. THE LITTLE KIDNAPPERS (U.A.): This one is des- tined to become a classic. One of the most charm- ing, warmly humorous movies ever centered around children, thts deals with two wonderful little boys, Jon Whiteley and Vincent Winter, who steal a baby because they think their grandfather, Duncan Macrae, doesn’t love them enough. BETRAYED (MGM): Clark Gable, Lana Turner and Victor Mature star in a story of spies and counter- spies (though no one knows which one is which) during World War II. Filmed in Holland in East- man Color, it is suspenseful and exciting. THE EGYPTIAN (20th-Fox): A really big film, this epic of love and excitement in ancient Egypt stars Edmund Purdom, Victor Mature, Jean Simmons, Michael Wilding, Gene Tierney, Bella Darvi and has Technicolor and CinemaScope as well. SABRINA (Para): Wonderful Audrey Hepburn and her co-stars, Humphrey Bogart and William Holden, make this charming comedy about the chauffeur’s daughter who falls in love with the rich man’s son an absolute delight. Light, and lots of fun. HOBSON'S CHOICE (U.A.): A really funny British comedy, this one stars Charles Laughton as a father so stingy he’d rather have his daughters stay single than give them a dowry. But daughters have minds of their own—and husbands, too, eventually. SEVEN BRIDES FOR SEVEN BROTHERS (1G): One of the best musicals to come along in ages, this one even has a plot in the shenanigans of seven uncouth, woman-hungry he-men who kidnap their brides. Jane Powell and Howard Keel, Technicolor, CinemaScope, good tunes and top-notch dances. ON THE WATERFRONT (Col.): One of the year’s best films, this tense and exciting story of longshore- men vs. corrupt union bosses stars Marlon Brando, Karl Malden, lovely Eva Marie Saint. Directed by Elia Kazan.

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HOW DOTH THE LITTLE BUSY B? by Barbara Stanwyck _Here’s Barbara's secret for keeping young at heart. m@ Every woman should accept the necessity for thinking outside her- self. An actress must do it; other- wise, how can she depict a variety of characters from the study she has made of others? A mother must think outside herself; otherwise, how can her children benefit from her ob- servations and understanding? But women who are neither mothers nor actresses sometimes must train and discipline themselves especially hard to think of others—or drift into thinking that life revolves around them. There is less danger, of course, of becoming self-absorbed if one is busy. Idleness is a destructive force. _ I sympathize with people who do not have enough to do. I, personally, get into a black mood when I’m not making a picture or preparing for one. | feel vital—alive—when I have so much to do I don’t know how I am going to make hours in a day for it. And I’m sure all busy people feel the same way. An interest in others and in many things will make one ¥ more interesting to others and more _ interested in other things. | «i try to give Stanwyck as little | thought as possible. Keep her neat ny z 9aday, LONIZNT— wear it and ti) why more women use Evening in Paris than any other fragrance in the world! and clean and healthy—then forget Cologne, $1.00, $1.75 the mirror. I find this a more satis- Perfume, $1.00 te si8.00 Pits fying exi Improved-formula Face Powder fying existence—and a good way to in 6 stylist shades, $1.00 ep © all young. ; : (all prices plus tax) BOURJOIS created in France... Made in the U.S.A.

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ue @ With Maybelline soft Eyebrow Pencil, draw narrow line across upper eyelids, at base of lashes, adding short up-stroke at outer corner. Soften line with fingertip. Outlining upper lid @ Next, use short, light upward strokes of the Maybelline Eyebrow Pencil, to form beautiful, expressive brows. Taper lightly at outer end. Soften effect with fingertip. © Apply smooth Maybelline Mascara from base to tips of lashes, brushing upward. (Hold a few seconds to set ““1p-swoop.’) For an extra touch of mysterious eye beauty, blend a bit of Maybelline Eye Shadow on upper lid. The world’s smartest women depend on Maybelline soft eye make-up for heart-stirring beauty. Today, let Maybelline magic bring out the unsuspected loveliness of your eyes! Accenting eyebrows Mascara (plus \ . Eye Shadow) x JN This the ONLY Vaginal Suppor i FEMININE HYGIENE that can make ALL these claims! As a means of hyg ienic protection in feminine hygiene, a suppository is unequalled for convenience and ease. Zonitors offer so many extra advantages: 1. Zonitors are greaseless, stainless. They require no ex- tra equipment. Young wives are delighted with their ease of use, compactness and ease of concealment. 2. Zonitors contain the same powerful germicidal and deodorizing type of medication as world-famous Zonite liquid. 3. When inserted, Zonitors form a protective hygienic coating which lasts for hours. Theyre not the old- fashioned greasy type which quickly melts away. Positively non-poisonous, non-irritating. Safe to the most delicate body tissues. 5. Zonitors completely deodorize. They keep you so dainty. A blessing to fastidious young wives. Zonitors assure hygienic i protection for hours. 4 Zonitors are powerfully effective yet harmless. Buy Zonitors today. Only 98c per dozen. Vaginal Suppositories Zonitors are daintier, more convenient. Tl SS WORDS AND MUSIC Peggy Lee wanted fame and fun . . . and got them for a song! @ Shoppers on Wilshire Boulevard in Los Angeles sometimes see a tall, leggy blonde making her way into a smart shop and, because she looks like one, they usually think she’s a model. But the natives regard the young lady with knowing admiration. “There,” they will point out for visit- ors, “goes the lady Irving Berlin!” In ja amestown, North Dakota where she was born;-this blonde was known as Norma Egstrom. To Hollywood, New York, nightclubbers and Tv viewers, she is Peggy Lee. In fewer years than it takes most people to get started on just one career, Peggy has enjoyed several. First she became a favorite as a singer of popular songs. writes them. When she started her motion pic- ture career it was as a star, opposite Danny Thomas in The Jazz Singer. Now she is making two more, one of them The Benny Goodman Siory. She was a featured vocalist with his band. She has not neglected nightclubs and her appearances in San Francisco and Reno have added to her fans. Peggy has published more than seventy songs. “Manana” sold over two million platters. She did the lyrics for the title song of Johnny Guitar, the theme song for About Mrs. Leslie and an entire score for Walt Disney’s soon- to-be-released The Lady And The Tramp. She is the voice of five char- acters in the picture. She has just written and recorded for Decca a song with her guitarist titled “The Gypsy With The Fire In Her Shoe.” “J just drifted into composing,” Peggy says. “Tt sort of comes natu- rally to me.” When she isn’t really busy, she writes poetry—some of which is soon to be published. SR rine aoe eee a - ! ~ La ES, “It’s A Good Day” and | Now she § }

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eS} , r saw BLA CKHEADS GO IN 10 MINUTES! By CLAIRE HOFFMAN NEW YORK, N. Y.—A skin spe- cialist today demonstrated a simple 10- minute way to rimse away black- heads. To the face of a woman who had suffered from blackheads, enlarged pores and a spotty complexion for nearly 12 years, I saw the doctor apply a peculiar, plastic-like cream. 10 min- utes later .. . when he rinsed this cream from her skin with a moist facial tissue, I saw ugly blackheads rinsed away! They were clinging to the tissue that the doctor held out for all to see— actually rinsed away from the skin with a simple 10-minute home medical treatment anyone can use at home! Actually Draws Pimple and Blackhead Material Out of Clogged Pore Openings — In Minutes! “You will notice,” continued the doc- tor’s aide as he motioned us in closer, “that not all the blackheads are gone. That would be too much to expect from just one treatment. Especially since our subject, Miss , has.suffered from these externally caused blemishes for a good many years. “But now, watch closely! Because you will notice that this first 10-minute treatment has not merely floated away a considerable number of ‘blackheads, but it has also so loosened and softened the more stubborn pus formations, that I can now gently tissue even more of them away. Here is the tissue for your exam- ination!” As we all strained forward to see the results of this amazing medical demonstration, a large magnifying mir- ror was now placed before the wom- an’s face, revealing the pore openings with startling clarity! ; Why Many Women Confuse Enlarged Pores With Clogged Pores “The next part of our demonstra- tion concerns the pores. I will now I STEP-BY-STEP Here Is How Doctor’s Skin Treatment Acts To Draw Out Blackheads And Clear Enlarged Pore Openings , Here is what a normal pore open- ing looks like. Note narrow, healthy shape. opening due to clogging. Note blackhead cap which plugs pore. Enlarged pore & tor’s Cream-Mask now starts draw- ing, lifting action. 4 Argilla in Doc- Blackhead Cap has already started to lift out and break up, unpluging pore opening. hardened wastes in pore openings may now be drawn out by Argilla. ¢ Blackhead gone, larged pore open- ing due to clog- ging quickly tends to marrow back to nor- mal again. Skin is clearer, smoother! 5 q Wastes gone—en- & place this woman’s hand next to her face. Now, as you look through this magnifying mirror, you will notice that, unbelievable as it seems, the stretched pore openings on this wom- an’s face already appear even smaller in size than those on her hand! And you will also notice that where we have applied the cream more heavily —especially around the nose — that the pore openings actually appear to have collapsed and tightened! “Why? Because much of the dirt which we have drawn out of the skin and then rinsed away into this facial tissue — had been cemented into this woman’s pore openings not only for days, not only for weeks, but for months! But when we remove this dirt, when we draw it out with this skin treatment, the pores have a natural tendency to collapse back to normal. The simple chart shows why.” What Happens When You Apply This Doctor’s 3-Way Formula! First, to prepare your skin for treat- ment, we are going to soften. and loosen the buried filth cemented into your pores. The laboratory-developed pore cleanser which is part one of this famous specialist’s treatment, is un- like any other cleanser you have ever used in your life, regardless of how much you can afford to pay. And here is how you can ‘prove it on your skin. Apply the specially compounded pore cleanser. Tissue it off! Now look at the tissue! When you see the dirt and filth pouring out on that tissue . . . when you see the infectious filth and inde- scribable wastes that may have been causing your skin eruptions since ado- lescence ... then and only then will you begin to understand why you need a drastic change in complexion care. 2) The second part of your treat- ment is a medicated cream designed to get at those ugly blackheads, white- heads and externally caused pimples which cause you so much misery. Apply it to your face with your fin- gertips as you would any cream. A little thicker around the “danger areas” . .. mainly around the nose, lips, eyes and cheeks. The first 3 or 4 minutes you will feel a strong stimulation. This is the massaging action of the medicated in- gredients going to work on your skin. Your face will feel hot and cold. You will like it. Your face will feel re- freshed. It is like a massage without irritation, bringing fresh, purifying blood to your face to draw off the poisonous wastes in your skin. After 3 or 4 minutes this hot and cold action goes away, and a wonder- ful relaxation of all your tense, over- worked facial muscles sets in. In an- other moment, you will feel your skin getting tighter and tighter. What is happening is this: A wonderful medi- cated absorbing agent called ARGIL- LA is drying on your skin. It is turn- ing the cream on your face into a firm, plastic-like mask. You get a pleasant drawing feeling, a relaxing feeling. There is a corrective action, and an astringent action. You feel the ARGILLA drawing on the pus-heads. Everything it touches it draws into it- self, including the hardened oils, the dirt, the waste matter, the fatty acids, whatever filth is buried in the pores, including some of the blackhead ma- terials, perspiration and poisons given off by the skin. After 10 minutes rinse the mask away. Hot or cold water makes no difference. It dissolves in a second. Your skin feels clean, refreshed, spar- kling, smoother! Like velvet! But wait » . . you haven’t finished your first treatment yet! Now Apply Step 3 of Your Treatment... The Astringent This is not merely a perfumed al- cohol that tickles your skin for a few seconds. It penetrates into your pore openings, performs a final necessary sponging, dissolving action. But even more important, tightens the pore openings and leaves an invisible film on your skin that lasts for hours. You cannot feel it, you cannot see it, but it is there to help protect your* pore openings! Now Look Into Your Mirror Some of your blackheads should be gone with very first treatment! Look for softened pimples and whiteheads that may break or be drawn out in your next treatment or two. Look at the corners of the nose, around your mouth, your cheekbones! See how your enlarged pores have tightened. Your skin will feel alive! You should actually see minor wrinkles gone... . and this fresh, buoyant, youthful ef- fect will last for hours. Is This for ‘‘Normal’’ Skin, Too? Certainly. Simply because this is a medicated formula doesn’t mean that you have to have a “sick skin” to use it. You may be a woman past 30 who has never had a really serious skin problem, but who finds herself an- noyed by occasional blackheads, white- heads, enlarged pores or periodic skin eruptions. You may be a woman who suspects that your skin is not as beau- tiful and as fresh-looking as it could be . . . but your cosmetic creams can’t give it to you. In that case .. . we think you'll be thrilled by the sheer, smooth, silken beauty that one or two treat- ments can give you. On the other hand... if you have an adolescent, broken-out skin, if you are a man who is troubled by blem- ishes or a “sandpaper skin” and you are sensible enough not to be ashamed to use a so-called “woman’s treatment” in the privacy of your own home... or if you are a woman who has chosen to abuse her complexion with im- proper and inadequate care .. . then this is vital. You will see positive improvement with your first 10-minute home treat- ment. Your mirror will show it to you. And we say you will see further rapid improvement for the next 14 days. After 14 days, you will discover whether you have to keep using all or part of the treatment every day, once a week, or once a month depending on how fast your complexion begins to clear. How You May Try This Skin Treatment In Your Own Home Without Risking A Penny! The name of this 3-way formula is the Queen Helene skin treatment. Your Queen Helene 3-way formula, enough Miss V. L.... Age 27, a victim of externally caused blackheads, white- heads, pimply skin eruptions since ado- lescence. Above photo reveals one of many women who have achieved a re- markably clearer skin, thanks to a skin specialist’s amazing 10-minute demon- stration described on this page. for 42 home treatments, includes your laboratory developed cleansing, cream, your medicated mask cream and your pore astringent. The cost is $3.98 . . less than 10c a treatment. Yes, less than 10c for a skin specialist’s 3-way skin and beauty treatment. Follow your daily progress in your mirror and after each treatment. If your Queen Helene treatment does not do for .your skin everything we have led you to believe it will do, if you don’t see definite improvement after just one 10-minute treatment, if you don’t see a faster improvement each day for the next 14 days, return the unused portion. We'll thank you for trying it, and refund your full pur- chase price. But act today! The longer you wait . . the worse your skin is bound to get. And like any other condition . . the worse it gets... the longer it takes to get well So right now, while you're determined to help yourself .. . send the coupon today! Para Laboratories Sales Corp. Dept. H-489 141 Fifth Ave., New York 10, N.Y. (LABORATORIES ESTABLISHED 1930) Entire contents copyrighted by Para Laboratories Sales Corp., 1954, N.Y.C. r77 7: ~MAiL NO-RISK, FREE TRIAL COUPON TODAY= ===. 3. ASTRINGENT than 10c a treatment. PARA LABORATORIES SALES CO., Dept. H-489 141 FIFTH AVE., NEW YORK 10, N. Y Please rush me by return mail my complete Queen Helene 3-Way Skin Treat- ment, including: 1. LABORATORY DEVELOPED CLEANSING CREAM 2. MEDICATED MASK CREAM 1 I 1 I will pay postman low introductory price, plus postage and handling. If I don’t see definite improvement in my skin after just one 10-minute treat- ] ment — if Queen Helene doesn’t do for my skin everything you have led me to believe it will do, I will return unused portion for my money back. I QUEEN HELENE PRICE LIST (Check Size Desired) ] (1 $3.98 size (plus Federal Tax). Enough for 42 home treatments at less | i I i J $5.95 economical professional size (plus Federal Tax). Enough for 90 home treatments for one person — enough for 45 home treatments for 2 persons, at less than 7c a treatment. (You save $2.01.)

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28 WOMEN, too, acclaim this new cream shampoo that leaves short hair com- pletely manageable with a natural radiance. Use Vita-Fluff SPECIAL FOR MEN as the idea! care to-control your short hair in its most beautiful manner. Exclusive with pro- fessional beauticians Huon ...Sold only in beauty salons and barber shops. Inc, ORIGINATOR OF FINE SHAMPOOS. *© CORAL GABLES, FLORIDA Only genuine KURLASH refills this new automatic way Gwe st Refill slips in—locks Rubber bow pops out— automatically when you Open KURLASH w-i-d-e no pins or screws close KURLASH Here’s why it’s easier than ever to be the girl with the wide-awake look Now—a new KURLASH* to give you sparkling eyes, the wide-awake look. It’s so easy! You just touch your lashes with KURLENE cream... then, curl them with new KURLASH. Shaped to your eye, KURLASH cush- ions lashes gently up in a laughing curve ... your eyes look bright... your whole face—wide-awake! And, after months, when KURLASH rubber wears down—exclusive new automatic refill snaps instantly in place. Try new KURLASH eyelash curler tomorrow. $1 at drug, department, variety stores. KURLENE, 50c plus tax. For personal advice—write Jane Heath, Eye-beauty Consultant, Dept. M. *Patented KURLASH available in Canada Urlas COMPANY, INC. © Rochester 4,.N. Y. Being the tender tale of two star-cross d lovers, doomed to part. MY FIRST LOVE by Mitzi Gaynor —™ My first fellow happened to me at the same time as my first show. The show was Song Without Words, which we were playing in San Fran- cisco. He was one of the ushers and his name was Fred. I didn’t know him from nothing till a girl in the show uttered those famous last words, “There’s a fellow working here who’s just dying to meet you.” “TJ have no ‘time for men,” | an- swered. “J am an artiste!”’ Know- ing nothing about men or artistes. I thought Fred was terribly old— nineteen—and _ terribly romantic looking. He always went around with a pipe. It never had any tobacco in it, but it gave him such an air. We were madly, but madly, in love. Every night after the show we had dinner together in a little French restaurant. We fought about every- thing. If Fred said it was a nice day, I retorted, “It is not!” Just to show him that I was pretty sophisticated and knew my way around, too. Then the show moved to Los An- geles. When Fred came to the train to see me off, he brought me an or- chid. An orchid! And said, “Mitzi, do you know what this means?” Not wanting to show my naiveteé, I said in my most regal manner, “I certainly do not. Perhaps you had better explain yourself.” “It means we're engaged,” Fred said, and I could have flown to Los Angeles under my own power. When we got there, oh joy, there was even a letter waiting for me. He must have written it between the matinee and evening performance on Saturday. He had a nickname for me, “Almond Eyes.” I pictured my- self as a sort of Theda Bara. Letters—that was the sour note in our love song. I hate to write letters.

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Poor Fred would write and write without getting an answer, and final- ly I'd get a cheery, impersonal note, saying, “Well, I’m engaged again.” He never was, of course, but I knew I had better write or else. I think our Great Romance lasted about a year and a half. Did I date anyone else when I was away from him? Certainly not. I had the soul of an artiste—would I betray the Man I Loved? Besides, I didn’t know any other boys. It all ended when I went to New York. Fred came down from San Francisco to see me off. Oh, that leavetaking. When the train pulled out, I really played the scene to the hilt. There I was, hang- ing out the window, waving my hand- kerchief, shouting, “Farewell, fare- well! I shall never forget you!” while Mother held on to my ankles. How I loved suffering. In spite of my fine words, I did forget him. New York was so excit- ing I just. didn’t get around to an- swering Fred’s letters. But I over- played it. This time I got a wire. It said, “Engaged. Wedding set for such-and-such a date. Too bad you can’t be here.” Not even “love.” That wedding didn’t come off, either. Fred is still single—but not carrying any torch, heaven knows. He’s in the Army now and writes to me now and then. And the things we remember about our big, dra- matic romance are funny enough to break up both of us and send Jack Bean, the man I’m really going to marry, into hysterics! NO STAIN FRESH KEEPS UNDERARMS DRY NO ODOR FRESH KEEPS UNDERARMS DRY You and your lovely clothes are safe with Fresh Are you always Lovely to Love’? You're lovely to look at, lovely to be near— only when underarms stay dry, odorless. That's why lovely women use FRESH Cream Deodorant, always! Tests in a leading university laboratory show that new FRESH with ‘‘Moisture-Shield” formula has up to 180% greater astringent action than other leading cream deodorants. And it is this astringent action that keeps underarms dry and free from odor, Use gentle, effective FRESH daily. ONLY FRESH HAS THIS NEW “MOISTURE-SHIELD” FORMULA TO KEEP UNDERARMS REALLY DRY! Fresh is a registered trademark of The Pharma-Craft Corporation. Fresh is also manufactured and distributed in Canada, CREAM OEODORANY. 29

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"Enchanting = eover irk JEAN BALL 9 OUT OF 10. LEADING COVER GIRLS PREFER SWEETHEART SOAP Tes ore Lunar Lotter KEEPS ME FRESH ALL DAY “Beauty is my business,’’ says lovely Jean Ball, “and SweetHeart is my beauty soap. Making my living as a model, I find that SweetHeart’s rich, fragrant, more luxuriant lather keeps me fresh all day—even after long sessions under hot studio lights. Best of all. SweetHeart Cover-Girl Facials keep my skin as soft and smooth as flower petals.” e Change today to thorough care—with pure, mild Your Kin Jack Paar, whose career is really zooming, is one of the most relaxed characters in the business when the cameras are turned on. In Private life he is a nervous wreck. He eats { hardly any breakfast, gulps iced tea or coffee for lunch, and keeps taking pills to keep him- self going. His dialogue offscreen comes so fast that you wonder how he can keep it up and not collapse. He’s a worrier, too. He frets over stories about him when they appear in ; the papers and keeps seeing double meanings i} in them when there aren’t any. He keeps | thinking his whole career is in jeopardy from one innocuous sentence in somebody’s story. It’s amazing that detrimental things aren’t printed about him, in fact, for he has an un- canny—and unfortunate—knack for sticking his foot in his mouth. He’s a little like God- : t frey in that way (although much easier to see, t of course). Both of them, once they start it talking, can’t stop; and both of them come if out with statements that make them look pretty silly when they show up in print... Don’t think that Audrey Hepburn's fam- ily and friends are the only people against her | possible marriage to Mel Ferrer. Some mem- i bers of Mel’s family don’t approve either. It HH isn’t that they don’t like Audrey—they all ij do—but they are very religious and do not 1 recognize divorce. They still consider Fran 1 30 Ferrer (who divorced Mel in Mexico a few TV TALK Steve Allen is moody ... Audrey Hepburn has future in-law trouble. months ago) his wife . . . Steve Allen seems like one of the easiest-going guys in the world. But he’s not. He gets into blue-indigo moods, and no one can get him out of them. And his show sometimes suffers from Steve’s funks; when he’s in one, he’s not so quick with the quips—and sometimes just a little high-handed with his studio audiences. Any little thing can set him off—a misplaced camera, a wrong note, a slow stagehand. The worst time to meet Steve, however, is in the morning. He doesn’t start operating, or even thinking, until around noon. It’s a good thing his show is a late- night one. He’d probably flop with a thud if he had to take over Garroway’s work .. . It’s surprising in such a suave guy, but Robert Montgomery has a stutter. The more he talks, the more pronounced it is . . . One rea- son you don’t read more about Arlene Francis is that she’s so nice many editors claim that any story about her would be dull . . . Even the smartest producers make mistakes, and Howard Lindsay is no exception. Kim Stanley once went to’him to audition, armed with a letter from a mutual friend, and Lindsay told her to go back to Texas. Kim, who is essential- ly very shy, had spent two years getting up the nerve to use the letter and she was heart- broken. But she is also a very determined girl and she went on to her tv and Broadway successes. She had her moment of triumph SweetHeart. In just seven days, your complexion looks softer, younger. SWEETHEART “of ACREEE with. ~3 EF oe ee ER Co ONO er GTM a ae Ss when Lindsay saw her act and marched right ' up to her to say, “I’m so glad you didn’t go ) back to Texas.” .. . Al Hodge, who has been playing Captain Video practically since TV was born, is a big, husky, amiable boy who is the envy of many actors for one reason: They might not want to spend years playing in a il science fiction Tv show, but they wish they 4 could learn their lines as fast as he does. He i] doesn’t even have to go to rehearsals some- 4 times! He can just take the script, read it over 9) and go. on! Rex Thompson is unique P among child actors. The adult thespians just 4 give up and let him steal their scenes when he’s iy on stage. But—show-business miracle though y it seems—they don’t mind. They like littie jy Rex. He’s a very self-possessed boy—but not hy at all in an obnoxious way—and he’s been » known to cue far more experienced actors in i their lines because he often knows their lines & as well as his own! He’s a real trouper, too. a 4.4 _ Steve Allen and Jayne Meado 7 - ws at wedding.

