Modern Screen 1956-05 Vol. 50, No. 5

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ROR ik La tp ae i ee) Wate

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3 APN £2 foJU : — = Ce a Je) rnd Often a bridesmaid... never bride! ® ., Most of the girls of her set were married . .. but not Eleanor. It was beginning to te look, too, as if she never would be. True, men were attracted to her, but their interest quickly turned to indifference. Poor girl! She hadn’t the remotest idea why they dropped her so quickly . . . and even her best friend wouldn’t tell her. No tooth paste kills germs like this . . . instantly Listerine Antiseptic does for you what no tooth paste does. Listerine instantly kills germs, by millions—stops bad breath (halitosis) instantly, and usually for hours on end. Far and away the most common cause of bad breath is germs. You see, germs cause fermenta- tion of proteins, which are always present in the mouth. And research shows that your breath stays sweeter longer, the more you reduce germs in the mouth. Tooth paste with the aid of a tooth brush is an effective method of oral hygiene. But no tooth paste gives you the proven Listerine Antiseptic method—banishing bad breath with super-efficient germ-killing action. Listerine Antiseptic clinically proved four times better than tooth paste Is it any wonder Listerine Antiseptic in recent clinical tests averaged at least four times more effective in stopping bad breath odors than the chlorophyll products or tooth pastes it was tested against? Every night . . . before every date, make it a habit to use Listerine, the most widely used antiseptic in the world. LISTERINE ANTISEPTIC STOPS BAD BREATH ---4 TIMES BETTER THAN ANY TOOTH PASTE

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AMERICA’S GREATEST MOVIE MAGAZINE modern screen | LOOK what happens May, 1956 wee ub : WHY THEY'RE ALL TALKING ABOUT LIZ TAYLOR... 39 stories WOULD SOME PRETTY YOUNG LADY VOLUNTEER (Johnny Carson) by Richard Barbour 8 IT WILL BE THE MOST BEAUTIFUL WEDDING (Grace Kelly )..by Louella Parsons 40 THE GIRL WHO GREW UP TOO FAST (Natalie Wood))................ by Nick Adams 42 ANYTHING YOU CAN DO I CAN DO BETTER (Robert Wagner-Spencer Tracy ) by Ruth Waterbury 44 “PEOPLE WILL SAY WE’RE IN LOVE” (Shirley Jones) ..... ..by Susan Wender 46 MEET THE GIRL WHO DONE IT! (George Nader-Dani Crayne).....by Jack Wade 48 MACRAE MERRY-GO-ROUND RUSTY TAKES A WIFE (Russ Tamblyn)... 00 0c by Alice Finletter 52 HOW DANA'S DREAM CAME TRUE (Dana Wynter )................. by Marva Peterson 54 WHAT IT TAKES TO LOOK LIKE A STAR... by Maureen O'Hara 60 WHY TERRY KEPT IT A SECRET! (Terry Moore) _........ ... by Philip Chapman 62 *HOUSEWARMING AT THE FISHERG..............0.00cccccccccsesetteeee: by Louis Pollock 64 featurettes departments LOUELLA, PARSONS IN HOLLYWOOD (0. ee 13 THE INSIDE STORY... :.c-cccs.ies.sossrdeezssesnssersvaessheceloctticsassetvanecte tenesehaetset ae ieee eee 4 INEW “MOVIES foro oc cee ae etree oer eac tema ac eee Gs ea nea by Florence Epstein 28 by Lyle Kenyon Engel 34 DISC JOCKEY DERBY WINNERS 2 ooo. icc ices esedeesnsetesenssereeemesesnsae 26 *On the Cover: Color portrait of Debbie and Eddie by Wallace Seawell of Paul Hesse Studios. Debbie can soon be seen in MGM's The Catered Affair. Other photographers’ credits on page 98. CHARLES D. SAXON, editor MARY ANNE GUITAR, managing editor CARL SCHROEDER, western manager BARBARA J. MAYER, story editor BILL WEINBERGER, art editor MARILYN REISS, production editor BOB BEERMAN, staff photographer CONNIE SHERMAN, western associate AUDREY FREIHEIT, assistant art editor FERNANDO TEXIDOR, art director (SR I OE SES GES EE ESET, 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. Kiss-tested Wi Hollywood, * 59¢ large swivel case * 29¢ standard case All Fashion-Right Color POSTMASTER: Please send notice on Form No. 3579 to 263 Ninth Avenue, New York 1, N. Y. MODERN SCREEN, Vol. 50, No. 5, May, 1956. Published monthly by Dell Publishing Company, Inc. Office of publication at Washington and South Aves., Dunellen, 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, 221 No. LaSalle St., Chicago, III. Los Angeles advertising and editorial offices: 8701 West 3rd Street, Los Angeles 48, California. George iif Delacorte, Jr., President; Helen Meyer, Vice-Pres.; Albert P. Delacorte, Vice-Pres. Published simultaneously in the Dominion of Canada. International copyright secured : ' under he Pevier of ine aul convention [op the Protection of nncone Se Ante Wor mish 1 reserved under the Buenos Aires Convention. Single copy price 20c in U.S. A. and Possessions, an anada. Makes your lips come Alive! Subscriptions in U. S. A. and Canada $2.00 one year; $3.50 two years; $5.00 three years; Foreign, $3.00 a 7 *Prices plus tox; slightly higher in Canado ase iEnicredia: second class natn oe peen oe IB 3280, at Hs pest elice at munhay Na egendes Act of arch 3, . Copyright y Dell Publishing Company, Inc. Printed in U. S. A. the publishers accept no 2 HOUSE OF WESTMORE, INC. © NEW YORK * HOLLYWOOD responsibility for the return of unsolicited material. Trademark No. 301778.

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All the dazzle, darlings and delights of LAS VEGAS .... in M-G-M’s Gold Mine of Entertainment! THE LOVE STORY! FRANKIE & JOHNNY’ SONGS GALORE Filmed at the famed Sands Hotel. -..the sizzling, sensational Gal with The Yaller Shoes”... A rancher and a dancer fall “Frankie and Johnny’’ number “If You Can Dream’”’...‘‘My Lucky in love in exciting Las Vegas. and more! Never such dancing! Charm” and many others! vome DAN DAILEY - CYD CHARISSE | witH AGNES MOOREHEAD - LILI DARVAS «JIM BACKUS | OSCAR KARLWEIS * LILIANE MONTEVECCHI - CARA WILLIAMS * THE FOUR ACES AND GUEST STARS JERRY COLONNA - PAUL HENREID - LENA HORNE - FRANKIE LAINE - MITSUKO SAWAMURA Screen Story SONGS: Music by Lyrics by Choreography by Photographed in and Screen Play by! SOBEL LENNART - nichotas Bropszky - SAMMY CAHN * HERMES PAN * EASTMAN COLOR Directed by ROY ROWLAND «© Produced by JOE PASTERNAK » AN M-G-M PICTURE | fee

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have a breath of Paris about you... every day! EVENING IN PARIS DEODORANT STICK Stops perspiration odor! Keeps underarms dry and delightfully scented with Evening in Paris fragrance. SPECTAL timited time oe 2 FOR *1.00 regular $1.50 value gy, 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. Q. Despite all the build-up publicity I understand that Mario Lanza still re- quires the care of a male and female nurse every day. Is this true? —V.J. PHILADELPHIA, Pa. A. True. ®. A pianist named Walter Busterkeys used to play in night clubs throughout the midwest. Today he’s a Hollywood star. Can you reveal his name? —A.L., MirwavuKeEE, WIs. A. Liberace. @. Isn’t Bundle Of Joy, the Debbie Reynolds-Eddie Fisher picture at RKO, a re-make of Bachelor Mother? —V.L., Los ANGELES, CAL. A. Yes. @. Whatever happened to Betty Grable and Harry James? —G.R., Miami, FLa. A. Recently played Las Vegas, are think- ing of taking their act on the road. @. Aren’t the Gene Kellys separating? —C.G., CLEVELAND, OHIO A. No, Mrs. Kelly (Betsy Blair) hap- pens to be in Spain making a film. Gene remained home. @. Will Dana Wynter marry Greg Bautzer? —M.F., N.Y.C. A. Having been married twice previous- ly, Bautzer is now notoriously marriage- wary. @. Is it true that Frank Sinatra asked producer Stanley Kramer not to cast Ava Gardner in The Pride And The Passion? —R.H., RocHestTer, N.Y. A. No. @. Can you tell me if the title Love Is A Many-Splendored Thing derives from the Holy Bibler —A.R., Wasuincton, D.C. A. Comes from a poem, The Kingdom Of God, by Francis Thompson. @. Haven’t the Danny Kayes decided to go their separate ways? Isn’t that the reason Sylvia Kaye has taken a job writing special material for Maurice Chevalier? —G.L., Los AncELEs, CAL. A. Sylvia Kaye is writing special ma- terial for Chevalier, is getting along just fine with her husband. Q. Is it on the level that John Wayne refuses to travel anywhere unless ac- companied by make-up man Web Over- lander ? —D.L., Rome, ITaLy A. Whenever he makes professional ap- pearances, Wayne likes to have Over- lander on hand to take care of his hair. @. Can you tell me Rossano Brazzi’s age? The picture he is scheduled to make with Jane Wyman, wasn’t that once made with Charles Boyer and Irene Dunne and entitled When Tomorrow Comes? —S.T., Hartrorp, Conn. A. Brazzi says he is 38. The picture you have reference to, currently entitled Unguarded Hours, was originally made by Boyer and Dunne. Q. All those rumors about the breakup of Joan Crawford and Al Steele never came to pass. How come? —E.B., PorTLAND, MAINE A. Crawford was not kidding when she said she intended to devote her time to her husband. @. Elaine Stewart and Grace Kelly broke into Hollywood at the same time. I understand Elaine is now washed up. True? —Y.L., PLAINFIELD, N. J. A. All she needs is one good picture. @. Is it true that Tab Hunter and his agent Henry Willson have called it quits? —C.S., Los ANGELES, CAL. A. Yes, but Willson will still continue to collect commissions on Hunter’s earn- ings until 1962. @. I noticed in the winter Olympic Games a British skier named Noel Har- rison. I was told he was Rex Harri- son’s son. Is this true? —G.J., Ames, Iowa A. Noel Harrison, 22, crack skier and brilliant guitar player, is Rex Harrison’s son through his first marriage. The first Mrs. Harrison currently runs a ski shop at Klosters, Switzerland. @. Ava Gardner, John Agar, Tony Cur- tis, Judy Garland, Marlon Brando, Oscar Levant—are they all under the care of psychiatrists? —F.H., Loutsvitie, Ky. A. From time (Continued on page 6)

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t hardly get Z ‘Anything Goes gal Dy _ Mitzi Gaynor... _and there’s singin’ and dancin’ and _there you are.. movies like this no more... 4

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Leven before 2 ay dry-skin Ce tO ShOW lines begin Sometimes as early as 19—a woman’s skin can start to dry out—look older! You see it around your eyes—tiny crow’s feet, feathery crinkles, crepe-y dryness. _ Exceptionally rich in homogenized lanolin, Pond’s Dry Skin Cream instantly restores softening oils to parched skin... smooths out tiny dry lines. And its special moisturizing action softens away flaky dryness... keeps your skin looking dewy-soft and young! Smooth parched, crepe-y skin—lightly Pond’s Dry Skin Cream under eyes and at __ pat this satiny cream over the eyelids. The outside corners. This special cream is extra _ rich lanolin in Pond’s Dry Skin Cream is rich in lanolin . . . freshens “‘tired’’ dry skin, | homogenized to penetrate faster, deeper. Dry smooths dry crinkles quickly skin literally drinks in its richness Extra Rich in HOMOGENIZED LANOLIN Jor faster, deeper softening Kase out dry “frown lines”— smooth Pond’s Dry Skin Cream up between eyes, out over brows. Unlike a thin liquid that merely “surface-oils”’ dry skin, this really rich cream softens deeply. A big jar, less than a dollar! So effective— more women use it than any other dry skin care (Continued from page 4) to time each has consulted a psychiatrist. @. The fights between Sid Luft and Judy Garland: don’t they result from Luft’s uncontrollable urge to bet on horse races? —E.K., San Disco, Cat. A. Judy knew Sid was a betting man when she married him. Both are high- strung, sensitive people. @. Was Anna Magnani ever married to Roberto Rossellini? Is the Ingrid Berg- man-Rossellini marriage finished? —T.E., Boston, Mass. A. Magnani and Rossellini were great and good friends until Rossellini mar- ried Bergman. Ingrid says that despite all the rumors, she is very happy with Rossellini. @. I’ve been told that Jennifer Jones is reporter-shy. Why? —S:J., Satt LAKE City A. Newspapermen make her nervous. Q. Is it possible for you to tell the name of the “movie magnate’s daughter” re- cently involved in a blackmail affair? —H.G., Lonpon, Enc. A. Barbara Warner, daughter of film tycoon Jack Warner, recently described as “cheap blackmail” a British playboy’s reputed threat to produce letters she wrote him before her recent marriage. @. Which one of these four is the busti- est: Ekberg, Loren, Monroe, Lollobri- gida? —N.D., N.Y.C. A. Ekberg. Q. How much money will Audie Mur- phy make from To Hell And Back? Has he really gone Hollywood, buying a yacht and all of that? —E.L., Dattas, TEXAS A. Murphy’s profit share is reckoned at $500,000. He has bought a yacht but has not gone Hollywood. @. Is Marlon Brando’s father working for Marlon? —E.L.G., NAsHvILLE, TENN. A. Marlon Brando, Sr., is an executive of Pennebaker Productions, a company organized by his son. @. Has the Kim Novak-Mac Krim ro- mance gone phffft? —B.L., Cuicaco, ILt. A. Just about. @. Why has John Wayne dissolved his movie company ? —T.E., Los ANGELES, CAL. A. Expenses high, profits low.

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were szeeweoes © xf he thrill of his voice! The thrill of a great story! The thrill of a new motion picture triumph! } (WarNER BROS. eresent in WARNERCOLOR : Ja AVA Na ea) | SN — : é : ay 8 “ Mario sings i as never A SANG si before! mE) | “SERENADE” | “MY DESTINY” and many The story of a farm-hand who won fame as a singer and nearly lost his soul as a man... JOAN FONTAINE SARITA MONTIEL: VINCENT PRICE HenaYBAnxe omecteo sy ANTHONY MANN screen evar oy IVAN GOFF & BEN ROBERTS AND JOHN TWIST

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volunteer... by RICHARD BARBOUR ™@ Seven years ago at the University of Nebraska 1,300 coeds broke with tradition and invited a male student to be master of ceremonies at their annual stage show which had always been an all-girl affair. The Adonis they couldn’t resist was a pug- nosed, black-haired, green-eyed ex-Navy ensign who was almost six feet tall and had almost 150 pounds in weight. What most attracted the coeds were two quali- ties: He was casual and he was witty. How casual? How witty? Well, millions of Americans know all about it by this time because he makes an easy-going en- trance into their living room every Thurs- day night as the star of his own nationally televised program over CBS—The Johnny Carson Show. Johnny’s success is of the meteoric type all right. Besides heading his own show he has taken over at times for such TV top men as Robert Q. Lewis and Jack Paar, and has been guest comedian for such stars as Jack Benny (“You’re so young!” complained Jack) and Ed Sullivan (“You're going to be big, really big!” predicted Sullivan). Johnny’s informality is exactly what the gals at Nebraska found most interest- ing, in fact. And he gave them a dem- onstration of it that day on the show— the moment he stepped on the stage. He announced he was going to perform a few feats of prestidigitation and would like someone from the audience to volunteer to assist him. Sitting in the third row was a girl he had seen around the cam- pus and liked very much, but had never met. He invited her to be a volunteer and finally got her on the stage next to him. For his first trick of the evening he made a date with her right in front of the entire audience. It got the biggest hand of the night from the coeds. The girl, whose name was Jody Walcott, and who came from North Platte, Nebraska, thought Johnny was kidding. Never was a maiden more mistaken. Less than a year later, on October 1, 1949, she was his wife. Today she’s the mother of his three sons and mistress of a fine home in the San Fernando Valley, with lots of extra room in case a few more boys come along. Being married seems not to have tum- bled Johnny from high regard in any way as far as the coed and high school set is concerned; not around CBS Tele- vision City in Hollywood, at any rate. The front rows at his broadcast are al- most always filled with bubbling teen- 8 agers who insist on talking to him as he Johnny Carson is one of the funniest guys on TV—but seven years ago his wife found out that he sure wasn’t kidding when he said: Would some pretty young lady It was rough for a while, but now Johnny and his wife Jody and their three sons find the livin’ just great! is talking to his Tv audience. On one of his pre-Christmas programs he hap- pened to walk onstage wearing a pair of spectacular socks; pink, red and black Argyles. It was too much for the girls. Their screeches sent the studio engineers grabbing for their volume control dials— and their heads. Naturally, anyone with this sort of talent for young lady-killing is going to attract the attention of the movie moguls as well. Up to two years ago he merely held down announcing jobs, beginning in Lin- coln, Nebraska, while he attended Nebraska there, going on to Omaha, and then in Hollywood where he arrived in 1950. Then CBS gave him his own local show, Carson’s Cellar, and in the summer of 1954 made him m.e. of the network’s ‘quiz show, Earn Your Vacation. But while working on these programs he was also writing comedy, including monologues for Red Skelton. Last year, when Red was knocked out by a break- away prop which failed to break, and couldn’t make his show, someone thought of Jack as a substitute. Skelton himself got the biggest kick out of the show, when a card from Johnny was delivered to his bedside. “It was a ‘Stay Sick Quick’ card,” reported Red. About some things Johnny is quite ser- ious, including why he got the idea, at the age of twelve, of doing magic tricks and taking up humor. It had nothing to do with going on the stage; not at first, anyway. Johnny was simply seeking a way to speed up the process of making friends—as the son of a telephone lines- man with nomadic habits he was always having to leave his old ones. Born in Corning, Nebraska, he’ had lived in four other Nebraska towns, Shen- andoah, Clarendo, Red Oak and Avoca, by the time he was half way through grade school. His family didn’t stay in Avoca but moved soon to Norfolk, Ne- braska (not for too long), and is today settled in Columbus, Nebraska, where his father is operations manager of the Con- sumer Public Power District there. But wherever they moved Johnny had but to give one of his little magic shows and tell some of his little magic jokes to find himself some new friends. And it wasn’t until he was almost through high school that he found out something else. People paid for entertainment. You could make a living making them laugh! Of course, you could also not make a living, a full living, that is. Johnny has had his share of that as well. After all he and Jody made (Continued on page 22)

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= MAM oe FZ 75 Leg? I JEW friendships are often born of gentleness. That’s why today’s new . N Philip Morris, made gentle for modern taste, is being welcomed by younger smokers everywhere. Enjoy the gentle pleasure — the fresh unfiltered flavor — of new Philip Morris. Ask for it in the smart new package. King Size or Regular Snap-open Pack _: TT im | ewe msm 2 j /~ ~war DI i—~-—s oe wr - /} | ras <b Zh | r ex} : JVew Philip Morris »..gentle for modern taste ©1956, Philip Morris Inc. a

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leaner Softer righter | than any oily cay Arye shampse Halo—unlike most shampoos— contains no greasy oils or soap to leave dulling, dirt-catching film! Clear, liquid Halo bursts into rain-soft lather in any kind of water. Cleans thoroughly, quickly, then rinses completely, carrying away dirt and dusty-looking dandruff. Brings out all of your hair’s bright, shining beauty with each shampoo. Get safe, gentle Halo today! Being a ladies’ man has its disad- vantages, but Vic loves to be called... MATURE, THE MAGNIFICENT ™ For the past eight months all over Europe and Africa, Victor Mature, forty-two, has been having a ball. In London at the Savoy the girls mobbed him. In Nairobi where he made Sa- fart with Janet Leigh, colonial off- cials treated him with respect and admiration. In Spanish Morocco, filming Zarak Khan, he was the for- tunate victim of six young beauties who stole into his tent and refused to leave. In Tangier, walking through the Casbah, he was actosted by three women who snuggled up to his well- muscled body, called him Samson and invited him to their homes. Despite such international and var- ied exhibitions of friendship, Mature insists that he’s sad. Notoriously tight with a buck, Mature confided to re- porters recently, “My divorce from Dorothy cost me $600,000. That’s enough to make anybody sad.” As evidence of his fristesse, the actor revealed that when he was in London from where he’s just re- turned, he frequently went on danc- ing jags for endless periods of time. “Ordinarily,” Vic explained, “I don’t like to dance, but I had this apartment in Grosvenor Square, and I’d start dancing at six in the morn- ing and keep going for three days. It made me feel better. Whom did I dance with? Girls of course.” Was it true, Mr. Beefcake was asked, that his well-publicized irip to New York a few months ago to take a bath was nothing more than a pub- licity stunt? “Tt sure was,” Mature confessed. “I wanted to go to New York to see this babe. I mean, to take care of this important matter. | knew the studio wouldn’t go for it, so I put on this phony act. I screamed bloody mur- der, accused someone of booking me into a hotel that had no baths. It was an out and out phony gag. But it

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(pases Sancta incar AMET worked beautifully. Even Warwick Films, the outfit I was working for, admits I got tons of publicity.” Other questions and revealing an- swers: 5 Q: How much do you earn when you make a picture overseas? MATURE: You won't believe this, but I get $200,000 a picture plus 25% of the profits. » Q: After this latest disaster, are you through with marriage? MATURE: I should say not. Show me the right girl and I'll get married in a minute. Make that two minutes. Q: There’s a story around that all your clothes come from studio ward- robes. Is that on the level? MATURE: Certainly is. When a pic- ture is finished I hang on to the clothes. They always seem to fit. Lots of times the studio sends bills. I pay them no mind. Q. Do you fight very much with your leading ladies? MATURE: Only one I ever had a fight with was Lucille Ball. I once took a swipe at Joan Bennett, but that was in a rehearsal. My aim was sure lousy. Instead of slapping her face I hit her head and her wig came off. Q: What do you think of yourself as an actor? MATURE: I’m sure you heard about the time I applied for membership in a ritzy Hollywood club. I was told that no actors were allowed. “That’s okay,’ I answered. “I’m no actor, and what’s more I’ve got reviews to prove it.” Seriously though, there’s only one person in America who thinks I’m a good actor. That’s my mother. Mature’s next picture, the reason for his return to Hollywood, is The Shark Fighter. With Safari and Zarak Khan already under his belt, this one should bring his yearly gross to $600,000, which is exactly what he claims his third marriage cost. In pretty blue-and-gold box, 49c. In smart ivory-and-gold mirrored compact, $1.00. woodbury make-up glow ... liquid magic smooths your skin — makes you pretty... covers tiny flaws. In squeeze bottle. 5 perfect shades, 59c. _ (all prices plus tax) the Elizabeth Taylor look! Yours with... With a mere touch of its puff, Dream Stuff gives your complexion the radiance of living color ... the smooth, soft look of very young skin like Elizabeth Taylor’s. Clings like a foundation... flatters like a powder . . . stays color-true. Never streaks or dry-cracks. It’s the fabulous all-in-one make-up busy women can apply in a split- i minute — and get compliments all day! i Neat, too — no loose powder to spill! Five dreamy new shades.

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ey LOUELL in hollywo PICTURE OF THE MONTH This simply unforgettable picture was taken when Marlon Brando gave a group of children who were hospitalized with polio an unforgettable morning— reading them nursery stories. page gossip extra! ARSONS IN THIS § Good news. Look here, lifer Parties, parties, pa The letter box

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' 5 £ LOUELLA PARSONS | in hollywood | louella parsons’ GOOD NEWS JANET LEIGH’S QUICK TRIP to the hospital with a kidney infection reminded me of how sick poor Janet had been at Rose- mary Clooney and José Ferrer’s cocktail party. “Do I have morning sickness?” she laughed. “I have morning, mid-morning, noon, mid- afternoon, evening and middle of the night sickness!” And then, as though the mere mention of it upset her, she became deathly pale and made a dash for the powder room. “My poor baby,” Tony Curtis kept saying over and over as he paced back and forth outside the door. Then the typical male came out in him. “I don't know if I can stand five more months of this!” Maybe you think the girls within earshot of his remark didn’t laugh! Rosemary, who is expecting a baby also Cit will be number two for her and Jose), told me that she had promised Janet all her maternity clothes. ‘And then I found out I had to wear them myself,” chuckled the blonde singer. It was the first party of any size the Ferrers had hosted in their big white Spanish home in Beverly Hills. Singers were all over. Bing Crosby and Nat “King” Cole arrived about the same time and departed at the same time—which proved to be unfortunate. In backing his foreign-made sports car out of Rosie's driveway, Bing smashed smack into Nat's big car as it was pulling away from the curb. Judy Holliday, in a brown satin cocktail dress, was also at the Ferrer’s. Maybe I’m wiong, but Judy doesn’t look happy these days to me. Out of 20,000 girls who wrote to Screen Album, 17-year-old Jo-Ann Cox of St. Louis won first prize: A DATE WITH TAB HUNTER ALACK AND ALAS, . still another bachelor out of the running. Young Russ Tamblyn, selected by many polls as the year’s most promising male newcomer, married pretty blonde actress-dancer Venetia Stevenson on Valentine’s Day. Russ is just twenty-one and his bride a snappy eighteen. “But we’re in love—so what are we waiting for?” Russ laughed. “We want to enjoy our youth together. Also our old age.” A serious accident to Russ’ kid brother all but delayed the nuptials. Thirteen-year-old Larry Tamblyn was accidentally hit in the eye with BB shot the evening before the wedding and Russ and Venetia spent seven hours with him at the hospital until the doctors assured them the boy would not lose his eyesight. Larry was a heartbroken kid about losing out on the wedding. He felt so bad that Russ and Venetia flew in the face of superstition and met at his bedside just three hours be- fore they were to be married. Or didn't you know that it’s considered bad luck for the bride and groom-to-be to see each other before they meet in the church? “Cheering Larry up meant more to both of us than any old superstition,” Russ put it. MEET THE new KIM NOVAK! No longer the bashful girl in slacks spending her evenings with the girls at the Studio Club watching Tv, Kim is now taking her place among the top movie stars, living like one, dressing like one and looking like one. I got a preview of Kim’s intentions while she was still on tour with Picnic. In fact, she was { 4s ERE “t This is quite the romance—iitile Marisa Pavan (but doesn’t she look adult?) and Jean-Pierre Aumont. But I don’t believe it will last. This is a friendship—Liberace and Margaret Lindsay. Lee’s planning to make another movie, though Sincerely Yours didn’t do well. is pin AES Bh \ Screen Album flew Jo-Ann and her Mom to Hollywood where she met Larry Pennell and Marla English, it

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the stork .: . the younger set takes over ... Kim’s change of heart ... 1 cause a squabble sa 5k " : . ¢ ‘t Ps Zi This is a new twosome—Martha Hyer and This is a triangle—Jeff Donnell and her two husbands—George Gobel (on tv) and Aldo Ray (im real life). And very happy these days. This is an old friendship renewed—Linda © John Bentley. They came to the Audience Christian and Mario Cantiflas. Linda and Ed Purdom say their romance is completely over. Awards party together—and have dated since. Vhis 1s a relief—to see my tempestuous friend, This is the happiest pair in town, Patti and This is a proud husband and a beaming wife Sysan Hayward, enjoying quiet, unheadlined Jerry Lewis, just before their baby boy was —everyone’s been telling Tony Martin how dates with Eaton Chalkey of Washington. born. (Though Jer did plan on a girl!) great Cyd Charisse is in Meet Me In Las Vegas Nick Adams, Dennis Hopper and Natalie Wood, night-clubbed and toured MGM on her wonderful date with Tab. Alan Ladd, Hugh O'Brian,

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Sy i nominate for stardom: SAL MINEO ml NOMINATE FOR STARDOM—that wonderful young actor Sal Mineo, who clicked big as James Dean's pal in Rebel Without A Cause and who is now under contract to MGM. They have big, big plans for him. Just seventeen years old, all Sal has to put him over is just good old-fashioned talent, talent, talent. Ask Sal if he hails from a theatrical family, and this kid from the Bronx cracks: “Are you kiddin’? My dad is a casket maker. He still says I can go to work for him if this crazy acting business runs out on me.” He thought for a minute, “I can’t say the thought of building caskets is my idea of a joyful career. But don't think for a minute I'm not proud of my dad.” Born in the Bronx on January 10th, 1939, Sal started in show business at the age of eleven when he was spotted by a talent scout while attending dancing school. The scout arranged an audition for Sal with the producers of the stage production of The Rose Tattoo. He got the part of Salvatore, the brother. "I've been goin’ ever since then,” he says, mildly sur- prised himself. “I was the Crown Prince in The King And I—and then I got lured to Hollywood where I've been in Six Bridges To Cross, Private War Of Major Benson, Rebel, Giant—and I’m acting now in the Rocky Graziano story, Somebody Up There Likes Me.” In addition to acting, his hobbies are painting and pho- tography— "Just like the other movie actors,” he grins. in Canada plugging her picture when I hap- pened to run into one of her closest friends who was the first to tell me about Kim’s new plans. 2 First, her romance with Mac Krim is com- pletely out the window. They both admit it now. So she’s romantically free for the first time in two years. The second big change, according to this man whom Kim trusts so much, is—’She’s be- ginning to live, think, dress and behave like a successful star. Don’t get me wrong. I don’t mean it’s going to her head. But Kim is beginning to realize that her position as a successful actress deserves its appropriate setting. é “She has asked me to look for a new apartment for her to move into when she comes home. This means that she’s moving out of the Studio Club where she’s lived for so many years. I say, it’s high time. “Kim's salary has jumped from $250 per week at Columbia to $1000 weekly. She's earned it and she deserves it. She is a smart girl and she will always save some of her money. But she now knows she must invest part of it in herself and her career. “When she was in New York, she bought some lovely clothes for herself as well as those the studio purchased for her tour. She’s becoming conscious of the right lines and fabrics and the importance of dressing herself off-screen as well as on. . “Another thing she told me is that she is going to take driving lessons and then she will buy a big car. I asked her, "What make?’ “Kim laughed, ‘I think maybe a Solid Gold Cadillac.’ That's a joke, of course, a plug for one of our pictures, but you can see the girl is catching on!” All_ our lost lambs are coming i}: The Look All-American football team “es- corted” Kim Novak back from her p.a. tour —since Mac Krim won’t be around anymore.

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\ ‘ EN VEN! AY My girl Marilyn came home, and even though she’s wearing high-necked suits and making a movie with Olivier, I dont think she’s basically changed. She’s still cute and sweet—yes, and shy—and I like her that way! Don Hartman of Paramount and Mel Ferrer brought Audrey Hepburn back im triumph—and she has changed. Audrey always looked poised— but I sensed nervousness underneath. Now I think marriage and living abroad have matured her.

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LOUELLA PARSONS | in hollywood PARTIES, PARTIES, PARTIES — there have been so many of them it’s hard to pick one as the party of the month. But cer- tainly the most beautiful was the Valentine Ball hosted by his Imperial Highness Prince Mike Romanoff and his “morganatic” wife at Romanoff’s cafe. The invitations had requested that all the ladies wear red, white or pink gowns. The gentlemen were sent bright red satin ribbons to wear across their dinner shirts. Guests entering the Crown Room were greeted by a breathtaking sight. Cupid urns held beautiful clusters of spring flowers in the pink, white and red colors. The tables were covered with pink cloths; and the long taper- ing pink candles flickered above the center- pieces of gardenias and pink and red roses. With the ladies all in red and white ard a few in pink—you can imagine how lovely the effect was. Judy Garland wore a red. cape over a white gown and a tiny white hat topped her chic hair-do. Judy proudly showed me the weight she’s lost in preparation for her wonderful new TV series. Rosalind Russell is the only other belle who wore a tiny hat—white—which was made of the same material as her sparkling Dior gown. Dana Wynter was a beauty in a long white satin gown and, of course, this girl has stars in her eyes, she’s so much in love with hand- some attorney Greg Bautzer. It was far and away the best dressed party of many seasons and among others who helped make it so were Mrs. Gary Cooper, Joan Bennett, Joan Fontaine and many others. The wildest, craziest and loudest party was the surprise affair his girl friend Marge Little hosted for cute old Jimmy Durante at Chasen’s. You never heard so much piano-breaking up, lusty voices raised in quartet singing and so much general roughhouse fun in your whole life. In the thick of everything was Liberace, beating on the piano almost as loud as Durante. Even Debbie and Eddie got in the spirit of the noisy occasion and Eddie sang ‘Love Is A Many-Splendored Thing” as though he were going to burst a blood vessel. The most fun party was given by Anne and Kirk Douglas in the Penthouse room at Ro- manoff's. The gay affair was given in honor t It was the party-est month of the year in Hollywood. of Anne's former boss when she was a pub- licity woman in Paris, Fabre Lebret, who was here to contact stars about appearing at the Cannes Film Festival. Anne is such a darling and such a charm- ing hostess all her guests caught her enthusi- asm and a wonderful time was had by all. I got a big kick out of Linda Christian trying to tell me there was nothing ever but friend- ship between her and Edmund Purdom. Linda —really! Sonja Henie, tres gay, was all over the place, very happy to be back in Hollywood after a long absence in Europe. Ginger Rogers looked very pretty and she and her husband Jacques Bergerac continue to act like a couple of honeymooners. Marlene Dietrich looked stunning, as usual, on the arm of Mike Todd. I saw Mary and Jack Benny sitting at a table with Ann Sothern and her constant companion Bill Andrew. Dana Wynter continues to be one of the loveliest looking girls in town—and do I need to add that she was with Greg Bautzer. | HEAR I'M THE INNOCENT cause of the first quarrel between those love birds, In New York NBC toasted Martha Raye at Danny’s Hideaway—and all the comedians Johnnie Ray and Buddy Hackett (you'll be hearing about this plump little man—he’s so- funny!) came over to congratulate Martha and kiss her—in their own special lopsided way! But the funniest moment of the evening was when Martha “censored” Denise Darcel’s decolletage! \

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| No one stays home nowadays George Nader and Dani Crayne. It happened that in looking for an escort for a charming visitor from London, I thought of George and asked if he would join us at a dinner. He very honestly told me, “I'd love to but I’m dating no one but Dani.” “Well, George,” I said, scenting a scoop, “does this mean marriage?” . He laughed and said, “It's a little early to talk about that. But I'll let you know first.” So, I merely printed that George was dat- ing no one but Dani and let it go at that. But another reporter getting the tip from my item called George and asked him the same question. It must have nettled George, because he is quoted as saying: "There's no question of marriage between myself and Miss Crayne. We find each other good company—and that’s all!” Wow! Did pretty Dani hit the ceiling when she read that! She called George and told him just exactly what she thought of his remarks. In fact, she boiled over to the point where she started dating other attractive men right away. Poor George, he had a rough ten days be- fore he could convince his girl friend that he hadn't intended to be as ungallant as his re- showed up for laughs—and gags Cute Jack Carter said, “I’ve always wanted to rub noses with the great!”—and he did it, too. VM ON MY SOAP BOX—io say a few pointed words to Jennifer Jones—a very fine actress I grant you, but one (or so it seems to me) who is taking the honors being heaped on her head recently, a litile too casually. The paying public, or those casting ballots in the Au- dience Awards, voted Jennifer the “favorite actress” award for her performance in Love Is A Many-Splen- dored Thing. A national magazine conducted a poll and discovered its readers felt the same way. But I can’t find anyone in Hollywood who would cast a tin vote for Jennifer as a cooperative person. When her name was called at the Audience Awards, she didn’t want to get up, whispering to her husband David Selz- nick, “You accept for me.” If he hadn't insisted she would have remained seated at her table. When she was supposed to appear for her magazine trophy, she told the hosts she was leaving for Europe before the date of the party and couldn't be present. Deborah Kerr, who is a doll, very graciously agreed to accept for her both on a television show and later at the dinner. When Miss Jones (still very much in town) heard this —she called up and said she would accept at the dinner, but not on the tv show. She was told it was no longer necessary for her to accept at all. All hands were de- lighted with the appearance of Miss Kerr. I suppose Jennifer's excuse is that she is shy and fright- ened of people. Which has always seemed a lot of non- sense to me. Self-assurance should be part of a success- ful actress’ stock in trade. (Garbo, excepted, of course.) 19

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the letter box “What in the world has hap- pened to Anne Baxter?” asks MRs. MARY PHILLIPS, CHICAGO, ILL. “A few years ago a serious young actress, today her idea of acting seems to be to take off all the clothes the law (or the censors ) will allow. I couldn’t be more dis- appointed in her.” Anne seems to believe her career was in a slump until she went sexy, Mary. TODD TAYLOR, DETROIT, thinks Sheree North is “The most. Every time I read anything about this little doll she seems to be suffering from an inferiority complex about not being a good actress. Tell her to just keep on being as cute and attractive as she was in The Lieu- tenant Wore Skirts—and that’s all she needs.” Take a bow, Sheree. You fans continue to show your deep devotion to James Dean. I received sixty-five letters addressed to this department on Jimmy this month. It is not possible, of course, to print them individually —but one thing I know, the great young artist who lived too short a time, would have been humble and yet proud if he could have seen your messages. LUCILLE MONTILEON, RED- WOOD CITY, CALIFORNIA, makes the flat statement: “No other actor on the screen can hold a candle to the fascinating, dynamic Rossano Brazzi.” So there. JANIE WEIR, BROOKLYN, iS hurt: “I read your department month after month and never once have you mentioned Rita Moreno. She’s just the cutest thing to come along in ages.” Thanks, Janie. I'll do something on Rita soon. “How do I go about buying a dress I saw Jennifer Jones wear in Good Morning, Miss Dove!” writes CHARLOTTE RUSCH, DUBOIR, PA. You don’t go about buying it, Char- lotte. Most of the clothes in pictures belong to the studio wardrobe. Maggie O’Brien came to the’ Helen Of Troy preem with Rad Fulton—but I hear she’s serious about college boy Don Robertson. marks sounded. At the moment, everything is again love and kisses between George and Dani. Sorry, kids, for the blow-up. WITH THE YOUNGER SET: Of all the embarrassing things, after Margaret O’Brien accepted Rad Fulton’s invitation to the glittering Carousel premiére and had bought herself a beautiful white bouffant dress to wear, she came down with the mumps! Gloria Noble should be Mrs. Donald O'Con- nor by the time you read this. Don says he fell in love with her when she did him the subtle flaitery of not putting on low heel shoes when she started dating him. ‘Now, there’s a girl of character who can stand on her own high heels,” he laughs. Tab Hunter says no vacations for him this year. “I want to make three or four pictures in a row,’ says this boy, whose bosses (War- ners) have a new respect for him ever since he was voted by Audience Awards voters as “most promising young actor.” “I got a stom- ach full of vacationing when I felt the studio had forgotten about me.” Marisa Pavan (I hear she and Jean-Pierre Aumont are really in love) is certainly ex- perimenting with her hair. At Ciro’s, on a date with the Frenchman, she wore pearls entwined in her braids, and on another date at Chasens, she had a large red bow atop her head. All I can say is she is pretty enough to get away with such styles. Mites : gt EN Es ‘* But the youngest-in-heart in town is darling Shirley MacLaine, who can never keep from ' kidding around even though she and Steve Parker are expecting a baby next September. Nick Adams, Natalie Wood and _ their crowd clowned up a storm. He wrote a wonderful story about her—it’s on page 42. Charlton Heston likes his pretty young wife to wear hats. “They are becoming to her, they are chic—and besides I can always find her even in the most crowded room because so few women wear hats in this town.” Sheila and Guy Madison expect their sec- ond baby. When I ran into them at a cock- tail party they both cautioned me, “Don’t you dare print that we're expecting a Little Wild Bill Hiccup!” > HUMPHREY BOGART has the repu- tation of being not a fast guy with a dollar. But he is a fast friend to those he likes and admires. Everyone knows that Bogey and Frank Sinatra have become great pals in the past two yéars. But few realized how close the friendship was until Bogart’s recent trip to New York. He was offered a fabulous amount of money—$20,000—for a very short appearance on the program of a well-known television star. “Hell, no,” snorted Bogey, “this guy insulted my friend Frankie in public. I wouldn't go on his show if it was the only Tv program in the world and he offered me $100,000.” Bogey thought for a minute, ‘Well,” he de- cided, “I might have to think about the hun- dred grand a minute—but I'd turn it down in a little while!” THAT'S ALL FOR NOW. SEE YOU NEXT MONTH!