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“One time he had laryngitis and the doctor “said he could not act that night. But Rex was determined that the show would go on—and “it did, and he did! Another thing that’s 4 amazing about Rex is that he doesn’t have to have his directors explain a part to him. Even at his age, he understands the characters he _ plays. Rex’s accent is legitimate, by the way. _ His father is English, and has kept his accent even after some twenty years in this country. And Rex Thompson is his real name, although 4 his father, a part-time actor, uses the name of _ Jack Beanwell. Seems that when_he came to this country, there was another actor named _ Jack Thompson, so he changed his last name, taking his mother’s maiden name. But his son uses the family’s real name ... Lots of : people have commented on how much Leo G. _ Carroll sounds like the late Roland Young when he plays the role of Cosmo Topper. : What few of them realize, however, is that although Carroll and Young were friends for _ years, Carroll has always talked the way _ Topper does. Carroll is a little bit like Topper, _ too—a dry wit and a befuddled air that be- lies the brains underneath. Carroll, in fact, is quite a scholar: he’s an omnivorous reader who likes nothing better than a good philo- sophical or literary conversation. But he also _ has a side interest in magic and is not averse to placing a few bets on the horses ... You wouldn’t think it to see Tony Randall and Wally Cox (one with a pale face and the other with a skinny frame), but they often work out in a gym during their lunch hour _... Color television is going to be very hard on some female stars. Dyed blonde hair shows "up as just what it is, and every little scar on a girl’s cheeks looks like a cave. Quite a few actresses who don’t have perfect complexions are doing something about them right now. Some are even undergoing those sandpaper or ‘wire brush operations to smooth up their faces. One musical comedy star who does quite a bit of ty work had one a few months ago, and ‘the difference is amazing! They’re very pain- ful and take weeks to recuperate from (weeks when work would be out of the question), but this particular star never could have sung in ‘front of a color Tv camera without one... Walter Cronkite was a very unhappy man “when CBS gave his Morning Show spot to Jack Paar. Not that he was delighted to get “up every morning before five to make it to the studio, but the pay checks were mighty -nice—and mighty necessary with a fancy ‘apartment on the Kast River and-two young girls in private school. Walter’s ambition, however, is—and has been for a long time— to have a straight fifteen-minute news show. The trouble is, you can’t get one just for the asking. Walter, although he enjoys emceeing, still considers himself primarily a newsman. ie Bes: proves to be a real trouper! VAS pou tvie the Money et a, \" Nothing Out-Wears--Out-Shines-- Out-Glamours €C © 8 E& Proven Conclusively by U.S. Testing Co.*: Even High Priced 60¢ Nail Polishes Don’t Out-Wear Chip-pruf Cutex! NO DOUBT ABOUT IT! Regardless of price, you can’t beat Cutex with its sensational new Chip- pruf formula for longer wear. Actual case- history tests by this impartial laboratory prove that even expensive 60¢ nail polishes don’t out- perform Chip- pruf Cutex for lasting wear! THE REASON—ENAMELON! Only Cutex, world’s largest selling nail polish, contains this miracle, Chip-pruf ingredient that prevents peeling—keeps fingertips glowing with a chip- resistant lustre that stays perfect from mani- cure to manicure! WHY PAY MORE? Cutex gives you longer wear—prettier colors—plus the safe Spillpruf feature, not available in the 2 tested polishes! *U.S. Testing Co. Report No. 66174—11/18/53 Pearl Cutex, 39¢ Chip-pruf Cutex, 15¢ Prices plus tax. Try Cutex “‘Double Action” Cream Nail Polish Remover, 39¢ 31

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Something thrilling happens sur Sah feels soft and smooth as a rose petal Simple two-way treatment helps blemished skin. Suddenly your skin looks like a little girl’s. Gone are hateful blackheads, pimples, oily shine, flaky dryness. That’s your thrilling reward for making Cuticura Soap and Ointment your daily routine . . . How does Cuticura work such wonders? Cuticura Soap is superfatted, the mildest, best kind of complexion soap. It preserves the natural moisture as it cleanses. And Cuticura Ointment softens, gently stimulates, visibly im- proves your skin as it helps clear up externally caused blemishes. Millions of women thank world- known Cuticura for their exqui- site skin—why don’t you try Cuticura! Cuticu ra, FREE SOAP sample, folder telling right way to cleanse normal, dry, oily, blemished skin. 32 Write Cuticura, Dept. DM-11, Malden 48, Mass. m@ At the climax of the music Cyd Charisse leaped energetically onto partner James Mitchell’s shoulder. They held the position like statues. Director Stanley Donen turned to the group around the camera. Eugene Loring nodded his approval of the intricate choreography. Jean Coyne was positive not a strand of Cyd’s hair was twirled out of place. A woman from the censor’s office af- firmed that Cyd’s skirt, which was slit above the knee, had remained provocative, but not too provocative. Finally, a short eternity later, the director called, “Cut! It’s a lily.” A “lily” means great, perfect. To Cyd Charisse it meant the com- pletion of 160 hours of work for a guest specialty in Deep In My Heart. The number would last a slim seven minutes on the screen. According to Cyd, “My shoes go flying off in the middle of an arpeg- gio, my hair tangles in my partner’s teeth as I lean against his arm doing a high kick and my earrings take off at the slightest spin.” She has found several off-beat remedies. She brushes the inside of her shoes with, toupee paste. “Then they stay on like paper on the wall. The paste is washable so it doesn’t harm stocking, foot or shoe. “T feel like a wired candelabrum every time I wear earrings in a dance. They’re spin-tested first to see how long they'll stay on the ear before the force of the twirl will snatch them off. Then they run a wire around my ear and connect it to the back of the earring and dab the front with paste.” Eugene Loring, who has known Cyd for eleven years, helped to re- mind her of other dance “eccentrici- ties” that had to be developed. “Cyd, as you know, has the longest legs of any dancer in town. We always used to have trouble keeping the opera length hose she wore from twisting.” Now, she wraps a penny in To work like this you gotta be nuts— — or be Cyd Charisse! FOR DANCERS ONLY the top of her stocking, binding it with elastic and tying it to the stock- ing belt. Those nylons hug her leg for dear life, and she’s never lost a penny yet. The most nerve-racking accident is the run in the stocking. The entire costume has to be taken off section by section since it is entirely sewed or hooked together. “The dance for Deep In My Heart was a rough one,” Loring explained. “We couldn’t shoot it in sequence - since neither Cyd nor anyone else could endure the pace. We’d film the harder leaps and spins in the morn- ing when she was fresh ae taper off se noon.’ “There are so many athe: items to check besides the correct steps,” Cyd sighed. There are the dance skins, flesh-fitting leotards made of porous latex. Every dancer wears this flesh- tone second layer of skin to keep the perspiration from soaking the cos- tume. “As it was I had four rehearsal costumes worn out before I ever tried on the white lace and jersey one I wear for the number. They had a duplicate of it just for protection.” A good thing, too, for after testing thirty-four pairs of shoes, Cyd had finally. chosen the high heels that would have balance, style and endur- ance. She hadn’t taken more than a few steps when the rubber-tipped heel caught in the hem of her dress. It was good to know there was an extra. She must remember other details: lacquering her hair until it fits like — a cap and removing all rings so they won't cut her partner or herself. She tries to keep daisy fresh by packing her wrists in ice cubes. If these aren't available she uses cologne. So next time you see Cyd gliding : over the dance floor like whipped — cream on a banana split, just be con- tent with your comfortable seat in — the theatre, your box of popcorn and your two left feet. by eee and Bonnie c rehill

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Debbie Reynolds, co-starred in “Athena,” MGM’s musical romance in color. Modern Lowboy in blond oak, withcon- $= 95* venient drawer in base. Model #2920. J agrees: Planning is the first step to happiness OVELY DEBBIE REYNOLDS has learned that happiness doesn’t just happen. More often than not, it is the result of careful planning. And Debbie believes that a Lane Cedar Chest should be an important part of those plans. A Lane Chest has a way of gathering fine gee © Die UV, collecting them early will have more—and lovelier—things for the home of her dreams. What’s more, a Lane Cedar Chest will keep precious blankets and woolens fresh and sweet-smelling—safe from moths and dust—as no other storage method can! Lane Chests are sold at most leading furniture and department stores. And j \ a p) & EE as » m. a | & . @ pp LIVING ROOM Modern Console in blond oak with three sliding shelves for maximum storage con- venience. Model #C-120. $79.95* LIVING ROOM 18th-Century Chest in satin-finish mahog- i J = --) J Over 100 styles and finishes. * $5.00 higher in the West due to higher freight costs—slightly higher in Canada. FOYER as Stunning Modern chest in American wal- nut with convenient self-lifting tray. Model #3008. $59.95* BEDROOM here’s something worth thinking about: Just one nice garment saved from moths can pay for a Lane Cedar Chest! Lane is the ONLY pressure-tested, aroma- tight cedar chest. Made of 34-inch red cedar in accordance with U.S. Government recommendations, with a free moth- protection guarantee, underwritten by one of the world’s largest insurance companies, issued upon proper application. Helpful hints for storing are in each chest. The Lane Company, Inc., Dept. Z, Altavista, Va. In Canada: Knechtels, Ltd., Hanover, Ont. Also makers of Lane Tables Easy terms S | @ | Many at... "wow | BEDROOM Space-Saver Chest. Ample storage, mini- mum floor space. In blond oak. Cabinet Opens at top, drawer in base. #3100. $59.95 BEDROOM Attractive Chest of matched walnut with Unusually smart blond oak chest equipped with convenient self-lifting tray. Model 73081. $49.95.* any. Full-length drawer in base and simulated ; Pen a ee borders of zebrawood. Equipped with self- rawers above. Mode . $79.95* lifting tray. Model £3083. $49.95*

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How you can stop odor, check Until recently, every time a movie villain shot a flaming arrow into the air it fell to earth in Julia's hair. As an invariably long-tressed, demure heroine, she was slapped, drowned and incinerated. Finally, tired of taking her life in her-hands, she took her scissors to her hair. Ses 2a SSeS Se with Tussy ...the instant Deodorant Instantly checks perspiration mois- ture. Instantly stops odor and keeps it stopped 24 hours or longer . . . even through the hottest day! Follow arrows for daintiness = ’ Pe "No more demure darlings,'' she thought hap- _-Netless result: the “crazy cut'' above, the plus. Blend Tussy Cream Deodorant into : . pily, having chopped off a hank in the mid- role of an un-battered wife—and a nice the skin, moving up, then out to the dle. ‘From now on |'m the fiery type.” long wig to wear in part of the film! | sides. It’s a cosmetic, made with face cream ... smooths the skin. Won’t fade out! You can’t become im- mune to its effects. Each time you use it . it protects you. Safe for normal skin and fabrics. 50¢ & $1. When you travel, carry a Tussy Stick Deodorant in your purse. Easy to use any place. Only $1. prices plus tax @ Julia Adams was in a rebellious mood, which was unusual. She stomped into the office of U.I.’s chief hairdresser, and shook loose her hair. “Cut it,” she exclaimed. “And no arguments!” “Very well,” the hairdresser replied, and excused herself to check with the front office. Julia bit her lip. She knew that by the time Joan came back she’d doubtless have word that she'd better let the hair stay the way it was. She reached for the scissors, pulled out a big strand from the top of her head and snipped same emphatically. That’s how Julia’s new “crazy cut” was born. The sequel to the crazy cut is that one week later Julia flew to Boston to start work in Five Bridges To Cross, in which she stars with Tony Curtis. For the . early sequences, the studio had to slap a wig on her head, but then came the lapse of twenty years, the way they do it in movies, and Julia gets a chance to introduce her crazy cut on the screen. “And if anyone likes it, I don’t own the copyright,” she says, “only theyre forewarned that I’m not responsible for the way it looks on any head but my own.”

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CLARK GABLE... Rumor or no: the King hasn’t chosen his Queen! @ When Clark Gable made a fast trip to the hospital to pick up his old friend Kay Williams Spreckels who had suffered a slight accident, many people jumped to the conclusion that romance was in the air. Actually, Clark maintains friendship of long standing with Kay, as with Virginia Grey, and if he ever talked of mar- riage to either, no one says so. Clark, who will be fifty-three on February 1, has confided to intimates that there is only the slimmest chance that hell ever wed again. Further- more. he is not going to dispose of his ranch on Petit Avenue in Encino, as rumored. “Every time I think maybe I'll let it go because it’s a huge place for one man to rattle around in,” Clark has said, “I visualize other people living there, and I just can’t bring myself to put it up for sale.” About ten years ago, this place was considered way out in the country, and he liked it that way, with the mountains between himself and the studio, but the San Fernando Valley population has grown so swiftly that the Gable ranch is now considered the center of town. The only way Clark’s life has changed is that he no longer hangs out of a Sunday morn- ing with the hot rod car specialists who used to count him one of their regulars. Too many Sunday drivers spotted him and clustered around for autographs. : Clark’s chief interest at the mo- ment is in his new 20th Century-Fox picture, The Tall Men. It will be his first picture since he left MGM. Star- ring in it with him will be Jane Rus- sell and Guy Madison, as Clark once again becomes the hard-riding cow- boy in a story about the Old West. TAKES A GREYHOUND PRE-PLANNED VACATION YOU can enjoy a thrilling Florida tour —or any of a hundred others — with hotels, transportation, special sightsee- ing all included at one low price! For details, visit any Greyhound Travel Bureau—or mail the coupon below. FLORIDA CIRCLE 11 days, 10 nights‘ hotel from Jacksonville. $79.10 LOS ANGELES— SAN FRANCISCO 3 days, 2 nights’ hotel starting from either city. ..$21.10 COLONIAL VIRGINIA 6 days, 5 nights‘ hotel from Washington, D.C..... $45.90 EVERGREEN CIRCLE 3 days, 2 nights’ hotel fromieseatt| ena srnreien er $28.40 OLD MEXICO (Escorted from Laredo). 12 days, 11 nights’ hotel (19 meals included) _ from San Antonio........ $149.10 GREAT SMOKIES 3 days, 2 nights‘ hotel starting from Asheville or Knoxville............... $50.50 Add Greyhound round-trip fare from your home to starting point. U.S. Tax extra. ‘*Mrs. America” is lovely Wanda Jennings of St. Louis, pictured above with her husband. They visited Marineland, stopped at Ellinor Village, toured Miami, other fun spots. FREE! PLEASURE MAP OF ~ _ Address asa | City & State___ 35 re

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* Both hands of Mrs. Janice Mulcahey were soaked in detergents. Only her right hand was given Jergens Lotion care. The difference is remarkable! We believe this is the most important skin news in years. Found: A positive way to stop Detergent Hands A national research laboratory* proves Jergens Lotion more effective than any other lotion tested for stopping detergent damage. Recently, 447 women spent many weeks looking for a way to stop “detergent hands.” Three times a day, they soaked both hands in detergents. After each soaking, Jergens Lotion was applied to their right hands. Their left hands were not treated. The results were astonishing. In 3 or 4 days, left hands were roughened, red, even cracked and bleeding. Right hands were smooth, unblemished, soft, and white! Many other lotions were tested the same way. Not one proved as effective as Jergens Lotion. Not even 100% lanolin did better (no hand care has more than 15% lanolin). The famous Jergens Lotion formula, Jers perfected over fifty years, positively stops detergent damage. This means it’s ideal for roughness, chapping, and all the hand problems a woman has to face. It’s your guarantee of romantically lovely hands. If you haven't tried Jergens Lotion lately, now is the time. You'll find it a heavier, creamier lotion, with a pleasing new fra- grance. It’s never sticky or greasy. And it’s still 10¢ to $1.00, plus tax. Jergens Lotion positively stops “Detergent Hands” en > £ EFFECTIVE \WCREDIENTS, help knep hands foce legs and orms soft and smooth * NoricE to doctors and der- matologists. For a summary of this report, write to The Andrew Jergens Co., Cinn., O.

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Z modern screen [november 1954 The Two | Worlds Of Marilyn, Monroe @ By JACK WADE B® Since her wedding Marilyn Monroe has been living in two worlds. One is at home with Joe in the evening—which she considers most important—and the other is her own daytime career world which keeps her. famous and content. These two worlds are separate and Joe wants Marilyn to keep them that way. And she, of course, is willing. The vital question is: Are these two worlds antagonistic or complementary? Can Marilyn be one sort of woman dur- ing the day and another sort at night? Can she have one set of friends from eight a.m. (Continued on page 72)

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“Now don't throw Eddie: questions at me. Let me think. Well .. . er... we're just good friends!" “What's with this marriage-expert “Ohhh . .-. you want to know Debbie: "What do | want from marriage? Well . . . | need a lot of business? How come everyone's ask- about Eddie and me. ... Why didn't security, a lot... hey! Let me ing me? I'm just a working girl, you say so? In that case— ask you something for a change!" | guess | always will be." why don't you ask Eddie!" * “Who's stalling? Me? Well, all “But look . . . don't say we're right, you can have it straight. married! Don't even say we're en- I've got it bad for Debbie. gaged. Why, | don't know if | think she’s wonderful." Debbie loves me that much!" BY STEVE CRONIN @ Are Eddie Fisher and Debbie Reynolds married? There is no point any longer in asking if they plan to be married. Any eye which fell on them during Eddie’s trip to Hollywood, before he took his European vacation, any ear which caught their words to each other, saw and heard enough to clinch the fact that matrimony was in the air. “You've got a career started and I-wouldn’t want to interfere with it,’ Debbie said one day at a Beverly Hills gathering when someone kidded both of them about seeing a minister. Eddie came back quickly and earnestly. “The best thing about my career is meeting you,” he said. The ordinarily blithe Debbie, who has no trouble fluffing off a compliment when the fellow doesn’t mean anything, turned as rosy as the tomato-colored shirt she was wearing (with matador pants) and started tripping over her consonants before she was able to reply. “That's different,” she said. “Maybe it won’t be interference then.” It wasn’t long after this exchange that Debbie and Eddie met in New York—with both their mothers. At the airport Debbie was in her old form when she was questioned about Eddie. Her. replies were quick and easy, but not exactly answers. But when she started back to California, Debbie was wearing a new ring and planning a wedding, probably to be in January in California. About that interference, maybe they could be wrong. Back of Eddie stand men who have helped him to success and for whose show business judgment he has great respect (much more than he has for his own, as he will frankly admit) and even as they insist that they are open minded about Eddie’s acquiring a wife, the possibility of it makes their faces set (Continued on page 77)

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de eo == — a ® — po aD, ae D ae s—but only weeks ago li “in y were saying She looks ing. on Debbie's finger and a gleam look what the Eddie's eye; there may be wedding bells right after New Year There's ar

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REPORT FROM EUROPE: WHY CAN'T THEY BEHAVE? By Sheilah Graham Ingrid Bergman, once regarded here as the perfect wife, shocked America by her conduct with Rossellini—but Europeans accepted it calmly. Only A Few Of Our Stars Abroad Forget Their Homes And m The British just couldn’t believe it. There was a stunned silence as Errol Flynn, grinning fatuously and foolishly, fol- lowed his wife Pat Wymore off the London Palladium stage. It was the Night Of A Hundred Stars—the “Midnight Mat- inee” organized by Noel Coward for a charity. Royalty was in the stalls, represented by seventeen-year-old Princess Alex- andria, daughter of the Duchess of Kent. For no reason anyone could guess, Errol Flynn, late of Hollywood, had elected to read The Kinsey Report from the stage. It was shockingly: tasteless, and to make it worse, Mirs. Flynn performed a just-as-vulgar semi-striptease. “But why was there no mention of this strange exhibition of bad manners in the press?” I asked a newspaper friend of mine a few days later. “That’s what Flynn wanted,” he replied, “so we decided to punish him by ignoring the incident.”

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| | Shelley Winters, temperamental anywhere, really cut loose in Italy. Few and far between were the times when the jealous Shell calmed down to. pose smilingly with Vittorio, Michael Rennie, Silvana Mangano. Although usually accompanied by mutual friends, Ava and her bull- fighter shocked the public by disappearing together for days in Spain. But Ava was the one shocked by Dominguin's behavior in America. Errol has always loved to shock and startle. But I was amazed on my recent trip to Europe, to discover that other movie stars who are usually cautious in their statements and conservative in their behavior, had lost popularity because of sounding off and acting up. I‘ was surprised, for instance, to find that Clark Gable had lost face in Paris over the Suzanne Dadolle affair. Now it’s one thing not to marry a girl. But in France you are not a gentleman if you deny you are engaged to a lady, after she has announced it. It is not gallant. Actually, poor Suzie might have grabbed Hollywood’s best bachelor ‘if she had realized how easily film stars are frightened by ladies who announce, “We are engaged to marry.” But all the same, I’m sure that if the same thing had happened in Hollywood, Clark would have remained noncommittal and gone off shoot- ing or something instead of flatly denying that his intentions No one is more poised in Hollywood than Gene Tierney, but she throws caution to the winds in Europe. The Aga Khan (left) smiled tolerantly at some of her antics but turned thumbs down on her as Aly's wife, Bob Hope and his wife, photographed in a rare nightclub appearance, are as circumspect overseas as they are at home, do a great deal to make up for the bad impression left by other Hollywoodites abroad were matrimonial. Such ungraciousness wasn’t like the King. And Gene Tierney. No one is more sedate in Hollywood than Gene—when she’s here. Gene was born and raised in Brooklyn. She has a passion for titles, and she longs to be a princess. All this palaver about trying to decide whether she should or should not marry Prince Aly Khan is stuff and nonsense. If the old Aga Khan would give the word, it is my opinion that Gene would marry Aly faster than she could say yes. Ironically, one of the Aga’s objections to Gene as a daughter-in-law, I’m told by one of his close friends, is that Gene tries too hard to act like a princess—or rather she con- ducts herself as she thinks a princess does—haughty, cold and disdainful. I haven’t met many princesses, but the real article has always been warmly gracious. And Gene’s technique with Aly was, shall we say, a little clumsy. True, she was surrounded (Continued on page 79) 41

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New love has brought new happiness to J off Chandler’s lonely life. But this time he wants to be sure! BY ALICE FINLETTER. time to work things out new kind of life, there must be a woman, sooner or later. Most of Hollywood believes that woman will be pert, petite, beautiful Gloria De Haven. Jeff and Gloria have been going around together ever since their estrange- ments and divorces. That they care deeply for each other is obvious. When Gloria recently opened at El Rancho Vegas, a swank nightery in Las Vegas, Jeff flew in from Hollywood to lead the opening night applause. A few weeks later when he was on location in Kingman, Arizona, making Foxfire ‘ with Jane Russell, Jeff again took off to visit Gloria on the week-end. | This jaunt from Arizona was supposed to be a surprise, ( but it backfired. When Chandler arrived in Las Vegas, he found that Gloria had another guest—Marty Himmel, m Jeff Chandler must rearrange his life,.now. In his j ie { Ses! ~~ cman y “We've both been through emotional upsets,” Je says. ‘My divorce won't be final till next year and Gloria doesn't want to be tied down yet." the husband she was then in the process of divorcing. The newspapers said that Marty and Jeff exchanged strong words, that the tall, burly actor invited Himmel to step outside and that while Gloria was singing'to the cash customers, the two men in her life squared off. But Gloria says it isn’t true. “I read in the newspapers, too, how Jeff and Marty were supposed to have fought over me. It’s a lot of bunk. “Jeff happened to fly up to see me. I didn’t know he was coming. And Marty happened to fly in from New York. My divorce from Marty was very friendly and I was glad to see him. I was glad to see Jeff, too. There was no fight of any kind. “After the week-end, Jeff flew back to his location and Marty went on to Los Angeles. Two weeks later I got my divorce from Marty. (Continued on page 70) Valley desert. Friends say he rented the lonely place just to escape'all those Hollywood dames who call him up.'' 2

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I seem to have done it WHEN TERRY DECIDED TO SHOW again. I didn’t think the dress was so shocking, but the roof fell in, as usual. And there I was, as usual —flat on my face! BY TERRY MOORE m@ The editors of MopERN SCREEN have nominated me a likely authority on criticism and how to take it. Thank you. I think. Well, it’s true that I have had a.little more practice in this particular field than a lot of people I could name. Certainly there have been more times than one when I have felt that the world was not a hundred per cent behind Terry Moore. In the afternoon they went swimming ™ But on the whole, I think I have benefited more than I have suffered from the barbs—and I am not talking in the sense of publicity. I'll get to that. I believe I have benefited by evaluating constructive criticism and turning it to my own uses. I believe that—by a somewhat painful process, I grant you—I have learned to accept criticism and even antagonism. with some grace. I have a friend who collects quotations the way some people collect stamps, and he has lent me a couple of them for this occasion. He says that Ernest Hemingway has defined courage as “grace under pressure.” I like that. I don’t say I'm a brave woman yet, but I’m trying to learn to be one. And it was Oscar Wilde, this friend says, who once remarked: “Experience is the name men give to their mistakes.” It seems to me Mr. Wilde was being more clever than sound. This would be true only of a person who never learned a thing from being wrong. The value of criticism lies in what your critic might be able to teach you, doesn’t it? And if you do learn from it, then that is experience. I didn’t come here to tangle with Oscar Wilde, but Later that.day they rode—and rested sometimes a girl has to speak (Continued on page 80) 2 | | t i] | |

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but Rita drove the jeep. They turned out to be equally gleeful at ME j... until the prospect of a square dance sent both girls (slightly bowlegged) to change for the party and goodbyes.