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about which sanitary protection touse Like so many of today’s smart moderns, she long ago decided on Tampax. In- ternal sanitary protection offers so many benefits that its millions of devotees can scarcely understand anyone tolerating another kind. Why, then, have you deferred the Tampax decision? Perhaps the answer is that you haven't tried it. You can read over and over again how comfortable and convenient it is—how it prevents odor— how easy it is to dispose of, applicator and all. But these are only words—the true test of Tampax is to ¢ry it/ Only by trying it can you share in the wonderful sense of freedom Tampax gives you. Only by trying it can you discover the delightful differences that have made Tampax so accepted. So please try Tampax. Find out once and for all what it’s like to be without the confining belt-pin-pad harness at “those times.’’ Choice of three absorb- ency sizes (Regular, Super, Junior) at drug or notion counters. Tampax Incor- porated, Palmer, Mass. Invented bya doctor— now used by millions of women johnny carson (Continued from page 8) the classical mistake of falling in love in college and then rushing into marriage. What Johnny wanted Jody to do when he called her onto the stage that first time, technically anyway, was to hold a parasol for him while he made with the disappearing bowl of goldfish. Jody kept assisting him at other shows and by the time they earned their degrees the follow- ing June—Bachelor of Arts for both— the act was a pretty well established double and they could think of no rosier future than to spend the rest of their lives together. However, as intellivent young persons should, they agreed that it would be foolhardy to be unrealistic about the facts of marriage; for one thing they came to the decision that there would be no wedding until he could make enough money as either a magician or a radio an- nouncer to support a wife and probable family. Since magicians were swarming around at that particular time to a point where they were all falling over their own wands, Johnny left to get a start as an announcer in Omaha, and Jody went back home to North Platte, Nebraska, to wait for him. The suffering started right then, and it was cruel. In letters which they exchanged daily they began revising the financial requirements they had set up as their goal. The revision was downward. At the end of three months they had reduced the amount of income needed (the minimum they thought they needed to se+ married, that is) from $100 a wrek to $52.59 a week. This amount of $52.50 a week, by no coincidence whatsoever, was exactly what Johnny was getting paid at WOW in Omaha for coming on the air between important programs and identifying the station. The honeymoon cottage to which Johnny brought his bride was no cottage, it was a third floor walk-up; a one room apartment with wall bed, turret-to ed refrigerator and high-legged gas range. It was painted a shocking pink. a color they both got rid of the second day of their honeymoon by overpainting it with what Johrny recalls as a “r-u‘ral shade of nothing, as a contrast.” The rent was $72 and the location was close enough to Johnny’s job to permit him to walk to work in twenty minutes. Sometimes they didn’t have the rent. Sometimes Johnny took a half hour to make the walk so as not to build up a bigger appetite than he had lunch money to pay for. Two years later they were the parents of a fine baby boy, Johnny was making $84 a week and Jody, wearing long, black silk stockings and a short maid’s skirt, was still his assistant at occasional magic show engagements that he obtained. Two years after this he got a job at KNX in Los Angeles making the same salary and there was no extra income from his magic work because there were now two sons and Jody couldn’t take time off to assist him. A year later—only two winters ago, in fact—things changed, they went broke altogether, running out of food, money and house rent at the same mo- ment practically. Johnny sent a wire; his father sent $500 by return air mail with the check came a new burst of kick and the rest you know. Comedy and cogitation Johnny had to take three years off from school to go into uniform during World War Two, earning an ensign’s rank at Columbia University in New York and 4 a lot of experience as a damage control officer on the U.S.S. Pennsylvania in far Pacific waters. He knows exactly what to do aboard a battleship that has been hit by shellfire or a bomb, he says. Out of his three years in the Navy Johnny emerged with a personal philos- ophy which he expresses roughly, as not expecting any more from other people than he expects from himself. “It’s wonderful how fine your friends will ap- pear if you overlook any faults which you have yourself,’ he declares. “I used to be too quick to resent people who didn’t come to what I thought were my standards. Only they weren’t my stand- ards—they were my goals and I rarely reached them. In fact I finally realized that the things about other people which made me most angry were some of the Same deeds I could well be guilty of my- self. Ed Sullivan calling “For instance I remember when I first got started that someone came to me after the show was over one night and told me that Ed Sullivan was phoning me from New York. I got burned up because I thought they were kidding me. Eventually I agreed to answer and to my surprise it was Sullivan. He was calling to compliment me on the im- personation I had done of him on the show. fter we talked I asked myself why I had gotten angry and could come only to the conclusion that if I were Ed Sullivan I might not have been nice enough to have telephoned across the country to compliment a young and not too ‘vell-known comedian.” There are three people in Johnny’s life whom he remembers gratefully for the advice they have and/or are giving him. One is his wife, and the advice amounts to one word, “Relax.” Johnny, though he is seemingly the picture of ease onstage. is actually a nerve-worker, con- stantly keyed up to react to the unforeseen happenings which so often threaten to throw a “live” tv show out of routine. The second person is the famous clown of the stage, Ed Wynn, and his advice totaled three words: “Save your money.” Johnny runs to bursts of extravagance, and it matters not always whether he has the money he suddenly wants to spend. Jody recalls that he came home one evening when she knew they were in desperate straits and announced he was going to take her to dinner. She phoned for a baby-sitter and went along, figur- ing that he had had a great break and would tell her about it at the table. He took her to Dalton’s famous grill in Beverly Hills, ordered the best in the house and urged her to eat. When the meal was over (it ran to more than ten dollars what with a cocktail or two) Jody leaned back and begged for the good news. “You got a job, eh?” she asked. “What's the name of the program?” Johnny stared at her. “No job,” he said. “I just thought it was time we went out and had a good time. So I borrowed twenty dollars from a friend. Wasn’t that a good idea?” Jody says she agreed it was, once she got over the shock of it. She can’t re- member enjoying a meal any more than she did that night. The third and last person to advise Johnny never said a word to him. He was a sailor and he knocked Johnny out when they were both fighting for the lightweight championship of the _ boat. Johnny had wanted to be a prize-fighter. He knows now he was joking. And he is going to keep joking for the rest of his life, if he can. END

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Fragrant Refrestin? Now, lavish yourself from top to toe with a famous fragrance at a delightful price! Special Introductory offer! Regular $1.00 bottle now only 6 9 ¢ plus tax 24 CHERAMY PERFUMER TV TALK No fears for Fess... Actors’ Studio criticized . .. Monroe vs. Mansfield Some people have worried about Fess Parker's career now that the Davy Crockett craze has come and gone the way crazes do. Forget it. There is no need to worry about Fess’ future pay checks. The main reason, of course, is that Walt Disney has him under personal contract—the only actor he has a contract with—and Walt Disney’s many en- terprises have never flourished so lucratively. Another reason—and this is essential to an actor—is that Fess’ public does not identify him too closely with his famous role. Much to his relief, most of the children who ask for his autograph ask him to sign his real name, not “Davy Crockett.” Parents who see him on the street and rush up for an autograph to take home to their children ask for “Davy Crockett,” little knowing that the kids will be disappointed when they get the slip of paper. They just like Fess Parker! Here is the word on Marilyn Monroe's highly publi- cized acting lessons at Actors’ Studio: She has not been a regularly enrolled pupil. Only re- cently did she act out scenes in front of boss Lee Strasberg and the assembled students and then receive everyone’s criticism. That is the regular routine—and just as tough as it sounds. But—and this comes as a surprise to many—Marilyn is very well liked by everyone at the Studio. They may not have the greatest admiration in the world for her acting talents, but they think she is a very nice girl . . . Speaking of Actors’ Studio —which can list Eva Marie Saint, Karl Malden, Marlon Brando, Lois Smith and everybody else among its students—there is another school in New York that specializes in curing actors of the things they’ve learned at Actors’ Studio—and it’s making a mint! Why does the most famous acting school in the country need counteracting? Here’s why: Strasberg teaches that actors must completely understand the characters they are playing. They must know why they do what they do, why they say what they say. They must become the character. That’s the reason Actors’ Studio people often seem to forget their lines —or do forget their lines: ‘They’re so busy being the character that they forget what the author wrote (though A. S. people can ad lib). But many television authors create characters that are mere cardboard figures or bits of fluff; when Actors’ Studio folk start playing them, they nearly lose their minds. They sit around and try to figure-out all the whys and wherefores, only to find that there aren’t any whys and wherefores; the characters are un- important people in unimportant half-hour Ty shows—people not worth studying. But the actors, full of Strasberg’s teachings, find themselves incapable of merely mouthing the writer’s words. So they go to school—to learn how to forget. After all, they need the money they get from those thirty-minute shows. Nina Foch is one gir! who went to both schools, and she now feels that she can do two things: 1) act, a la Actors’ Studio, in important dramas, and 2) do a creditable job on a minor show without having a nervous breakdown. The whole set-up’s ironic, but necessary Another couple of bits of irony on the tv scene: Bob and Ray have been known for years as two very funny guys | —but very hard to find a sponsor for. They | are now, of course, doing the voices on the | Piel’s beer commercials—just the funniest, | most talked-about commercials to come along | in seasons! There’s something wrong some- | where when a couple of “non-commercial” comics turn out the best commercials. And students of the NBC Comedy Hour wonder how come the Bendix spiel—the one with the woman singing “Sixteen Tons’—is better than the show itself. If things keep on going along these lines, viewers will start looking at the | commercials and turning their sets off when the shows come on .. . Folks who Knew Her When think of Kathy Grant not as Bing Crosby's current favorite but as one of the smartest young students that ever took courses in the drama department at the University of Texas. She entered college when she was only fifteen, and made all A’s once she got there. To top it off, her professor, who had directed Helen ‘Hayes in Dear Brutus years and years ago, thought Kathy was much better in the part! ... And people who knew Jayne Mansfield Way Back When in college remember her as a young mother who per- formed in modern dance exhibitions and who earned extra money “by posing for art stu- dents (a job that created friction between Jayne and her husband and that was one of causes of the divorce). Today, Jayne’s almost- white hair and skin-tight clothes do remind you of Marilyn Monroe, but Marilyn has it all over Jayne when it comes to facial beauty Elaine Stritch, whose living room is painted French blue and furnished with French antiques, has just added a Kelly green carpet. It’s occasioned all sorts of cracks from her friends—like “Where’s the 18th hole?” No one who has acted with him is at all surprised to see Jack Lemmon do a good job in a serious role. Many of them consider him not only a talented comedian but a great actor. Tom Poston's friends wonder how he’s going to adjust to being a married man—which he recently became—and a father —which he’s slated to become. Tom is a guy who simply has no home-making instincts in him. He violently objects to accumulating any possessions, cares not a hoot about having a permanent home. He is happiest when mov- ing from hotel room to hotel room Susan Strasberg is so tiny that people lose her at parties; you just can’t see her if she leaves your side! . . . You can believe every word you read about Will Rogers, Jr. taking an interest in the plight of the American Indians. One of his adopted sons is an Indian, and Will, Jr. gives heavily of his time and energy and money to help the impoverished race... Pat Hingle is very fond of music. He fools around with a guitar, mainly to amuse his young daughter, and he also spends some time writing music and lyrics . . . When Gloria Vanderbilt gains weight—an easy thing for her to do; she has to fight it relentlessly—she gets fat Mrs. Ben Grauer is one of the best-dressed women in New York City. She goes in for simple but elegant outfits—richly brocaded tailored suits with little collar and cuffs of mink.

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DM-565. plain 66 Send Brand Disinfectant Also available in Canada DISC JOCKEY DERBY WINNER? | Second Contest (Male Singers From the Movies) FIRST PRIZE: RCA Victor Hi-Fi Phono NANCY GAULT 112 Warren St. Paterson 4, N. J. SECOND PRIZE: Slide-O-Matie Player TOM L. GILL Ironwood, Mich. MRS. N. D. THOMSEN Minneapolis 16, Minn. MRS. EDITH H. ROBSON Newark, N. J. MRS. RUTHETTA JACOBS Spring Grove, Pa. CATHERINE A. TOOMEY Washington 5, D. C. HELEN WHITE Miami 35, Fla. PAT BRAYTON Rockton, Ill. JANIS STEVENSON Ottawa, ill. EVELYN VAUGHN Dallas, Texas MRS. P. M. REYNOLDS Tulsa, Okla. PAUL KRESTALUDE Vestal, N. Y. LILLIAN BAUER Carroll, lowa MRS. JOHN SEARL Coffey, Missouri DIANE POULOS Manitowoc, Wisc. L. H. GEISENDORFF Jacksonville 7, Fla. MRS. MARY CALALVES Harlem, Ga. BARBARA BECKNER Detroit 9, Mich. MRS. FORREST CHEW Lansing, Mich. CAROLYN HOLLAND Indianapolis, Ind. PAULINE MORRIS Lakewood 7, Ohio MRS. BARBARA C. MAGRO Rutland, Vt. MARY MAE HENDERSON Union, Nebr. MRS. ANN WYMAN Omaha, Nebr. MARILYN LEWIS Mckenzie, Tenn. MRS. W. C. HARDIN, JR. Bristol, Tenn. MARY MANZANARES Denver, Colo. GLORIA ROBINSON Richmond, Va. BETTY HILL Cleveland 6, Ohio JUNE ZANETTE Pen Argyle, Penn. PILAR SUCHERON Lynbrook, L. |., N. Y. OLIVANA HEBERT Jennings, La. BEA SARKISIAN Hartford, Conn. DORIS HOOPER Surry, Me. CAROL STEADHAM Pensacola, Fla. HILDA WALLACE Charlotte, N. C. FRANKLIN PILAND Suffolk, Va. MRS. D. A. MYRICK Albuquerque, N. M. JO ANNE LAWSON San Diego 9, Calif. NANCY C. GROVE Los Angeles 5, Calif. THIRD PRIZE: Record Album MELVIN B. SHORT Phila. 30, Pa. ANTHONY SPANEDDA Paterson, N. J. MAE SCHNEIDER Brooklyn, N. Y. BARBARA RYBACKI Maspeth, N. Y. JOANN HURLBERT Jacksonville, Fla. E. R. MC INTOSH Gainesville, Fla. LINDA ROPHIE Tampa, Fla. MRS. NICK CARUSO Bluffton, S. C. PAT ANDERSON Minneapolis, Minn. JOHNNY LEMKE St. Paul 3, Minn. ELEANOR L. SNYDER Minneapolis, Minn. JOYCE DEICKMAN Fort Howard, Md. MRS. R. L. THOMPSON Baltimore 16, Md. ANN LEE NEWMAN Washington, D. C. MRS. MARCIA BANE Hoopeston, Ill. MRS. REX MARTIN Huntington, Ind. DORIS PERRINE Royalton, Ill. LULU NG Norwich, N. MRS. SANDRA GILBO Stockbridge, N. Y. CAROL MILLER Utica, N. Y. CHARLES a ROCKEFELLER Yorkville, Ye MARTHA HENDERSON El Paso, Texas MARILYN MONCRIEF Beckville, Texas MRS. THELMA GRANT Dallas 1, Texas MRS. D. J. HANKINS Muscatine, lowa SHARON GESSNER Oelwein, lowa MRS. DALE MANSHEIM Ft. Madison, lowa ELSIE ANDERSON Superior, Wisc. MRS. CAP BUETTNER White Lake, Wisc. JERI KIRCHGAESSNER Milwaukee 16, Wisc. ANN SIMONAR Sturgeon Bay, Wisc. MRS. N. L. DONOVAN Jacksonville 5, Fla. MARIE TREDWAY Cocoa, Fla. MRS. L. V. HAYES Jacksonville, Fla. MARY LOUISE PROVEAUX Lake City, Fla. MRS. JACK WILLIS Pelham, Ga. MRS. JEANNEANE RAINES Hapeville, Ga. G. L. PEACOCK Atlanta 13, Ga. VIRGINIA S. HERRING Charleston, S. C. JOAN A. FEATHER Detroit 27, Mich. - SALLY FISHER Battle Creek, Mich. MRS. GEORGE McWILLIAM Highland Park 3, Mich. CAROL ANN LIVINGSTON Fort Wayne, Ind. SANDRA LEA BASDEN Evansville, Ind. JAMES WALKER Terre Haute, Ind. WALT LASATER Omaha 2, Nebr. MRS. JOE MARTIN N. Platte, Nebr. NANCY FAGER Lincoln, Nebr. MRS. CHAS. R. HOLLEY Columbus 5, Ohio RAYMOND L. SWARTZ Pleasant City, Ohio PATTY ANN DENNES Martins Ferry, Ohio SUSAN WEBSTER Burlington, Vt. MRS. BARBARA GONZALES Manchester, N. H. KENNETH JAMES HAYES Claremont, N. H. JOSEPH L. HEAD Owensboro, Ky. MRS. A. M. EGGEN Louisville 4, Ky. MRS. ROBERT FARMER Lexington, Ky. MRS. CHAS. KASTORY Knoxville 19, Tenn. CPL. A. J. CARLIN, JR. Clarksville, Tenn. SHIRLEY MATHESON Butler, Tenn. ELEANOR FRIERI Philadelphia 48, Pa. MRS. GEORGE FINLEY Rochester, N. Y. ’ WARREN MOROSOFF Glen Oaks, N. Y. MARION SAMUELS Metairie, La. MRS. BETTY H. BONILLA New Orleans, La. HAROLD P. RUFFIN New Orleans, La. MRS. P. A. BAKER Southington, Conn. CORALIE ANN ROGERS New Haven 11, Conn. KEVIN KYNOCK Marlboro, Mass. PATRICIA HAVENS Atchison, Kan. RICHARD FOSTER Woods Cross, Utah LORRAINE CAYLER Denver 3, Colo. MRS. BETTY L. WILLIAMS Denver, Colo. DAVID WALLIS Akron 10, Ohio MRS. CARL SCHMAL Mansfield, Ohio CHRISTINE KRISTINAK Maple Heights, Ohio BILLIE DAVE ADAMS Fieldale, Va. EVELYN L. HARRIS Chase City, Va. MRS. RONALD BEACHAM Hopewell, Va. MRS. JOHN WILLIAMS, JR. Mobile, Ala. ELMER B. MC BRiDE Owens Cross Roads, Ala. MISS HENRI HILL Birmingham, Ala. RUTH ANN HOUSER Vale, Cc. MRS. LOUISE PARRISH Siler City, N. C. TOMMY HARRIS Durham, N. C. MRS. JOAN GARRISON Hampton, Va. MRS. LEON COOK Portsmouth, Va. PAT FLETCHER - Etowah, N. C. ROGELIO MORALES El Paso, Texas A/3c JACK A. HUNKIN Walker Air Force Base, N.M. R. A. BURCHFIELD Phoenix, Ariz. MRS. E. Saale eh, Carlsbad, J. G. ORR Altadena, Calif. DONNA EASLEY Vancouver, Wash. MRS. GWEN HILL La Mesa, Calif. BARBARA WIND Buffalo 15, N. Y. GERALDINE SKADAN Bliss, N. Y. - MRS. RICHARD OSBORNE Bolton, Conn. LAURENCE GEIGER North Collins, N. Y. MARY ANN LEACH Niagara Falls, N. Y.

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$1000. Enter the BIG PRIZE PUZZLE in EACH of these two famous DELL CROSSWORD PUZZLE MAGAZINES June-July 23. At your favorite newsstand CONTESTS May-June issue NEW MOVIES by Morowe opti WORTH FOR LOVE SEEING Carousel THIS | Hot Blood MONTH FOR SPECTACLE The Last Hunt Meet Me In Las Vegas FOR DRAMA Patterns The Searchers While The City Sleeps The Steel Jungle FOR SUSPENSE The Man Who Never Was Jubal Backlash Battle Stations * PICTURE OF THE MONTH: /7 its transition from the stage to the silver screen Carousel loses none of its beauty and warmth. Shirley Jones, Gordon MacRae and Barbara Ruick are superb! * CAROUSEL classical musical m Here is CinemaScope 55, a new process of pho- tography which, to put it simply, is clearer, lighter, sharper. In outdoor scenes there is a heightened naturalness of color that is luminous and beautiful. From that point of view alone Carousel is wonder- ful to see. But there’s more—a book of Rodgers and Hammerstein and choreography by Rod Alex- ander (one ballet was derived from the original B’way production by Agnes DeMille) that takes advantage of the free, wide screen and sets off the vitality implicit on the New England coast. The story opens with Billy Bigelow (Gordon MacRae) polishing stars in Heaven. Though he was not the most selfless, responsible creature on earth he got up there by virtue, I suppose, of a good heart. Un- fortunately, it was ruled by a thick head. Anyway, now he has a chance to go back home for one day and try to set things straight. His fifteen-year-old daughter Louise (Susan Luckey) is having a hard time living down his reputation as thief and general no-good. When Billy was alive, and generally kicking, he had a job as barker on a carousel. Then he met Julie (Shirley Jones), helped her lose her job (she did the same for him) and they were married and lived ever after on Shirley’s cousin (Claramae Turner) who owned a restaurant. While everyone was off on a clambake Billy and a sailor friend (Cameron Mitchell) staged a holdup. Billy didn’t mean any harm. He was just worried about be- coming a father. You’ll hear familiar, well-loved songs including, “If I Loved You,” “June Is Bustin’ Out All Over.” ““When I Marry Mr. Snow,” “Soliloquy.’’ They’re lavishly staged and sung, of course, by the principals, among- whom are Barbara Ruick (Shirley’s best friend), Robert Rounseville (Mr. Snow). The cast also includes Gene Lockhart, Jacques D’Amboise.—20th-Fox. HOT BLOOD love among the gypsies = That’s gypsy blood, man, coursing through the veins of Jane Russell, Cornel Wilde, Luther Adler and a mob of relatives. Jane and her dad (Joseph Calleia) have a roving racket. He keeps offering her as a bride in various cities, pockets the marriage settlement and runs. But with Cornel, it’s different He runs. Cornel’s tired of being a gypsy, he wants to be a dancing teacher and date blondes. Luther Adler, his big brother, wants him to settle down as head of the tribe. Well, tempestuous is hardly the word for this film. Tedious is more like it. Unless you’re making a study of Gypsy customs which are here in—I presume authentic—abundance.—Col. BACKLASH they went that-a-way = A six man party has been massacred by Apaches in Arizona, and that would be that if one man hadn’t gotten away with sixty thousand dollars in gold. Rich- ard Widmark doesn’t care about the gold—he’s look- ing for his Pop. Donna Reed doesn’t care about the gold—she’s looking for her husband. But they both think the other one cares about the gold and the atmos- phere is full of tension and Welker brothers. There were four Welkers to begin with. One died with the party, one died due to having shot at Widmark and missed, the other two are bent on revenge. Well, Donna sticks to Widmark like glue and they finally reach Texas where a man (Continued on page 30)

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Gossard’s snowy-cool cottons Turn Off The Heat Blissful summerizing! Gossard’s new cotton uplifts have the divine fit and feel that keep you cool. The strapless number has straps that attach two ways: for regular and wide necklines. And its supporting undercup wire is thoughtfully wrapped in foam rubber, then covered. Do see what bosom friends these bras will be! at leading siores and shops — or write us, we'll tell you where SORE SS Llbiisiiitis #2754 batiste Ponvenible: strapless uplift with #1828 cotton uplift with exclusive onion straps, wafer-thin foam rubber in undercups. White. A, elastic front band. Embroidered cotton topcups. B, C embroidered cups. $3.95 White. A, B, C. $2.50 30 THE H. W. GOSSARD CO., 111 N. CANAL ST., CHICAGO 6 ¢ New York e San Francisco e Atlanta e Dallas e Toronto movie previews (Continued from page 28) named Bonniwell (John McIntire) has lately arrived with sixty thousand bucks and a desire to rule the range. Question: Is Bonniwell Donna’s husband or Widmark’s father, or both? Technicolor—U-I. PATTERNS drama of big business @ When Van Heflin reports for his new job in the vast Ramsey Corporation his expert knowledge and enthusiasms aren’t enough to keep him from being somewhat overwhelmed. His office has been luxuri- ously appointed in a style he mentioned liking; his wife (Beatrice Straight) is even now acclimating herself to a home selected and furnished (in perfect taste) by Ramsey’s secretary (Joanna Roos); and his arrival has created a stir among the secretaries and officers in the executive corridor. In a short time Heflin realizes that he’s been hired to replace vice- president Ed Begley, supposedly his superior, who's been with the firm forty“ years. Begley represents the old, humanistic executive who considers people nearly as important as profit. Mr. Ramsey (Everett Sloane) is a ruthless, brilliant operator who won’t let sentiment of any kind interfere with business expansion. He wages malicious psychological war- fare on Begley in an attempt to force his resignation and succeeds in completely breaking his spirit. Heflin, caught in the middle, is faced with the meaning of his own ambition and the problem of what lengths he will go, or allow himself to be led, to achieve it. It’s an engrossing, frightening drama. Heflin’s de- cision is an emotional assertion of his self-respect but the specter of industry with its bloodless efficiency looms in the background, too powerful and huge to be easily reshaped in his spirit—U.A. THE LAST HUNT drama in buffalo country @ Before buffalo hunting became illegal (due to the buffalo becoming extinct) there were men whose lives were ruled, changed and sometimes destroyed by the hunt. Among such men was Robert Taylor, who lived to kill. He got good money for it, but he got more than that—a sense of power, a release from the driving tensions in him. Stewart Granger turned to the hunt for purely financial reasons (although in the past he had killed more buffalo than anyone). He and Taylor become partners; they hire a buffalo skinner (Lloyd Nolan) who is a rumpled old drunk with one leg and plenty of wisdom in the ways of men. Also in the party is a half-breed (Russ Tamblyn) who is the butt of Taylor’s prejudice. What the killing of buffalo means to white men and to Indians