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Bob prefers fishing in the mountains for vaca- for Jane, who overworks when making a picture, tions, so, Jane says, 'We compromise. He goes has been known to crack up from the strain. to the mountains—and | go to the beach!" Why try to change me now? } JANE’S STUBBORN AND SHE KNOWS IT, TEMPERAMENTAL AND ADMITS IT—BUT YOU CAN’T TEACH “THE OLD ONE’’ NEW TRICKS! m@ Shortly before she left for Europe this fall to star in the first Russfield production, Gentlemen Marry Brunettes, Jane Russell sat with a couple of friends in her beach house at Malibu. The dove-and-pink livingroom with the clean modern lines has almost become a trademark of hers. This was during the time that she was making Foxfire with Jeff Chandler and, as always, Jane was dog-tired midway through the picture. She isn’t a girl who takes her film emoting lightly. Because she was tired, she had done what she always does when a blessed free week-end unfolds—beat feet for the seashore. It was particularly quiet there that Sunday afternoon. After an active morning on the beach, her kids, Tracey and Thomas, had needed no urging to fall into bed for their naps. Robert had gone fishing with a couple of cronies. The beach house had no (Continued on page 89) By TON! NOEL

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It isn’t arrogance that makes | Clift hide from the public, flee from romance. It’s a deep- rooted fear of failure that’s turned him into Filmdom’s Vanishes Man! BY RICHARD L. WILLIAMS WHAT MAKES MONTY! After every film Monty disappears, usually turns up somewhere like Monty has dated girls like Judy Balaban (above), Liz laylor, but the Varadero in Cuba, where he can relax, go yachting with friends like women he admires most are older, ‘complicated’ ones like Libby Italjan socialite Marcel Grief—and feel fairly safe from reporters. Holman, Natasha Lytess (Monroe's dramatic coach), Mira Rostova. a — ee Z @ It's always shocking to discover that a good friend Le has it in him to be a heel. It can be just as surprising to learn that a person you've written off as impossible is really a nice guy, after all. Well, Montgomery Clift is really a nice guy, after all. The reportedly snobbish, standoffish, elusive, boorish, reserved Clift has given the infuriating impression that he-just can’t be bothered with people and that he has stayed single all this time for the want of a good enough girl. ; The only trouble is, you've got to get to know Monty to find the niceness under his hard-shell—and it's very hard to get to know him because once he gets the idea that you want to, he scuttles away like a crusty turtle. Or, more exactly, a frightened one. For Monty has a peculiar defense mechanism: he’s so afraid of -— not being “true” to his own picture of himself, that : . he'll readily risk offending people rather than let BL - é aes them think, perish the thought, that he’s a glad-eyed P op hail-fellow in pursuit of them. So he runs away. eC A typical incident occurred in New York last summer. 9) Pes —_— Late one night a young photographer mounted the ia f| AERA 3 = = ; Ee rickety steps backstage at the Phoenix Theatre on lower _ | { } put is work, Monty gape ated) fom mia muac Second Avenue. From.the alley below rose the hub- 7 4 itt in The Seagull in New York and in DeSica's Indiscretion Of ; 3 é : An American Wife in order to work with artists he admires. bub of the departing audience (Continued on page 83)

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by Marva Peterson | © U d ies aed e he Q 0 d 0 ih re’ e 0

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IN THEIR NEW HOME FERNANDO AND ARLENE DISCOVERED THAT THEY DON’T HAVE TO HAVE EVERYTHING IN COMMON—JUST AS LONG AS THEY DO HAVE SOMETHING VERY SPECIAL! The livingroom is furnished with pieces from Fernando's former apartment and Arlene's. For two months before they were married they secretly decorated the house. ine Lamas’ Dutch Colonial house stands in a quiet Bel Air canyon. Built against a mountain slope (for privacy), it has glass-walled patio and livingroom. Fernando promptly named it “Happy House." é aq” m@ The picturesque California coastal town of Carmel is such a‘ popular honeymoon spot that the citizens are especially con- siderate of newlyweds. They are friendly and courteous and they leave them to their blissful ways. When Arlene Dahl and Fernando Lamas strolled into a Carmel curio shop recently, the saleswoman retired discreetly into the background. She had recognized the movie stars immediately. Only the night before she had read of their elopement to Las Vegas. And it seemed perfectly natural that they, too, should choose to honeymoon in Carmel-by-the-Sea. “Darling,” Arlene murmured as she glanced around the curio One of their very few brand new purchases was a spinet piano; now Arlene can accompany Fernando, who loves to sing at parties. ‘Most of the adjustments,’ Arlene admits cheerfully, ‘have been mine.” One month after they moved in their home was ready tor a housewarming. Both Arlene and Fernando work best un- der pressure, love to be rushed and to meet deadlines. shop. “This place is jammed with treasures. We can get simply wonderful things for our livingroom shelves.” “Why not buy books?” Fernando asked with masculine logic. Arlene shot her husband a wifely look. She prowled and poked among the curios, examining and pricing every object. Some minutes later she found a black and gold musical cigarette box. She carried it to Fernando. - “When you open it,” she explained, “it plays two tunes— ‘Smoke Gets In Your Eyes’ and “Two Cigarettes In The Dark.’” “T like it, Lamas announced. Arlene noticed that he, too, had made a purchase. “What did you buy?” she asked (Continued on page 68)

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LINDA DARNELL: As a young star, Linda was nervous, chewed her fingernails, forgot errands, needed to relax but didn't know how. Then she found a way. Her secret: “Music. | keep my radio or recorder going practically 24 hours a day, | eat to music, drive to music, study scripts to music (her latest is This Is My Love) and even sleep to music all night. My friends sometimes jokingly refer me to their favorite psychi- atrists, but | find music—from swing to symphony—a great relaxer." (This, by the way, is the secret of many famous people: find something that always relaxes you— whether it’s music, murder mysteries or fin- ger painting—and turn to it when necessary.) ~~ 9 2 ae en eee JAN STERLING: Jan takes even more pains than most Hollywood stars to keep looking her best. Yet her extremely unglamorous role in The High and The Mighty, in which she wiped off her make-up before the cameras, and her equally unattractive part in her latest film, Women’s Prison failed to frighten her. Her secret: "I re- membered that the most impor- tant person in my world—my hus- band—often sees me at my worst. If he can forgive this face, | can show it to the rest of the world!" DONNA REED: Donna wanted to go to college. To support her- self, she took the first job offered at the first price that was sug- gested—washing dishes for meals and a dollar a week. Too late she learned that the regular salary was $10 a month. Now she's a high-priced, high-rated star in The Last Time I Saw Paris. Her secret: ‘Take your time, investi- gate, don't make a decision until you know the facts. And most im- portant, don't underrate or over- rate yourself . . . know your own value and stick to it at all times."

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Here are little-known facts about well-known stars; secrets that ac- count for their success with people and with careers—and may be the answers to your problems, too! MARILYN MONROE: Marilyn knows that her primary appeal is her sexy beauty. Her secret: "Variety. For example, | change my hair color for almost every film. Honey, champagne, amber. Now silver blonde for Show Business. | experiment with different shades of lipstick often too. A woman can't really change her face, of course, but subtle coloring can make an interesting difference." ANNE BAXTER: In Ten Commandments Anne VIRGINIA MAYO: In her high school days, Vir- wears ornate toe-rings, popular in Biblical times. ginia never dated, was so shy that others thought { On impulse she ordered a few for her personal her aloof and snobbish. Now starring in The Silver ! ; wardrobe—and she'll wear them! Then just watch Chalice, Virginia is poised and charming. Her - ; her start a new fad! Her secret: “Do at least a few secret: "I learned that people are basically kind. r of the things that really seem fun. Nobody should When they didn't seem friendly it was usually my? be afraid to have fun ... even if it's silly." something in me that was pushing them off."

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“I'we got a secret!” continued JUNE ALLYSON> Like every popular star, June has critics. Unlike most, she isn't bothered by being called a “professional sweetheart with a knack for nasty niceness.'' She just grins and admits that no one is perfect. Her secret: She pokes fun at trouble. She has organized “The Allyson Obnoxious Club" and includes among the other revolting members Dick Powell and Jim Stewart. MARY MURPHY Starring in Love Is A Weapon, Mary is a conversational acrobat. She can discuss philosophy—then switch in a second to baseball! Her secret: "I've found that men can't bear a girl who takes over the conversation, but they like her to hold her own." JEAN SIMMONS Jean's wardrobe is a trademark, Her secret: "I'm an extremist. | love really elegant gowns for evening, rather bare and of lovely, fine fabrics. But | prefer jeans and shirts for everything else—whenever | can get away with them!" Jean's in Desirée. MITZI GAYNORA Mitzi has a new look—you'll see it in There’s No Business Like Show Business. |t's a combination of beauty, grace, sincerity—and sophistication, car- ried just far enough. Knowing where to stop took a lot of thought, planning and effort. Her secret: “Sophistication is jonertal if you really under- stand yourself. But don't forsake your own person- ality by trying to be someone else. Be yourself. It's the starting point for all real self-improvement.’

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The higher and faster a guy climbs, the more successful and secure he becomes, the more you can be sure there’s been a woman’s love behind him! Man, man | is for the woman made. FRANK SINATRA Marriages may come and go, but Nancy Sinatra gets the sole credit for being the backbone of Frank's sincerity, for having an uncanny knack of bringing out the best in this turbulent man. Now, his stormy second marriage a failure, Frank seems to realize that he has found peace only with Nancy and his family. He may not be the world's best hus- band, but he is a truly fine father, proud of his kids and conscious that Nancy is responsible for their turning out so well. Since she has known him, during their marriage and even after the divorce, Nancy has given Frank unwavering loyalty. May their most recent happy date not be their last! RORY CALHOUN In private conversation she's his Moll and he's her Blackie —and when you see them together you know why. Lita has all the loyalty of the moll for her man—even goes sailing with Rory though the sight of the ocean turns her green. And he's as tough as they come—ex-logger, miner, cow- puncher, Rory was once the guy who'd just as soon take a poke at a producer as say ‘Good morning.'' Now that she's reformed him, Lita occasionally takes a job (she is a successful professional singer) just to prove she can be in- dependent. But neither she nor the head of the house wants to roam. One might say they're thicker than thieves. ROBERT WAGNER Not one but several women have had the molding of Bob. Perhaps the most influential now is Barbara Stanwyck, who has shown him the intricate ins-and-outs of Hollywood living, from how to take direction ta how to avoid gossip. He learned the ways of young love from his romance with Debbie Reynolds (though neither was ripe for marriage then) and lovely Jean Peters taught him the importance of pure friendship. But no one knows which woman will eventually show Bob the beauties of adult love. 57

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Man, man is for the woman made cniimed ALAN LADD > "Give-everyone-else-credit'’ Ladd is less the product of the women of his love than of his own stature as a genuinely honest human being who concentrates more on others than himself. Yet it is Sue Ladd who has managed his career, advised him, added the smooth finishing touches to the hardy gentleman from Hot Springs, Arkansas. And together they are a team that has never been matched in Hollywood, the people's choice as the town's most ideal married couple. Not only do they have a wonderful family of kids, but Alan, for more than a decade one of Hollywood's ten most popular stars, seems headed for another long stretch of big box office pictures and admits, “| never could have done it without Sue.” < BOB MITCHUM Few Hollywood wives envy Dorothy Mitchum. Hers has been the hardest job in town, keeping her big, tough mug's feet on the ground when everyone, including Bob, had almost given him up. But Dorothy has succeeded. She once told him, "Before you do something, ask yourself how it will reflect on your boys.” Since them most of what has reflected on his sons has been Mitch's superb acting and now his courage in leaving the soft berth of a studio to start his own producing company. The job has been a tough one, but now the rewards are in—and they are big ones in the fields of love and laughter. Though she will always need a supply of patience, Dorothy Mitchum, secure at last, envies few movie wives. < JIMMY STEWART At age forty, Jimmy The Paradox was the shy one, the glamorous war veteran who played the field as an untouchable bachelor. At forty-one he found Gloria and plunged like a pleased puppy into the sea of matrimony and family life. Twin girls joined Gloria's two sons to fill out the family and Jimmy's famous smile. became less wistful, more contented. The magic influence became suddenly ap- parent when career-conscious James paid less attention te: movies and more to pic- nics, even letting Gloria select his scripts . . . a job which she handled with such success that The Glenn Miller Story and others made him approximately $4,000,000 _richer than he was as a bachelor. Two, it seems, don't have to live as cheaply as one! v DEAN MARTIN AND JERRY LEWIS It's not always funny to be a comedian's wife. Dean's wife, Jeanne Biegger, had to come from way behind in the care and handling of her man. . . but today she has the upper hand—and rules well with it. It took her encouragement to help Dean break into recording, it required her stabilizing influence to bring Dean home from his wanderings as Don Juan Supreme: Jerry's: wife Patti- had- it equally rough; she found herself married to a lovable guy who trusted people so little that he slept with a gun under-his pillow! She gave him the first home he had ever known, calmed his nerves, became more important to him than his beloved audiences. Someday, under the same management, he will have big money in the bank—and all his much-needed security will be courtesy of Patti.

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papi ly eta mani oie Re gant a OB: se ne ae ance nrc 5) agar ES A And no matter what m@ “Cough once,” said Granger. Jean coughed like an ailing butterfly. “Cough big!” She coughed big while he leaned from his height to bend a judicial ear. Flu had felled her on the set of Desirée. Just out of bed, she was bound for the doctor's. “You think I'd better go back kind of madness Hollywood calls it, the tyrant and the pea Le er Anse oy “Over my dead body.” | martyr are about to “Why?” “Because I’m bigger than you are.’ celebrate their fourth Though the day sweltered, even on their sky-reaching hill, Jean was winter-clad. A scarf tied snug under her chin. A happy anniversary! dark wool slack suit covered her from throat to ankle. She looked small and woebegone, a bunny huddled against nameless perils. To ward them off, she clasped her husband’s waist, dug her head against his chest. His arm went round her. “Can I have some moola?” she asked, piteous. The other hand fished out bills. “This one? Or are you planning to take a boy friend out to dinner?” She plucked the larger one. “I’m a gold-digger.” “Come along, gold-digger. The taxi waits.” This homespun domestic scene (Continued on page 62) BY IDA ZEITLIN

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THE GRANGERS CALL IT LOVE continued S wy ; Mac Ts a Despite their preference for hearth and home, the Grangers do go nightclubbing occasionally when Jean feels like dancing. Both have excellent senses of humor, enjoy wits like vivacious Shelley Winters. (Continued from page 60) left a pleasure feeling as of bells rung in tune. It’s a tune that has always sounded good to the Grangers. For reasons hard to assess, Hollywood seems to enjoy playing it jangled. Consider last winter. Granger works for MGM. By and large, although with an occasional struggle, he goes where they send him. They sent him to England to make Beau Brummell. Jean stayed behind. Columns, having subsided for a while, broke into new and fevered rashes. He was sore because she'd refused to go along. She was sore because he’d left her flat. While she moped at home, he was living it up with the Wildings. Even—tsk, tsk— dating Elspeth March, his ex-wife. So much for creeping innuendo. Now for the facts. With more weariness than ire, being past ire, Granger lays them on the line. Yes, he saw Elspeth March. “She’s the mother of my children. We had matters to discuss concerning their welfare. I also happen to be fond of her. So is Jean. We're rational people. That Elspeth was once my wife doesn’t now make her my arch enemy.” The Wildings, baby and all, shared his apartment. “If this be living it up, make the most of it.” As to who got sore, his look said louder than words that some asininities sink too low for comment. Jean stayed behind for the same reason he went. She had to—by the terms of her contract with Hughes. In the hope that she’d be able to join him later, Granger took what he calls a woman’s apartment. “Double bed, silk sheets. Wouldn’t be caught dead in it by myself.” At the last minute she was shoved into a picture. “Which was rather worse than saying goodbye, period. Knowing it’s for months, one steels oneself. But this other sort of teas- ing thing—she’s coming, she’s not, she'll be here, she I won’t—that’s murder. Someone else said it more taste- fully. ‘Hope deferred maketh the heart sick.’ ” f It’s true that he kept her in tears while he was gone. : By his own peculiar methods. When she was sixteen, Jean’s father died, but he remained a living part of her life. “You loved him so dearly,” said her husband. “I can’t understand why you don’t have a photograph of him.” “Mummy’s got the only one and she won't let me have it.” This offered no insuperable obstacle. In England he eo ae asked Mummy for the photograph, vowing to guard it On location for Green Fire with Grace Kelly, Stewart with life andl Lesbe Ae Se ane to fotdie it, ie insists has the distinction of being one of the few leading r sue men whom Grace has not been linked with off-screen! he grew panicky. I'd heard so (Continued on page 87) Their new home is smaller, more convenient than their | if . . . first mansion in Hollywood . . . yet gossip insisted their change of homes meant the marriage was shaky! come co 62

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by JOull Ligh m@ When I got back from Hawaii a year ago last summer after losing the baby I had expected, I learned that my grandmother Lita was dying of cancer. For two months all of us were in attendance on her, my mother and father, my two aunts and their husbands. To help out, I made it my business to have dinner for everybody cooked in my house every evening, and when I got home from work iia <f I would bring it over to my grandmother’s = house where they were gathered. : While the others, who had been with grand- mother all day, ate, I would sit with her, stroke her forehead with a cool cloth, and hum or sing to her if she didn’t feel like talking. Sometimes this could soothe her to the point of forgetting her pain and she would drop off into blessed sleep. When this happened we used to weep sometimes in gratitude at her surcease from agony—and perhaps weep all the more because she never once complained. Grandmother's trust in ultimate goodness, as shown by her acceptance of her lot, was a beautiful one. She never moaned, she never asked once why this had happened to her, she never once lashed out at anyone or Z anything in retaliation as stricken people sometimes will. More than this, she even retained a sense of responsibility; she could not, even in the teeth of convulsive pain, shirk what she felt was (Continued on page 85) ws Syigal ek ea na

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Nobody told At every stop, kids gathered. Doris signed six dozen pictures, an- swered questions. One girl asked what they did on the train. ‘Not even Scrabble,’ Doris laughed, ''We're just resting this trip.’ ENE aa ee Breakfast, in the famous Harvey manner, consisted of ham and eggs, potatoes and steak! The Melchers ate in their compartment. At Chicago their car was transferred to the New York train. her she was. Doris posed for many snapshots with the train’s crew. She and Marty preferred the leisurely train ride to flying direct to their destination, New York. ‘We're not in a hurry,"’ they agreed. “Why rush?” — "| think Marty and | never talked so little as during that breakfast,” Doris recalled later. ‘No, we hadn't quarrelled; mostly we couldn't take our eyes off the scenery. Indian country . . . so beautiful.” ‘(Next time | take a vacation,’”’ Doris said happily, ‘‘I won’t bother with going somewhere. III just

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m@ When Doris Day and her husband Marty Mel- cher boarded the Super Chief for Chicago, en route 4 é to New York, it was with the distinct understanding that they were just ordinary passengers. “No auto- graphs,” Doris had said firmly. “No special favors. No publicity. We're on vacation. See?” The man- agement of the Super Chief saw. In fact for twenty minutes after Doris boarded the train, the super- intendent refrained from inviting them to dinner on the house. And for almost ten seconds the ever- hungry Marty refrained from accepting. Although the telegraph operators wired ahead to every station on the line that there were celebrities aboard, no one except porters, waiters, conductors, passengers and assorted fans gathered at the Melcher’s com- partment door for autographs. And as to Doris Day, girl hermit, it was at least five minutes before she got lonesome in the peace and quiet she had re- quested and flung open the door of the compart- ment to the first fans, settled happily down to signing autographs and told Marty, “Gee. Isn’t it just awfully nice of everyone to make such a fuss?” Doris’ favorite fan reminded her of her son Terry, who, Doris told everyone proudly, was off to camp all by himself. She spent much time writing him postcards. get on a long-distance train and stay!’’ But even on the train there was work. “At least,’ Doris said, “it puts me to sleep!" f

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ITS A BRAND- NEW — BRANDO BY ALICE HOFFMAN 2 The T-Shirted Terror is tame at last—in more ways than one. Here for the first time is how Marlon himself explains his sudden change of heart! @ “Look,” Marlon Brando said. “I’m not going to pose in any T-shirt. I’m tired of that screwball routine. From now on, I’m not going to have people say I’m a souped-up wack.” Brando was talking to a group of photog- ~ raphers who were trying to shoot him on the set of Desirée where he had a few minutes off between scenes. He looked around and borrowed a jacket from a friend. Slipping into it, he said, “Okay.” -And the shutters started clicking. “Got enough?” Brando asked presently. The amazed photographers looked at each other. Was this docile, gentle, pleasant young man really Marlon Brando? _ Was this the enfant terrible, the holy terror, the actor with the blazing, unpredictable temperament? Was this the very same fellow they'd been warned against, the actor Twentieth Century-Fox had sued for $2,000,000 because he’d walked away from - The Egyptian? He was humble, cheerful and helpful— and on the Twentieth lot, too. Jean Simmons, his leading lady in Desirée, passed by and said voluntarily, “Marlon Brando is th greatest.” The publicity men, notoriously jaded and sophisticated, agreed that they never had worked with a more cooperative player. Were they all sincere or were they merely climbing on the bandwagon because Brando is expected to win an Oscar for his superlative performance in On The Waterfront? The answer is that Marlon Brando, the most enigmatic and talented young actor Holly- wood has ever known, has turned over a new leaf. Ever since April, Brando has been a relatively new man—new in his attitude and in his behavior. He has become outgoing. He has developed great warmth in (Continued on page 92) 1 —— ppt apie pe) nr ean tett UNUNIAT i 88h