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(as personified by Debra Paget); to twisted men and to men of good will is all graphically revealed. There are excellent, if harrowing scenes of buffalo dropping by the herd in their tracks, and the film reminded me a little of Jack London in its lusty sense of romance in the great outdoors—MGM. WHILE THE CITY SLEEPS life on a big city newspaper - B While the city etc., John Barrymore, Jr. bludgeons a girl to death and leaves a message on the wall. “‘Ask mother,” it says. Fact is, mother wouldn’t know since she thinks her boy is a doll. Anyway, Vincent Price suddenly inherits the newspaper his father owned and decides that whichever one of his under- lings cracks the case will become big man in his publishing empire. Avid to be big men are Thomas Mitchell, managing editor, George Sanders, news service chief, James Craig, photo service chief. Dana Andrews, having won a Pulitzer prize, is beyond such petty ambitions, but he pitches in for the sport. Just to show what a sport he is he sets up his girl (Sally Forrest) as a come-on for the killer. There are other girls—Rhonda Fleming, Vincent Price’s wife who is dallying with James Craig; Ida Lupino, girl re- porter who dotes on Sanders but dallies with Dana. It gets pretty complicated and somewhere in there Barrymore kills again (turns out to be one of his hobbies). It’s lots of fun.— RKO. e . aa THE SEARCHERS director John Ford out west ™ When Comanche Chief Scar (Harry Brandon) makes off with John Wayne’s two nieces (after first burning his ranch to the ground) Wayne joins a posse to rescue them. The scene is Texas, 1868, and the scenery is vast, breathtaking and unmarred by oil wells. Realizing that the search may take for- ever, Wayne sends the others home. Besides, he’s the lone wolf kind—tall and taciturn in the saddle. But Jeffrey Hunter and Harry Carey, Jr., who was in love with one of the nieces, insist on going with him. Wayne finds that niece brutally murdered. Five or six years pass before he and Hunter find the other one (Natalie Wood). As they make tracks through snow, mountains, prairie and Indian camps, Jeft’s girl (Vera Miles) gets tired of waiting and promises to marry someone else. John Ford directed this Western (in which you also find Ward Bond, a stove-pipe hatted preacher and Army captain). Ford’s touches give humor and individuality to the char- acters, In VistaVision. Technicolor—Warners. (Continued on page 32) Brunette? Blonde? Redhead? You'll thrill when you see how your hair responds to the conditioning benefits of new SHAMPOO PLUS EGG! It’s just what your hair needs—for new life and luster, for rich silky softness. You'll love the “feel” of your hair—the way it manages. That’s the magic conditioning touch of SHAMPOO PLUS EGG! This new kind of shampoo cleans cleaner, rinses super fast. It’s the one really different shampoo . . . from its sun- shine yellow color to the lilting sunny sparkle it puts in your hair! Try it once, you'll use it always. Economical 29c, 59c, $1. shampoo New sunshine yellow puts sunny sparkle in hair! silkier...softer...easier to manage

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BATTLE STATIONS saga of a ship @ This is the story of a huge aircraft carrier in the Pacific during 1945. The Japs believed they had destroyed the ship and Captain Richard Boone knows they won’t be able to contain themselves when they see it afloat. So he orders drills night and day and everybody gets sore. Sorest of all is Keefe Brasselle who didn’t get the promotion he wanted. Chaplain John Lund thinks he can rehabilitate Keefe, but Bosun William Bendix has about given up. There are at least a thousand men on this ship and they all have problems. Anyway, their biggest problem is to stay alive when the ship takes two direct hits. Fires are blazing, the ship is listing and Bendix and some men are trapped in the mess hall. Naturally, Keefe saves them.—Col. THE MAN WHO NEVER WAS high-level espionage @ It’s 1943 and the Axis is awaiting the invasion of Europe through Sicily. Commander Ewen Montagu (Clifton Webb) of British Naval Intelligence is assigned a job that taxes even his brilliant, polished mind. He comes up with a fantastic plan: to dress a corpse in officer’s uniform, load it with faked secret documents, launch it off the coast of Spain and let it drift into the hands of spies. The Germans, examining the corpse’s briefcase, will be convinced that the Allies expect to invade Greece. Webb, his assistant Robert Flemying and everyone up to the Prime Minister know that the Nazis are not dum- mies and this plan must be initiated with incredible skill. And so it is, with the help of librarian Gloria Grahame whose romance with an RAF pilot lends grim authenticity to the lovelife of ‘the man who never was.” It’s a highly exciting, extremely slick drama. (With Josephine Griffin, Stephen Boyd). CinemaScope—20th-Fox. , RECOMMENDED FILMS NOW PLAYING THE BENNY GOODMAN STORY (U.1.): Steve Allen plays the King of Swing in this pleasant, terrifically musical biography. Donna Reed is the girl in Good- man’s love-life; Harry James, Gene Krupa, Lionel Hampton contribute in person. THE COURT-MARTIAL OF BILLY MITCHELL (War- ners): The true, stirring story of the General who fought for an Air Force. Gary Cooper, Rod Steiger— and exciting courtroom scenes. THE MAN WITH THE GOLDEN ARM (U.A.): Frank Sinatra, Kim Novak, Eleanor Parker star in the ter- rifying story of a drug addict. THE CONQUEROR (RKO): A spectacle to end all spectacles! John Wayne and Susan Hayward spend most of their time fighting one another in a film loaded with action and thrills. You’ll love the scenery and spectacle of an uninhibited age reproduced in all its savage glory. ‘THE LIEUTENANT WORE SKIRTS (20th-Fox): This sometimes-hilarious pic depicts what can happen to a middle-aged man married to a beautiful girl who also happens to be in the WAF’s. Tom Ewell and Sheree North add their own special talents together with Rita Moreno in one of the funniest impersona- tions of Marilyn Monroe we’ve ever seen. We think you'll enjoy it. ; RICHARD III (Lopert Films): Shakespeare’s spec- tacular melodrama is brought to nearly impeccable life in this movie produced and directed by Laurence Olivier who also plays the title role. Claire Bloom, Sir Cedric Hardwicke and John Gielgud also star. COME NEXT SPRING (Rep.): You hardly see pic- tures like this any more. It’s a kind of folktale that recalls a whole era in American history and re- affirms the importance of human dignity, neighbor- liness, hard work and family solidarity. With Steve Cochran and Ann Sheridan. when you take this lipstick off- the color stays on! Wy), Wy, What a wonderful way to say “good morning’— lips clean, fresh and soft, yet glowing with wide-awake color. Cleanse off Coty “24” thoroughly each night —thrill to radiant color on your lips each morning. (Yet no stain on your pillow!) KEEPS YOUR LIPS SOFT AND SMOOTH AS SILK! Only Coty “24 gives you lasting color that positively won’t dry your lips. > Pay Li Deluxe Case 41.25 Guaranteed by @ Good Housekeeping Z es LZ > C745 apvraristo WS Switch-Stick 85c Prices plus tax © by Coty, 1956 im Choose from 12 hi-fashion shades 33

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You see, some years ago Ferenc Molnar, one of the world’s foremost playwright’s, wrote a romantic com- edy about a princess who falls in love and becomes a woman. He titled it The Swan . .. Grace received two unusual gifts from admirers. One a beautiful swan from her fan club in Eugene, Oregon, to commemorate the picture and the other a crate of celery from a mid-western celery magnate who had read that Grace ate at least one stalk a day as a health aid. When I first heard about it, I thought, “That’s going too far, acting in The Swan and eating storks.” . . . During one important scene in the picture, a sketch of a castle was needed. Grace persuaded director Charles Vidor to let her supply it, since she has been painting for years as a hobby. Charles said that he would like to see several samples first, so Grace spent practically her whole vacation in New York City, prior to shooting the picture, sketching castles. . . . Alec Guinness has selected this to be his first acting assignment in a motion picture in. America. His part will be to portray the romantic-comedy role of Prince Albert, the most sought- after eligible bachelor in Europe. . . . On the set just before Charles Vidor commanded the filming to begin, Guinness held up his hand and asked for a moment's delay. Then he stepped up to the camera and planted a kiss which he swept from one side of the lens to the other. “An <old superstition with me,” he told Vidor and the remainder of the crew. “I always kiss the camera lens before the first scene on each of my pictures.” “Yes, but why did you kiss completely across the entire lens surface?” asked Vidor. With a straight face Alec said, “This is in CinemaScope— wide screen, you know.” . . . On the set where Grace Kelly, Jessie Royce Landis, Brian Aherne and Estelle Winwood were rehearsing a scene in which they are expecting Alec Guinness to arrive for dinner, as part of the scene, Miss Landis rises expectantly at a knock at the door and opens it to find not Guinness but Louis Jourdan. In the story this is a major disappointment to her, and she is supposed to show it in her manner. The actors have rehearsed the scene several times and are ready at last for the cameras to start turning. Since Jessie has already set her mood for keen disappointment when she opens the door and sees Louis Jourdan in the doorway, Charles Vidor calls for action! The knock on the door occurs, and Jessie proceeds to open it. But there, waiting for her, instead of Jourdan is Guinness. The British star had walked onto the set as the scene was being rehearsed and without anyone seeing him had stepped behind the door. . . . Alec Guinness has become so fascinated with the bass viol (bull fiddle) which he had to learn to play for a comedy sequence for The Swan that he is continuing lessons with the instrument even after the film is completed. Alec, who says he studied the violin when he was a child, claims he never realized the bass viol was such a beautiful instrument. With a twinkle in his eye, he said, “If I could only tuck it under my chin!” John Ford, who tops all other directors with six Academy Awards, has his own way of making things come off just right. In The Searchers, new Warner release starring John Wayne, Jeffrey Hunter, Vera Miles, Ward Bond and Natalie Wood, John Ford had the cameras rolling during a scene where Vera Miles greets her lover after an absence of several years. Vera was the most surprised girl in the world for as she embraced Jeffrey Hunter, lovely music welled up on the set. Vera said, “It put me exactly in the mood.” Then she asked what the song was. Danny Borzage, who has worked for Ford for more. than three decades as set musician, volunteered the information. The song was “The Searchers” and was written by Stan Jones, who wrote “Riders In The Sky.” “The Yellow Rose Of Texas” will be heard in the film, as well as “Skip A Lou,” the song that’s over one hundred years old. | Ken Curtis, who formerly was a featured vocalist with the Sons of the | Pioneers, will sing “Skip A Lou.” ... Henry Brandon, well-known stage actor, who’s playing Scar, villainous Comanche Indian Chief, greeted | a Navajo Indian at the Monument Valley location with the salutation “Ugh!” The brave replied “I don’t dig you (Continued on page 36) |

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music from hollywood (Continued from page 34) with that square talk, alligator!” So all the members in the film’s cast are “Ughing” Brandon to death. George Gobel, who stars with Mitzi Gaynor and David Niven in Paramount’s The Birds And The Bees, is famous for his Gobelisms. We asked George to tell us where he got some of them and he replied: “‘You can’t hardly get them kind no more’ goes back to my air cadet days in Frederick, Oklahoma, back in 1942 when most products made of vital war materials were hard to get. I remember a buddy of mine arriving on the base one day in a good used car he had just purchased. He called a group of us over to the lot where the car was parked, beamed like a kid with a new toy, and boasted, “You can’t hardly get them kind no more.’ This expression must have lodged itself in the back of my mind, for I didn’t use it until two or three years later when I started to do comedy material for an audience. ‘ll be a dirty bird’ stems from my early days as a hillbilly singer with the Barn Dance Review program on radio station WLS in Chicago. It was originally used by a hill- billy musician in the troupe as part of a longer saying. I shortened it and added it as a ‘pay off line’ to one of my stories. The ex- pressions ‘sure you are’ and ‘sure you do’ were used by a slightly absent-minded musi- cal director who handled the floor shows at one of the hotels which used my alleged act. He would sit down at a table in the dining room with me for conversation, and at the same time try to observe if anyone important was in the room, whether the dance music was right, among many other little details. Now and then he would turn to me, cut off my conversation with an assuring ‘sure you will, or ‘sure you are,’ especially when I would tell a story during the act that was left hanging. The topper ‘so there you are’ would get a big laugh so IJ left it in. For our television show I went a little further, and the happy result was ‘so there you are and here I am and here’s the show.’ ‘Believe thee me is an adaptation of an old expression ‘you can bet me, which I’ve been using since my teen-age days.” . . . George’s nickname, “Lonesome George,’ was self-imposed during his early teens. George explained that it was customary for every entertainer to precede his first name with some catch word such as “Texas Jack,” “Tennessee Ernie,” etc. “I picked ‘Lonesome, and it didn’t have any- thing to do with my ‘rating’ on the air.” ... George admitted that he was bugs about the number 13. He was married on the thirteenth of December, and his wedding guests were limited to thirteen. So, when Cy Devore, who designed his clothes for the picture, wanted George to have fourteen jackets, George said, “No, make it thirteen.” I wonder if George will fight with Paramount if they offer him more than $13.00 to do the picture. 3 George just signed a five-year contract with RCA Victor. John Scott Trotter, musical di- rector on Gobel’s ty shows, will handle the same chore during the recording sessions at Victor. His first major commercial record will be “The Birds And The Bees.” . . . Mitzi Gaynor, Gobel’s co-star, tells us: “American women are too fat. And I was one of them. I hated myself for weighing 145 lbs., but that was not enough. I had to do something about it. And when I did, it changed my entire life 36 —1tor the better. My career was going in re- verse a couple of years ago, and I was very unhappy. It seemed the whole world was against me, and [I looked to the refrigerator for moral support. I was always taste-hungry no matter how much food I stuffed into my stomach. That naturally didn’t solve my prob- lem. I was still unhappy—and fat as well. The picture of myself in the mirror told a sad tale. But what made me do something about it were the sincere criticisms leveled at me by my friends. At first I resented them but soon realized that it was meant for my good. It wasn’t easy at first. The habit of moving away from the dinner table with appetizing dishes still to be served was tor- ture. Suddenly I began to feel better—men- tally and physically. I approached my future with new optimism and new fight. Everything around me looked better. It was a wonderful feeling. I trimmed down to 114 lbs. in a mat- ter of months. Better film parts followed (There’s No Business Like Show Business, Anything Goes, and my first straight leading lady role opposite Gobel). My social circle is an extremely happy one. My experience, I feel, is that of the average American girl who is overweight. Common sense mixed with enough willpower will do the trick. This com- bination hit the jackpot for me.” Anyone who has seen Mitzi’s simply divine figure in Any- thing Goes should take courage from Mitzi’s words. A piece of good advice: “Count your calories; don’t eat them.” . . . Incidentally, George Gobel gives a few sage words of advice. He said, “If you have a naughty child, give it a good spanking. It may not do the child any good, but you'll feel a lot better.” Richard Widmark saved the sound track of Universal’s film Backlash from a fate worse than jazz. How did it happen? Lights! Cam- era! Action! On set we see a close-up of a redman beating the war drums to whip up excitement among several hundred braves pre- paring for an attack. The Indian thumped the drum heads with feverish rhythm, the beat slowly increasing in tempo and the gyrations of the redskins matching the compelling pace of the staccato reports. Widmark’s ears perked up at several points in the drumming. He thought he heard refinements completely for- eign to a war rhythm. He consulted with the man at the sticks, Ken Lightning Bolt. The drummer said he had once been a professional musician, specializing in hot jazz. And he had, indeed, dressed up the ancient war ritual. “All it ‘really needs,” appraised Lightning Bolt, “to make it a solid sender is what I was trying to add—a touch of bop.” A bopless sound track was made on the next take. MUSIC FROM HOLLYWOOD Month’s Best Movie Albums Max Steiner’s “GREAT LOVE THEMES FROM MOTION PICTURES” RCA Victor #LPM-1170. .. . For more than twenty years Max Steiner has contributed brilliant music for top motion pictures. A three-time winner of Hollywood’s coveted Academy Award for his music, Max Steiner selected twelve of his orig- inal film songs for this album. Featuring songs from pictures starring such top movie stars as Katharine Hepburn, Janet Gaynor, Fredric March, Paul Muni, Alan Ladd, Sterling Hay- den, among others, Steiner has indeed issued a beautiful album of emotional moods of love. Danny Kaye’s “THE COURT JESTER”... Sound-track album from motion picture. Decca #DL8212. . . . If you like the fun-magic of Danny, then this album was designed for you. It’s all the captivating hilarity from the Para- mount production. My favorite is “The Mal- adjusted Jester” number. Here Danny sings about the years he spent in becoming a jester, but he just turned out to be a fool. Also, his derring-do attitude in “Outfox The Fox.” “CAROUSEL” Gordon MacRae, Shirley Jones, Cameron Mitchell, etc. . . . Sound-track album from 20th Century’s new movie. Capitol W694. ..- All the songs from one of the most beautiful musical shows ever to hit the gay white way re-sung by current movie favorites. “B.G. IN HI-FI’ Capitol W565. .. . An au- thentic Benny Goodman album with the old songs that made him a favorite with pop music fans. Since the release of the motion picture The Benny Goodman Story. several companies have been planning Benny Good- man albums. Benny has always been available for recording session, but there’s quite a bit of his material around. For the hi-fi fan, let it be noted that this session was recorded at the Riverside Studios in New York, November 1954, with a single condenser mike pickup and a little extra rhythm boost. “STARLIGHT CONCERT” HOLLYWOOD BOWL SYMPHONY ORCHESTRA—Carmen Dragon conducting. Capitol P8276. . . . A su- perb collection of favorite classical pieces re- corded under the stars in Hollywood’s famed “Bowl.” Every visitor to Hollywood eventually winds up here and never forgets the moment of captured musical gossamer always present dur- ing these concerts. Disc Jockey Choices: ““My Favorite MUSIC FROM HOLLYWOOD”’ Lou Barile— WKAL—Rome, New York “My favorite is the score from The Benny Goodman Story. My listeners share this enthusiasm as well, since every day I receive mail and phone calls ask- ing for old and new B. G. favorites.” Ed Penney— WTAO—Cambridge, Mass. “Mine is the song T’ll Cry Tomorrow from the pic- ture of the same name. Johnny Desmond sings the title song great, and it’s a typical fine Johnny Mer- cer lyric.” Pete Johnson— WKBR—Manchester, New Hampshire “My choice is any song sung by Doris Day. Holly- wood has always given great music hits to the American public, and I believe Doris Day has been responsible for singing many of them to fame.” George Lemont— KGO—San Francisco, Calif. “T select the music com- posed by Max Steiner. He’s won three Academy © Awards to date and scored — the music for many of — Hollywood’s top pictures.” -

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modern screen / may 1956 WHY THEY RE ALL TALKING ABOUT @ I got a “story suggestion” this morning from a writer who makes his living off a peeping-fom magazine of the “pssst” or “uncensored” stripe. If I call it Smear you'll get the idea. “I can deliver you an exposé on Liz Taylor and Mike Wilding that will knock your socks off!” he because we don't shut them up I wrote. “Including the lowdown on what’s marked His and Hers, meaning girl friends and boy friends, And “we? s . St and how each of these cats plays around when we" deft nitely includes yOu: i the other cat is away. Oh, they might sue as a gesture, A ere for the first time 1s the Big Lie about but they’d never want to let it go to trial.” Taz and the Bigger Truth. Here’s exactly what I think of myself as a quiet guy. But I’m rather proud of the way I hauled off and let this creep have it. Forgive me for bragging but I want to quote my reply to him. Here’s what I wrote: (hate, AD Sarncem “I have spent ten minutes (Continued on page 90 ) EDITOR we, together, can do about it! 39

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i | seau, or trog ng plans—f a L 3 er wedd nd erent OT missin ? to-be nS Se) aie Nee Sia es a ae = Beet en Grace Kelly, our princess

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attendants, guests and reception—to Hollywood's reigning queen rf @ “You have the eyes of a woman in love,” were the first words I said to Grace Kelly after she came forward to greet me and I kissed her and wished her a world of good wishes on her engagement to Prince Rainier. She laughed and said, “Strange you should say that, —___ because “The Eyes Of A Woman In Love’ is the Prince’s favorite American song and he plays it again and again on his record machine.” Even in the beige slacks she was wearing for a scene in High Society—her picture with Bing Crosby and Frank Sinatra—she looked every inch a Princess-to-be as she lead me to two chairs on the sidelines of the MGM set where we could talk uninterruptedly. I had been told that Grace had become very cold and aloof and indifferent to her old friends since her Graustarkian romance had become front page copy. Some of her would-be friends were whispering that her about- to-be Serene Highness, Princess Grace of Monaco, Duchess of Valentinois, Princess of Chateau Porcien, Countess i of Belfort and Baroness of St Lo (to give it all her ; ' titles) had completely changed. Nothing is further from the truth. The girl who sat beside me was gay and warm and she chatted away about her coming royal nuptials like any other prospective bride. She kept shining her twelve-karat square-cut diamond f engagement ring with her handkerchief, flashing it to catch the light, laughing at herself (Continued on page 80) B : : | | H Kk by Louella Parsons