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good for each other ie (Continued from page 51) nonchalantly, thinking she was hiding her curiosity. Fernando shook his handsome head. “Not until we’re home.” Arlene tried but no amount of teasing or pleading could make him divulge his secret. “Honestly,” she said, looking as though she might stamp her foot a little. “TJ think you’re terrible.” They both smiled. | HE MORNING after Mr. and Mrs. Lamas - officially moved into their small Dutch colonial house in Bel Air—they had been furnishing it secretly two months before their wedding—Fernando unwrapped his mystery purchase and hung it on the wall outside the master bedroom. At the sound of the hammering Arlene stopped unpacking and began investigat- ing. Her eyes fell on a brightly painted wooden disc about the size of a ten-inch pie plate. The disc had one clock hand, and around its outer edges were painted such adjectives as “tender, sullen, hungry, passionate, tired.” “It’s called a marriage barometer,” Fer- nando explained. “Especially designed to help a new wife anticipate her husband’s moods.” At that Arlene burst out laughing and collapsed weakly against her husband’s chest. “Of all the crazy things,” she began. And then she was off on another wave of laughter. “I promise,” she announced be- tween giggles, * ‘to check it every morning, noon and night.” Although ernie pieced the baro- meter as a gag, it has its semi-serious aspects as well. Of all the recent Holly- wood marriages, none might use a baro- meter quite so well as the Lamas-Dahl union. This was one love affair most of the mevie colony’s observers did not ex- pect to see grow into a marriage. These two people are completely op- posite in background and temperament. A BENE’ ANCESTORS are pure Scandina- vian from away back. Born and reared in Minneapolis in}a neighborhood that is still a section of transplanted Denmark, Arlene was taught to be reserved, poised, composed and always in control of her emotions. Fernando, on the other. hand, suffered a disruptive childhood in Buenos Aires where he was brought up by his grand- mothers. He fought and struggled for everything he ever won. Emotionally, he has a lew threshold, sizzles suddenly and boils over quickly. A great athlete, he loves all outdoor sports, riding, hunting, swimming. Ar- lene does not. Her hobbies run to painting, cooking and sewing. “And yet despite our differences,” nando says, “we are becoming more alike all the time. I am not sure of the reason for this. Is it because we are very much in love or is it because we are only now discovering the fundamental ways in which we are truly the same?” RLENE AGREES that she and Fernando are growing together but this is because in every marriage someone has to make adjustments. “And most of them,” the tall redhead adds good- naturedly, “have been mine. “For example, Fertrando happens to like women with straight hair. I don’t know why. So I’ve changed my hairstyle to a loose page boy cut. “Fernando: likes to sing at parties, so I’ve started practicing on the piano again so I can accompany him. His favorite colors for me happen to be black and green so I now find myself buying only Fer- _ Bee nie And® i fad: our friend an interior decorator Larrie Mako, change the color scheme of my bedroom from pink to green. “Then there are Fernando’s eating habits. He comes from Argentina where dinner is served at ten p.m. As a result we eat late. Not that I wait until ten, but sometimes I can last until nine. “Also he has a habit of falling in love with certain foods—French toast or breaded veal cutlets or Bologna sausage and crackers. When one of these spells hits him I dutifully accept my fate and serve his current. specialty for breakfast, lunch and dinner. ; “T don’t have to share his enthusiasm, however, so I specialize in liver which the doctors tell me I should eat regularly.” The Lamases’ good friend Larrie Mako says that she too, has noticed a growing of similar taste in Arlene and Fernando. “Six months ago,” she says, “I would’ve agreed with everyone else that they are as different as night from day. But now that I’ve been working with them on get- ting their little house furnished, it’s sur- prising to learn that they do have a good deal in common. “They both love movies, good wines, formal parties and surprises. They’re both ambitious and strong-willed and they both hollywood's hottest star, glamorous grace kelly, will be on the december cover of modern screen on your newsstand november 9 love to work. I don’t think there’s any- thing they can’t accomplish. They love to have their fingers in many pies.’ Arlene is busy these days designing a new line of lingerie for an eastern manu- facturer. She also writes a beauty column twice a week, and she’s just finished A Woman’s World for Twentieth Century- Fox. Fernando is rehearsing a nightclub act for Las Vegas in addition to starting an import-export business and reading half a dozen scripts. Their friends expect that within a year Fernando and his bride will have organized . a corporation to be called Lamas-Dahl Enterprises, Inc. BEtwen THE TIME the false prophets predicted that Fernando would never marry Arlene and the wedding day, these two stars began to shop for a home. They searched together on Sundays and they hunted apart on weekdays. They wanted a smallish place that combined beauty with complete privacy. Ultimately they found their honeymoon home in one of the garden-like canyons of Bel Air. ‘Their house is Dutch colonial with two bedrooms, a den, and a charming garden. Be that the glass walls in say, ‘Sorry, but you must separate now. and patio are completely pro neighborly . curiosity. Fernando calls it “Happy House.” x : Two months before they moved in, the couple began to work on the furnishings. Happy conspirators, they had great fun working together while many of the gossip — writers insisted that it was all over be- tween them. “First off,’ Arlene recalls, “we stabead decorating the livingroom. We decided to do it black, grey and gold, using old pieces that we owned, I took my four television chairs and had them covered in a grey and ~ gold print. Fernando had his couch cov- ered in grey. “Practically the. only new things" we had to buy were a few lamps and a spinet piano for Fernando.” The Lamas den was another joint op- eration. Fernando covered the floor with one big square of cotton shag carpeting, and Arlene installed a white plaid couch from her old house. “This room,” Fernando likes to point out, “doubles as an office for our business affairs. We wanted it to be light and pleas- ant and I think it is.” The diningroom and foyer were left untouched but upstairs Arlene turned the - second bedroom into “Fernando’s Hide- away.” “We kid about this room,” she explains, “with its sign on the door and everything. But the truth is that it is a nifty hideaway for Fernando. He answers fan mail here and watches television and studies his lines. It’s the perfect escape spot for a man.’ ri the furniture in this room is simple. and utilitarian. The room has two walls of hanging space for Fernande’s rather extensive wardrobe. fitiny: phi eceud sales ‘ Wu FRIENDS marvel at how quickly the Lamases got settled, the man of the house generously attributes the speedy success to Arlene. “We both work better under pressure,” he says, “so Arlene gave us a deadline of one month. ‘After one month,’ she said, ‘I want us to be ready for a housewarming.’ ” And the Lamases were ready, even though Arlene had to sit up until two a.m.* the night before finishing the curtains for Fernando’s Hideaway. The housewarming party was memor- _ able. It showed a lot of skeptics that the © Dahl-Lamas marriage was well planned | and carefully executed—not an impetuous ~ thing. a | A pair of white doves in a huge gilt | cage hung above the door set the theme for the party. There was a buffet dinner — for sixty-five, ten to a table. The tables | were covered with red organdy and the centerpieces were gilt birdcages filled with — red and white carnations. “There were no place cards,” Fernando © says, “because I don’t believe in place cards. What kind of thing is it to take friends who are enjoying cocktails and PERO FRO Scene ee Seen Oe CTT eT See i Shc ere You sit here and you sit there.’ I think — guests should choose their own company. That’s why at our house, never place cards.” T# PARTY was a huge success and it went on until the small hours of the morning, and after the last guest had departed, Fernando took his wife in his arms. “Tell me,” he said, “and you must be honest. If you had to do it all over again, would you still marry me?” Arlene made a cute, pouty face at her husband. _ “Ask me in the morning,” she said “after I've checked my barometer.’

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C | : / dreamed [was a living doll Es in my niavwlen)

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——— = Te 70 a time to work things out (Continued from page 43) “As td the future and Jeff—that’s hard to say. He’s a wonderful guy and I enjoy his com- pany. He’s not hard to look at. He’s got a sharp but subtle sense of humor. And no matter what they write about his being moody and complex, I’ve never known him to take himself too seriously. You can’t say that about many actors.” Ho DOES Jeff feel about Gloria? Notoriously careful about discussing girls, all he will say is, “Gloria is as fine a young woman as I’ve met in this business. She’s sweet, she’s sparkling, she’s a lot of fun and she knows her way around. “T like to be with her or I wouldn’t be seeing her. But we’ve both been through emotional upsets. My-divorce won’t be final until next year, and if I know Gloria, she doesn’t want to tie herself down, either. After all, she just got divorced.” Still, Jeff Chandler is not one to lead a lonely life. Nor is he likely to turn sour on marriage because his first one failed. “What I need most of all,” he says, “is time to work things out. Basically I'm a simple guy. I confront problems as they come along. “ve got the kind of face that makes me look moody or miserable, so that people are always attributing deep and complex motivations to my behavior. “They say that I’m carrying a torch for Marge (Jeff's ex-wife) or that I’m pining ‘away for Gloria or that there’s a big thing between me and Joan Crawford. They say that I’m lonely and in search of a wife. “The only thing that I’ve been searching for lately has been a house on the desert and I’ve found it.””’ Two months ago Jeff decided that the Hollywood pace was too fast for him, so he moved out of his apart- ment in Westwood and rented a house in Apple Valley in the Mojave Desert. It’s a small house with two bedrooms and a swimming pool. On week-ends when he isn’t working, this giant of a grey-haired actor races his Cadillac into Hollywood, picks up his two daughters, Dana and Jamie, and speeds back to his desert re- treat. Here he plays and swims with them, cooks dinner for them or takes them to the Apple Valley Inn. And here he finds the peace which eluded him in Hollywood. On Sundays Jeff gets his little girls back to Marge in time for dinner and then drops in to see Gloria De Haven. If he has to report for work the next day he spends the night in his dressing- room at Universal-International. He uses the dressingroom as his town headquarters. But his home, he says, is Apple Valley, 104 long miles from the bright lights and the beautiful women of Hollywood. How tone Jeff will go for the simple, quiet and solitary desert life, no one knows. A friend of his says, “This desert kick Jefi’s on is just a stage. It’s a reaction.to his divorce. He can’t take it for any appre- ciable amount of time. He’s a-city boy, born and bred in Brooklyn. All of a sud- den he’s crazy about the desert, in love with sand and driftwood. “You want to know why? He’s tired of all those dames calling him up in West- wood. De Haven is something -else again. He’s really stuck on her. But she’s not about to give up show business and even if she were, she’s not about to take her two kids and live twelve months a year in the Mojave Desert. I don’t care who she loves. “Not that I’ve got anything against the desert, mind you. It’s a wonderful place for a couple of months. But I don’t think Chandler can take it all year round.” Jeff says time will tell. That is why he rented a house instead of buying one. But he did spend $4700 for an acre and a half of land in Apple Valley, and if he doesn’t tire of the place, he plans to build his own house there next year. His divorce will be final then and he will be in a position to marry again, which brings us back to Gloria De Haven. A tiHoucH SHE is not yet thirty, Gloria has been married and divorced twice. Her first husband was actor John Payne, by whom she had two children, Kathy, eight and Tommy, six. Her second husband was wealthy New York contractor Marty Kimmel. One reason these two marriages ended in divorce was that Gloria was not ready to renounce her career in favor of domestic- ity, a demand of both of her ex-husbands. “Show business happens to be in my blood,” Gloria says, “and I just can’t get it out. Not yet, anyway. Jeff understands that and I’m sure he appreciates it.” Gloria is the daughter of the late Flora Parker and Carter De Haven, one of the greatest of all the stage and screen teams of yesteryear. She was sent to various dramatics schools, music academies and dancing schools. When she was twelve, David Selz- nick signed her to play Becky in Tom Sawyer. But by the time Selznick was ready to roll, Gloria had outgrown the part. A few years later, director George Cukor who was a family friend, begged Gloria’s parents to let their daughter play a small part in Susan And God. “Just for the sake of theatrical tradition,” he urged. They - said yes and Gloria was in show business. She was a featured soloist with Bob Crosby’s orchestra, sang next with Jan Savitt’s band, and presently went to MGM for a role in Best Foot Forward. She played with June Allyson and Gene Kelly, Judy Garland and Van Johnson. After her marriage to John Payne she went to work at U-I and Twentieth Cen- tury-Fox and then did a musical at RKO. Early this year she went to U-I and starred in So This Is Paris with Tony Curtis and Gene Nelson. [- HAPPENS that Jeff Chandler and Tony Curtis are close friends. One afternoon Jeff wandered onto the So This Is Paris set to see Tony and took one look at De Haven. One look is all that’s necessary. Jeff's growing interest in music added fuel to the fire. Sonny Burke, head of Decca Records on the west coast, had talked Jeff into singing some solos for the kids at Bal- boa Beach. Jeff had done so well that Sonny had offered him a Decca recording contract. Gloria is under contract to Decca, too. So these two handsome people had some- thing in common right from the very be- ginning—records, royalties, disc jockeys, Sonny Burke, orchestrations. Jeff spoke about his first two recordings, “I Should Care” and “More Than Anyone.” He was afraid they’d flop. Gloria said, “I don’t think so.” She was right. More than 150,000 copies have been - sold so far. Jeff was so encouraged that he began to do something he had always wanted to do— to write—‘to create something out of my own imagination.” He wrote the lyrics to a melody and entitled them “That’s All She’s Waiting To Hear.” Then he recorded the song and backed it with “Lamplight.” _ He made exploitation recordings for the disc jockeys and drove down to the Broad- way department store in Los Angeles and autographed his records for hundreds of admirers. Gloria De Haven remained in the background, happy and glad at heart that he was finding himself with work that gave him satisfaction and stimulation. se Sie SET aS he Se Aaa It’ omer lead to ee music. Jeff Chandler is a paradox, : De Haven realizes it. | Jeff likes to say, “I’m lazy and all I want { to do is sleep and take it easy.” But give ~ him a modicum of spare time and he’s — renting an office in Beverly Hills, organ- — izing the Chandler Music Company, work- — ing on the plans for a series of Jeff Chand- — ler comic books or doing research for a transcribed radio program he hopes to put on the air any day now. Gloria understands this apparent con~- tradiction because she herself is blessed or handicapped by the same nature. “Td love to be able to relax,” she says, “and just do nothing.” But the minute she has nothing to do, guilt assails her and she’s after her agent pleading for work. Although they come from different back- grounds, Jeff and Gloria are two of the same kind. Superficially they appear phleg- matic. Inwardly they are both ambitious workers. Ambition is necessary for screen stardom but frequently the bugaboo of Hollywood marriages. For example, it is commonly held that one of the reasons Jeff's marriage to Marge Hoshelle failed was that Marge coveted fame and subconsciously resented Jeft’s success. Marge was under contract to War- ner Brothers when she married Chandler eight years ago. He was completely un- known. As Marge took time off to bear his children, her career waned and his rose. The same thing happened at the same time to Gloria De Haven and John Payne. Gloria’s career was really gathering mo- mentum in 1945. Following Best Foot For- ward, MGM predicted that De Haven would achieve topflight stardom within a year. Gloria married John Payne and three months later she-was pregnant. Tempor- arily, she abandoned her screen career, and because of that, MGM switched the build- up to another newcomer—June Allyson. Gloria was having another baby and it wasn’t until the spring of 1948 that she was — ready to return to screen work. By that time John Payne was the family bread— winner and Gloria De Haven was regarded as a promising performer who had passed up show business in favor of housework and child-rearing. Gloria set out to disprove this allega- tion and to regain her former standing as a bright young actress. This led to argu- — ments with John Payne and a divorce. Gloria has learned from her past mis- | takes and so has Jeff. They aren’t kids | any more. They have no intention of repeating the same errors. They fully real- ize the cares and responsibilities of mar- riage and the price, tangible and -intan- gible, of failure. 7 , i o JEFF worKS almost all the time. He i .doesn’t play golf or tennis. He owns — neither a plane nor a boat. He used to play | a little softball once in a while. Because he has achieved a fair degree | of stability as a motion picture actor, =| is currently concentrating on the things he’s always wanted to-do: writing, singing | and living in the desert, knowing that financially he can afford the luxury of pos-— sible failure in these lines. \ Jeff realizes that no matter how enthu- siastic a man is about his new work, | there comes a time when without the love } of a good woman, life deteriorates into mere existence. He wants a complete life, and this must include a woman. Since he started going around with best | witching, good-natured little Gloria, he has § | dated no other girl. And he seems to be } ~ | happier than he’s ever been before. Whether the romance will eventually lead to marriage or fade before Chandler’s divorce becomes final, no one can say for sure. But certainly at. this point, Jeff and Gloria are making beautiful music together. END ee a

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the two worlds of marilyn monroe Neontinied from page 37) to six P.M. and another set from six to midnight? ’ The chances are good that as you read this, Joe and Marilyn have been separated, geographically speaking. Joe should be somewhere in the east covering the World Series, and Marilyn should be somewhere in the west making a comedy called The Seven Year Itch. It is probable, too, that you will read— in fact, may already have read—that the Di Maggio marriage isn’t exactly paradise. The idyllic twosome has become more realistic with the passage of time, which is the normal course of marriage. B= Marityn’s marriage happens to be unusual in several ways. She married a great athlete who was already retired when she met him. At the time of their marriage, January 14, 1954, Marilyn was approaching the zenith of her career; her husband no longer had one. Besides their mounting and undeniable love for each other, the Di Maggios have relatively little in common. Joe knows very little about acting and dramatics, and Marilyn knows just as little about baseball. Marilyn has no intention, certainly, of becoming an athlete, and Joe refuses to try to mastermind his wife’s career. Joe and Marilyn have completely dif- ferent backgrounds. Joe was raised in a large, happy, healthy household filled with * laughter and companionship. Marilyn lived the youth of an unwanted orphan, alone, afraid, insecure. Because of all this, some people are now saying trouble will come. WHO ARE YOUR FAVORITE STARS? We want to know which stars you want to read about, what you like and what you dont like in MODERN SCREEN. We want to know all about you, because your opinions are carefully tabulated to direct all our future plans. And for those of you who like gains, here's something extra-special—for a limited time, we are able to offer to every reader who fills out this questionnaire a fabulous reader-participation subscription at less than half price! Read the details below. THE STARS | WANT TO READ ABOUT THE MOST ARE: MALE MALE MALE FEMALE FEMALE FEMALE THE THREE FEATURES ! LIKED BEST IN THIS ISSUE ARE: (place a check (\') [ Louella Parsons in Hollywood [J The Two Worlds of Marilyn Monroe L] She Looks Like a Bride (Debbie Reyn- olds-Eddie Fisher) LJ Report From Europe: Why Can't They Behave? OVA Time to Think Things Out Chandler-Gloria De Haven) [) How to Take Criticism (Terry Moore- Rita Moreno) () Why Try to Change Me Now? (Jane Russell) [) What Makes Monty Run? (Montgom- ery Clift) [) Good For Each Other (Fernando ; Lamas-Arlene Dahl) (The Grangers Call It Love (Stewart Granger-Jean Simmons) [) Grandmother and the Good Life (Janet Leigh) - (Jeff . in the box next to your favorites) [ Nobody Told Her She Was a Star (Doris Day) (It's a Brand New Brando LJ I've Got a Secret [] Man, Man, Is For The Woman Made (] Of Pools and Ponies (Alan Ladd) Co How Doth the Little Busy B? {Barbara Stanwyck [1 Words and Music (Peggy Lee) (My First Love (Mitzi Gaynor) (J For Dancers Only (Cyd Charisse) [ Adam's Fall (Julia Adams) [Clark Gable [ The Inside Story [] New Movies OOTY Talk (J Modern Screen Fashions THE STORY I! LEAST LIKED IN THIS ISSUE IS: NAME ADDRESS AGE OCCUPATION (street) (city and state) ONE WHOLE YEAR OF MODERN SCREEN FOR ONLY $1.00! If you would like to get this amazing reader-participation subscription—each issue for less than half the newsstand price of $2. 40, enclose one dollar when you mail us this questionnaire and you will receive !2 issues, postage free, for only $1.00 instead We'll start your new subscription when your old one expires, GO MY DOLLAR IS ENCLOSED. O NEW SUBSCRIPTION The offer is limited to the continental United States and Canada. PLEASE SEND ME A SPECIAL YEAR’S SUBSCRIPTION 0 RENEWAL FR SRS SR FR FR SER SOS Se SR SE SSO MAIL TO: READER POLL DEPARTMENT, MODERN SCREEN BOX 125, MURRAY HILL STATION, NEW YORK 16, N. Y. Be 4 x ae 4 & of the regular subscription price of $2.00. You don't have to miss this wonderful offer e a if you are already a subscriber. 4 x gos ag ee bo Some of these have gone so- Ke suggest that Joe is jealous of his wife. “Why,” they ask, “does he refuse to visit her on the set? Is that normal for a loving husband?” They ask further, “Why won’t he pose with her for home layouts? Why does he object to publicity? One of his best friends, a sports writer, telephoned from New York and asked if he’d pose for some photos. Why should Joe turn down his friend? “Why. won't he take Marilyn to parties or previews or premiéres? Why won’, he make the slightest sacrifice for her career? “Sooner or later the girl has got to re- sent his indifference.” HAT THESE PEOPLE don’t seem to realize is that beneath her exterior of naivete and breathless bewilderment, Marilyn Monroe is one of the most sensible and naturally bright beauties in Hollywood. he ean own with any ticated glamour star you care to mention. And she knows in her heart that Joe’s so- called indifference is not indifference at all. It is independence and self-reliance. “It may be okay for other guys to man- age their wives’ careers,” one of Joe’s friends eave: “Sid Luft and Judy Garland, Marty Melcher and Doris Day, Freddie Brisson and Rosalind Russell, Tom Lewis and Loretta Young. But they’ve all got show business backgrounds. “Joe’s background is baseball. Just be- cause he was one of the greatest out- fielders the game has ever known, he doesn’t feel entitled to call the shots on Marilyn’s career. “The only time I’ve ever heard him give her any advice is when she and Twentieth — were negotiating a contract. ‘The publicity is swell,’ he told Marilyn. ‘Only be sure to get the money.’ ” As for Joe’s refusal to pose for pictures with Marilyn or to visit her on the set, he isn’t being contrary and he isn’t trying to be difficult. He’s just being himself. But finally, toward the end of Show Business, the rumors of Joe’s indifference became so widespread that he decided to dispel them by visiting his wife on the set. Quietly and unobtrusively, he showed - up and stood in a corner while she sang her tempestuous heat wave number. 4 “T’m here,” he announced, “because the ~ newspapers insist that there must be something wrong between Marilyn and me because I don’t visit her at work.” When she finished her song, she ran over to him and said anxiously, “I hope you liked it, dear.” “T liked it all right,” Joe said, “but it | takes so long to shoot so little. It makes | me nervous hanging around here watching | everybody get ready.” A moment later, Di Maggio posed for a picture with Irving Berlin and then as | quietly as he had entered the studio, he | drove out in his 1953 Cadillac. “He never has liked parties or previews,’ | Marilyn says, “or show business celebra- | tions. And before we were married, he | never would take me to any. I didn’t ex- | pect marriage to change his habits or 4 his likes and dislikes 4 shots. On each occasion there was a third . . was cropped out. So far as anyone oes Joe has roa , in the studio with Marilyn for only two person along. One time Joe visited Marilyn on the set of Monkey Business, a film she made > with Cary Grant. Joe agreed to stand ae for a photo with Marilyn and Cary. After the negative was printed, Grant’s face On another occasion Joe visited Marilyn with David March, the agent who had arranged their first date. This time Mo S face was cropped out. ~ Joe hasebeen offered large sums of money to pose with Marilyn at home.