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q q i By or tro¢g ng plans—fe P. ae L a es her wedd ‘ confid E : z © fas nS He S ies = ry oe = m) © ° ° = Grace Kelly, our pr

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j it @ 5 i Em bes ey + j a — eae @ “You have the eyes of a woman in love,” were the first words I said to Grace Kelly after she came forward to greet me and I kissed her and wished her a world of good wishes on her engagement to Prince Rainier. She laughed and said, “Strange you should say that, ___ because “The Eyes Of A Woman Jn Love’ is the Prince’s favorite American song and he plays it again and again on his record machine.” Even in the beige slacks she was wearing for a scene in High Society—her picture with Bing Crosby and Frank Sinatra—she looked every inch a Princess-to-be as she lead me to two chairs on the sidelines of the MGM set where we could talk uninterruptedly. I had been told that Grace had become very cold and aloof and indifferent to her old friends since her Graustarkian romance had become front page copy. Some of her would-be friends were whispering that her about- to-be Serene Highness, Princess Grace of Monaco, Duchess of Valentinois, Princess of Chateau Porcien, Countess of Belfort and Baroness of St Lo (to give it all her titles) had completely changed. Nothing is further from the truth. The girl who sat beside me was gay and warm and she chatted away about her coming royal nuptials like any other prospective bride. She kept shining her twelve-karat square-cut diamond engagement ring with her handkerchief, flashing it to catch the light, laughing at herself (Continued on page 80) | attendants, guests and reception—to Hollywood’s reigning queen It WILL BE THE

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THE GIRL WHO GREW UP TOO FAST by NICK ADAMS, Natalie’s closest pal @ It was five o'clock in the morning in Central Park, and Natalie Wood was sleeping in my arms. Shivering a little in her sleep, she burrowed her head against my chest. I shifted my arms so she would be more comfortable. She woke up. “Nicky?” BYesr: “Are you still there?” NOS “Good.” I kissed the bridge of her nose. “Go back to sleep.” She rolled herself into a ball. “I can’t. I'm cold. Very . col...” But in a minute she was asleep again, curled like a porcupine on the back seat of a hansom cab. I unbuttoned my coat and spread it over her, tucking the edges under her chin. “Hey, Mac,” the driver said, looking down at us. “What do you want I should do now?” I looked at Natalie. We had both come to New York for television shows. It was her first night in New York, and she had wanted to stay up all night. “It means I’m grown-up,” she had said that afternoon. “Really grown-up,’ and she had been so happy she had spun around in a circle until she was too dizzy to stand. “Look at you now,” I said to her, laughing. “Really grown-up?” She was still asleep. A strand of hair had fallen into her eyes, and I pushed it away. The night wasn’t over yet. “Okay,” I said, tucking my coat a little tighter around her ankles. “We'll stay up all night.” I reached into my pocket for my wallet, and Natalie’s studio chaperon, sitting up front, groaned. “Once more around Central Park,’ I said to the driver. “Okay, Mac.” He flicked his horse with his whip. The cab lurched a little, and I folded my arms around Natalie’s waist to keep her from falling. I wondered what she was dreaming about. Probably she was dreaming about being the greatest actress and the most really grown-up person in the world. I had a funny thought then. I thought that maybe I was holding greatness in my arms. Someday Natalie will be (Continued on page 96 ) This 1s the best story of the Rebel Years we've ever read. It’s Natalie | Wood’s story—but it | could just as well be yours ee OR

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by RUTH WATERBURY m The big, hand-lettered sign on the set read, “In this scene Robert Wagner will positively appear without Spencer Tracy.” The set in which the sign was hung was, supposedly, part of an Alpine house and in a mo- ment or two Bob Wagner was due to go heavily dramatic there. The actual time of day was eight o'clock in the morning. The real place where the set had been put up was Chamonix, France, the small skiing village at the base of fabulous Mont Blanc, the Alp which was giving the film its title, The Mountain. Richard Arlen, first to reach the set that morning, gave a loud guffaw as he read the sign. Claire Trevor and direc- tor Edward Dymytryk, coming in right after Dick, exchanged grins. Then the various tech- nicians, electricians, prop men and the like, reporting for work, chuckled. Here was another clowning declaration of war between the co-stars of The Mountain. Here, again, for the cast and the crew, would be the fun of watch- ing the twenty-five-year-old R.J. Wagner pit himself against the fifty-and-then-some Spencer Tra- cy. It was the rising star trying to equal “The Pro,” the star who knew every trick in the book so well he'd Jong since thrown the book away. It was only to the great man’s face. that R.J. was deliberately not respectful, an attitude which

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Meet the craziest, battlingest pair since Martin and Lewis: R.J. Wagner vs. S. Tracy! “ANYTHING YOU CAN DO | CAN DO BETTER” Tracy returned. Spence knew Bob knew that he had, without precedent, abdicated his right to sole stardom in his pictures, had his contract re-written to permit Bob to be his co-star in The Mountain. Even this was a subject of kidding between them. Let Bob blow a line on a take and Spence would say to Dymytryk, “Good thing I haven’t signed that con- tract waiver yet. We may have to replace this boy.” But behind his back, Spence said, “Why, this kid’s potential as an actor hasn’t been touched. Give him real training, let him see what. act- ing really is and I'll stack him against any of the younger crowd, Brando, Clift or any of the rest of them.” In Chamonix, on the partic- ular morning that “that sign” went up, Spence let them all wait for a good fifteen minutes before he arrived on the set, ap- parently just visiting. For a mo- ment he even seemed not to notice the sign, though the whole company knew perfectly well he never misses a thing. When he finally read the bravely lettered words, he registered a double- take that would have done credit to the most terrible ham actor. “You're positively appearing without me?” he asked Bob. “You mean you don’t need me in the scene?” “No, indeed.” “Maybe you don’t need me in the (Continued on page 76) To date, the Old Pro (Spence) and the Damned Young Fool (Bob) have ribbed each other through two movies, across two continents and up and down an ice-covered mouniain, leaving a drastic change in Bob’s appearance and a twinkle in Tracy’s eye. 45

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(AU peCS OD) “0007 PAARL EAA LO ALLARD,

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To most young girls, love comes a blessing. But for Shirley Jones and the boy she loves, love is a troubled thing. Of all the pretty, popular young girls in Hollywood, Shirley is one of the youngest, the most sweetly naive, the least able to cope with heart- break, if it comes. Here for the first time, is the story of her secret romance. We hope . that reading it will help her to come to a wise, mature decision Je by SUSAN WENDER Jack Cassidy, Shirley’s only love since she was 16, may never be able to marry her. | S m It was the happiest and the saddest day of Shirley Jones’ & life. It was the premiére of Carousel and she was all dressed up like a movie star, the crowds were pushing for a glimpse i= of her and everyone in the world was there. Everyone—except ie the one person she cared about, the man with whom she i was in love. He couldn’t come because they couldn’t be seen FE together. 5 The newsreel man beckoned to Shirley. The tv camera- é man pointed the camera at her and she tried to smile because = maybe he—her boyfriend, her fiancé, her—where was the word is to describe what Jack Cassidy was to her? —might be watching her at home. They asked her to say a few words and she stood quietly for a moment, and then she recited the lyrics of one of the songs from Carousel: “What's the use of wondrin’ if the endin’ will be sad . . .” and her voice broke before she finished. And then, turning to enter the lobby, she looked into the eyes of Jack Cassidy, standing there in the crowd and watching her. For Shirley, the crowds, the bright lights, the cameras, faded away. There was no one there but herself and Jack. Jack, who loved her so much that he would stand on the sidelines to see her go by. Jack, who couldn’t share her hour of glory, but who had to be there to tell her, if only (Continued on page 86) On d by permisst quote wes “Lyvtes T a eS ee ae,

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: 5 < % 4 y 3 5 a ? 5 i ; gee oe ee OS we Blessed with the ability to be happy “all the way through,” Dani thinks George is “a living viot,” laughs at him till he laughs at himself. | To her despair, Dani (a former dance instructor) can’t help trying to lead when she dances with George. “Shall we change hands?” he teases

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her, veducing her to helpless giggles. Calm, Cautious Nader is Cool, Crazy-gone George now MEET THE GIRL WHO DONE IT! by JACK WADE m As George Nader recalls, it was a particularly vulnerable day for a bachelor. He was just back from the Virgin Islands where for four steamy weeks he’d been cooped up on a ship shooting Away All Boats with an all-male cast. Now he was boxed in on Stage Twelve at Universal-International winding up the job with the same whiskered bunch—and the mascu- line scenery was getting darned monotonous. Even if the actors were guys he liked—Jeff Chandler, Lex Barker, Dick Boone and the rest— well, frankly he was sick of them all. He’d heard all their jokes and they'd heard all his. It was one of those tag-end movie making times when every man there, including Nader, cordially hoped everyone else would drop dead. That’s when this violet-eyed, platinum-topped vision literally bounced onto the set wearing a snug sweater and, looking like Lana Turner did a dozen years ago, beamed breathlessly right at him. George Nader has a habit of talking to himself in such crises. This time he addressed himself thus: “George, you'd better be nimble and you'd better be quick. Move in, boy. This (Continued on page 68) 2 49

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The hand that rocks | the cradle rules the her hands full on the... Brucie, as adventurous as his father, would try anything once—if Sheila would let him. 50 world—and Sheila has Left to right: Heather, 8 MACRAE MERRY-GO-ROUND m@ Most Hollywood wives have an easy time of it. They have one or two children, with nurses to match, a well-staffed house to stay home in, and a husband who, in the Hollywood tradition, smiles modestly as he brings home five-pound boxes of money and says, “I owe it all to the Little Woman.” Sheila MacRae, on the other hand, has four chil- dren, and it’s Sheila who feeds them, dresses them and wipes their noses. She also has a very nice home, complete with swimming pool, but the only time she ever sees the latter is when a photog- rapher dumps her in it for a picture spread. The rest of the time she’s packing up the children to follow Daddy around the world for one or another of his pictures because, to be perfectly honest, it's not quite safe to leave Daddy alone too long —he does the strangest things. Leave him alone with the telephone and he’s on it all day, offer- ing to do a role he wants for free—honest! Leave him alone with Meredith and in half an hour “he’s given permission for her to do a bit in Carousel, blithely unaware that Sheila had been saying No for two weeks. And leave him alone with the family car and it ceases to be a joke; in the space of three months he cracks it up twice, injuring no one, but involving himself in law suits and legal fines to the tune of $300 a throw. Leave him alone with an interviewer—heaven forbid— and he announces that when he does something right for a change, no one gets the credit but Gordon. Not the Little Woman. Not his fans. Just Gordon MacRae, who doesn’t have a modest smile in his repertoire. Sounds terrible, but it’s not. Other Hollywood wives get other things, too. Neuroses. Ulcers. Divorces. Sheila doesn’t get them—she gets Gordon and the merry-go-round instead. And she figures it’s worth it. END ; Gar, 7; Sheila; Brucie, 2; Gordon; Meredith, 11.

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cl la eee, Married 14 years, the MacRaes take the kids along even on Gordon’s night- club tours. Sheila has to go—she writes Gordon’s material and even acts. She also plans to have 3 more children to finish off the family and will no doubt manage Meredith’s career should her daughter con Gordon into letting her get started in earnest.

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| | RUSTY TAKES A WIFE Married in a double-ring ceremony in a beautiful church often called “the candle of God,” both Rusty and Venetia say they will never remove their rings, even if they have to wear Band-Aids over them when making movies. (Venetia has a brand-new contract at RKO.) The bride wore a blue peau-de-soie gown and a waist-length veil, dyed to match . . . and cried through the ceremony. The bride is seventeen, the groom is twenty-one. The wedding was a beauty and the honeymoon— “Man,’’ says Russ Tambien grinning from ear to ear, “It was a ball!’’ by ALICE FINLETTER

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After the wedding, Venetia changed into a pink suit and Rusty into a tweed jacket, brown pants and tweed overcoat. They took two suitcases, had three others shipped to them in New York. The wedding breakfast (top) consisted of coffee and doughnuts on the way to the aivport at the crack of dawn the next morning. In the photo at f the right you can see Venetia’s wed- ding present to Russ: a star sapphire pinky ring. He gave her a charm bracelet, dangling a heart engraved “A Day To Remember.” w A more relaxed bridegroom than Russ Tamblyn you couldn't hope to find. He knew all the jokes about young bachelors and how they go to pieces at the last moment, so when the best man, Lorin (Speed) Copp, called a couple of hours before the ceremony and asked, “Are you all right?” Russ laughed heartily. “All right? Are you kidding?” “I’m not kidding,” Speed retorted. “Remember me? I was a bridegroom a year ago, and it took you six months to calm me down. You got the ring?” “Cut!” Russ said. “I’ve got both rings, and I’m not going to leave them in another suit. I got a system. Everything’s timed. You just get on over here. It'll take an hour and eight minutes to drive to the church at the most, counting six minutes to change a flat, if we get one.” A few minutes later, Russ climbed (Continued on page 92 )

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54 Dana won Pompey role after Hollywood’s most expensive test. How DANA’S DREAM CAME’ ty U7 1D) or How Hollywood Makes a Star @ photos by Willoughby (ol cae

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The test cost $22,500, involved 28 experts (including head designer Charles LeMaire, above), took two days and made Dana « hot property. Dana’d flopped in a previous Holly- wood try but Fox casting director Billy Gordon (left) was sure her talent would come through if given every assist. His gamble paid off when writer-producer-director Philip Dunne (below) picked Dana for Pompey’s Head. Between test and stardom Dana got The Hollywood Treatment. by MARVA PETERSON m@ Today Dana Wynter is a bright, fresh, new movie star. Her romance with Greg Bautzer, her trips, her every move make news. ; Two years ago, however, Dana Wynter was an unknown who had failed to make the grade. What magic, what chemistry, what combination of luck and circumstance have made Dana’s dream of stardom come true? In Hollywood the answer to that question will get you an argument all the way from Universal to MGM, from Disney to DeMille because it involves the larger and broader question: Are movie stars born or studio-made? Was Dana Wynter destined for movie fame? Or could success have come to any other girl who was given the kind of test which won Dana her part in Pompey’s Head. Michael Curtiz, one of Hollywood’s foremost directors, says, “Give me a face, a camera and a script, and I'll give you a star.” Mervyn Le Roy, on the other hand, equally fa- mous as a director, says, “The girl must have per- sonality. I don’t care if she has talent or not. (Pictures and story continued on following page)

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Dana’s classic beauty was polished—and ‘photographed to perfection—by studio experts Acting talent is not the necessary ingredient for stardom. All a girl needs is a personality. Give me a girl with that and with a little build-up, Pll make her a star.” Now, let’s see step-by-step what happened in the case of Dana (real name Dagmar) Wynter. Last May when Al Rockett, an agent with Famous Artists, Inc., brought Dana Wynter to the 20th Century-Fox lot, not one of the studio big-wigs knew much about her. Dana had appeared in a handful of minor British theatricals and had acted in a few New York Tv shows. Her work was completely unknown. Worse yet, discreet inquiry pro- duced the information that Universal Studios had previously tested the girl and had re- jected her. There was more than one strike against Dana Wynter when AI Rockett tried to sell her to Fox. Fortunately for (Continued on page 58) Dana’s day began under the dryer. She sacrificed her beloved long hair for a shorter, more youthful cut, lost weight to emphasize the interesting hollows in her patrician face. \ Dana’s profile achieved perfection under the skillful hands of Ben Nye, head make-up man. Ex-model Wynier posed like a pro for to Fox still photographer Frank Powolny after Make-Up had finished.

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4CS, ” l problems te ” , picture out Dick once taught dramat H a’s wip Ph oppos. her the for for Dan see her play d Egan before g who worked long hours to help her master technical tic problems. “He was a joy and a love in iving proved herself ica ty to master a Z the credit s abil: southern accent but she , Dana tested aga Dana Dunne, who wanted to Much of performance goes to Dunne Richar Pompey part. He had some doubts about “Dick Egan, too. During the I found so I got his help on techn a disciplined actress and won the role. 4S Dana. and art SAYS DANA WYN TER continued

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Now a star, Dana isn’t quite sure who Dana, and this might be the key to her success, there was something compelling, something appealing, something refined and Grace Kelly-like in her dark beauty. Billy Gordon, 20th Century-Fox casting director, says, “She seemed to me to have the poise and reserve of the English aristocracy. I also felt that underneath she had the scrapper instinct of a Susan Hayward. I decided to gamble and give her one screen test.” Billy Gordon’s okay is the “open sesame” to 20th Century-Fox. Every newcomer must go through his office to get an acting job, and Billy always keeps his door open. He’s one of the kindest men in Hollywood. He makes appoint- ments early, late, Saturdays, any time. Occasionally (Continued on page 81) deserves the credit—herself or ‘‘those sweet people’ Dana sneaked into the projection room after the film was cut and scored to watch it. Her heart beat madly for ninety minutes but she liked what she saw and, more important, so did the Fox executives who had made a star.

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1 Maureen O'Hara tells SaaS = = — sa rere oe SSS SES SSSI TE rr A spectacular wardrobe of jewelry va and furs; a strict | diet plus ten | hours sleep and no gadding, i add wp to that shining “O’ Hara Look’’ SSE Se ee Se ee Palas a> Lie TO LOOK Make-up iiinas a epoiah ENG ae creaming. rae and mascara vibes minutes He Maurees carefully brushes out pin curls. : on 62) 2 WHAT IT TAKES ™ | worked desperately hard to get my first break but not nearly as hard as I did after I arrived in Hollywood. What I learned in that first year would make your head spin. I was ‘competing with real stars! An Irish girl, eighteen years old ~ and a little fat in the middle! I thought I knew everything. After all I was from the Abbey Theatre, an actress! I soon learned there were girls who could act better than I, they were prettier and knew more of the tricks of real stardom. The make-up people and their dressers, God bless them, began to teach me some of their tricks. The hairdressers taught me to set my too curly hair so it wasn’t kinky. (I can do this myself today. ) The make-up men taught me how to look natural. I'd been loading myself with powder and lipstick. The dress designer, Edward Stevenson, gave me a lecture about my figure I think of everytime I reach for a fancy dessert. The lecture? Pretty simple and to the point. If I, with my new- found contract and money, wanted to spend it all on food, I would soon be without the contract. He advised me to spruce up my appearance off the screen, guided me in my first buying of American clothes. We didn’t buy expensive dresses, but they did enhance my figure. My first fur coat was a white pony skin. I felt mighty luxurious in it. I still have the coat twelve years later. It has been done over three times and is now lined with bright plaid taffeta and I wear it over sports clothes. It hangs proudly in my closet alongside of my two mink coats, two mink stoles, silver fox cape, ermine stole and my beaver coat. Sounds (Continued on page 84) ‘et sgh m cr ~ ras ae 8 > VS See CR eM

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Even a classic beauty lke Maureen O'Hara must keep improving herself. Conscious of ker star status, Maureen never shows herself in public unless she’s groomed and dressed to the nines. Maureen’s jewelry collection combines fake and real stones. The two-strand pearls cost $1.95; the rubies are genuine. She says she gives them all equal care and wear, swears nobody knows the difference when she shows off her fake emeralds. One favorite accessory, a gold leaf necklace, is as phony as a $3 bill. Maureen calls herself “a furbearing animal,” proudly dates her march to stardom by the white pony skin she holds below. Of course, by now she’s mink poor!

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ete. ee

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madi @ Of course, Terry is secure now. She need no longer worry about bad publicity nor, for that matter, about publicity at all. She’s Mrs. Eugene C. McGrath! Her husband is rich, one of the financial and social pillars of Panama. But perhaps she remembers Gene’s advice to her. That she should hire a good press agent, not to get her publicity but to keep her out of the papers. “A suppress agent, Gene calls it,’ Terry remarked to a reporter during the weeks she traveled openly with McGrath—but not as his wife. Eugene C. McGrath looks and behaves like a young man whose father has left him a lot of money. Actually, Gene made it all himself. When John Wayne introduced him to Terry Moore in the Beverly Hills Hotel last December, she saw before her a good looking man of thirty-three, dark, quietly dressed, clear-eyed and soft-spoken. To a girl with a talent for bad publicity, who was actually afraid to talk to the press or be photographed for fear it would all come out wrong—to her, Gene must have seemed as steady as a rock, and as safe. As they grew to know one another better, Terry began to love the quiet authority of this man. He danced well, he had exquisite manners, he was athletic enough, and, while not exactly a Rock Hudson or a Tab Hunter, he had the kind of sex appeal _ that was exactly what a rather subdued Terry Moore wanted and needed. He conducted his courtship in anything but a Hollywood manner, too. When he invited her to visit him at his home - in Panama he invited Mrs. Lemar Koford, Terry’s mother, as well. Then, when he came to Hollywood to visit her again a week before Christmas, he stayed with her and her parents as a prospective bridegroom and son-in-law should. _ And then one night he told her that he loved her and wanted to marry her, and she asked When?—and he replied that they might as well start the New Year right. What about New Year's Day? Terry shuddered. “I want to marry you,” she said, “but that means starting all the hoopla again. Photographers, reporters— and I can’t ever tell what they'll say about me any more.” “Why do they (Continued on page 91) This tume Terry didn’t want to make headlines (she said) so she went jgunketing off with the one guy who knew just how to land her on page one! by PHILIP CHAPMAN Passport picture gave the game away for Terry and husband Gene McGrath. She'd given press the slip in Miami and when she applied for a Panama passport at the last minute had to scissor a cheesecake shot for the required snap. An observant reporter found the remains (above) and put body and head together. 63

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HO 2 SS TS ET SS ER OE TET 4 USEWARMING

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In a great big house, two little people are learning a lot about marriage. Deb’s losing sleep in the process and Eddie almost let the house burn down—but they’re the happiest, homiest, most-married kids in town iE by LOUIS POLLOCK @ Home, to the Eddie Fishers, is a warm, sprawling place of brick and shingles, set on a six-acre Pacific Palisades estate which is itself part of a square half-mile of untouched wooded land running from highway to ocean cliffside. Home has a swimming pool, extra buildings around -it and a living room with a walk-in fireplace before which Eddie and his wife like to lie or sit and watch the leaping flames. Home is where Debbie wanted to be so badly after they rented it.last December 13th that she could hardly wait to finish her latest picture, MGM’s The Catered Affair, so she could spend her days, as well as nights, in it. She would sit in her dressing room in the studio and think of Eddie alone in the house, and start to miss him so much she’d eventually have to go to the telephone and call him up. “Eddie, are ‘you all right?” she would ask. “Did you find everything when you got up? Do you want to know where something is?” Turning away from the telephone she would complain to whomever happened to be visiting her, “Really .. . a wife’s place is at home!” Home is where Debbie has come into her own, arranging the course of her life in her own way and in her own place. Home is where Eddie keeps telling his friends, “It’s nice to have a woman around,” and home, finally, is where both of them have learned that their long engagement before marriage was not without its compensations. As Debbie puts it, “One of the reasons we went together so long was to get to know each other and adjust to things which might trip us up. We got so we got along simply and beautifully before our marriage and it's been the same since. What are our big problems? I can truth- fully say we haven't any.” And it is true—as a glance at either of their faces is enough to reveal. Eddie loves to talk about home and Debbie. She rarely can get her mind on any other (Continued on next page ) Outside, they’re fine, but inside they still need landmarks to find their way around. When tv’s Person To Person visited them, Debbie got lost trying to locate the dining room! |

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Eddie’s beloved boxer Junior drools all over the furniture, but so far | Debbie’s not fussy enough to mind. In fact, she added a boxer pup and a poodle almost as soon as they moved in. “The only other thing we'd like around the house —to make the menagerie complete—is a baby!” Photos by Don Ornitz subjects but house and husband. A month after their marriage someone asked Eddie if he couldn’t recall one dispute any- way with Debbie and after considerable thought he admitted there had been one difference of opinion. It seems that one night when they decided to go to the movies they each wanted to see a different picture. Solution? They saw them both. “Yeah, but whose picture did you see first?” persisted the friend, teasingly. Eddie laughed. “Debbie’s, of course.” They have had their excitement and they have had their fun . . . even the process of adapting themselves to each other as any two people living together for the first time must. Debbie, at first, never thought she would be able to change her waking-sleeping hours to Eddie’s. She is a girl who always needed an absolute minimum of eight hours sleep a day, nine or ten hours were better, and, as Debbie herself once admitted, “Twelve hours, even thirteen—and I really purred.” But Eddie, born and bred in a big city, developed as a singer in clubs and over evening radio and tv performances, has spent a minimum of his time (Continued on page 88 )

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Baad case +4 Because of Eddie’s crazy schedule, their eve- mings at home sometimes start at midnight— but otherwise, they’re just perfectly normal. Chess is their favorite game (“because it slows us down”). Both read a good deal, but most of their evenings are spent dreaming over records (sometimes Eddie’s, sometimes not) and in front of their wonderful, slightly dangerous fire. 67

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the girl who done it! | (Continued from page 49) isn’t for the commoners. is is for you!” So he hustled up and announced brash- ly, “My name’s George—what’s yours?” For Miss Dani Crayne—who was the eye-filling U-I starlet so boldly accosted— it was already a beautiful, beautiful day. Most days are, really, for Dani, who gets a profound kick out of merely drawing her breath. But what made this one red-letter was the fact that she’d just passed a cru- cial personality test at the studio Talent Development School with flying colors. She had to tell somebody about it, so she tripped over to let her friend and rooter, Jeff Chandler, know. Only, suddenly she forgot all about Jeff. As Dani remembers, the magic moment made her talk to herself, too, like this: “Oh—he’s handsome! But most actors are handsome. Only, here’s a live one, and all man. Look—he has this situation right in hand!” So She gasped out the answer, “Mine’s ani. ‘Danny? Danny’s a boy’s name.” — “But I’m not a boy,’ she assured him. “lm a girl!” “Obviously,” noted George Nader with his most winning smile. “But are you busy tonight?” And they took it from there. That was one day—and one enchanted evening—last August. The taming of the stag Since that time, Dani has brought out a George Nader that only a few intimates ever, suspected existed. Not the calm and philosophical George. But an impulsive, whimsical, crazy bone Nader who sur- prises himself these days. And the sur- prise is invariably a pleasant one. Since their first date that night George Nader hasn’t glanced at another girl, and for a confirmed stag previously dedicated to playing the field, that’s strictly a new departure. It’s the same with pretty Dani Crayne, who, before that first enchanted evening, likewise got around. For almost eight: months now, Dani and George have missed mighty few days and dates to- gether—in places where they could be seen, and in others where they could not. He’s introduced her to his family—who loved her—and she’s introduced him to hers, who were equally charmed. For Dani's twenty-first birthday George gave her his own, October 19, to celebrate, be- cause hers comes on Christmas Day and gets lost in the jingle bells. For George’s natal day Dani baked a chocolate cake with initialed cuff links inside for him to discover in sweet-toothed surprise. Last Christmas he came through with a roman- tic perfume called My Sin and Dani gave him some sport shirts. He’s taught her to swim and she’s taught him to mambo. George has even sawed out a picture win- dow in his new hillside house because Dani discovered a view. And she’s sewing some draperies to brighten up the living room—also knitting George some socks. ue ells her “Honey” and she calls him oll.” A bowl of cherries Dani Crayne is one of those grown-up cherubs who grabbed an armful of sun- shine as she came down to this earth. Life for Dani, whatever her luck, is a bowl of cherries with whipped cream on top, which she’s eternally yearning to pass around. She’ll be twenty-two next Christ- mas—excuse, October 19—and if you like statistics, she’s five-foot-four, 116 pounds and hour-glassed delectably at 36-22-36. The “Dani” springs from her real tag, Darlyne Danielle Goldman, and by an- cestry she’s half Swede and half Syrian, ST Pee ae Seven... nl Ae ee r from Minneapolis, Minnesota. Dani has on camped in every state of the Union, save one, and sampled some fourteen differ- ent schools, as her traveling salesman parents lugged her around. Some of that time she spent on a farm with her grand- ma, who taught her to keep house like a Dutch frau, sew like a dressmaker (she makes all her own) and cook like a chef. In her young life she’s also toiled happily as a shipping clerk, forklift operator, waitress, optometrist’s helper, saleslady, usherette and mambo instructress. She still holds a card in the Teamsters’ union. That she’s wound up as a Hollywood actress strikes Dani as a crazy caprice of fate. Signed at U-I strictly on her looks, Dani’s working hard and getting experience (with bits in Ain’t Misbehavin’, The Shrike, Written On The. Wind and others). But the girl’s as relaxed as a puppy about a career. What Dani likes best is just living. Her favorite expression is, “What a wonderful day!” That the impact of Dani Crayne’s up- beat personality on George Nader was _ instantly devastating is something of a TONY CURTIS You name it—Tony’s done it, seen it or heard about it somewhere. And being a strong-minded type, he’s got it on his list! | I LrKe lrart Formal parties Organ music Bad teeth Flowers in the hair Flat tires Bad paintings Musty, smelly furniture Wet socks People with nose. jobs Green Cigarette machines Hamburger stands on the beach Janet Trees Fruit Music Girls Movies Birds Janet Working out Paris Wine Airplane models surprise. Dani has what it takes to excite a wooden Indian. But that their whirl has lasted so long, stayed so fresh and waxed so solid should be proof enough that George has recovered fully from the three devas- tating “experiences in his past which had threatened to throw George off love forever. Three loves had he Two of these disillusioning traumas reached way back to George’s college days. One was a girl who graduated before he did and then taught a class at the school. George was in her class. The teacher- pupil thing wrecked that. Next he fell for ‘a doll with religious leaning, just when he realized he wanted above all to be an actor. She thought that was sinful and he could see things would never work out, so it was finis again. The last and most shattering affair smote him right before he joined the Navy. He got engaged to a luscious brunette whose tender promises kept him from joining the Gooney birds Da a wk a7 =, ¥ if he a Wadena: ce ae bleak Johnston Island in the Pacific, where for three years Lieutenant Nader sweated out hostilities. But just as he was finally set to sail for home and wedding bells George got his “Dear John” epistle— and it really rocked him. He carried aj torch bright enough for the Statue of |f Liberty for a long time afterwards. From these slap-downs Nader about concluded, even before he got to Holly- |} wood that romantically speaking, nothing |} much was ever going to happen to George. It had always seemed to work |) out that way. On that same lonely hunk | of coral, for instance, when the first live |) doll seen in eight long months stepped off a plane, George rushed hungrily up with the mob to greet Betty Hutton. Betty | held out her arms—and swept right past |} Lieut. Nader to plant a smacker on the sailor behind him. “You hear about such | ; things,” recalls George. “But this actually | , happened—that guy didn’t wash his face | » for a couple of weeks. At that point I/j wouldn’t have either!” __ 6 In fact, when George finally got home/¢§ with $1500 saved from his Navy pay he} ji was so starved for women that he blew} ) the works roaming around Hollywood’s/, fanciest night clubs just to feast his}; eyes on the pretty girls. Only then could], he settle down to the serious business of | jp carving out his acting career. And until Dani, it looked serious. 4 “Some people find it hard to under-|p stand why I live alone like I do,” he pon-|; ders. “Maybe it was my lonesome war|¢ duty that gave me a taste for reading.|\ thinking, hobbying by myself and not} ( being afraid of being alone. There are) }: still times when I like to get away| . from everyone. But I hope nobody gets me wrong—women, I love ’em! Life isn’t any fun for me without ’em. That’s what} rc t very first date, Dani Crayne has tickled}}t, the hidden, king-size funnybone in George}, Nader—and vice-versa. it Giggles and kicks ae They went to a premiere on one of their}= first dates, but—to show you how fast things got rolling—neither George nor} % Dani can remember what the picture was.)jju For one thing, Dani lost her shoes under} tt the seats, so they bobbed up and down like} gophers most of the performance trying} ™ to find them. Then some pins she’d used}in to re-do her dress for the occasion started} } jabbing her. When George gallantly tried)Bu to take care of that the zipper came looseiity and he had to pull her together againjil, before an interested audience. Afterwards,|a | in the lobby a gushing Hollywood dow-|i The, premiere party. But even as she recited Da the list of distinguished movie stars they'd} ¥j meet there, George muttered to Daniji “Wonder if she’d like to join us at Willts Wright’s for a fudge sundae?” in: “Right then,” sighs Dani, “I knew that itis was going to be crazy all the way. Welln it has.” In practically every news shot off; x, Dani and George together, Dani's mouthjiy has been wide open. “For a long timejix I couldn’t understand this,’ she says Jp, “But it’s dawned. I’ve been laughing.” Gear Take the time when, after munching); tacos at El Tony’s, a tiny Mexican cantina, in the Valley, George steered his red-and-}j white Mercury to the ocean highway oul Malibu way. It was one of their early}. dates and Dani hadn’t learned yet quite)... what to expect. Suddenly George blurted jj; “Did you ever happen to be sitting some. where, look up and see a picture hanging) jy, out of whack on the wall—and just havde , to get up and straighten it?” | ies Dani agreed that there’d been suclik).

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' times. “Well,” announced Nader, “that’s ‘how I feel right now.” Whereupon he t jammed down the brake pedal, opened the ‘ moonlight. “Shall we dance?” invited ‘ George. | “Tt was sort of crazy but yet not crazy at all,” puzzles Dani. “We ran up and ' down by the waves, then we laughed, got ‘ back in the car and drove on. And this ! man says, ‘Gee—I wonder what would ‘ ‘have happened if you’d said No?’ What 1 a character! But that’s George.” i Crazy? Maybe—but there’s another * word for it. Dani Crayne knows the word b and so does George. But a guy like Nader ! takes a long time to break down. ) House-kibitzing =o rhe ‘ Dani gets her mail in a Hollywood ‘ apartment where she bachelor-girls it { with a boxer pup named “Duke” -to * protect her, because her parents live in | Florida these days. As you may know, George moved last fall to a house in the 4 Sherman Oak Hills. By now there’s prac- § tically a rut in the road between those ’ two places. But for a while George 2 wouldn’t show Dani the spectacular dream 2 spot he discovered, although he obviously ! wasn’t kidding when he said he was about i to buy it. This drove Dani wild. After all, by then she felt she had a slight right to kibitz on Nader’s private - projects. If any girl was going steady with “a man, in short, Dani was with George. She even had a certain item of jewelry he’d given her to prove it—although not i (She swears) a ring on a string around i her neck. = y ( Just the same, whenever Dani would 4 beg, “When can I see your new house, George?” he’d say, “You can’t. Nobody |can until ’m all moved in.” Then came ithe day they had a date to go bathing. Before breakfast George called with a jlisad story about having to work—and lit was all off. That wasn’t like George. i It took Dani till almost noon to figure It out. She checked at the studio—Nader had no work call. She buzzed his number jiTang and rang. The light finally dawned jon Dani, and when eventually she got his ( “Hello,” she accused, “George Nader— ayou're moving, that’s what. And,” she stated, “I’m coming right over to help!” », But when she got there the place was empty and the door locked. Dani went bjhome, chewed her nails and burned. )| He took pity on her the next morning. /But when he drove her up the hill at last wit was just as he said it would be. He was pall moved in. “Pictures on the wall, books in the shelves, dishes in the cupboard, | fire in the fireplace, cats snoozing on the }irug. He’d worked all night,’ marvels i Dani. shelf chipped out of three acres of jmountainside. with canyons yawning on jiall sides. Varmints prowl the thickets, Wileer browse in his flower beds and owls yioeep bass notes from the trees. But it’s }seaceful, beautiful and, inside the rock- /2himneyed house, it’s mighty cozy. George oves it—and by now so does Dani. a) Whether Dani and George will ever q\et up housekeeping there, of course, is | tomething else again. But already the 4al’s influence is pervasive. Besides the ‘ ear door and bowed Dani out into the — ‘again and again. It was either busy or it | WHAT MAKES A FAN CLUB RUN? Charlton Heston (left) and the teenager’s newest dreamboat Rick Jason keep their fan clubs active. ® All of us have read about fan clubs, but few of us really know what makes these clubs function. Official fan clubs are international clubs run with the co-operation of the stars they honor. A star usually allows only one such club to be organized in his name. The club president rounds up members from all over the world and the club issues bulletins about the star’s activities. Every three or four months these clubs issue a club journal, a mimeographed booklet containing news and letters from the star, plus other stories written by the members themselves. Informal, exclusive photos of the star sometimes accompany the articles. The average club numbers from 50 to 500, and consists of men and wom- en ranging from their teens to their sixties. A club’s main purpose is to help boost its favorite to success by writing letters to studios, movie magazines, casting directors, radio programs and television shows. Fan club presidents see that these letters are directed to the people who can help the star most (de- pending upon the star’s current working schedule). Most clubs are organized for newcomers and they prove vital to an actor’s career during his early years. Joan Vohs, a lovely leading lady, has had a fan club behind her since her walk-on days. The club has actually brought her better roles. In the case of handsome Rick Jason fans sent stacks of letters to the various magazines asking that he be featured. Through the publicity Rick obtained a co-starring role in a Hollywood film. Of course the fan club alone didn’t get him the role, but it certainly contributed to it! Other clubs are doing the same for newcomers Peter Hanson, Keith Larson, Bill Campbell, John Smith and Lori Nelson. Fan clubs are non-profit organizations. Membership dues (between $1.00 and $2.00 per year) could not possibly cover total operating costs. Few stars help out with the expenses. It is usually up to the president to manage the club financially. Members think of payment as the appreciation of the star they honor. Fan-clubbing means a lot of fun and personal satisfaction. Some top stars, particularly recording artists, have clubs organized by their agents or managers. These usually charge twenty-five cents or half a dollar for a lifetime membership for which you receive a card and occasional bulletins. The membership is quite large and there is litile, if any, personal contact with the star. You seldom receive the personally autographed photos or handwritten notes which are a usual part of the official groups. To find out if your favorite has a fan club you might write directly to him and ask if he has an official club. If he is interested in its activities he will be glad to tell you where to write for further information—Nancy Streebeck. is

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TESS ten cc ny 70 HAPPENED TO DEANNA DURBIN? Deanna Durbin, shown shopping with her husband Charles and son Peter (top) is now liv- ing in a small town in France, where Monday is marketing day. Farmers from the region bring their products to the open-air market, where every- thing is sold in stalls. Deanna, now Mrs. Charles David, comes just like all the villagers to shop. ™ Who doesn’t remember Deanna Durbin, the sweet-faced, golden-voiced child star, whose films pulled a major studio out of a financial jam and brought her a cool $150,000 a picture? Deanna doesn’t. ; Deanna is trying to forget her past, and the movie success which, she says, robbed her of a normal childhood. Married (for the third time) since 1949 to retired movie director, Charles David, and mother of two children, Deanna lives in a converted farmhouse in a tiny French village, thirty miles from a Paris she rarely goes to. The villagers of Neauphle-le-Chateau (population 1250) know who Deanna Durbin is, but they don’t know that the Madame David who does her own marketing with a string shopping bag is the former child star. Deanna still receives offers from all over the world, but she rejects them all. She will see no one except intimate friends and her singing teacher (she still practices about two hours a day). Her life is built around her gray-haired husband, many years her senior, her two.children, Jessica, eight, daughter of her second husband, and Peter, four, son of her present husband, She only has a part-time maid to help her with the housework. Hollywood is filled with thousands of youngsters who fight and struggle for a success few of them will ever achieve, while in far-away France a star, who with one word could again have the world at her feet, lives a simple country life in her search for oblivion. Who says life isn’t stranger than fiction! ‘view window and the curtain project, Dani’s already added touches here and there—a Japanese sake set she bought at Ginza House to add to souvenirs George collected while making pictures all over the world. A lampshade copied from one she found for $1.98. A painting she did and end tables she picked out. Also a raft in the swimming pool to keep her from drowning if she falls in. Because Dani stopped George’s winter swimming les- sons after she asked him how much it cost to heat the pool. “About thirty-two dollars,” he said. “We'll just wait until summer,” said Dani. She also vetoed the corsages George kept popping up with on dates. “They’re sweet, but a waste of money,” she said. “I know you like me.” She also suggested a pact: Neither talks shop. “When we leave the lot we draw a curtain,’ says Dani. “George isn’t going to have a Trilby on his hands if I have anything to say about it.” There isn’t much danger of that, even if they are both on the same studio pay- roll. Usually, Dani and George work on different ends of the U-I lot. He never visits her acting classes, and she tries to keep off his sets. They seldom lunch together. The closest they’ve come to career contact was on the last picture George made, The Gentle Web. Dani had a small part in it, too—but George wasn’t in her scene. At the start of that she did let the bars down enough to plan flowers for George’s opening day. “Only I forgot when it started,” confesses Dani, “until I happened to see ‘George Nader’ on the work sheet. By then it was too late.” She told George how sorry she was. “fm deeply hurt,” he told her, “but time will heal the wound.” When Dani got back to her apartment she bumped into a dozen red roses with the card, “Happy picture—George.” Off studio, however, Dani and George don’t deny they’re almost always a deuzx. Outside of occasional get togethers with couples like Rock and Phyllis Hudson they don’t like even small crowds, se they usually hold hands at hidden cafes, or in neighborhood movies, with impulsive all-day trips to the mountains, desert or hear as the moment and the mood strike them. “We never plan things,’ says Dani. “They just happen. That’s why George is - | him so exciting. You start fresh with every day—like ripping a page off a calendar.” However, passing the time is no problem whatever to George Nader and Dani Crayne—not the way things are now. Will they stay that way or get better—and if they do, then what? Love and marriage On the general subject of love and marriage George’s feelings - haven’t changed, or so he'll tell you. “I like the song,” he grins, “but I don’t agree with it. Love and marriage don’t necessarily have to go together. I’m looking forward to getting married and having a family some day. That’s what we’re here for, isn’t it? I also like things to come in proper order. If you want a career certain things have to come first. I’m fairly new at this acting business and soon I want security. That means a period of digging in and waiting. Pll tell you this,” he states, “I'll never do anything impulsively.” Dani echoes this, but her words are the words of a woman in love. “I keep reading where we're secretly engaged. I just wish I could believe it. But we’re not. We may never be. My career? I’d quit tomorrow to marry the right man. Is it George? I don’t know. He doesn’t know. Maybe some day we'll find out. Right now,” she says happily, “every day is a beautiful day. That's enough for me.” END |