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Tax). Be sure to indicate color desired. | | NAME | [ : ADDRESS ) CITY ZONE STATE i ase ee ot ees ed “My private life is private,” he says, “and that’s out. Right now too many kids know where we live because the picture of the house we’re renting was published in the magazines. They ride up and down the street and even ring the front door bell.” “As soon as our lease expires,” Marilyn says, “we’re moving. I don’t know where, but we’re moving.” After ten months of marriage, Marilyn still insists, “J6e comes first.” But the studio has pre-empted most of her time. Marilyn has said on many occasions that Joe has no objections to her continuing her career so long as she spends her eve- nings at home with him. During the day Joe likes to play golf or go to the races or listen to the ball games. Marilyn has no interest in these. Since sports, spectator or participation, are no fun for her, Joe figures that it’s best for Mrs. Di Maggio to do what keeps her happy. And Marilyn is happiest when she’s working in front of the cameras. “Lots of times,” she recalls, “I starved so that I could have the chance to act in pictures. Joe sees no sense in my giving it up. Besides, what would I do? Act as his caddy on the golf course?” N THE stupi0o Marilyn is surrounded by talented craftsman and artists whose appeal to her is primarily intellectual. Natasha Lytess, who is probably Mari- lyn’s closest friend, is a great dramatics coach, one of the finest in the business. Years ago when Marilyn was fired from Columbia, Natasha took the young girl into her apartment. In Marilyn she rec- ognized a totally unprepared, uneducated but. potentially acceptable actress. So Natasha, the widow of an outstand- ing German novelist, introduced this young, lonely girl to the fascinating world of Shakespeare, Freud, and Thomas Wolfe. She taught her about the various schools of acting, about art and literature and life. In Marilyn she found a responsive mind. Subsequently, writers who interviewed Marilyn, expecting to find her a dumb ‘bunny, were startled when she spoke briefly but knowledgeably on George Ber- nard Shaw, the Stanislavsky method of acting and the works of Eugene O’Neill. It is Natasha Lytess who is responsible for much of Marilyn’s acting success, and Marilyn is the first to acknowledge this. It is Natasha Lytess who still coaches Marilyn on every line. But once the day’s work is done at the studio, Marilyn closes the iron door. Intellectual stimulation is over for the day. O= DOES NOT find Natasha Lytess dining with Mr. and Mrs. Joe Di Maggio. Nor are the Di Maggios found at Hollywood Bowl listening to a symphony or at the Biltmore Theatre engrossed in a play. Chances are they are watching a good, old-fashioned western on Tv or perhaps visiting Joe’s friends, Vic and Marguerite Massi, or maybe entertaining Joe’s sister Marie and her daughter, down from San Francisco. At these gatherings Marilyn does not expound on the virtues of Marlon Brando as an actor. She doesn’t talk about the excitement she felt when she watched Brando perform on the set of Desirée. Nor does she talk about the dance teaching of Jack Cole or studio politics. By the same token, Joe does not discuss the various idiosyncrasies of Casey Stengel or Ted Williams’ batting average or the bases Jackie Robinson has stolen. The Di Maggio-family discussions are usually limited to immediate plans and problems: where to move, to buy or to build, the welfare of Joe’s relatives (since Marilyn has virtually no family and prac- tically no close friends). By nature, neither .in two worlds on his terms. Joe nor Marilyn is talkative. Nor ¢ crave excitement and wild times. 1 are a peaceful, very-much-in-love couple. Marilyn did not marry for scintillating — conversation, sparkling dialogue, or the furtherance of her career. She married purely for love, a family and a home. “I never had these things as a child,” she says. “With Joe beside me I’m never alone any more.” | CXEUNESs is frequently a state of mind. When Marilyn was single there were hundreds of men in the motion picture in- dustry intensely anxious to cultivate her friendship. But still, she was lonely be- cause she felt in her mind that she be- longed to no one. In case of illness to whom would she turn? In case of un- employment, who would lend a hand? All of that is different, now. No matter how she fares in her career, Marilyn feels that she still has Joe, and this situation gives her more courage and independence and security than she’s ever known before. It also helps her career immeasurably, since the studios rarely take advantage of a girl who has a financial alternative. Be- fore she was married to Joe, Marilyn was suspended by her studio because she re- fused to make Pink Tights. Marilyn’s salary at the time was $750 a week. The studio knew that she had saved practically no money, that sooner or later she would be hard up. ; Once Marilyn got married, the situation changed completely. The girl had someone to support her. This called for new tactics. The studio signed Sheree North in an at- tempt to stampede Marilyn into Pink Tights, a script she had refused. Movie Director Mike Curtiz told Peter Arnell he was looking for a week-old baby for a movie role. “Preferably,” he said, “one with experience.” Earl Wilson in The New York Post But Marilyn refused to be stampeded. She had Joe for a husband, and she didn’t care who the studio signed. In the end, it was the studio that capitu- lated. Monroe was given a new contract, the lead in Show Business, and she was told to forget about Pink Tights. HIS WAS HER first triumph in studio [f | negotiations, and Marilyn realizes that she won largely because she had a hus- band to back her up. You can see therefore what Joe means #) to this girl, and why she is willing to live | . When Marilyn is with Joe in San Fran- jpg cisco, there is no studio discussion what- § ever. She helps her sister-in-law Marie } with the food, occasionally cooks spaghetti | for Joe—he has taught her how—makes | the rounds of the relatives, dines at the f Di Maggio restaurant on Fisherman’s } Wharf which is run by Joe’s brother Tom, and in short, she does everything to please | | her husband. UF In most homes it’s the husband who goes off to work in the daytime and returns _ at night to the waiting arms of a loving | wife. When Joe and Marilyn are living in |} Hollywood the setup is reversed. This doesn’t necessarily mean, as many detrac- | tors imply, that the marriage will founder. | All it means is that Joe and Marilyn have § developed a way of life that fits their own particular set of circumstances. q Right now their strong love is the bridge that spans Marilyn’s two worlds. Tomor- row it will be a baby, perhaps, and when the baby does come, Marilyn’s career will be relegated to third position behind Joe § and bambino. END

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i ET supposed to be lonely looks like a bride (Continued from page 38) in grim lines. “You never can tell about the reaction of feminine fans to a young romantic singer who is no longer eligible,” said one representative of Eddie’s management group. “The women don’t seem to hold the more mature crooners, Crosby, Como or Sinatra, personally responsible for the sentiments expressed in the lyrics of their songs. Or if they do, these older fellows have been around long enough to develop a following strictly on the basis of the music in their voices rather than on per- sonality alone. But when a youngster like Eddie sings about the loneliness and heartbreak that is so often the subject of ballads, he is much more convincing if he is single. After all, married men are not 17? Ts PSYCHOLOGICAL notion about the girls who make up the bulk of his audiences is something Eddie is well aware of; so are his friends, and of course Debbie knows about it. She is strongly career-minded, having many times said she must get her Own career going before she thinks of marriage. She still talks like that even though, with her success in Susan Slept Here and the great work she is doing in Hit The Deck at MGM, there is no doubt about the firm status of her stardom. And it is a safe bet, too, that if she marries Eddie, theirs will be a double star family. Debbie won’t abandon her career. “Ym a working girl, you know, and I probably always will be,” she told him late one afternoon when he laid plans for a great evening and she begged off so she could rest for an early studio call. Few young couples who are altar-bound can keep from revealing their plans in one way or another. So much like a loyal and dutiful young wife has Debbie acted toward Eddie, and so close to the attitude of a young bridegroom does his become sometimes, that a report claiming they have already secretly eloped has got a lot of credence. Probably those who do be- lieve this are the type who not only are quick to add fact’ to rumor, but often multiply the one by the other. Yet if you were at the Hollywood Bowl the night Eddie sang there, or at the Mocambo on an early morning date with them as he crooned in Debbie’s ear on the dance floor, or heard their dialogue the dozens of times she “dropped in for a minute” to see Eddie and was still having her hand held by him hours later .. . you would admit that the best description was “newlyweds.” Ae SUMMER, when they didn’t happen to have a formal date they had a little informal routine that picked up the slack in this phase of their romance. The big ‘white mansion Eddie lived in was on the Coldwater Canyon route Debbie always used driving home from the studio. You could always tell when Eddie was in be- cause he never parked his black Cadillac in the garage—always in the driveway right at the front door. It is doubtful if on her way home after work Debbie once drove past that “standing” invitation to drop in. She would pull up behind the Cadillac in her salmon and cream Pontiac, slip inside the main hall of the house and peek through the back windows to the pool in the yard. That was all she had to do. Eddie, whose eyes are as sharp as his singing notes are true, would jump up _ from whatever he was doing (usually lounging in the sun) and run to get her. Then would begin the business about her being able to stay only a little while. Eventually, to hold her around, Eddie be- _ gan to use counter-strategy. He would gs CNM 3) i How you Can quick-cleanse, lubricate and make up...all with Tussy’s goiden All-Purpose Cream Now, with one wonderful cream...you have a rich night cream, a deep-action cleanser, AND a foundation! Follow the arrows for quick, deep cleansing. Stroke All-Purpose Cream from throat to forehead, always mov- ing up and out. Circle it around your eyes. It cleanses better than any soap or many a cream! It actually gets down under “Make-up Clog” and dirt...and clears them out! Use it as a night cream and make-up base to keep skin soft and smooth 24 hours a day! Make-up clings longer when you use Tussy All- Purpose Cream as a foundation. And a special Tussy mois- turizing ingredient helps make-up go on smoother, too. Only $1. plus tax. _ . NOLIN ENRICHED URPOSE CREA

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PREB! to get HOME S MAHLER'S, INC, Dept. 36-P Type for |: Framing ./ HOLLYWOOD FILM STAR CENTER Box 2309, Dept. B-11, Hollywood 28, Calif. claim that the. drive home would be too much for her unless she had something to eat before she started. Or else he would insist that if she loved him she would go into the pool with him. “Isn’t it true,” he asked her one such evening, “that this is the best time to swim in California? Just before dinner?” Debbie replied that this was true of the San Fernando Valley, where she lived, but she didn’t know about the fancier Beverly Hills area where his house was. But she did stay around and that was the big idea. Vice COULDN’T be blamed for thinking that Debbie acted very much like a con- scientious wife and daughter-in-law< if you saw her the night of Eddie’s concert at the Bowl. Eddie got the best seats in ~the place, Box No. 32, for Debbie and her parents; center and smack in front of the stage. Debbie’s folks were in it, all right. But not Debbie. She quietly walked to another box where Eddie’s father, Joseph Fisher, was all alone, and sat with him. Before the concert began she was back- stage with her folks and they all gave Eddie their good wishes, Debbie sealing them with a kiss—and re-sealing them several times. And Debbie came back again after the show, of course, and you could tell it meant a lot to Eddie. After which Debbie went even further and re- vealed a fine understanding of the pro- fessional niceties involved in the event. She took a chair out of everyone’s way— and let the rest of the world come and deliver accolades to the young artist. Besides other singers, actors, musicians, managers, songwriters and producers who trooped into Eddie’s dressingroom to con- gratulate him, a whole girls’ club had somehow wangled permission to get auto- graphs en masse. They lined up to see Eddie. At this, Debbie, for fear she might be recognized and thus intrude on his big night, shifted further into the shadows to be sure no one would recognize her. Eddie had sung some of Irving Berlin’s songs at the concert and there are plans for him to do Berlin’s life on the screen. When the famous songwriter came back stage he wanted to take Eddie out for the evening. Eddie ran to get Debbie. There were others in Irving Berlin’s party that night but, except for rare mo- ments, it was a twosome as far as Eddie and Debbie were concerned. “You've got a real flip girl there,” Berlin said to Eddie once, as they took seats at a Mocambo table. “Yeah, she comes up with the good ones,” Eddie agreed. : Up to that particular period in the eve- ning Debbie had been talkative. But a little later when they were on the dance floor, and Eddie was singing to her, she was a girl existing in rapt silence. “They were really sufficient unto each other that night,” said a friend of the pair who was there that evening. “Believe it or not they had one drink—a soft drink— between them from the time they came in until they left. One drink and two straws. If it weren’t for their evening clothes they would have looked like small town kids on a soda fountain date.” Eddie’s birthday gift from Debbie was a pair of gold cufflinks inscribed, “A won- derful thing happened today—you.” Almost everyone Eddie meets seems to think it important to point out his youth to him (he’s twenty-five) and em- phasize that he has a great future if he doesn’t make any false moves. No one tells him to his face that marriage would be a mistake but it is plainly the general idea. Eddie, a kid who hasn’t had an easy life (although he always says, “It was okay with me having been poor; I didn’t know any different”), sometimes gets fed eae he oe up on this trend of conversation. And he often can be heard unconsciously trying to create the impression that he is older than his years. 5 “I bet you think I haven’t been aroun: much,” he said to Irving Berlin once, “but how about this song?” And he sang one of Berlin’s own numbers, written so long ago that Berlin barely recalled it. “You weren’t even born yet, when I wrote that one,” Berlin said. “Well, I grew quick,” Eddie replied. He is also a little sensitive about com- plaints that his tremendous success has so complicated his life with an endless round of rehearsals, shows, interviews and con- ferences that nobody can get in to see him. He can’t forget that for most of his life nobody ever wanted, to get to him. HE was A judge on Peter Potter’s Juke Box Jury Tv program in Hollywood last summer when Donald O’Connor guest- sang a song published by O’Connor’s firm. “That’s the kind of song I would have liked to do last season on my Coca-Cola program,” Eddie commented. “Why didn’t you?” Potter wondered. “Nobody asked me,” Eddie replied. Potter turned to O’Connor and asked him why he hadn’t brought the song to Eddie’s attention since its use by Eddie would help make it a hit. O’Connor raised helpless hands. “How do you get to Eddie?” he asked. “You have to climb over people.” 3 PRESS-AGENT SUPREME Two years ago, I was standing out- side of Lucey’s Res- taurant in Holly-y ~~ wood when a group . — of movie stars came \ out. A crowd of autograph seekers formed, and above their excited cries a husky voice was heard booming out, “Get Jean Sim- mons! Get Jean Simmons!” Present- ly the owner of the voice, a tall, broad- shouldered man, approached me and suggested that I get the autograph of “that fine British actor, Robert New- ton.” To my sur- prise, the man giv- ing out the advice was Victor Mature! Miss G. H. St. Paul, Minnesota The others laughed but there was truth to Donald’s excuse and Eddie was a bit embarrassed. For a simple boy from south Philadelphia the high levels of the amuse- ment world to which he has ascended pre- sent many complications. The demand is not only for his professional services as a singer; his personal life gets involved. Take his love for Debbie. One way or an- other there’ll be repercussions in his career if they marry, maybe good, maybe not. It was clear last August when he was on his way to Europe that his romance would certainly be one subject he would discuss with his manager, Milton Black- stone, whom he was to meet in London. “Milton is not just my manager, but my friend,” Eddie pointed out a few days be- fore he began his trip. “When things have come up I have listened and come to my own conclusions, but always, too, I have passed the problems on to him. He’s got — my interest at heart, I know.” END

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‘why can’t they behave ? (Continued from page 41) by other guests and -servants when she stayed at his houses in Paris, Ireland and Deauville, but I would have bet more on her chances of becoming a princess if she hadn’t. And that dash to join Aly in Mexico was a trifle less than discreet. B. HOW CAN movie stars be discreet? Rita Hayworth didn’t have any chance for privacy when she traveled with Prince Aly Khan half way around the globe be- fore they were married. And when the deluded film star hoped to have their baby in Switzerland without any publicity, she was surrounded by reporters from practi- cally every newspaper in the world. The same or worse befell Ingrid Berg- man. I want to put on record that I knew about the baby before the story broke, as Ingrid’s former press agent, Joe Steele, ean testify. I had received the amazing news from a close friend of Ingrid’s in Rome. And I talked about it with Joe, who was very worried, but I assured him I would never break such a story. I felt too sorry for Ingrid, who until then had been regarded in this country as almost saintly. I’m sure she herself had no idea of what the warm Italian sun and the warmer Italian director would do to her northern personality—or I know she would have taken her daughter Pia with her. She did not mean to abandon Pia. But Ingrid was trapped by her emotions. This could never have happened here. Naturally she loves it over there. Ap- parently, no one was shocked by her behavior and no one refers to it. When I saw her in Paris, surrounded by her three children and doting husband, she told me she was completely happy—and SS WeSTMG RE — = ‘ALL es same Westmore Cosmetics ‘close-up perfect"’ complexion beauty even in giant-screen close-ups—all color-matched by Westmore brothers, most famous make-up artists. made to give stars * S A Starts Born |= = Vou're his star with=__ ae ith a make- up the situation with Pia was improving. “Tve decided not to fight any more; there have been too many fights. But I am in touch with Pia and I know that one day she will forgive me and come to see me of her own free will,” said Ingrid with calm assurance. A™ GARDNER'S big romantic escapade in Italy and Spain didn’t turn out so well. She fell with a thud that was heard all over Europe for the fascinating charms of bullfighter Luis Dominguin, and _ she planned to do a Shelley Winters and help him to a movie career in Hollywood. But the best laid plans of mice and movie stars sometimes go astray. The matador came to Hollywood while Ava was in Nevada to shed Frank Sinatra. He left her there after a short visit and was seen with this and that glamour puss around the night spots of Hollywood. And if there’s one thing Ava can’t take, it’s having her man make eyes at another woman. But it was fun while it lasted. When I was in Rome, I was told that Ava had made herself inaccessible to the press, the public and her alma mater, Metro, that she would disappear for days at a stretch with the handsome bullfighter. To go back to Sinatra, it wouldn’t be correct to say that he behaves badly in Europe. Sinatra is himself whether he’s in London, Paris, Rome, Las Vegas or Holly- wood. And himself can be pretty sweet sometimes and sometimes on the very sour side. I don’t know what happened at the fashionable Milroy Club in London, but owner John Mills canceled Frankie’s mem- bership card. And London clubs fall over themselves to have Hollywood stars for members. Shelley Winters is usually herself wher- wood. But when she was making Mambo in Rome, Shell really let herself go. I was told the intimate details of the fracas. It seems that Shelley was working in a scene with her husband, Vittorio Gassman, from whom she was then estranged. His girl friend, eighteen-year-old Anna Maria Ferrero, was on the set. “Get her off,” hissed Mrs. Gassman be- tween takes. Vittorio’s reply was to go over to the younger actress and embrace her. I find it hard to blame Shelley for losing her temper and throwing a glass of water into the pretty face of her rival. Pe RUSSELL was very worried about returning to England where she filmed part of Gentlemen Marry Brunettes for two reasons. The last time she was there, Janie had made the headlines as the her- oine of a raucous party. Jane denied the story and it seemed very strange to me at the time because in Hollywood Jane is a quiet, easygoing, church-going girl. The other reason for Jane’s fear of Europe is to her credit, although the actual facts were just as surprising to me. I refer to Jane’s leaving England with the little boy she later adopted. The emigra- tion authorities over there were on her neck for taking a British subject out of the country without official sanction. And more foolish, when there are so many un- wanted anonymous babies here who could use Jane’s good home, why did she take a European child whose parents knew her and might try to regain the child at any unforeseen time? In fact, I heard re- cently they were planning to come here to live within a few acres of Jane’s home in the valley in order to be near their son. When Gregory Peck lived in Hollywood, ever she happens to be working. And I’ve he was regarded as a model ht nd and seen her very temperamental in Holly- father. 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Sold by Liggett and Walgreen Drug stores and other leading Druggists. LAKE LABORATORIES, Box 3925, Strathmoor Station, Dept. 9109, Detroit 27, Mich. he and Greta separated, but they both. explained it was an unimportant quarrel and didn’t mean a thing. It took a long stay in Europe to reveal the serious state of the Peck marriage. I’ve always con- tended that the woman has yet to be born who can break up a happy home. The Pecks came to the parting of the ways in Europe before he met Veronique Passani. I knew there was something wrong when ‘Greta flew here suddenly with the boys, leaving Greg to carry on alone in Europe. He carried on, but not alone. And last re- ports had Miss Passani decorating the big house he bought near London. As of now, she is slated for the position of Mrs. Peck, number two. But there might have been only one Mrs, Peck instead of a bushel, if Greg had made his pictures here. Gr COOPER came back to this country just in time to regain his equilibrium and his wife Rocky. Coop is an easy target for a designing female. They tell me that Gary is available for the asking, but he’s too lazy to make the first move. I believe he was really in love with Pat Neal, but the complications of getting his freedom represented too much work for this easy- - going guy. But that girl in France, Giselle Pascal, had Gary spinning. But don’t get the idea that all Hollywood stars kick up their heels and kick over the traces when they leave the four hun- dred or so reporters who watch over them here. Some of our top luminaries are great ambassadors for our way of life. { icror MATURE, for instance. No one ap- preciates a buck more than Victor, but no one can be more generous or more charming where it does the most good. Little things, but they count in a big way. Like when Vic was in Holland co-starring with Lana Turner and Clark Gable in how to take criticism (Continued from page 44) And sometimes not. I personally find it hardest to keep ‘si- lent when the charge is made that I’m publicity mad. Perhaps I should let it pass. My advisors usually tell me: “Don’t get into a hassle, dear. Ivll just make it worse.” But I get into a hassle anyway, because if you do not reply sooner or later to criticism that is merely destructive or plain untrue, then there comes a point where you can’t live with yourself. I’m told that someone once said of me that I sought publicity with all the ardor of a salmon fighting its way upstream to spawn. Even if this were true, which it is not, the simile is wrong. The salmon knows perfectly well it’s going to lay an egg. I always have hopes to the contrary. Here’s an example. I came my , latest cropper at Las Vegas—latest at the time of writing, that is. It was over a gown I wore in the finale of my act there. It was considered overdaring. I was in Vegas on account of criticism anyway. Friendly and good-natured, but it was a challenge. Eddie Fisher told me I had the worst singing voice he’d ever heard. So naturally I had to get together an act and sing. Show Eddie Fisher, who —if my dear friend Debbie Reynolds doesn’t mind—is my idol among singers. her mind. OW THE GOWN bit went like this: in the act, I was to go through three phases. First I was costumed and made up as a very young girl, no more than high school age. In the middle part, I was post- debutante size, and in the finale ultra sophisticated, something like Lana Turner. For that, naturally, ee ordered a sophis- Betrayed. His pee was a ott man whose whole family had bee while he worked for the Allies in the Underground Army. Now he was setting __ aside some of his earnings to pay for his _ neglected education. Came the last day of the picture and the chauffeur looked as blue as his uniform. Then spake Mr. Ma- _ ture to wife Dorothy, “Let’s not fly back to England. Let’s drive through Germany and then stay in Paris for a week. And I must have my chauffeur, of course. They say those French drivers are dangerous!” Vic could have hired anybody in Paris. He could have driven himself through Germany. But the extra money and the trip meant so much to the Dutchman. I And Lana Turner, aided and abetted by Lex Barker, was just as kind. Some of the picture was shot in front of a Catholic Orphanage in The Hague. There were — eighteen little orphan girls and Lana promised to take them to the circus. They _ were all dressed up and ready to go when Lana discovered there was no matinee. Could have been a tragedy, but Lana took them to her hotel, fed them ice cream, cake and soda pop and took them to a show in a park instead. The British recently sent an appreciation plaque to Bob Hope for the money he has raised and donated to the British version of Boys Town. On one visit, Mr. Hope who is always charitable, gave his entire earn- ings in London to the project—some four- teen thousand pounds. And then there are the dozens of stars in Hollywood—Danny Kaye, Jack Benny and many others—who ~ go regularly to Army bases in Europe, Asia and wherever there is a lonely G.I. These make up the real aristocracy of Filmland. And it is good that Europe can see and meet them in order to erase the bad behavior of what is still, thank good- ness, a minority. END tanta sched hom eViincee ticated dress—but not an ultra daring — one. You'll see. Here is what the papers didn’t bother to report: The gown arrived no mere than an hour before show time, so there couldn’t have been a change even if we’d thought it desirable. But why should it have been desirable? The gown wasn’t transparent above the waist, as written. It had a flesh- — tone foundation. (I think Miss Dietrich’s did, too. Didn’t she say something about a camera being able to see through any- thing? And how right she is if she did!) 1 tried it on for the kids in the company _—sxyy and they loved it. So I wore it in the last — number with no forebodings at all. ae ibe alii aes dls Willetts hase i wh ds acto bie Pi bed Jack Paar recalls the time he was under three-year contract to RKO: “But | didn't do a day's work. In fact, they wouldn't even announce me for pictures due to be canceled.” —Paul Denis Then the roof fell in. It seems te me I’m — climbing out of the debris of some roof or other every time I look around. The newspapers wrote what wasn’t true —and never let anyone tell you a camera ~ can’t lie because a camera can, often does. — ‘Newspapermen later admitted to me ~ that the pictures of me and the gown had — been retouched for a shocking effect. — But the damage was done. Everybody — got into the act. The affair of the ermine — bathing suit was resurrected and Terry — Moore was back in the soup. I made my big mistake then and there. I turned chicken and put away the gown. — Opening night was its first and onl: uldn’t £ 4) a

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- have kept ae, on wearing it. By not _ doing so, I seemed to plead guilty. I kept it hanging in the dressing room, though, and friends would drop in and say, “What ever happened to that gown?” % “That's it,” I'd say, “hanging over there.” And the inevitable response: “You mean, this is what all the fuss was about?” Yet I can hear my advisors now as they look through these words: “Yes, but why i bring it up again? Let sleeping dogs lie.” No. Not so long as they let cameras lie, ~ q x that was wanton damage, and wanton : damage is something I must fight back 4 against—or give up and live in a cave. at SUPPOSE there are all kinds of degrees _of criticism, and you have to sort them out. I got a rough press stateside—never from the Army—when I wore the ermine bathing suit in Korea, and part of it I could understand. No, not understand— that isn’t quite right. But it struck me a that if people thought I had lapsed from _ taste in wearing it, then they had a right 4 to think so. Wait. My quotation-happy _ friend may have one that goes with this _ —and he has. “I do not agree with a word you say and will defend to the death your 18 right to say it.” That was how I felt. _ But when they called the suit a Bikini, I cried. Because it wasn’t and I have never worn one of those and never will. I’ve made a lot of mistakes in my young life- time so far and will make a lot more. I expect to be called on the carpet for them and hope to learn from the lecture. But I hope just as hard that I shall never bow to untruth or unjustified abuse. There’s always such a good chance that your critic, who is looking at you from a comparatively objective viewpoint, may be right. One writer said that I was always try- ing to please everybody, and in that way _ sort of crossed myself up, if I got his idea correctly. That was true at the time. As a conse- ' quence of the piece, it is not so true now. It would be nice to please everybody, yes, but I’m afraid it won’t be practical until we get the forty-eight-hour day. a Aaa ia tin Roger Price, who divorced his . last wife, Anita Martell, recalls how he persuaded her to marry him: “I threatened to hold my breath until she gave in." —Paul Denis Not that I’ve broken away from the habit completely, or probably ever will. This eagerness to please goes hand-in- glove with being sensitive to criticism and both are very much a part of me. For instance, a few months ago I put on a little weight between pictures, and a friend mentioned it to my mother. “For pity’s sake.” Mother told him. ‘Don’t tell Terry. She'll go right out and | Starve to death.” I imagine she was right. ie But that has to do with vanity as well. |. This other trait, this wanting so badly to see it the other person’s way can have _ ‘serious consequences. ss It’s supposed to be Christian to put your- 1 self in the place of others, and I’m reason- ably sure it is, but it’s surprising how thoroughly you can stumble doing it. I made a well-meant effort to cooperate in a campaign involving some cheese- cake poses, brief costumes but cute, and positively nothing offensive. Therefore, I was startled, to put it mild- ly, to read a few weeks later that I had a instigated the whole thing, practically an- nouncing my candidacy for Miss Sexy Dish of that or any other year. __ Now this sort of fiddlefaddle doesn’t do a girl any good—and it was fiddlefaddle. N word of it true, not even the sub- I won’t. To my mind, that wasn’t criticism, | Gentle EX-LAX helps you toward your NORMAL REGULARITY! TONIGHT—If you need a laxative, IN THE MORNING—You'll enjoy take chocolated Ex-LAx, America’s the closest thing to natural action. best-tasting laxative. Take it at bed- No discomfort or upset. You’ll soon time—it won’t disturb your sleep. feel like yourself again! NEXT DAY—Ex-Lax continues to help you toward your normal regularity. You hardly ever have to take Ex-LAX again the next night! Buy The New 65¢ Size—Save As Much As 37¢ Also available in 30¢ and 12¢ sizes EX-LAX THE CHOCOLATED LAXATIVE ©1954 Ex-Lax Ine. MORE PEOPLE YOUNG AND OLD USE EX-LAX THAN ANY OTHER LAXATIVE ‘T Could Hardly Believe My Ears... that morning I turned on the radio. Sud- denly, I was listening to a story that really could have been my own! In fact, it neavr- ly was—the same sorrows, the same heart- aches, the same problems I had to face alone and here was a solution that hadn’t occurred to me. Imagine my surprise— my own life on the air, and this program actually helping me to solve my problems.” This could happen to you because the stories you hear daily on radio’s popular “Modern Romances” are true-to-life. They concern real problems which you or your loved ones may be facing now—they are taken right from the pages of MODERN ROMANCES magazine. Tune in to “Modern Romances” — join the millions of people who listen to these exciting dramatic stories every weekday over the ABC NETWORK. Check your local newspaper for time and station.