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anything you can do (Continued from page 45) picture at all.” “That could be true, too.” Spence waited with that wonderful tim- ing of his. Then he spoke. “You needed me in Prince Valiant,’ he said. Actually that was almost too true to be funny and nobody knows this better than R.J. After Prince Valiant his career was in real doldrums. Up until then, he’d been 20th Century-Fox’s dream boy, from the day in 1951, when wearing his own Marine Corps uniform, he’d done his first bit. under contract to them in The Halls Of Montezuma. With his second picture, The Frogmen, the fan mail began pouring in on him. Song In My Heart proved he could really act—and the rest, including the “ro mance” publicity, was almost too easy until Prince Valiant came along and flopped cold. A box-office failure was bad enough, but then Bob did what is unpardonable from any studio’s point of view. He turned down a picture. All actors do this at times, and at such times all studios moan and groan about “ingratitude” and “the chances they have given” the player and such. It SUPER CHARTS SEE ONS y means the actor goes off yet end Bob — did this, and took the studio’s displeasure, rather than be in the picture, which had originally been written for Gregory Peck. When Peck turned it down it was sub- mitted to Guy Madison. When Guy turned it down it was submitted to Robert Stack. Stack turned it down. Then Bob Wagner. R.J., a fellow who likes people, and likes them to like him, was very low in his mind at that time. As he said in Chamonix, “There has never been any time in my life that I didn’t want to be an actor. So to have a flop and then be on the outs with the studio was a sad deal to me. I knew I had to get out of playing Happy Jack Squirrel, that damn dull boy next door. But to be off salary and no script in sight seemed doing it the hard way.” Sheer chance presented him with the small social event that changed every- thing. He went to the Foreign Correspond- ents’ Dinner and for the first time met Spencer Tracy. Bob now says, “It taught me there’s something that guides you along. Or maybe it’s somebody. At any rate, that night proved the turning point not only of my career but maybe of my whole life.” oa fare teri No Seite stays at the jop of his prof sion for some thirty years without bein shrewd as well as talented. Tracy’s no ex- — ception, so nobody’s going to trap him into saying who he thinks are the best actors or the worst. But it isn’t telling any tales — out of school to reveal that he thinks Ed- — mund Purdom has handled himself with incredible stupidity; that of his own acting group, he nominates Jimmy Cagney as the most; that he thinks nobody can convey two moods simultaneously as clearly as can Laurence Olivier and that when ii comes to the new girls on screen, he espe- cially salutes the work of such very differ- ent performers as Jean Simmons, Jean Peters and—hold everything—Marilyn Monroe. As for the Johnny-Come-Latelies who flash out big in one film and disappear the next, he has more pity than scorn. A few weeks after the Foreign Press As- sociation dinner (at which incidentally Spence received their top honors) he went over to 20th Century-Fox to see a test on one of these Johnny-Come-Latelies who might play opposite him in Broken Lance. In a reel, he disposed of the first candidate. The studio quickly brought in some footage on another. Spence rejected We have been receiving so many requests each month for MODERN SCREEN’s famous SUPER-STAR INFORMATICN CHART that we have prepared a brand-new, completely up-to-date 1956 edition, to be sent as a gift to the first 1000 readers who fill out Please check the space to the left of the one phrase which best answers each question: 1. | READ: [j all of the Johnny Carson and mail to us the questionnaire below. This amazing encyclopedia of information is a complete booklet in chart form giving you the ages, love lives, hobbies, vital sta- tistics—all the information you want—of over 500 stars. So hurry! The first 1000 win! story [) part [J none 1T HELD MY INTEREST: [] completely (] fairly well [) very little ( not at all 2.-1 LIKE ELIZABETH TAYLOR: {J more than almost any star [a lot (1 fairly well (] very little (1 not at all [1 don’t know her well enough to say ! READ: (Jallofherstory [)part [Jnone IT HELD MY INTEREST: (] completely © fairly well (] very little [) not at all 3. | LIKE GRACE KELLY: {J more than almost any star [] a lot © fairly well [] very little [J not at all I don’t know her well enough to say } READ: (Jallofherstory [j)part [jnone 1T HELD MY INTEREST: [] completely fairly well (] very little [] not at all 4. | LIKE NATALIE WOOD: {J more than almost any star [J a lot (1 fairly well [J very little [ not at all (| don’t know her well enough to say 17. Which male and female stars do you want to read about? Please in- dicate your preference at the right by writing your first choice next to (1), your second choice next to (2) and your third choice next to (3). 1 READ: (jallofherstory [{gart LJnone IT HELD MY INTEREST: [1] completely ( fairly well [] very little () not at all 5. | LIKE ROBERT WAGNER: 0 more than almost any star [a lot ( fairly well [) very little (J not at all (© don’t know him well enough to say i READ: {all of his story ( part [J none IT HELD MY INTEREST: [) completely fairly well [j very little [) not at all 6. | LIKE SHIRLEY JONES: {0 more than almost any star [a lot 5 fairly well [J very little [] not at all (| don’t know her well enough to say 1 READ: [jallofherstory [Jpart [Jnone IT HELD MY INTEREST: [] completely {J fairly well [7 very little { not at all 7. | LIKE GEORGE NADER: (3 more than almost any star [j a lot © fairly well [Fj very little [] not at all (5 don’t know him well enough to say 1 READ: (all of his story () part (1 none IT HELD MY INTEREST: [J completely O fairly well (] very little (J not at all 8. | LIKE GORDON MacRAE: (J more than almost any star (1 a lot DD fairly well [) very little [] not at all [J don’t know him well enough to say 1 READ: [all of his story () part [J none IT HELD MY INTEREST: [) completely 1 fairly well (j very little (] not at all. 9. | LIKE RUSS TAMBLYN: J more than almost any star [a lot D fairly well [ very little [J not at all (don’t know him well enough to say I] READ: (] all of his story (J part 1) none IT HELD MY INTEREST: ( completely CO fairly well (J very little (1 not at all 10. | LIKE DANA WYNTER: (J more than almost any star (a lot (J fairly well [) very little [| not at all 1 don’t know her well enough to say } READ: (Jallofherstory [)part [jnone q@) MALE (¢ 9) FEMALE (2) MALE (2) FEMALE @) MALE @) FEMALE 18. To which movie magazines do you subscribe? IT HELD MY INTEREST: (] completely (] fairly well [) very little ( not at all 11. | LIKE MAUREEN O’HARA: OO more than almost any star [) a lot O fairly well very little [J not at all D don’t know her well enough to say | READ: (jallofherstory [jpart [jnone IT HELD MY INTEREST: [] completely — CD fairly well ( very little —] not at all 12. 1 LIKE TERRY MOORE: oO more than almost any star [) a lot DO fairly well [ very little [ not at all Gi don’t know her well enough to say 1 READ: (Jallofherstory [jpart [jnone IT HELD MY INTEREST: [] completely O fairly well [) very little ( ot at all 13. | LIKE DEBDiE REYNOLDS: (© more than almost any star [ a lot © fairly well [] very little ] not at all 1 don’t know her well enough to say 1 READ: (jallofherstory [Jpart [jnone IT HELD MY INTEREST: [) completely 7 fairly well (7) very little (J not at all 14. 1 RERD: G all of Music From Hollywood ( part GJ none IT HELD MY INTEREST: (] completely © fairly well [J very little (j not at all 15. 1 READ: ( all of TV Talk [] part (J none IT HELD MY INTEREST: [) completely DD fairly well [J very little [j not at all 16. | READ: BD all of Louella Parsons In Hollywood { part [J none IT HELD MY INTEREST: [j completely fairly well (| very little ( not at all

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PS RTI ES BO - —— him, and another, and a fifth and sixth. Then he remembered the boy at the banquet. ; “What about that kid Bob Wagner you have under contract over here? Why can’t I see some footage on him?” he asked. People rushed out to locate a film. By the end of the first Wagner reel, Spence was telephoning Dymytryk to come over and take a look, too. By the end of half a dozen reels, the star and the di- rector knew they had their boy for Broken Lance. By late afternoon the word had reached Bob—who could hardly believe it. Bob's boo-boo He went into what is known as ecstasy. “T was so grateful I nearly collapsed and then, the very first day in the very first scene, I nearly boobed it all.” The scene was one between him and Spence and it had horses in the back- ground. Just as Bob spoke one of his lines, a horse moved and Tracy flubbed his reply. The cameras stopped. Tracy said to Wag- ner, “I’m sorry but I couldn’t hear you. Why couldn’t I hear you?” “I was underplaying you,” said Bob, quite proudly. Tracy, as you undoubtedly know, has a reputation for underplaying. In Chamonix, Bob said, “I’ve heard it told since that Tracy bawled me out, right then and there, before the com- pany, but that’s not true. He’s too much of a gent to do a thing like that. “No, what Spence did was simply to tell me to speak louder. I did. We did the scene a couple of more times and wrapped it up and it wasn’t until we were through the day’s shooting that he called me into his dressing room. But there he really let me have it. ‘Why, you poor damned fool,’ he said, ‘talking about underplaying. What the hell do you mean, underplaying? An actor doesn’t underplay or overplay. Not a real actor. That’s for tricksters. What a real actor does is figure out what the line he has to speak means, in terms of char- acter. When you are thinking of the mean- ing of the lines, your voice will rise or fall as the meaning demands. That’s what be- ing natural in acting terms means. It’s really being honest.’ ” With the conclusion of Broken Lance, which, incidentally, was a smash hit, RJ. knew definitely that “somebody or some- thing” had helped his career. The some- body was distinctly Spencer Tracy. Be- cause of his endorsement R.J. got another real acting opportunity in Kiss Before Dy- ing. “Playing my first heavy,” he says. At that moment a small event happened to take the edge off Bob’s joy. A Holly- wood column came out and said “Bob Wagner is on Shirley Jones’ Carousel.” “That burned me,” said Bob. “I sup- pose Shirley Jones is a great girl, but I don’t know because I’ve never met her. But by using the name of Shirley’s picture in that item I knew it was a publicity press agent’s work—and I think I’ve had enough of such publicity. Don’t misunderstand me. I regard publicity as part of my job. Any curiosity the public has about me I regard as flattering and I’m glad to answer letters or do any of those things just as far as I possibly can. But stunts like this with Shirley, all that foolish coupling I’d had of my name with Terry Moore’s began to wear on me. I'd lost a really wonderful friendship with a woman I admire very much—Barbara Stanwyck—because peo- ple got the notion that it was ‘romantic.’ And I may be wrong but I feel that when you endorse false romances and false pub- licity by keeping silent about them you get false yourself. I haven’t fallen in love yet. I'm not yet ready to marry. When I do, I'll be only too happy to tell the world, but I sent out the word to the studio—no more of that fake love stuff. Then Tracy handed 78 .me the big package—the offer to co-star not all altruism. Co-stardom was the only term on which 20th would agree to let Bob go to work for Paramount. Twen- tieth got $100,000 for the loan-out, of which Bob gets much less than half—but it showed how his value had risen. The wrath of Spence Bob’s role in The Mountain, is one of pure villainy, far and away the heaviest heavy he’s ever played. He was excited by that and equally excited by the prospect of the location in Chamonix in the French Alps, a mere couple of hundred miles from Paris, only an hour’s drive from Switzer- land, less than a six-hour flight to Rome. Little did he know. His first taste of Tracy’s genuine wrath came in Paris, where R.J. was supposed to have a week’s vacation before reporting to Chamonix. R.J. had been there, sightseeing on his first trip to this fabulous capital when Spence arrived. It was a Saturday night. Spence told R.J. he’d see him at six the next morning for mass at Notre Dame Cathe- dral. Like a stern professor, or a strict fa- ther, he told R.J. to take advantage of the 2000-year-old city’s cultural advantages. Bob kept the date, but when he ap- peared, it was obvious that the night be- fore he’d taken advantage of some of Paris’ other cultural events, like the Follies Ber- gere and several bistros. Spence really blew his stack. He thun- dered at Bob that as a young actor, he was Brynie Foy wants me to inform agent Henry Willson who named a group of actors (Rock, Tab and Race to mention a few), that he has a few names which came to him while he had a fever, and he's willing to donate these names to agent Willson if he has a few clients around waiting for screen monickers. Brynie’s names are: Clay Pidgeon, Cliff Hanger, Lap Landers, Rip Tide, Rick O'Shea, Trip Hammer and Strep Throat. Sidney Skolsky in The New York Post more of a fool. He snorted that he could never become an important performer if he passed up a chance to observe real peo- ple in a serious moment rather than mix- ing with the artificial people who inhabit night clubs. “But, look, Spence,” Bob stammered, “I was at Fouquets. You know, Fouquets. I’ve heard of that all my life. And I was with Marlene Dietrich. I’ve never seen anybody so chic and beautiful. Maybe it was the lighting. Maybe it was my Happy Jack Squirrel tourist mood. Maybe it’s just be- cause it’s Paris—” Tracy stopped the eulogy by retorting that they were getting out of Paris that day, within the hour. They would fly to Chamonix where Bob would keep his mind on his work. Whether or not R.J. was ready to go to Chamonix had nothing to do with it. By noon, in Chamonix, a very subdued R.J. was saying, “I’m sorry, sir.” It was the “sir” that did it. “Okay, kid,” said Tracy. “I could be wrong, and you could be right. Dietrich or a cathedral— both are beautiful.” Up—up—and down! By the end of the week they were shoot- ing. Bulky in skiing clothes and shoes, R.J. and Spence would roll out of the Ho- tel des Alpes at 3:30 a.m. In the bitter cold and pitch darkness, they had to crawl and slip and slide and pant their way up the glacier which covers the slopes of Mont Blanc to the spot which was their outdoor =i) Bee ey eT ee ne See eee back to the hotel by six-thirty. ‘giving up everything for it.” would just be showing over the Alps. The descent was equally tedious and even more dangerous for they had per- sonal fatigue as well as gravity to combat, coming down the icy, treacherous slides. | They were lucky if they could make it | But R.J. learned stamina from Spence, plowing along up the mountain, or back down in the darkness. Spence never com- plained, so Bob couldn’t. Somehow, in- stead, they generated laughter. Their companionship was just great un- | til the night owl in R.J. asserted itself | again. The nightlife of Chamonix isn’t | much, but that much Bob found, along with scads of pretty young French girls eager and willing to bat their big brown eye at handsome Mr. Wagner. Bob would eat dinner at the Hotel des Alpes, then go: over to the little night club, staying at first till 9 p.m., then till 10, then © 11 and finally one night till 3. The Hotel des Alpes is too tiny to boast such a thing as telephones in the rooms. Tracy would check the desk in the lobby to see if Bob had come in. The night he stayed out till 3, Bob slipped into the hotel like a scared kid, slid up to his room, rushed into his skiing clothes and was on the door step again at 3:30 to meet Spence | for the location climb. Spence gave him a | level look. “Terrible how it reddens your | eyes to study script all night long,” he said. | “But it’s great to be that conscientious, | thinking about your work all the time, He gave it to Bob that way all day long. .Mr. Wagner didn’t stay out all night any | other night thereafter. : | It was eight weeks before they could leave The Mountain, Mont Blanc itself, and Chamonix. They were homesick by | then for sunshine, warmth and California | and they flew straight through, over Paris, over London, straight out to Hollywood. There they discovered how much they had changed. Bob Wagner wasn’t wearing the loud clothes and colors he had affected when | he’d left. Too many times, he’d heard a mocking voice beside him saying, “I’m blind, lost in a forest of woolen checks. ’m deafened by noisy tailored slacks.” Spence had come back to Hollywood with a pleased glint in his eye. Nobody has ever heard him say how much it might have meant to him, if his son John had been able to follow him in his profession. He is very proud of the way, John has mastered the terrible handicap of having been born deaf and graduated from col- lege with the highest honors. But to have | had a young man around with whom he § could discuss the theory of acting, while | he bossed him about what he wore, and | how he ate, and when he retired—that was a kick, too. A kick like Bob’s saying to people in Hollywood on their return, “You know Spencer Tracy, the one-man drama | school?” 4 Weeks later, on thé day Paramount was to preview The Mountain, Bob called Spence and asked if he could have the [ft privilege of driving him to see it. “Sure,” | said The Pro. ot When he came out, to keep the date, | there was Bob in a brand-new Cadillac F before the house. “What on earth’s this?” snorted Spence. | “I'm broke for two years,” said Bob, © “but I couldn’t drive the likes of you in anything less, now could 1?” ! Tracy gave his big laugh. “Here I | thought I turned you into an actor,” he | said, “but you are as big a ham as I am.” “What’s wrong with that?” said RJ. And quite right, too. END | E Siig ect as ON ig

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grace kelly (Continued from page 40) in her delight. “Isn’t it a beauty?” she said. “The strange thing is that the imitation en- gagement ring I wear in High Society is exactly the same size. After the Prince had his mother buy this ring in France for me and slipped it on my finger, I was de- lighted because they said I can wear the real thing in the picture.” The first ring the Prince gave Grace, an heirloom of diamonds and rubies, she wears on her right hand when she isn’t working. “Is it true that you fell in love with the Prince when you visited Monaco while you were filming To Catch A Thief?” I asked her. 3 Grace shook her head. “No,” she said, I didn’t know I was in love with him until he came to this country and we spent the Christmas and New “Year’s holidays together and had time to get to really know each other.” Father Tucker, the Prince’s spiritual advisor, who is closer to His Serene High- ness than anyone outside of his own family, told some friends that Grace would make no more pictures because she couldn’t be both a Princess and an actress—and later, the Prince was quoted as saying the same thing. “Are you really coming back to Holly- wood on June first to make Designing Woman?” I asked her. An evasive little smile crossed her face. But Grace is not an evasive person. She said, “I’m sure Designing Woman won't be ready to go June first. For one thing, Jimmy Stewart is nowhere near finished with The Spirit Of St. Louis. “To tell you the truth,” she said seri- ously, “I’m not sure what Ill do—but I feel I have plenty of time to decide. I was to have taken a year’s leave of absence from MGM to do a stage play after I finished Designing Woman. Now of course I won’t want to go on the stage.” In other words, Grace is living from day to day. I sincerely believe her when she says she doesn’t know her own plans be- yond. her marriage to the handsome Prince. She is so very much in love with him— and believe me, you can take my word for this—that I am sure she will do noth- ing to displease him. But this love affair works both ways. Even if the Prince now believes his mind is made up against her continuing her career, what’s to say that he cannot be made to ehange it later on? Right now, in both their lives—and in the rosy glow in which they are existing—it is not too pressing a problem. Wishful hoping I wish I could say that MGM shares their happy nonchalance. It doesn’t. But there is plenty of wishful (I almost said wist- ful) hoping going on. Later on the day I talked with Grace, both Sol Seigel her producer and Chuck Walters her director told me they could not believe that Grace, who loves her - profession, would never make another picture. Me? I wouldn't bet on it. My strong feeling is that, first—Grace will place the happiness of her husband above all else. If they are blessed with a family, this will take precedence above everything else in the world. But she is young—and a few happy years away from her career will not dim its glow. These developments, of course, are in the lap of the gods. Meanwhile, there is the glowing, exciting and romantic future at hand—and what topic can be more ex- citing than an approaching wedding? I said, “Grace, who among your Holly- 80 wood friends will be invited to your wed- EAE GEE et ORT Ce ie ORT oe SS A Oe ding?” I had heard that already both Bing and Frank, her co-stars, and Betsy and Cary Grant, her close friends, had been invited to Monaco in April. She said quickly, “I cannot invite any- one until I know what delegates, and how many of them, will be there from foreign countries. Each country with which Monaco maintains diplomatic relations will send a representative. Our wedding will be a State affair—but we are already re- membering how small the Cathedral is, the place where the religious ceremony will be performed, with the Bishop of Monaco officiating. Official problems “There will be just a handful of people at the civil ceremony, so you can under- stand the official problems.” What problems there are weren’t worry- ing Grace. “In Monaco,’ she went on enthusiastically, “it is the custom of the townspeople to come to the Palace and drink champagne when there is a wed- ding or any big official celebration. The Palace grounds were opened last to the public at the Prince’s coronation. “At the civil ceremony on April 18th, the Palace gates will again be thrown open and after a luncheon which will be given for our guests, we will serve champagne new mother jane powell will be modern screen's charming cover star on the june issue at your newsstands may 8 ¢ to all the Prince’s subjects. And on the day of the religious service, April 19th, they will issue stamps with my pictures on them.” Grace could no longer contain the feeling of happiness welling inside her. She pressed my arm, “Don’t you think it’s all thrilling?” Chuck Walters called her back before the cameras for a moment. The scene they rehearsed is the one where the heroine views all the wedding presents she re- ceives as the very rich girl she plays in High Society. There were long tables of candelabra, silver platters, urns, crystal and china ware. “You're getting a preview of your own gifts,” I called to Grace. “There are some here I wouldn’t select,” she laughed. At this moment producer Sol Seigel walked up and told me of a little secret and a wonderful surprise he has for Grace. I knew even before she did that Grace will be given all the gorgeous clothes she wears in High Society for her personal wardrobe. When she returned to my side I asked her about her troussseau. “The only dresses I have had time to select are my two wedding gowns,” she said. “Helen Rose (MGM’s top designer) brought some : > Rainier has chosen to be his bride? . ding gown at the religious ceremony: I'll wear a short | beige lace dress with a tea rose founda- | tion for the civil ceremony.” In fact, | Helen Rose was trying to match the beige lace with accessories the day I visited Grace. 2 “And, don’t forget,’ Grace went on happily, “Til have three weeks in New } York and Philadelphia, before sailing for Monaco on the S.S. Constitution April fourth. I can shop then for my trousseau. } Till need a lot of clothes to take me} through the four days of celebration be- F fore the wedding, the official luncheons, dinners, teas and so on.” I asked Grace if she would stay at the Palace before the wedding. “Of course,” she * answered. “My whole family will stay F there. As you have already printed—my younger sister, Lizanne, has her baby in May, and my sister-in-law, Mrs. John Kelly, will have her baby in June—sof they are out of the wedding party. I’d},' planned to have only my own family in attendance at first, but the stork has}* changed things,” she laughed. (Editor’s> Note: As we go to press, Grace has so far}” chosen several bridesmaids: actress Rital. Gam and Mrs. Jay Kantor whose husband) is Grace’s agent and Mrs. Arvid A. Pamp of Philadelphia.) LC I asked her, “How does the Prince like} Hollywood?” i; “He didn’t think he was going to like} it at all at first,” she smiled. “It rained} for two solid days after his arrival and‘ he couldn’t get out to play tennis, swim]. or anything he’d planned. But after the[' sun came out, he liked it very much. We’vel” had such nice times together, very quietly [* I took him to the Beachcombers where} they have that wonderful Tahitian foodl!’ the other night, and he loved it. He said)‘ ‘We have nothing like this in Europe’” |" Grace is taking her chores as a future} reigning Princess very seriously. She ich studying French, trying to perfect her- self in the language spoken in Monaco and Th which is the diplomatic tongue of the} world. “Saturday is the only day I havep to study,” she told me seriously, “but ’mp” really applying myself and hoping tch” carry on at least a half way creditabley™ conversation by the time [ arrive inj,” Monaco.” Su So far, Grace and her charming Prince}! converse entirely in English. He speak)“ our tongue flawlessly, having been edu-f,™ cated in England. q | a) Charming Prince Charming On several occasions while Princc{* Rainier has been cooling his heels inf Hollywood waiting for the woman he love; to complete her film, I have seen him ir public. He is always accompanied by hi’ bodyguard, and after the arrival of Fathe:} Tucker in Hollywood, by his close friench and priest. There had been a report that day: he slipped by, with Grace working at th Dro studio, when he didn’t see her at all. fu “Don’t you believe that,” Grace laughed its “In fact, ’'m expecting him to slip in th#9 back way and say ‘hello’ any minute, #!H I’m too much of a sentimentalist not t& r take this as a good exit cue. And I an} ” glad to say that I am not one of thy u 4 cynics who spout that this marriage be fl) tween a lovely American girl and a Princ of royal blood cannot be a success. I believe that Grace Kelly of Holly wood will be every inch a lovely Princes of Monaco. + Le I thought, as I looked at her as I saidiy i goodbye—where in the world could #%» Prince have gone to find a more beautifupiy wife and one who will fulfill her roy=fih duties as perfectly, as the lovely woma 7p | y, Mey § § Dad EN ;