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Be sure to include color of hair, eyes, etc. for oil coloring information. Send no money. Pay postman. State choice of frames, brown or maroon. Originalsreturned. = Dept. 661, Marvel Art, 3140 Roosevelt Road, Chicago 12, Illinois the cool, clean freshness of a MU-COL douche. Non-irritating! Soothing! Safe! MU-COL sold at all drug stores. For sample, semd coupon to MU-COL Co., Dept. D-114, Buffalo 3, N. Y. Name Address City. stance of it true. Indeed, my attitude was the opposite. So I hit back as hard as I could. Just made the hassle worse, as they say. I don’t know if it was what you'd call graceful acceptance of criticism. But there we are again. This is criticism? No, this is misrepresentation. lies NOT COMBATIVE by nature. When ex- perienced and wise Hollywood com- mentators like Louella Parsons and Hedda Hopper take me to task—as they have—I accept what they say and try like fury to take their advice and use it. Miss Par- sons, to paraphrase her, wrote that I was pressing too hard in a promotional way, that it had begun to look to her as if I'd do “anything for publicity.” I hadn’t meant to be like that, really, but I could see the point to her censure and I put the brake on the Terry Moore calliope. I think she has forgiven me. Miss Hopper, during a gadabout period of mine, suggested I begin getting to bed earlier. So I began getting to bed earlier. Miss Hopper is worth listening to. Indeed, if all counsel had the wisdom of Hedda’s and Louella’s, Terry Moore wouldn’t spend so much time behind the eight-ball. But all counsel doesn’t. And this you should know about me—I am one of the most avid takers of advice in all Hollywood, where advice is as free and as plentiful as smog. I take good advice when I can. If it isn’t available, I take so-so advice. And when they’re finally out of that, too, I take any old kind. I’m like the inveterate gambler in the place with the crooked roulette wheel. Told it was dishonest, he replied, “I know, but it’s the only game in town.” A LL THAT may seem a trifle far afield from the subject of criticism and me, but I assure you it is not. It’s all part of the package. The time may eventually come when I will go for a year or even a decade without putting my toot into my mouth or myself into an ermine bathing suit. That’s what I’m working on now. It’s not that I’m ashamed of anything I have done. I’m not. I might be if I had actually done some of the things I’ve been accused of, but since I didn’t, then the only shame would have to be that of the misin- formed writers for themselves. But no girl, emphatically including Terry Moore, likes to be in the middle of a certain type of uproar. No publicity is worth it. I don’t believe for a moment the axiom that any publicity is good publicity, and if it were so, then I’d rather skip publicity al- together. No, what I want to stay clear of from now on is misunderstandings, misin- terpretations of my motives. Like most people, I mean awiully well. But my toe seems to stub more easily than the average. In New York quite a while ago, at a party, someone wanted me to pose with an ape. I was in a bit of a spot at the time, as usual, and I thought it might strike my hooting section as undignified, so I de- clined. Word got around fast: Terry Moore’s so hoity she won’t even pose with an ape. So I agreed. Word got around fast again: Terry Moore’s so nuts for publicity, she’ll pose with an ape! How do you win? Incidentally, I had plenty of advisors on both sides, but not one to advise me to get up and go home. Another time, at a Hollywood premiere, I was escorted by an officer from the Korean theatre, a friend of mine. We stopped in the lobby to be photographed, and when the pictures appeared in the papers, my friend was a little in the back- ground. I, of course, didn’t realize it. I'd looked where the photographers asked me to look, as anyone does when having a picture taken. But at ‘east one of the columnists next day co: dn’t see it like that. Do*you know what I had done? I Re y ‘ z en ES RET, CS Re had upstaged a Korean war hero. It’s no terribly easy to forgive the pe wrote that. : Don’t misunderstand me. I’m not a saint and I don’t claim privileged im- munity from attack. In my line of work, it’s foolish to cry every time you're hurt. A™= AS I SAY, criticism can be a good thing, beneficial and constructive. But where it is not, where it is mali- cious or disorderly, I guess there are two alternatives: ignore it with grace or fight back. Under no circumstances, I believe, should you let it get you in any other way. I know a few hypersensitive people who get sick, physically sick, when they hear something adverse about themselves. I’m sorry for them. No one likes it. We like to think everyone sees us in our own con- ceptions of ourselves. But that’s a rarity. A man of great understanding once put the situation in these terms: “You're like everyone else,” he told an- other actor, who had been worrying about his personal popularity. “Some people like you, some people don’t, and the other person who ninety-nine per cent don’t give a hoot one way or another. Now forget it.” I thought it advice—another rarity—to remember. The actor to whom he spoke had abandoned grace under pressure and was, so to sveak, crying on our shoulders. When I think of grace under pressure today, I think instead of another player, a very famous star who had become in- volved in a truly sordid scandal. I neither stone nor condone him. That’s not my de- partment. But I do know that two days after the headlines broke—and they were still breaking—he lunched at Romanoff’s with his lawyer. That in itself was a pretty brave thing to do. But his entrance was almost magnificent. He walked to his table easily and jauntily. He wasn’t swaggering; heaven knows, there was nothing to swagger about. But his chin was up and his smile was on and you knew he wasn’t going to flinch, whatever happened. I believe most of us—and re- member, he was still presumed innocent in the eyes of American law—wanted to stand up and cheer. oU KNOw, that’s for me. Not a sordid scandal, I mean; on the contrary, perish forever the thought. But that kind of courage—well, Mr. Hemingway must have given his definition some thought. Mother says it takes a really big person 4 to swallow and digest honest criticism and ~ then use it for nourishment, and that the honest kind frequently is the hardest to take. That’s about it, I guess. some health foods. They may not taste very good going down but they can work small wonders once they’re there. And one more point: making a face while you're swallowing won’t make them taste any better. Smile instead. END PHOTOGRAPHERS’ CREDITS The photographs appearing in this issue are credited below, page by page: 6—Beerman, Parry; 10—Albin, Beerman, Parry; 11—-Beerman, Parry, United Press, Albin; 12—-Nogueras; 13—Beerman, Parry; 14—-Paramount, Beerman, Parry; 15— Beerman, Parry; 16—Beerman, Parry; 25—Eng- stead; 26—-CBS; 28—Beerman, Parry; 30, 31— Workman, Talbot; 32—MGM; 34—Beerman, Parry, Universal; 35—-Beerman, Parry; 37— Scott; 38, 39—Beerman, Parry; 42, 43, Beer-. man, Parry, Albin; 44, 45—Beerman, Parry; 46, 47—Beerman, Parry; 48, 49—-Paramount, Co- lumbia, Hotel Varadero; 50, 51——Beerman, Parry; 52—RKO, Keith Bernard, Columbia; 53 —Beerman, Parry, Floria, Warner Bros.; 54— Paramount, 20th-Fox, Beerman, Parry; 55— Paramount; 56—20th-Fox; 57——Universal; 58 —RKO, Paramount; 59—Beerman, Parry; 60, 62—MGM; 63—MGM; 64-65—Weissman; 71—20th-Fox, Prigent. = 9—_MGM; It’s like , [trol tnidl Sota ui ical wiae did ee a see

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‘ gull. _ Carthy were examining the what makes monty run? (Continued from page 48) that had just applauded the final curtain of Anton Chekhov’s moody masterpiece, “The Sea- On the dark landing the youth tapped on a dressingroom door, and blinked in the bright light as it opened to reveal the grease-painted face of Kevin McCarthy, one of Clift’s closest friends. “T_T wanted to see Mr. Montgomery Clift,” the youth said a little timidly. “Then come on in and see him,” said McCarthy, and pointed to the dressing table where his old friend and roommate, bare to the waist, was at work with towel and cold cream. Clift half turned around, said “Hi,” and gestured with one hand to show he couldn’t shake hands yet. The photographer introduced himself. “I know everybody has been after you,” he said, “but my editor and I thought if I showed you some of my work, maybe we could make an appointment to take pic- tures of you—you know, the kind you’d like yourself.” “Sure, I'd like to see your stuff,” said Clift, and a few minutes later he and Mc- g natural- lighted portraits. While Clift sized up the work, the photographer sized up Monty Clift: the tousled dark hair, the hazel eyes looking a bit tired this night, the ruddy skin, the naked chest far from muscle- bound but looking healthy, hairy and sun- tanned. “T like them; I really do,” Clift was say- ing. “I think you would take the kind of pictures I like—natural, no posed-looking stuff, me and all my pores. But here’s my problem: I’ve had to turn everybody down till the run of this play is over, because _Tm putting everything I’ve got into it. And while you probably wouldn’t distract me, if I said yes to you I’d have to say yes to them all and I’d be run ragged and I just can’t have that; I gotta concentrate on this job till it’s over.” .The eyes and the frank yoiee seemed to implore the young man to believe this. “Well, all ’'d need would be an hour or so some morning,” the photographer per- sisted, “and it’d be a real break for me—” ‘But Monty Clift shook his head. “Let’s get in touch the day we close here, or the day after, and Ill see what I can do. Okay?” -After a few minutes the young man bade a disconsolate goodnight to Clift and the sympathetic McCarthy and picked his way down the stairs. Monty Clift heard from him the day The Seagull closed after a successful run. But the photogra- pher didn’t hear from Monty Clift because the actor fled almost at once to rest (and to grow a beard!) in Ogunquit, Maine, from the labor of love which had netted him the Equity minimum for playing frustrated sweetheart to Mira Rostova and frustrated son to Judith Evelyn. HE YOUNG CAMERA artist still feels snubbed and baffled. But he has the consolation of being in good company, for with rare lapses Clift has been running away from the press for years. Except for the George Evans agency, which built him up as a natural, T-shirted, male Garbo, he has been frustrating to press agents, too. He vanishes just as rapidly after a million-dollar movie, when he’s needed for publicity. Not that he’s truly uncoopera- tive or boorish (as his loyal friends have grown a little weary of explaining), but Who is showing Guy Madison the way back to happiness? that he’s less afraid of seeming that way than of seeming to be on the make. He remains grimly determined to sell himself on his work alone. At thirty-four (October 17) this fear of seeming pushy would seem a little unrea- sonable, if not actually groundless. But it is not Monty Clift’s only fear. Apart from all his positive attributes he retains an abiding fear not of success, but of what success might do to him—make him lose touch with the “real” world. And it is fear of failure in marriage that keeps him run- ning away from serious romance. HERE HAVE BEEN, and still are, women in Montgomery Clift’s life. His friends say that he has been in love, and not just once. But he has seen love enter nearby lives only to go out the window leaving bitter- ness behind. He hates the thought of hav- ing this happen to him or to one he loved. “I know it sounds trite,” says his brother, William Brooks Clift, Jr., direc- tor on the NBC-TV Home show, “but I think Monty’s still waiting for the right girl to come along. Sure, he could have been married long ago, have had kids by now, have had all the fun of being mar- ried—but who’s to say? Maybe he’s been right in waiting. Right now, though, no matter what you hear, I’m pretty sure there’s no ‘romantic interest’ in his life.” The lack of one has not always stopped writers from inventing one, mythical Mary, a wealthy Eastern girl who was on the point of marrying him only to marry,for no apparent reason,someone else. During and after the making of A Place In The Sun Monty had many dates with Elizabeth Taylor. It wasn’t for the sweet uses of publicity alone; they enjoyed each other’s company, but they never consid- ered that they were cut out to marry each other. He used to be seen often in the company of Judy Balaban of the theatre- Owning clan. Off and on for years now he has dated Libby Holman, the torrid torch singer widowed by Smith Reynolds. Many commentators have jumped to the con- clusion that he “prefers older women,” where the truth is merely that he prefers complicated women he can respect and with whom he isn’t bored. Because his fear of phoniness keeps Monty out of New York’s bigger, brassier celebrity hangouts, he and Libby have been seen most often in smaller East Side bistros in the neigh- borhood of his tastefully furnished East 6lst Street bachelor apartment. What they find to talk about, Monty and Libby don’t say. Some columnists have sworn they talk of love, others say they just talk. In Hollywood he also used to date Natasha Lytess, who is Marilyn Monroe’s dramatic coach. But the real mystery woman of Monty’s life—because nobody can quite figure out where she stands with him—is the one who has been his Own dramatic coach. Mira Rostovskaya Letts, billed in her United States acting debut in The Seagull as Mira Rostova, is a petite blue-eyed brunette, at once bird- like and intense, whom Monty and Kevin have known for more than ten years. IRA, BORN IN RUSSIA, was an actress in Europe before the war. Monty formed an immense respect for her from their first meeting. She was attractive, with some of the forlorn and frightened-looking beauty of a Luise Rainer, and she had the same kind of small, appealingly-accented voice. She also had brains. She became Monty’s Read the revealing truth in December’s MODERN SCREEN like the - Frantic over Blackheads 2 @ Growing panicky over skin that sprouts a new crop of blackheads every few days? Then use this special corrective treatment for blackheads. This treatment is rec- ommended by leading skin special- ists. It’s quick. It’s effective. Every night, smooth a deep, snowy coat of Pond’s Vanishing Cream over face, except around the eyes. 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She even went onto the sound stages with him, rehearsing him between takes, unobtrusively cueing him when he was on camera. Nobody on the set was ever quite sure what she did do, but as long as Clift .came out good, nobody minded. Not until From Here To Eternity. Mira was absent then, some said at the studio’s request, and Clift still came out good—and stronger than ever—as Private Prewitt. Mira Rostova had a lot to do with Monty’s doing The Seagull for peanuts this year, at a time when Stanley Kramer was hounding him to play in Not As A Stranger, when John Huston wanted him for Ishmael in Moby Dick, and when the late Leonard Goldstein was after him for The Leather Saint. They were waving up to $200,000 under his nose. “Kevin, Mira and I had been promising ourselves for years that some day we would get together and do a play,” Clift said. “We read plays by the dozens,” (nothing new for Monty, who chain-reads screenplays and treatments while chain- smoking and chain-drinking cups of coffee, ever searching for just the right part) “but the only one we felt was right for the three of us was The Seagull. People like me need a live audience . . . Many an actor on top of the world and his career at the same time, does his soul good with a little comeuppance, which he gets most effec- tively across the footlights.” Bes A TRIO of perfectionists, Clift and McCarthy and Rostova couldn’t accept a standard translation. Night after night (usually in Monty’s roomy living room) they worked at constructing their own version, with Mira translating from the otiginal Russian and the three of them worrying out each line of dialogue! Add it up and undoubtedly there is af- fection between Monty and his Mira, but if it were ever to ripen into marriage it should have done so long ago. Just where does all this leave the peo- ple who (in print) have been stubbornly trying to marry Monty off to one of the women in his life? It leaves them holding the bag. If he had been the eccentric they had mistaken him for, he might have rushed into marriage long ago. But he’s not really an eccentric, and certainly he isn’t a radical, despite his reputation as the pre-Brando Marlon Brando who went to Hollywood with one suit, two ties and a built-in sneer. (He happens to like grey flannels and grey tweeds, often dresses today as he did yesterday—but not neces- sarily in the same suit!) N THE CONTRARY, he is one of the most conservative actors on either coast. It is conservatism, as well as seriousness about his work, that makes him fear losing contact with the “real” world where an actor finds his roots and inspiration. He feels that once he starts throwing his money around, or trades in his 1940 Buick coupe on a 1955 Caddy convertible, or gets to spending his time with famous people to the exclusion of ordinary people, he’ll be lost. Playwright Arthur Miller once put this feeling as one of “having to have a neighborhood around me.” It was the same kind of earnestness that led Monty and Kevin to take seven months off and go to Europe with Mrs. McCarthy and their son Flip, so that Monty and Kevin could labor over a screen treatment of You Touched Me, the Tennessee Wil- liams play that shot Clift to Hollywood and thence to stardom in Howard Hawks’ Red River. No studio ever bought their mg eth tay a brother says admiringly. “He could have 7 ~ work on a theatre part and not settling for hen hai Fe product, but they believe it was w ing anyway—because they hadto. = “Monty’s that intense, earnest and dedi- cated about everything he does,” his been a tennis champion if he’d wanted to bother. He still goes to the gym all the time and keeps himself in great shape. — ... I think he’d make a great director; he has a director’s point of view and an un-— canny sense of what an author means by a part. He treats every movie as if it were a play, working on his part the way he’d anything but his best.” [B0RA# Kerr, who can be pretty intense © herself, tells this story: “When we were making From Here To Eternity all of us, naturally, were most excited by the work,” she recalls. “The book was gripping, and Danny Taradash’s script was wonderful. We all worked very hard toward understanding our roles. It was rewarding, but it was intensive work too, and at the end of the day we’d often discuss something else. ; “One afternoon Fred Zinneman, Burt Lancaster, Donna Reed, Frank Sinatra and I were having tea. We were talking about ~ Harry Truman, what kind of person he was, how you could dislike him or like him, but couldn’t ignore him or deprecate 4 him at all as a fighter. Monty joined us ~ when the conversation had already reached the pronoun stage. He pitched into ~ it fervently for fully twenty minutes—be- fore we realized that he was talking not about Mr. Truman but about Maggio, the part Sinatra was playing in the film! “That was all he eared about then. He lived for that film when he was working © on it. And bear in mind that he wasn’t just concerned with his own part, he was in- volved, deeply involved with the other characters. ’'ve never known any actor who works so thoroughly and completely on whatever he does. We would sometimes _ relax, but Monty always thought of the film and of every aspect of it.” It was because he admires thoroughness, — sensitivity and directorial greatness that — Monty sought out Vittorio DeSica in Italy $ a few years ago and applied for an acting _ job knowing very well that the pay, if he landed it, would be closer to off-Broadway scale than to his $150,000-per-film Holly- wood price. DeSica said he’d think it over, —} and thanked Monty for saying all those nice things about Bicycle Thief and Mira- — cle In Milan. Monty got acquainted with ~ Cesare Zavattini, the happy, humane, gnomelike genius who writes most of De- Sica’s screenplays, and convinced Zavat- tini that he was really serious about it.So |) Monty got the role opposite Jennifer Jones — in Indiscretion Of An American Wife, the poignant vignette laid in Rome’s modern railway terminal. No picture part in the © world would have made Monty happier, — because only this one gave him the oppor- — tunity to sit at the feet of DeSica. neta lca lal etl SS ee Oe, ee } Bz HE BRANCHES into directing him- }} self—and it appears plain that this is © |] where he’s headed—Monty would like to- do some comedy roles, either in films or © on Tv. He’d also like to play in The Em- porium, a no-scenery play about a coun- try store, if his good friend playwright Thornton Wilder ever gets through tinker-_ ing with it. Beyond that Monty would like to keep on making an occasional pile of — Hollywood gold. “It gives a guy wings.” But whether he'll keep on winging about the world alone, or in the company of a wife, remains a baffling question. Maybe it even baffles Monty. Please, some=~ body, marry him! It isn’t right for a so nice to be alone so long when m: could make him s uch nic } i if | | | |

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Wt eS eT ee TS Me eeet Sh oe he Se ae ., ‘ pli ee Sette , grandmother and the good life (Continued from page 63) still her duty. “Has Grandpa eaten his dinner?” she’d want to know. What did he have? Were we sure we didn’t give him any greasy gravy? Were things going well generally? How was I doing in the studio? Thoughts of death might be in our minds, but not in hers. She was too occu- pied with thoughts of the living. And sometimes, as she lay sleeping, I would look at her and become again conscious of the convictions I have come to in my life. Her body, I saw, was just a shell, a place in which was stored love and experience and learning and skill—certainly not to be lost when the shell cracked and had to be laid away! Why, this little gentlewoman, as she lay dying, was still developing in stat- ure. She showed it in her superiority over her pain and her indifference to her mor- tal fate! Why, this was beyond the flesh and into the realm of the divine; this must go on. There could-be no doubt. This, in essence, is my faith. | AM PRETTY SURE that I am held to be a lighthearted person, not only by those who know me, but also by those who have had occasion to read about me. And this is true. So what I have said, or rather the way I think, may be a surprise. Let me then make it clear that if I am associated with the quality of happiness, credit should go to the fact that I do think the way I do. I have always, even as a child, had a sense of being which did not depend wholly on the flesh. Don’t all children? They never for a second think of them- selves as temporary in nature, existing be- tween never was and never will be again. But as I grew older I needed a little more than just this “sense,” I needed the sup- port of logic behind it and I got this out of a realization of what I have to call the continuity of goodness—continuity in the sense that I knew my grandmother’s good- ness must continue somewhere. Esther Williams spent all the day climbing down a mountainous Ro- man wall via an anemic rope. Be- fore she started her first descent Esther looked down at the craggy rocks, which furnishes the “bed” at the bottom of the wall in this particular scene for Jupiter's Dar- ling, then glanced nervously at Howard Keel, and said, “What happens if | slip?" “Don't worry, Esther," said Keel, “it's the last scene in the picture." 5 Sidney Skolsky in The New York Post When people anywhere in the world talk about a “fully developed man” don’t they always mean that in addition to whatever fields of knowledge he has spe- cialized in, he is also a good man, morally? Is it not acknowledged that a clever man who is not good is incompletely developed? TX YEARS AGO (just to use a good com- ~~ parison point in my life) it is my opin- ion that I was about as bad a person as I was good. About this time’my leanings toward either direction were about equal, I figure. There was a desire to be good, a series of temptations to be bad. Before this my Major impulses belonged to childhood and can be discounted. Since then, I know Iam definitely a better person than I was. I may even in time become a good person. To be good is the basis of my belief. Maybe I should make what I said more clear. I don’t mean that I am less evil to- I was as a child, but rather that m better for having improved those Bar _ understand. It is good that His teachings aon ities Posie Sirs! i Ss, ’ F Pate RL ae Me spe aa eo ee I Oe a qualities of character that come with time; wisdom, tolerance, understanding. After all, a child can be willful, greedy, argu- mentative, noisy, impolite—and yet truly innocent in that he is not any of these things by intent. Only if he persists in them beyond the phases of growing up, would he take on guilt. In my religious lexicon there is no such word as punishment, so that a state of guilt does not mean that one is damning himself in an active sense. That you are not good does not necessarily mean that you are bad. I don’t think any of us are all of one or the other. I know there are days when a test will find me wanting and other times when I will undergo it in a manner to make my- self feel quite proud. And it takes energy to be good. While driving the other day I found myself trapped behind a truck mak- ing an improper left turn, and I just knew I wasn’t going to be able to fight off the temptation to be angry. So I let go. “Go ahead and have yourself a ball, girl,’ I told | myself. And I did. I out and out swore. | (Not that he nor anyone else could hear me!) But such relinquishment of my main | drive to improve myself as a person is pretty infrequent. I'll never even be near- ly perfect; but I'll never quit trying. ; In this I am not just working for bene- fits to come in another world. Believe me, | it is making me stronger, better, happier in this one. What I can face today I never could have faced when I was younger. It is pretty comforting to feel this about yourself, It is worth striving for in itself even if it were not part of a whole faith. [HERE Is NO one religion which interprets existence for me, both here and beyond, as I have come to interpret it for myself. Not Presbyterianism, into which I was born and will forever hold fondly; not | Unitarianism, which has stimulated so much of my thinking; nor Christian Sci- ence, which I devotedly read. Yet in all three of these, and partly in others as well, I have found inspiration I needed. They have helped me come closer to knowing that which, perhaps, I shall never know— but must always go on seeking. This search began seriously at the time my first marriage was breaking up. I didn’t find it easy to contemplate di- vorce; I was sad and frightened. I would sit and try to imagine how it would feel to be single again. And though there were pleasant aspects my predominant reaction was uneasiness. At this point my husband’s mother sug- | gested that he and I both read Christian Science. I know she did this not only be- cause she felt it might help keep the mar- | riage, but because she knew it would bring us comfort. She was right about | that and I will always be graieful to her. | As I read, and mulled over what I read, | curtains seemed to be lifted between me and the future; and I saw that with cour- age I could walk through glorious vistas ahead. With courage, that is, and with truth. To fear the end of my marriage was not being in truth, but in weakness. To continue to be a wife when wifehood was not making me happy was simply to be afraid of losing a label which supposed- ly gave me distinction because it read “Married.” Actually it was a misrepresen- tation, and I was the one most fooled by it. I am not-a Christian Scientist but I still read Science. I need it as I need essentials of my Presbyterianism and Unitarianism. I discovered that my mind was of a type which was not satisfied to stay on any one path to spiritual understanding and there- by close off all the others. Being what I was I had to think my way spiritually, and my thinking is still going on. God has to make sense to me—at least as far as I can FREE TO NEW MEMBERS OF THE Ohourd-theWorld C hoppe Club This Exquisite 6-Piece Set Of Florentine Silver a “s Send no money now or later for this unusual Floren- tine Silver Set. It’s yours FREE for joining the Around-the-World Shoppers Club. Your Set was hand-made in Florence, Italy, with skilled techniques | going back to the time of Michelangelo. Each piece has a different Renaissance design, and handles are tooled in Florentine bas-relief. As a member, each month you will receive a wonderful surprise gift sent to you direct from a different foreign country, post- paid, duty-free—accompanied by a colorful brochure describing your gift! Send no money; simply write us and we will enroll you, billing you as follows until you decide to cancel: [] $5.00 every 2 months; [4 $9.00 every 4 months; [] $12.00 every 6 months or [ $22.00 every 12 months. Be sure to specify plan you choose. Satisfaction guaranteed. Write now while this Florentine Silver Set is FREE for joining. AROUND-THE-WORLD SHOPPERS CLUB Dept. 431-F, 71 Concord St., Newark 5, N.J- I YOUR FAVORITE VARIETY STORE HAS WW ws \ rim A TRADE MARK REG. “Zz IF YOU WANT TO TIE 4 BOWS LIKE THIS... ; GET THESE TWO GUIDES TO GREATER GIFT-GIVING SUCCESS! 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K-78 1493 Clybourn, Chicago10, Ill. ARTHRITIS? I have been wonderfully blessed in be- ing restored to active life after being crippled in nearly every joint in my body and with muscular soreness from head to foot. I had Rheumatoid Arthritis and other forms of Rheumatism, hands de- formed and my ankles were set. Limited space prohibits telling you more here but if you will write me I will reply at once and tell you how I received this wonderful relief. MRS. LELA S. WIER 2805 Arbor Hills Drive 73 P. O. Box 2695 Jackson 7, Mississippi | with our amazing new quick-dry- . through Jesus did not encourage passivity, that religion is properly dynamic, because God to me represents a search I must make, not a goal I have achieved. It may seem that life might be a little disturbing for someone of my type who cannot accept a formal faith because none answers dll my questions. And it is true that for those who can fulfill their spiri- tual needs by worshiping in the estab- lished church of their choice there would seem to be less time-wasting indecision. But for a Janet there can be no other spiritual disposition; because wherever a question remains unanswered she cannot forget it, but must keep asking it. What would be the point of sitting in any one church if your mind kept asking a question that might only be answered in another church; or sitting in the second church when queries arose that could best be satisfied in the first church? And so I feel that all who seek God are joined, no matter how separated their. temples. I know that to many I would seem to be floating nowhere, but I can assure you that here and there I find a marker which tells me I am not astray. It may be just a line, like the one in Mary Baker Eddy’s Chris- tian Science writings, “Life is a showing forth of God.” From this, in a simpler in- terpretation, I came to understand that if there is a God the only way He can be ex- pressed on earth is through people. And there was a singular happiness in this for me. I was not only able to think, “Well, my job is to express God through me,” but that I will be able to see God now many times in what other people do. I have. In the little things as well as the big. I sat in the Brown Derby restaurant with friends the other day as a waiter—a little, old waiter—gave me a second cup of coffee when he saw that my first one had gotten cold, what with all the time I had taken out for talking. It came to me as he did this that while being attentive was part of his duties, he was really at an age where a gabby girl could rightfully be a nuisance to him. But instead of annoyance there was a fond, almost fatherly, look of understanding in his eyes, as he put the second cup down and took the first one away. For a split second as we looked at each other, we were more father and daughter than we were waiter and patron. And that meant, of course, for that split second we were human and real and doing good—God’s good. ow comes further benefit from this phase of my faith. If God can do His work through others, then these others become important to me; the waiter, the truck driver who delayed me, the girl who waits on me in the drugstore—there is as much to their lives as there is to mine. And with this my relationship to my fellow man becomes clearly a responsibility I must never evade or hold cheaply. A few years ago I met a group of people, and when we began to talk of religion I mentioned some of the ideas I have given here and they acted as if I were silly. It threw me a little. I admired a few of them and I began to wonder if I could be wrong, if perhaps I had no right to spread my particular kind of “good.” Then a few nights later I found myself alone with one of the women, and out of a clear sky she told me she had been greatly helped by my words of the previous evening. More than this—she had needed the help inher- ent in my viewpoint. But she hadn't wanted to reveal her trouble to everyone, of course, so she had said nothing. She hadn’t wanted to tell me either, for that matter, but she had to in justice to the comfort she had gotten, and, you might say, to practice the preaching which had helped her. Here was the So of Fost Boe ) Ee ; 5c Wire oad again; from Grandmother to “me to=— this friend and back to me again; enrich- ing all to whom it came. A > There are side benefits to such an atti- _ tude. I remember last spring when I sprained my ankle at a time when I had dozens of plans which necessitated my be- ing on my feet, not off them. My first reac- tion was to get myself steamed up into as mad a mood as I could achieve. But then I talked myself out of it. I decided to see if I could possibly profit from that spra*ned ankle. I did. Tremendously. I did it by thinking. For the two weeks that my ankle kept me home I tried to do all the thinking I could about my life and the problems in it. As a matter of fact, I did my thinking for practically the next five years in that two weeks, and then went back and did it all over again for Tony as well. And the things I got to know, as a result of this, of what we should and shouldn’t do, in our private lives and in our professional ones, and all the reasons for same; I mean the actual worth of the information made us feel twice as rich. [I $ INCREDIBLE what you can do for your- self just by keeping quite still and let- ting those little wheels in your head turn; you can’t afford not to! Last May, for instance, Tony and I were getting ready for a real vacation—a three- week hideout in Connecticut. Then one night Tony walked in with his face way down to here and announced that he was in a new picture and would have to leave for Boston location for those three weeks. Anger flared up in me. Something was wrong somewhere. Hither the studio had an awful nerve to intrude into Tony’s va- ~ cation period or he had said yes when he should have said no. But where previous- ly this would have been the extent of my thinking and I would have acted on it, now my mind carried on unbidden to a saner and better conclusion. If I raised the devil and demanded that Tony keep to our original plan for our vacation, he would. This would mean no- tifying the studio that they would either have to change the schedule for the pic- ture, or use someone else for the lead. This in turn would mess up the studio’s pro- duction plans, affect Tony’s relationship with the studio so that he would feel mis- erable, and when it was all over what would I have gained? Answer: nothing, Mike Connolly reports that Cor- inne Calvet calls the décor of Johnnie Ray's new house “Early Miscellaneous." Earl Wilson in The New York Post “Boston?” I asked. “Well, at least Bos- ton is in New England and being in New England was to be the main feature. Well still have our week-ends together.” Tony’s face lit up as if he thought I were wonderful. Well, I’m not wonderful. But any time he wants to think so— I see the power of goodness as something as mysterious as the power of the atom, but far more enduring. Whence comes the ‘ power of the atom? The scientists can’t tell you. They only know that something which holds an atom together, and which they label “the binding force of nature,” is where this power originates. Man has a binding force just as mysterious in its per- sistence; the power of good. Even the mighty power of the atom is depleted in its explosive death. But the power the hu- — man heart exerts is never gone—the more — good we do the more good there is. Some- — where here is the secret of living past life” itself, I believe. — END © (Janet Leigh can now be seen in MGM's 4 ek Tine a Mie malariae ae es ok ee ee ae ee ae i t ae eee 5 A ee a eee ae — 4 4 AD Ss" fF os rea fa — - —

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i: e ’ the grangers call it love (Continued from page 62) much about him. Suppose I hated to look at his face!” The face was strong, sensitive, beautiful. He stared for a good two minutes and paid tribute. “No wonder she loved him.” He had it enlarged and framed, reproduced in sizes small, big and various—tor a billfold, a locket, a dresser—sent them all to Jean. ' From having no picture of her father, she _ was suddenly surrounded. She cried. \ The trip was something she’d hungered for. “I want to walk up the London streets,’ she moaned, “and get lost in the fog and smell the Thames. I’m homesick for London.” The cry echoed in Granger’s ears. By good chance, he met an artist who specialized.in London scenes—fabled places like Fleet Street and The Mall. With a certain diffidence he broached his scheme, which involved a tiny little street in Hendon. “Its artistic interest may be nil. It’s not very beautiful except that my wite was born there. Would you go down and draw it for me?” The artist obliged, delivering his sketch to the studio. The cameraman on- Beau Brummell, an old friend of Jean’s, took a look. “Very nice,” he said, “only she wasn’t born there. Family moved to Hendon when she was - three. If it’s her birthplace you want, go to Holloway. Right near the Holloway Jail. Wonderful old pub on the corner. You'll like it.” Both sketches flew the Atlantic, arriving on that strategic day when Jean’s hope of joining her husband was finally quashed. She cried again. BALCONY SCENE In the Chicago Theatre Rosemary Clooney was midway through one of her songs when she came to a line something like, “I’m just a little girl with no place to go.” A joker in the balcony immediately let out a long and loud “Come-on-a-my-house!” and the audience went into hysterics— while Rosie giggled so hard she had to stop singing! Jack Ramsey Pocahontas, Virginia Let’s concede there’s nothing noteworthy about a man’s thoughtfulnes for his wife. It does, however, indicate sound relations. Yet the snipers snipe, taking what seems to be almost gleeful aim at the Granger marriage. They can do it no real harm. But when the peppering grows so heavy as to bring phone calls from Jimmy’s mother in England, it acquires nuisance value. It also begins to bore those who hold no personal stake in the game. RANGER IS the target, not Jean, Jean is the martyred darling. (A darling she is, though singularly unmartyred.) What makes him a target is what we profess to _admire—individualism. He refuses to be _—more accurately, he’s incapable of being _—anyone but himself. In many communi-_ ” ties, life goes more smoothly if you’re cut to a pattern. Granger isn't. He’s a fighter for one thing, and fighters risk treading on people’s pet corns. When his spirit yells no, you won’t hear his mouth mumbling yes. His are honest bat- tles over issues he honestly believes in— be it a script that seems ill-suited to him- self, a contract he considers one-sided or further lengthy separations from his wife. Returning from five months in England, he delivered an ultimatum. “I won’t leave Jean again.” “Sorry, old boy,” they told him, “but you’re going to South America for Green Fire. Relax, it’s only two weeks.” He stood his ground, and collision threat- ened. Though you may have heard hints to the contrary, studios are often human and Granger is reasonable. They pared the two weeks to six days. Granger went. Moonfleet, which he’s making here, pre- sents no problems. But a cloud lurks over the horizon. They want him to do Bhow- ani Junction in India. He’d be all for it— if Jean could play the girl. “Or even if they’d let her do a film in Burma,” he suggests dryly. “At least we could nip across and see each other. It’s this awful sensation of 8000 miles between you that’s soul destroying. Cables and phone calls don’t help much. Hang up the phone and you’re lonelier than ever. Not that I’m blind to MGM’s viewpoint. We'll have to work it out together, that’s all.” HIS HARDLY sounds like the mulish truculence with which he’s sometimes charged. That he’s no Job for patience he’d be the first to grant. Inefficiency irks him. His standards of workmanship are high. He won’t sacrifice them on the altar of popularity. Universal popularity doesn’t head the list of things-he-can’t-live-with- out. Hollywood is an open-armed town, where yesterday’s stranger is tomorrow’s darling. Not so with Granger, a Britisher and a Scotsman, to boot. If one Britisher is more self-contained than another, it’s the Scot. Those friends he has and their adoptions tried, he keeps for life. Easy intimacies fail to attract him. “We ask people up here because we want to see them, enjoy talking to them. You can’t talk to four hundred at once. So we have six or ten or even two. What’s wrong with that?” The answer, of course, is nothing. You like big parties or you don’t, and neither inclination is a subject for censure. But tell that to the critical, who tag him snooty and bewail the fact that he won’t even take poor little Jean out dancing. Poor little Jean feels no pain. True, she likes dancing and he’s tepid about it. “It’s a difference,’ she points out, “not a yawn- ing abyss.” He recognizes the difference. Often as not, he’ll strangle his reluctance. “There’s this little jive joint somebody told me about.” (Both prefer little jive joints to glamour clubs.) “Come on, you can dance your head off.” Often as not, she'll be the one to protest. “Darling, ’m tired. Anyway, Groucho’s on tonight.” Others may cavil. His wife feels not the slightest yen to change him. She’s purr- ingly content with him as he is. They talk the same lingo, the same kind of nonsense exhilarates them. Where Holly- wood is effusive, they thrive on under- statement. Any public display of sentiment makes them squirm. “In simple affection,” he explains gravely, “we call each other idiot.” If she does it, it’s cute. It he does it, eyes glaze and paragraphs get into all the papers. “What Granger said!” Most are perceptive enough to realize that one man’s “idiot” can hold more tenderness than another’s glib “sweetheart.” But they need fillers. | All stars are subject to similar forms of attention. It’s the price they pay for stardom. No marriage within memory has Round wide opening 2 quart translucent bag Reinforced for extra wear Waterproof zipper case Only syringe with pure latex tubing Pipes won't come apart How to use a feminine syringe yore find many helpful suggestions on fem- inine hygiene in the book offered below. Also information on the use of B. F. Goodrich water bottles, ice caps and other rubber products. The B. F. 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No other method does all these things. So, insist on Dr. Scholl’s! been so constantly assaulted on such flimsy grounds. Take the oversize house he bought on arrival. He had made a mistake, rectified it, paid for it with his own hard cash, and whose business was it anyway but their own? Yet the town sliced it up until it sounded like a mis- demeanor, if not a slight felony perpetrated against his bride. Take Jean’s early un- happiness in her work, which sometimes reduced her to tears on the set. These were promptly translated into rows with her husband; why else should a girl weep? Take home economics. He’s handy with a skillet. She’d rather go hungry than fix herself a meal. Domestic details aren’t up her alley. He can manage them with a twist of the wrist, and does, seeing no reason to impose on her distasteful bur- dens. This is bad? Apparently. Why? Because he’s invading her realm, robbing her of her feminine right, treating her like a child. Take even the matter of a couple of Tv sets. How can they love each other when they watch different programs? Yes, it gets that silly. They’ve been under fire along other fronts. But here, at least, they’re in com- pany. No British actor has ever drawn a Hollywood salary check without being prodded, more or less gently, on the sub- ject of American citizenship. Some ignore the prodding, some react off the record. Ask Granger a straight question, and you get a straight answer. “I’m forty years old. I’ve spent nine-tenths of my life in England. I have two children, a mother and sister there. Jean has a mother, a brother and two sisters. Our roots are there. You can’t tear them up because you’ve worked elsewhere for three years. Put yourself in the same position. England means to us what America means to you. If we changed citizenship now, any think- ing person must know we'd be hypocrites, acting through shabby motives—to help us over taxes, to make travel easier on an American passport. This would be an affront to America, not a tribute. Holly- wood has given us a lovely way of life on this hill. But obviously it’s not the Amer- ican way. We don’t know enough about America to form opinions. Later, perhaps, especially if children were born to us here, we’d make it our business to travel up and down the land, study it, learn it, and become citizens, if we did, not as a convenience but because we loved it and wanted to spend the rest of our lives here.” [BEY HOPE to have children, though not yet. Through her former contract, Jean’s career stagnated. Now it’s blossom- ing again. She’d like to concentrate on it for a while. “We-don’t believe in turning kids over to nannies. That way, you have a little thing in the house and never get to know it. Baby cuts his first tooth on Nanny’s finger, takes his first step and topples into Nanny’s arms. All agog, she phones Mummy at the studio. Mummy wails to high heaven, feeling cheated and with good reason. When Jean becomes a mother, she’ll do one picture a year.” Their work has kept them apart more than they like. In three and a half years, they've had no time for a holiday to- gether. Last summer they planned to go to La Paz. Green Fire was due to finish the first of the month, Desirée to start on the sixteenth. Reservations were made, fingers crossed, eyes fixed on the promised land. Then Green Fire dragged on through the twelfth and La Paz went a-glimmering. They sighed and swore, each according to his gender, and resigned themselves. The twin career holds no terror for them. “What,’ demands Granger, “would I do with a woman who’s never known the exhaustion of a day at the studio? What would she do with a man who wants only to flop and put his feet up? Words, I imagine, would flow bs A aE ty 7 ea oy <5 4 PASS Senior cs eae eb words have been known ‘to le many words. We’ve been pric thorns of the same profession.” REAR WINDOW A few years ago as I was driving to a friend’s house, I noticed that a mon in the car in front. of me was looking ~ out of the back window and mak=- ing faces” He was -. so funny that I = couldn’t help laughing. I fol- lowed his car for about a block and he continued to make faces at me and 4 other cars that went past. Then I recognized that versatile face—it be- longed to Bob Hope! ¥ Linda Young Austin, Texas iY ~ g a ss . cs 4 With an adult outlook, each respects the other’s need for fulfillment in work. Granger’s masculinity doesn’t require the prop of a little woman dancing attendance. _ So long as Jean wants a career, hell en- courage her in it because of the bred- — in-the-bone conviction that every person has the right to express himself in his — chosen way. In acting, she has found her medium. He hasn’t. | Physically equipped as few men are to play doughty heroes, doughty heroes — give him a pain. “They’re dull creatures. — Nor do I consider that by donning a wig and sword, you achieve anything much.” |} Here too, however, he sees the studio’s viewpoint. His derring-do films bring home } the bacon. “And who’s to argue with ~ bacon? Yes, I’d like to slip out of ruffles — now and again into the skin of a real © character. But if I don’t fight too hard — for a change of pace, it’s because I’m not all that keen about acting. Acting leaves || me feeling fenced in, a little frustrated. I fancy myself creative along some line.” His far-from-secret goal is to be a di- rector. Although it’s a serious ambition— more likely, because it’s a serious ambition || —he kids it. “I’ve yapped about it so much, | I'll probably never do it. In which case, I ean always tell my grandchildren what a ~ fine director their granddaddy might have been. Better than maybe risking the ghast=- — ly chance that you’re lousy.” ; p= oR NO, he’s bent on owning a | farm, getting down to such basic crea=- | tive activity as crops and calves. Jean stipulates only that none of the ealves shall ever be sent to market. Meanwhile — they pursue their lovely way of life on the hill. “Lovely to us,” says Granger, “and dismally unspectacular in the telling.” Since his return from England, some=-— thing new has been added in the person of Rushton, who used to work for him over there and agreed to temporary transplan- ; tation. A quietly glowing gem, Rushton — runs the household, does the marketing, ~ rises virtually with the dawn to fix Jean’s” breakfast when she is working. Which ought to leave Granger slumbering un-— disturbed. Only it doesn’t. “When Jean gets up, nobody sleeps. For a small girl, she makes disproportionate noises. She falls down, she trips over things. I hear her mutter ‘Excuse me’ to the bedpost, ‘T’m sorry’ to the door.” _ “Creative fancy,” says Jean, returned from the doctor’s now and comforting her- self with a spot of tea. “Some day he'll stick that bit into a movie.” —

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x Hendiess, he ees on. “Whereas my wife can sleep through thunder, earth- quakes and dogs licking her face. On those rare mornings when we're both unem- ployed, Rushton brings in the coffee. I drink it, with this dead body beside me. I shower, I dress, I go out and putter round the garden. Contrary to printed report, I do not uproot trees with my bare hands. My horticulture consists in meditating on what to tell the gardener to do next. I change into trunks. I take a plunge in the pool. By now it’s ten, so I look in on my sleeping beauty. She continues to lie motionless. I drop a heavy object. Nothing happens. I grow uneasy. I clunk her over e head three or four times.” “With a soft hammer,” she prompts. Then they eye each other. “Uh-uh. Somebody might believe it. Delete jokes.” “Hammer deleted. What I actually do is open the door to the clustered animals and let them climb over her.” \ The animals number four. Two cats called Traybert, in combined honor of Spencer Tracy and agent Bert Allenberg. - Two miniature poodles—Young Bess from the movie of the same name, Old Beau after Beau Brummell. Granger is this kind of despot. Jean says: “I would like a cat.” He says: “Darling, you don’t want a cat,” and orders a couple of Siamese. INALLY DRAGGED from unconsciousness, Jean breakfasts in bed with the news- papers. “She’s a diligent reader. First, the funnies. Every picture and word of the funnies from stem to stern. Then the columns. If she’s mentioned, she yells. If I’m mentioned, she yells. If a friend’s men- tioned, she yells, though not quite so loud. li she devours them in silence, it’s a sign that nobody she knows got a tumble that day. I’m not sure whether she’s relieved or disappointed.” “A smidgen of both,” she tells him. They putter some more, they inspect why try to change me now? (Continued from page 47) telephone, no Tv set, not even a-radio to invade one’s privacy. There was only the hypnotic tone of the surf beyond the picture window... only the bittersweet nostalgia of the blues coming softly from a pint-sized phono- graph on a nearby table—and Jane Rus- sell sitting quiet, her dark eyes brooding over the sea she loves so well. Suddenly she spoke, shattering the illu- sion of serenity. “Next time a writer asks me for a story idea,” she announced, “I’m going to come up with one for him. A story to be called If You Don’t Like It, Lump It.” Ah, ha! you might well think. Now that she has formed her own picture company, now that she isn’t tied down by a contract, Miss Jane can’t concern herself with what the public says. No such thing. In spite of, or perhaps because of, the controversial storms she has shrugged her way through with ap- parent indifference, Jane has always need- ed approbation more than most movie stars. She goes out of her way to avoid antagonizing people, she cares. very deeply how the public feels and she isn’t about to develop one of those “I’m-bigger-than-all- my-critics” complexes. 4 THERE Was A reason for her saying what she said, however. One of the friends _ relaxing with her that Sunday was a writer, who had been giving her some tiresome, uninvited “for your own good” advice about a certain current Russell project which had nothing whatever to do ite) making of motion oe The their once barren hillside, now blooming like paradise. They bask in the sunlit hours of a lazy day. “How can you itemize them?” he asks, forever astonished that ’ anyone should be interested in the trivia of their daily lives, but doing his best to oblige. Friends may drop in. Their re- putedly British circle is liberally sprinkled with Americans—Tracy and Allenberg, Garland and. Luft, directors Cukor and Kazan. Jimmy cooks up some dinner. Jean hovers. The culinary arts fascinate her at a distance. She eats what he gives her, criticizing all the while. “This meat’s too well done. There’s not enough pepper.” “Shall I hand in my notice, madam?” “Tll think about it. Ask me in fifty years,” Ve THEY RE ALONE evenings, Tv holds them enthralled. “Being competition, it makes us feel slightly guilty. We swal- low our guilt and tune in just the same.’ He’s mad for baseball and the fights. She plays her own favorites, then wanders over to him. Baseball she likes. “Unless the blokes paste each other too hard.” “Then she ducks. Our attachment to Tv stems less from the programs than the sociability. It’s cozy lounging together on the couch with a bottle of beer in your hand. You watch the Rheingold commer- cial and take another slug of Budweiser.” “For that remark Rheingold will doubt- less crown you.” “Tt’?s a typographical error. It’s also time for you to pop back into bed.” We caught a final glimpse of them in the doorway. Bess’ tufted head poked out of the nest of Jean’s arms. Looking for something to chew, Beau took a sniff at Jimmy’s shoe. The Grangers, big and little, stood close. They stand close in more than the literal sense. They’re nice people. They’re happy. They love each other. Let’s leave ’em be. END unwanted counsel had been offered some hours earlier, at which time Jane neither sulked nor argued her point. But now she came up with this like-it-or-lump-it rou- tine. Although it was a pretty sneaky way of telling a friend to go climb a tree and not up to her usual standard of forthright insult, there are mitigating circumstances. First, she was tired. Besides, the writer was a guest in her house, and Jane is never rude to guests. Well, hardly ever. And finally, she wasn’t mad at anybody. She made the remark without a trace of malice, and when comprehension dawned on the guy, she grinned at him toads Just so he knew where she stood. HERE SHE STANDS is on her own two feet. She’ll make mistakes in her new- found independence, maybe, fall flat on her face, maybe, but the point is that at least they'll be her mistakes. One of the things Miss Russell is most tired of is be- ing slapped on the wrist for obeying or- ders. “If people think a thing is in bad taste, it’s their privilege to make a fuss— but before they criticize me or anyone else for what they see on the screen, couldn’t they at least ask whether our contracts permit us to object-to scenes in the pic- ture? I can insist on script changes now, but I couldn’t always.” This is one desir- able aspect of independence, but it has its drawbacks, too. With the announcement that she wears no man’s collar, any future _ goofs must be laid at her own door. OF COURSE, what constitutes a goof is a matter of personal opinion. Earlier this year Jane made a trip to New York and, on a nocturnal search for some real NEWEST 4 ey IDEAS Gies WITHOUT EXTRA COST! NATIONWIDE. NEEDLEWORK Club to JOIN NOW! 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Just pick the 10 top pictures in the new issue of SCREEN | ALBUM | nc nte 255 crazy music, ran into a columnist who re- ported the following day that Miss Russell considered the Almighty “a Livin’ Doll when you get to know Him.” A national magazine duly noted the comment, and there were sanctimonious howls of outrage at her blasphemy and retorts from cooler heads pointing out that if Old Jane knew the Lord well enough to call Him a Livin’ Doll, she was in much better shape than people who didn’t know Him at all. Jane was mildly surprised but not at all upset by the to-do. “I guess I did say it,” she confirmed placidly. “It sounds just like me—why, you've heard me say it a hun- dred times.” She doesn’t regard that as one of her mistakes. But she’s a wicked one, all right. At the end of her nightly prayer she has even been known to implore the Lord to take care of Himself. HEN MAGAZINES break out in a rash of stories asking whether success had changed Jane Russell, they'll just be words. Currently the Old One’s (Miss Rus- sell’s four brothers’ pet name for her) fa- vorite song is a standard called, “Why Try to Change Me Now?” and it ought to be her theme song. Nobody is going to change Jane, for her own good or otherwise. She’s as stubborn as a mule, unshakable in her loyalty—and she'll stay that way. She in- dulges whims she knows will land her in hot water up to her chin. She always listens to people who know more about making movies than she does and, unaccountably, she sometimes listens to people who wouldn’t know a camera angle from a hole in a doughnut. She’s convinced that she’s a sound judge of character and yet, jok- ingly or not, she sets quite a store by as- trology. “I don’t even know why I like you,” she often complains to one of her friends. “Everybody knows that Geminis can’t stand Taureans!” She’s curious as a squirrel about stran- gers—some strangers—but never try to make book on which ones will appeal. When they don’t, she ignores them. “I’ve never been so embarrassed in my life,” re- lates a member of the RKO publicity team. “We were in the gallery, shooting some art for a magazine cover, when the editor of the magazine came in. I introduced them, and Jane said, ‘Hi,’ in that disinterested voice that I ought to recognize by now. Then she proceeded to look right through that woman for two hours. I nearly wore myself out trying to make small talk. “Still, you can’t get mad at her. After all, just to do these pictures, she was giv- ing up a day when she could have been at the beach. She made every costume change we asked; she did everything the photog- rapher said. Only her mind was some- where else—and if I had said anything to her about it, she’d have answered with something sarcastic, like, ‘Who’s going to put my mind on a magazine cover?’ You can’t change that dame.” Ws SHE THINKS a stranger is bright or cute or funny, believe it or not, Jane is shy. The high-voltage eyes look hither and yon, sneaking only an occasional glance of appraisal. She becomes a model of decorum, causing studio representatives to shift uneasily in their seats. If she’s satisfied that this one is worth the time, for instance, she might pull a complete switch in the next moment and become the Legend. This myth, perpe- trated and carefully nurtured by her de- voted crew, insists that Miss Russell is mean as a snake, arrogant, temperamental, unreasonable—and her mother should bite her when she gets back to the kennel. No one can become a crew member in good standing without adding to this canard. One Legend victim was a serious young man who came out from New York to “write a story about The Real Jane ‘dressingroom and use my lunch hour to Russell. He was introduced to her in the RKO com- missary and they talked briefiy, but Jane was. bored, indifferent, uncooperative— which to the initiated meant that she liked him and was feeling playful. Calmly she outraged his artistic integrity by suggest- ing that he go on home and create any lit- tle piece of fiction that came into his head. Smarting somewhat, the young man per- sisted. He was bound to write nothing but The Truth. Finally, Jane shrugged. “If you want to know what I’m really like, why don’t you go over to the set and talk to my crew? I guess they hate me the best.” The crew greeted his appearance with fish-eyed coolness, and when he diffidently explained his mission, they responded with ~ variously uncouth noises of derision. “Why waste our breath, telling you what she’s really like?” scoffed hairdresser Steffi Garland. “When your story came out, it would be the same old watered-down version!” é “That’s not his fault,” stand-in Carmen Nesbitt pointed out sympathetically. “If he wrote the real story, they wouldn’t allow 1 it in the mails.” a Behind his horn-rimmed glasses the young man’s eyes were beginning to glaze ever so slightly, a fact which the crew noted with complacency. They led him to Miss Russell’s portable dressingroom, sat him down, and began relating the reasons why she was an impossible employer. At this point Jane entered. Although there was some shifting about to make room for her at the dressing table, she was otherwise ignored. She glanced in the mir- ror at the writer and asked, “Well, what have they been telling you?” “Uh—nothing,” he lied uncomfortably. “That doesn’t surprise me,” Miss Russell remarked, applying mascara with a deft hand. “I’m surrounded by fools and idiots.” Nobly the writer stepped into the breach. “Miss Russell, there’s something I’d like to ask you about. In looking over your studio biography, I ran across something rather peculiar. It said that when you were a baby, your mother used to leave you out in the snow in your buggy for hours on ~ end. Would you—” c “What’s so peculiar about that?” inter- rupted wardrobe mistress Mary Tait. “If | you had given birth to something this hor- — rible, wouldn’t you encourage pneumonia?” It broke up the whole bunch, Jane Rus- sell most of all, and gave the writer his first indication that they were pulling his leg. To date Jane has given her best acting performances as the Legend. F THE REAL JANE RUSSELL is so untempera- mental and so cooperative that she feels defensive about making a reasonable ad- justment in her daily routine. As everyone ~ knows, she habitually tries to do too much, and has cracked up on several of her recent” 4 pictures. Worried, her family and friends — persuaded her to cut down. 1 “Say, Old One,” teased a friend who © didn’t know the circumstances, “you been taking lessons from So-and-so?” naming — a star well-known if not well-liked for the regard in which she holds herself. ei For once, Jane didn’t smile back. “Tak- — ing lessons in what?” Sip? “Well, all of a sudden I hear Russell | ! does not permit luncheon interviews—” Jane looked stricken. Then, “I don’t,” she said tightly, “and I haven’t on my last | two pictures. I just have a sandwich in my : ] rest or pray or.cry or whatever I feel like.” It’s probably the smartest move she has made in years, and there isn’t a reason in the world why she should feel uncomfort-— able about it—except that she always has given up her free time in the past. The way it used to be, Jane was up at the crack of dawn in order to drive in from ~ —— BREAN oo

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the valley and arrive at the studio on time. She worked through the morning, ate her way through a lunch interview, and hur- ried back to the set to work all afternoon. Usually there were other writers visiting the set, waiting to talk to her between scenes, and a member of the RKO pub- licity department once tabulated forty phone calls—all urgent—that came in for Jane in the course of a single day. Small wonder that she cracked up. be & THE WOMAN'S TOUCH I went to the premiére of Lucky Me in Miami Beach and sat next to a man wearing a black sports outfit with a blazing white tie. When the lights went up for the floor show I must have been staring at this strange out- fit for the man smiled at me and said, “Kinda loud, huh? But my wife made it for me and I love it.” It was Robert Cummings. Stella Kamp Miami Beach, Florida Now she has cute Penny Sweeney of the dandelion coiffure to screen the calls and the visitors, and she keeps her lunch hour free. Know what she does with it, besides resting, praying and crying? She answers the calls that worry her the most. Let’s say that you’re in trouble. The phone rings, you answer, and this flat, un- emotional voice says, “Hi. This is Jane. How are you today?” After the first time, you won’t need to be told who it is. After the third or fourth time you stop puzzling about the rest of it. There doesn’t have to be a reason why she concerns herself with you; she just does. Her voice doesn’t ooze solicitude with every syllable, she doesn’t comfort you in wildly affectionate terms of affection a la Hollywood, she doesn’t preach the gospel. Instead, she says with simple, hard-headed logic, “Look, do you have a really good doctor?” Or lawyer or candlestick maker, depending on your par- ticular need. “. . . Because if you haven't, mine is the best.” It’s entirely possible that Jane’s doctor, lawyer and_ candlestick maker do more charity work than pro- fessional philanthropists, and apparently they’re happy about it. They eschew pay- ment for whatever service they have ren- dered warmly but firmly. “Anyone who’s a friend of Jane’s—” is what they say. F COURSE she believes in miracles and kill-or-cure methods, There is a re- porter in Hollywood rumored to be sitting in a corner, gibbering to h-mself and play- - ing with a piece of string, on account of Jane. It seems that he had a blue-ribbon assignment on her, one of those directives that said, “IMPERATIVE. DROP EVERY- THING ELSE. DEADLINE.” So he went to U-I to visit her on the Fozfire set. He was moping around her dressingroom when she came in, and immediately Jane asked, “What’s the matter with you?” “I dunno,” he answered. “Picked up some kind of bug; I guess.” “So what are you doing here?” “Well,” the reporter was vague, as re- porters usually are, “I had this assignment on you.” We We Jane clobbered him with a look. “I’m not going to talk to you,” she said with abso- * jute finality. “You look horrible. Go home and go to bed.” “But my story—” “T said, go to bed. Ill call you later.” She did. She called that day and the next and the next. The second day she had a personal physician at hand. The third day she turned up with the most novel idea in publishing history; she had a writer from a competitive publication in her dressingroom when she called. “I told him about you,” she said, “and he says he’ll be glad to help you out in any way he can. Write your story for you or any- thing.” Big joke. The only thing she was steadfast in re- fusing to do, over the telephone or other- wise, was to hold still for any interview. “My doctor says you’re too sick to work,” she said stubbornly, “and if I don’t give you any material, you can’t write a story.” And if he didn’t write the story, he’s prob- ably peddling pencils on a street corner, or playing with that piece of string. Bz WHy TRY to change her now? She’s a magnificent, complex creature of fan- tastic impulses and pedestrian caution which are almost always in conflict. Like quicksilver and the sea, Jane is changeless. She’s only in a different mood right now. A grave, adult mood acknowl- edging that this might well be the most important year of her life. For the first time since she appeared on the Hollywood scene, Jane is a free agent. While she was under contract to How- ard Hughes, Miss Russell probably didn’t realize how relatively sheltered she was. When she read a script, she didn’t have to look into a crystal ball and decide whether the picture would be a hit or lay an egg; she merely had to play the role written for her. The outcome involved neither her money nor any responsibility. Now that’s all changed. She and Bob Waterfield will sink or swim on the strength of Russfield, and Robert admit- tedly knows nothing yet about making movies. Jane has got to read a script and visualize a picture, buy it or turn it down. Dicker for co-stars and directors. Rely on her own judgment regarding promotion, publicity and a dozen other facets. T'S ENOUGH to make anyone serious, but Old Jane faces the future confidently because she labors under the delusion that she has mastered a very dirty word: compromise. She hasn’t, of course, since in her books compromising doesn’t include making concessions or ending up with anything less than she wanted originally. How does she compromise? “Well, take music. Bob Thiele of Coral likes me to make a certain kind of record a certain way. I like to make another kind my own way. So I do four that he wants, and then he lets me do four of my own. “Or in picture making. Universal wanted me for Foxfire and we want to borrow Jeff Chandler for a Russfield production. So we compromised. “Or in private life. If Robert wants to go fishing in the mountains and I want to go to the beach, we can’t do both so we com- promise—he goes fishing and I go to the beach.” She was perfectly serious, explaining all this, although in every instance she cited, Jane Russell ended up getting what she wanted. Apparently “compromise” means the difference between getting what she wants immediately or five minutes later. Lazily, the Old One smiled, and her eye- lids dropped to cover some secret thought of her own. “But I'll let you in on some- thing. There are some situations where it looks like I’m compromising. I let people think I am. 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be it’s a brand new brando (Continued from page 66) his personal re- lationships. He likes people instead of fear- ing them. His conduct with Josanne Mar- jiani, is different from his old manners with women. Josanne is a black-haired, brown- eyed Corsican actress Marlon had met in Europe. When Josanne came to Hollywood, she visited him on the Desirée set each day. He was kind, considerate and attentive to her. In the past he’s been chary of showing any affection to a girl, particu- larly in public. But with Josanne he was every inch the courting gentleman. When newsmen asked if they might take her picture with him, Brando grinned and shook his head. “You better not,’ he said. “Don’t you think so? We've got no right to intrude on her privacy.” Because Brando was so gracious, the photographers agreed. They saw Josanne around Hollywood a great deal. Phil Rhodes, Brando’s friend, used to drive her to and from the studio, and they could have photographed her a dozen times. But why get Bud Brando sore when he’d gone out of his way to help? Who is responsible for Brando’s new attitude? Why has he changed his tune? Only a year ago he was saying, “I’ve had enough of Hollywood. Came out to the movies for only two reasons: loot and experience. Now I’ve got ’em both and I’m pulling out.” He talked about going to Europe and to the Far East and making pictures there but he was defintiely soured on Hollywood and its ways. He claimed that unjustifiably he had been depicted as an irresponsible screwball. After Julius Caesar, he said, it would be a long while before he hit the West Coast again. For a while he was true to his word. He’ flew back to the East and presently his girl, Movita Castaneda, joined him there. Gradually, Movita helped weaken Bud’s prejudice against Hollywood. “You're too sensitive,” she told him. “You take everything so much to heart. Why do you care what they say about you? They think you’re rough and crude and crazy. But all the people who know you, all the people who’ve worked with you like and respect‘ you.” But Bud was still hurt. When Julius Caesar opened in New York, he declined to attend, explaining, “I just couldn’t go through it.” Asked if he’d read the wonderful re- views, he said, “I never read reviews. They either praise you or kick you. But they don’t help you.” [HEN STANLEY Kramer, the producer for whom Brando had made his first Holly- wood movie, The Men, telephoned to say that he was making a picture to be called The Wild One, and he wanted Brando, that he needed him badly. Would Bud come out to Hollywood and do this one favor? Bud went. He has an indomitable sense of loyalty and friendship. He understood that certain of his pals would get minor parts in The Wild One. They didn’t and he resented it deeply. After the film was finished, he said, “I’m getting out of Hollywood and this time I’m really staying out.” Once more he flew to New York where he signed to play in summer stock for a friend at $125 a week. Bud has great admiration for Elia Kazan, the talented stage and film direc- for. It was Kazan who gave Brando his first big break by casting him as Stan Ko- walski in A Streetcar Named Desire. In New York, Kazan began to talk with Bud about a script by Budd Schulberg dealing with waterfront scandals. Brando agreed to make the picture. Most 92 of it was shot in Hoboken, New Jersey. Bud loved making the picture. He reported to work each day in work trousers and leather jacket. He rode the trains and subways home hardly ever being recog- nized. When he was, he’ signed auto- graphs until his fingers were numb. Never in his life has he refused an autograph. In the Waterfront film, for example, Sam Spiegel, the producer, was a bit late in paying some of the featured players their salaries. Marlon raised a fuss about it. “Sam,” he said, “you’ve got some nerve keeping these people waiting for their money. Where do you come off with that stuff? Spiegel paid off quickly. After On The Waterfront was com- pleted, Bud heard from his father Marlon Brando, Sr., that a cattle ranch was to be put up for auction in eastern Colorado. “T’ve got about 800 head of cattle out in Nebraska,’ Brando says, “and I always thought it would be a good idea to have them feed on my own ranch. I’m partners with my father—we have a company called Marsdo, Inc.—and my dad said we needed another $150,000. “Just about then MCA, my agents, called and said that Fox wanted me for The Egyptian. I could get $150,000 for the pic- ture. That seemed to be the answer.” When Brando arrived in Hollywood early this year, he knew in his heart that he was going to work in The Egyptian for only one reason—money. That realization ate into him. He is a sensitive young man who from time to time has denounced money- Howard Hawks is in Egypt, filming Land of the Pharaohs. He hired 3,000 extras for the opening scene. It was at the quarry where the stones for the Pyramids were cut. The preparations began before dawn. At 1:30 P.M., after long hours in the sun, the 3,000 extras finally were in their proper places. Just as Hawks signaled for the cameras fo start grinding, his Hun- garian aide noticed that an extra's toupee was askew. He shouted a signal in Hungar- ian, over the loudspeaker, to an- other Hungarian who was in charge of that section. In less than a minute, all 3,000 extras had rushed off. Hawks and his aide later learned that the Hungarian word sounded like the Egyptian word for "LUNCH." Leonard Lyons in The New York Post mad persons as “unconscionable hucksters.” The resulting struggle . with himself turned Marlon so sick that he felt ‘he must have the help of a psychiatrist. So he got on a plane before The Egyptian started and flew to New York and the care of psychiatrist Dr. Bela Mittelmann. Immediately, the studio filed suit and replaced him with young Edmund Purdom. A few weeks later Brando was told that his mother, Mrs. Dorothy Brando, was ill in Pasadena. He flew back to California at once. When Bud arrived, she was dying. Bud and his mother had always been very close. Mrs. Brando knew that in Marlon she had something of a maverick. She loved her son and sympathized with him and tried to bring him comfort and hope. Before she died, she said, “Bud, I want you to get along with people, to love them instead of fighting them. Don’t fight with the studio, Bud. Don’t fight with anyone. Sometimes it’s hard but you must get along with people. You must love them. It’s the only way.” Marlon said he would do his best. His mother died on March 31. A few weeks later Brando made his peace with the studio and agreed to report for the role of. N. saoleorr The studio pelican vindictive and antagonistic. = e ‘Instead Bud has been all sweetness and light, and extremely discreet. “I ee ah my mother that things would be okay.” — Ws Bup was asked about his reported breakup with Movita, instead of blow-_ ing his top as he would have done in the old days, he said calmly, “We're still friends and Movita is still a very lovely ~ person. But let’s not pursue that Sng Movita spoke more freely. “Isn’t it possible,” she asked, “for a man and woman to have a friendship without its ending in marriage or a quarrel? Bud and I are still good friends. We talk over the phone every few days. But I never had any intention or desire to marry him. Ap- parently he’s not yet ready for marriage. “Before he settles down to family re- sponsibilities he wants to travel. Marlon is a wonderful person involved in the some- times painful process of finding himself.” Another young beauty who dated Bud in Hollywood and is convinced that he pos- sesses all the virtues is Rita Moreno. i “I went out with Marlon a few times,” Rita said, “and he was a perfect gentleman. ai He’s relatively quiet, but when he speaks he says something worthwhile.” | Marlon’s explanation of the stories of — his alleged weirdness is simple. “The | press,” he says, “is responsible for spread- ing all those wacky stories. When I was in Streetcar in New York a woman came backstage to interview Jessica Tandy. | “Jessica was about to introduce her to me but I said quickly, ‘I know, Jessica—__ your mother!’ I wasn’t trying to be smart or sarcastic or anything. I didn’t have my glasses on and Im nearsighted. But this woman never forgave me and has | been giving me the business ever since. = “Then when I came out to Hollywood to © do The Men, the publicity guys told me to go around and visit another columnist at home. I didn’t have anything to say, and when they told this columnist I wasn’t about to go visiting, I became ‘naughty, naughty Marlon Brando.’ “Then I was interviewed by some writers — and frankly I was shocked by the questions — they asked—so intimate, such an out-and- out infringement on a man’s privacy.” 3 epee tom, ew are cinaiitinkbe rs ees ge ad ARLON ADMITS he wasn’t “too sey ra matic” years ago. “But I’ve learned,” he says, “and that’s why Tm not posing ~ for any pictures in blue jeans and a T-shirt. I’ve got suits. Ive got shirts. I know how | to knot a tie. I want to destroy the impres- : sion that I'm constantly bumming around.” As a matter of fact, Brando is now pur- suing the opposite tack. Ata recent Holly- — wood party, he was the only guest to show ~ up wearing a tie and jacket. “at The girls he quietly dated in Hollywood © also report that he was dressed formally = when he came courting. When Marlon finished Desirée, he was — heading for the Venice Film Festival where Waterfront was to be entered in the con- — test. \s “How about that Mariana girl?” he was asked. “Will you see her in Europe?” Brando grinned. “I’m trying to be very | cooperative with all the press people,” he explained. “I’m trying to be nice and ~ helpful. But somehow I don’t ever think ~ I can get to the point of discussing girls I know. A man is entitled to his private life even if he is an actor, and attempts to ~ invade it—well, I still consider them out- rageous.” But he said it good-naturedly. — A year ago he would have grown sullen and morose and stalked off. K There’s no doubt about it—it’s a ne kind of Brando, with love and kindness :. conquering inhibition and fear. ;

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