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Continued from page 59) his kindness takes the form of frankness. He will say to a newcomer, “I may be wrong but I don’t think the movie business is for you.’ ‘Once Billy’s intuition tells him, however, that a person possesses that indefinable quality that makes for movie success, then he goes all-out in using his influence. The screen test The first and most important hurdle for any would-be star is the screen test. This relatively small footage of film—usually one scene from a movie that’s already been made—is enough to show producers and directors how a player photographs, how her voice records and whether or not she san act. It’s the casting director’s job to gick out the scene the player will do and to assign director, cameraman and other actors to the test. _ After talking to Dana and studying her Jor a week, Billy Gordon chose three scenes from The Snows Of Kilimanjaro, seenes of varying emotional intensity that would test the girl’s dramatic range as well as her photogenic qualities. He then as- signed Gird Oswald, an- assistant director ‘with European training, to coach Dana for ‘ner test. He asked Jeffrey Hunter if he ould be willing to play the Gregory Peck “ole opposite Dana, and Jeff said he’d be delighted. Leon Shamroy, four-time Acad- “my Award winner, was assigned to photo- aph in color. _ The test cost $22,500 and involved the ‘lirect services of twenty-eight people. It “ook two days, one day for rehearsal and “me day for actual shooting. If Dana felt aervous, she certainly kept her emotions n control. Throughout the entire test she ies calm, collected and very professional. ‘She knew what she was doing every mo- _nent,” says Shamroy. “Conducted herself vie a real trouper. You could tell she was ‘&perienced. a h The test finished, it was shown: to the ious studio heads including Darryl Za- i ck. To a man they were immediately mpressed. “Sign this girl,” Zanuck or- t fered. Al Rockett was phoned and told, hou’ ve got a deal on Dana Wynter. Come e over.’ 1 ‘Soon word spread through the top Hol- | ywood echelon that in Dana Wynter the | tudio had a find. Her name got around 3 more dinner parties than Dana did. If [ais girl hadn’t yet arrived, she was only few weeks away. ‘On the strength of this high-level gossip, Valter Wanger heard about Dana and *'sked to see her test. It impressed him, ‘90. He had a picture ready to go called ‘he Body Snatchers, and he asked if he Mould borrow Dana for the lead. This | nall- -budget film gave Dana valuable ex- ‘|erience. The studio also made money on ‘le loan-out, getting back exactly what ‘had spent on her screen test. ‘Once Body Snatchers was finished, Dana sturned to 20th, where she was assigned i dressing room in cottage #5 and a park- ag spot of her own. Then the big build- ip got underway. A> a a - a "ae big build-up “I began to see what they meant by the if | aes treatment,” Dana recalls, “I jjas interviewed, photographed, fitted for ‘yothes, made-up and re-styled. I’d never #en so busy in my life, and I wasn’t even paking a picture.” ceustomed to British studios where ey do very little promotion, where there | secant emphasis on publicity, the me- zjilanics of the build-up so amazed and infused Dana that her agent had to ex- ain to her the facts of Hollywood life. as ~ Exquisite Form gives you xX APPEAL ( xX=GLAMOUR PLUS COMFORT ) The most fitting Bra for a fabulous blouse Z FLOATING AcTION with action-free tangent straps! For pure bliss under any blouse, you need the gentle beauty-lift of a Floating Action bra. The fabulous tangent straps hold up the whole bra (not just the cups!) because they’re cleverly anchored at the sides. That’s why you never have a whit of strain on bosom or shoulder. That’s why your rounded, uplifted curves siay up. even when you whirl, twirl, bend or stretch. So for new X* appeal in your new Spring finery ... try Floating Action, soon! Bandeau and longline stylesin luxurious fabrics for day and evening. Shown: white cotton broadcloth bandeau; A, B, C cups, $2.50 — D cup, $3.50. brassieres give you X* appeal At your favorite store, or write Dept-MS-5 Exquisite Form Brassiere, Inc., 159 Madison Avenue, New York City for store nearest you.

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New Idea! Bright Secret “Heartwarmer” Sets* ‘Tussy reveals one Bright Secret Something new is in the air! Some- ! thing too thrilling to miss—the fra- grance news of the year! It’s Bright Secret by Tussy — tantalizing as a twinkle in your eye! By day, it’s as 82 delicate as dew on flower petals. But at night, the dew-drops turn to diamonds —wait and see! How does this fra- grance miracle happen? That’s your Bright Secret, from now on! +“Heartwarmers’’—wonderful way to lasting fragrance! Take one of the tiny absorbent hearts that come with every “Heartwarmer” Set. Scent it with Bright Secret, then tuck it next to your heart. An air of fragrant mystery—your own Bright Secret—will cling to you all day long! Two other Bright Secrets you should know: A. DUSTING POWDER,-complete with big velvety puff. $1.50. B. SPRAY-MIST, new push-button cologne concentrate. $2. Bright Secret by Tussy prices plus tax He pointed out that the minute Da’2 signed her contract she had become, le- gally speaking, studio property to exploit and promote as 20th thought best. This promotional procedure consists of departmental experts each contributing their individual skills and talents to the job at hand—in this case re-making Dana Wynter. First came Sonya Wolfson of the public- ity department. Sonya Wolfson was so inspired by Dana’s biographical material that she raced back to her office, typed up three feature stories, strode down the hall, gave ten different items to “planter” Julian Myers, who planted them with the various Hollywood columnists. Today, whenever the studio publicity department is looking for good copy, a call goes to Dana. “Tm not really that exciting,” the young actress protests. “It’s just that I do try to think of funny quotes—like my once think- ing that ‘commute’ was a dirty word. I avoided it for ages before a friend set me straight. Sometimes I fall back on things ‘my parents say in letters. A while back I sent my family a picture of my new blue Chrysler convertible. Mother wrote and asked if it could make ice cubes, too.” Hold that pose! To go with Dana Wynter’s biography, the studio needed still photographs. The man for this job was crack portrait photograph- er Frank Powolny. Frank has been around Fox for years. He knows that once a newcomer gets cast in a production she has very little time for stills. “Get ’em be- fore they start to work is my motto.” With Dana this was easy, but the actual portrait biography was difficult because Powolny had first to relax. Dana before shooting her. Frank served her tea. Simultaneous- ly he studied her from all angles, decid- ing to concentrate on her touch of regality or what he calls “her Gene Tierney qual- ity.” This calls for a concentration of head shots, accent on the face, not too much ac- cent on the figure. Frank shot a full cata- log of stills ranging all the way from “wholesome outdoor stuff to glamour} ° shots.” In the course of these sittings Dana con- fided that previously her best photographs had always consisted of serious portraits plus hat fashion art, which confirmed Po- wolny’s original estimate that her face was a her outstanding photogenic virtue. Following her portrait sitting, Dana was : about to fly home to visit her parents in South Africa when she got a call to come to Philip Dunne’s office. Dunne, a rare} «. combination of writer-director-producer had been studying Dana’s screen test. “T think,” he said to her, “you’re the most convincing young actress I’ve seen in ages. I’d like very much to use you as the love interest in The View From Pompey’s Head. My only reservation is that the girl has to speak with a southern accent, southern United States, that is, not south- ern Africa. Billy Gordon tells me he thinks you can handle it. Do you?” Dana loves a challenge. That's how she learned to fly, to play polo, to get her first job. “I’m sure I can do it,” she snapped quickly. “I know I can do it”? For the next three weeks, the most crucial in her life, Dana studied and studied. Day after day she rehearsed her lines with a tape recorder. At the end of three weeks Dunne asked for test scenes, scenes to be pho- tographed from Pompey’s Head. He wanted jx definite assurance that Dana was right for the part. He wanted to see her in the}}j, actual environment. Shamroy again waS}jl: brought in for the photography. Dunne was shown these additional scenes, wea: Ure

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’ Definitely cast for the picture, Dana, in addition to her speech lessons, had now to find time for clothes fittings, make-up and hair styling as well. Dress me up! Of all these necessary preparations she liked wardrobe the most. She drooled over the lovely sketches Charles LeMaire drew for her clothes, and LeMaire in turn, drooled over her 35-21-35, height 5-6. While her clothes were being made Dana got in the habit of dropping by the big workroom where LeMaire could be found. She also began talking to the many seam- stresses who were working there. One of the fitters, Zoya, gave her a few tips. “T follow her advice to the letter,’ Dana says, “because Zoya has watched stars come and go, and she-really knows about girdles and bras and such things.” When it came to the make-up depart- ment, Dana needed relatively little help. Ben Nye, studio make-up chief, found few _ problems as he studied her features. Dana | boasts a classic face with large, lustrous / eyes. Ben used a minimum of make-up ' on her. His reeommendations: “Don’t ex- pose your skin to the sun too much. You tan too darkly and it won’t photograph well .. . Lose some weight, six or eight ‘pounds. Itll give a sharper outline to 1 your face. More planes and hollows.” Then he proceeded to smooth some mus- ! taeche wax on Dana’s unruly eyebrows. § “That’s it,” he announced. 4 In hair-styling, Dana prefers long hair wound in a classic bun at her neck. The ! studio felt strongly, however, that long ) hair made her look older than her twenty- | four years, so it was cut. But off-screen i she pins a switch on. The interesting patch of gray hair near her hairpart has been left strictly alone. The magic carpet The actual filming of Pompey’s Head was pure delight. Phil Dunne is a director who works quickly. Dana says, “He was a joy and a love. Dick Egan, too.” When the film was cut and scored, Dana sneaked into a projection room one after- ‘noon and fearfully watched it. Her heart beat madly for the next ninety minutes. She liked what she saw, and more impor- ; | tant, so did Darryl Zanuck. In fact Zanuck f | was so pleased that he ordered the picture premiered in New York as well as in Hol- _lywood. Dana was told that as one of the key celebrities, she would be flown east. “When I got to New York,” she says, “and I saw my name on the marquee for the first time, I had the funniest sensation. It was so unreal that I felt I was under an anesthetic. After the opening I went on a round of parties, interviews, and pub- | lie appearances. One thing merged into another. It was like flying on a magic it! carpet. I didn’t come to earth until I re- i}! turned to California. “When I did there was a letter waiting ~ from Hamilton Basso, the author of the book. He said I was the Dinah in his » story, and it made me feel great. i} “Being in a successful movie is wonder- } ful. Being called a star is even more so. hy The only thing is that it’s a responsibility. i I mean it’s not just me who’s involved. |’ There are so many sweet people who’ve ) helped that I worry for fear I'll let them down in the next picture.” At Fox where there has been much talk Hof casting Dana in Jane Eyre, Katherine, iand The Circle, after she completes The ip Stxth Of June, none of these “sweet” peo- a? is worried one little bit. They’re iw sure that Dana Wynter is endowed with wa the magic of stardom. How long she will ij remain up there in the constellation is of | course a question that only the public can feanswer. And in time it will. END Ingrid’s new films don’t mean a marital break-wp but rather BERGMAN’S comeback ™ Bergman’s back, and Renoir’s got her! Ingrid Bergman has emerged from the somber darkness of Italian realistic pictures, into which husband Roberto Rossellini thrust her, to play her first frivolous role, and with a director other than Rossellini. As Princess Ellena Sovroska in Jean Renoir’s Paris-produced, Ellena, the Swedish star flirts, and dances, and juggles men’s hearts with careless ease. Ellena is the fulfillment of a mutual promise made by Bergman and Renoir at their first meeting in Hollywood fifteen years ago, to one day make a picture was always some hitch, usually an objection from Ingrid’s studio. Rossellini made her happy as a wife and mother, but he almost ruined her career. Ingrid Bergman hasn’t made a worthwhile picture since she left Holly- wood. Renoir, who had kept up his friendship with the actress through corres- pondence and visits to Italy, brooded about this. Here was the most spectacular actress of our generation going to pot in the breast-beating ex- ageerated Italian school of acting. That was all right for Magnani, she had the face for it, but not for Bergman. So Renoir wrote a scenario, based a little on history, but mostly fantasy, about a madly gay, beautiful, eccentric princess who came to Paris from Poland in the early part of the century and conquered all the men’s hearts. He went to Italy, showed Ingrid and Roberto the script and put it to them straight. Their professional partnership had been anything but a hit, why not go their separate ways, career-wise? Surprisingly enough, they both agreed. Renoir surrounded Ingrid with top actors. In the role of the man who loves her, needs her and almost wrecks his military career because of her, is Jean Marais, France’s ace romantic star. The man who woos and wins her is none other than Mel Ferrer. The Rossellinis, in true Italian fashion, moved the whole family to Paris, and installed themselves, the children, and their nurses in apartment number 108 at the Raphael Hotel. Their neighbors, good friends and frequent dinner com- panions were the Ferrers, Audrey and Mel, who lived a few floors above them. When Rossellini left for India to make a series of documentaries, all the old rumors cropped up again, that they were unhappy and planning a divorce, that Ingrid was determined never to make another picture with her husband, etc. As a matter of fact, they are still very happy together. The nearest to a marital crisis—and that, only in the imagination of the gossip-mongers—came when Anna Magnani, Rossellini’s ex-girl friend, passed through Paris and checked into the same hotel. Everyone—except the three most concerned—held his breath, waiting for the outburst. But Magnani and the Rossellini’s never even met in the lobby. After Renoir did the groundwork, it wasn’t too difficult for Twentieth Cen- tury-Fox to sign Ingrid up for Anastasia, which she'll make in Europe. But are these steps, careful and cautious though they may be, the first toward a reconciliation with America? ‘together. Twice the French director had Ingrid’s approval on a script, but there ~ 83

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maureen o’hara (Continued from page 60) luxurious, doesn’t it? It is but I have to dress like a star. Stars of a certain standing have to look glamorous and be glamorous every time we leave our houses. This is our business. My dark mink coat is ten years old and in perfect condition, for I care for it myself. I don’t sit on it any more than I have to, I brush it before it is returned to the closet. My furrier says it is more val- uable than the day I bought it. I payed plenty for it and worked hard for it, and intend it shall last my lifetime. It is vital to my star wardrobe. The other glamorous pieces I have acquired from time to time. One or two of them are extravazances, but they are all part of star trappings. Add-a-diamond I have a wonderful jewelry collection, some real and some costume. Every piece was considered in terms of showmanship. How would it photograph? I remember when I finally saved enough to buy the lovely diamond necklace. I thought and still think it is the most beautiful for me. I know lots of stars who have wonderful jewelry, but upon my purchase of this ultra-luxurious item I thought, “Congratu- lations, Maureen FitzSimons, you are buy- ing a diamond necklace.” That fall I was in New York on a personal appearance for a picture. I wanted to buy some cuff links for the director I had just worked with and went to a very chic and well- known jeweler. Upon completing my pur- chase the salesman said he would like to show me their newest diamond necklace. Drawing my mink around me I informed the gentleman that I had a diamond neck- lace. He assured me he was sure I had, but he still wanted me to see their prize piece. He did! I never saw such a blaze of light, it was enormous. Since that day I call mine my ‘“add-a-diamond necklace.” (I remember when I couldn’t have even bought an add-a-pearl necklace.) Stars create a personality that pleases the public. This is our “uniform,” our trademark, and our fortune. I’m never out of uniform, even at home. On a working day I am up at five-thirty, have fruit and coffee from a thermos by my bed, for no one else in the household is up at this time. I wash my face, brush teeth and get into a simple dress and am off to the stu- dio. This isn’t just any old dress, it is a carefully purchased dress of simple lines, easy to get into but mighty becoming. Ar- riving at 6:30 at the studio, I fall into the hands of Fae Smith, my hairdresser, and Jimmy Barker, my make-up man. They are there and have had coffee prepared by Blanche Williams, my personal studio maid. My dressing room becomes my fac- tory and my hair is washed, make-up ap- plied, costume arranged and on the set. Ive learned my lines by nine o'clock. We work until 12 or 12:30, then back to the dressing room for lunch of chops, vegetable and salad, as prepared by Blanche. Usually luncheon is an interview, with my agent, or business manager, or a friend I otherwise wouldn’t see. I seldom go to the studio commissary for my lunch unless I have an out-of-town guest who would enjoy it. I can’t take a full hour. Virst I have to get out of my costume so the wardrobe girl can take it away to press and refresh it. This takes a few minutes, then twenty minutes before the hour is up my hairdresser and make-up man return to re-fix me for the afternoon shooting. Back to the set and work until 6. I then return to my dressing room and have a complete bath to wash off my make-up, back into my dress and coat and drive 84 home Dinner with my family at 7:15, bed by 8:30 or 9, study lines until 10 and then off to sleep. It is a long, hard working day. Between pictures I rise about 8:30 to say goodbye to my daughter be- fore school. I breakfast with my brothers, who live with me, and then start over the household tasks I can’t do when I’m on a picture. Checking menus, seeing that the linen closet is in order, the usual things any working woman does on week ends. We have friends for dinner over the week ends and I do some of the shopping and lunch with friends. If I am going to an opening or party I must save time to do my hair properly, for I do it myself. These are two typical days in my life, not much different than that of other stars. The time, effort and money we spend to maintain our standards are enormous, and mount as the years go on. It would be foolish of me to say they are tiresome, for they are exciting, and now second nature. We do it because our face and figures, now magnified on the new wide screens, are our fortune. We can’t afford a skin blem- ish, cannot tolerate an extra pound of weight, cannot have a hair out of place. Do-it-yourself beauty Most of us have learned to arrange our hair ourselves, having learned from our expert studio hairdressers, so between pic- tures I, at least, do it myself. This means three times a week I must set aside three hours a day to do this chore. I wash my hair thoroughly and roll it up in the fashion I desire and try to let it dry as much by itself as possible. I spend about a half hour under my hair dryer, but about two wandering around letting the sun and Gary Cooper has only praise for Richard Eyer, the ten-year-old ac- tor, who plays his son in Mr. Bird- well Goes To Battle. And you can't blame Cooper. When director William Wyler asked Eyer how he liked having Gary Cooper for a dad, the child replied: "Swell, sir, but isn't he too young to be my dad?” Sidney Skolsky in The New York Post air dry it. My make-up between pictures is minimum, unless I am going to an opening. Thus to apply my mascara, eye- liner and lipstick takes only a few min- utes, but to be sure my face is clean takes about a half hour morning and night, when I thoroughly cream my face and then wash it with mild soap and rinse it in tepid water. My creams are simple, but good and expensive and I use a lot of them in my cleansing process. My daily bath is a hot water ritual. I scrub all over with a rough cloth, pay particular attention to the elbows and knees. I towel thoroughly to keep the circulation up after my rinse bath. I exercise after my bath, it is for figure control and suppleness. The old- fashioned bends, rolls and stretches are my ritual, you read about them in the papers every day. I do them. After working on a picture for a number of weeks and being cooped up on a sound stage I start walking, or hiking. This I love for it seems to straighten out all the kinks in my body and gives me a time to think. My diet, and I will bet you that of other stars, too, is lean meat, leafy vegetables, very little starch and lots of fruit juice. Average day, year in and year out I eat the following: breakfast, a boiled egg, strip of bacon, slice of toast and tea or coffee. The toast is buttered, but not too much. For lunch at home, or at a restaurant, lean broiled meat, vegetable and fruit for between pictures, usually a salad or dessert. For dinner usually clear soup, salad, meat and vegetables and a light dessert. I love good food as much as any- body, but eat in moderation and splurge only on occasion. I avoid heavy sauces, cream soups, hot breads and mile-high desserts. My eating habits are pretty well set. There is an unwritten law in Holly- wood, and it is governed solely by the camera, not morals, “movie stars do not drink.” I have yet to see a successful star who does, or can do it. I used to think I held a record in Hollywood for holding one glass throughout a cocktail party. I now know almost everyone else does. I do like a glass of sherry occasionally. I do like wine with my dinner on special oc- casions, but one glass.and that is that. I am not a prude, I am a business woman intent on protecting my career. I can have a good time sitting around with people who drink and I don’t object to their doing it. I only know I cannot. Cost of dressing My average yearly wardrobe is well over four figures, but it is a business in- vestment. I travel a lot to make pictures, this means I must be well dressed for all climates and eventualities. I am photo- graphed getting on and off planes, in for- eign countries I am seen and reported on by the press. I must look well there as well as in America. I go to Don Loper and have my clothes made and my closet is a delight to me. About twenty lovely eve- ning gowns, ranging in price from about four hundred dollars to a thousand. My dresses to wear under my furs cost about three or four hundred dollars apiece. I will tell you a secret. Don designs my clothes so they can be changed from sea- son to season and I have some of his clothes in my closet that are six years old and I still wear them, and happily, too. Suits are custom made and softly tailored with slightly full skirts, for movie stars don’t look too good sitting down with a tight skirt running up over their knees. My shoes come from I. Miller and I have lots of them. My bags are handsome, ex- pensive and well kept. Gloves are a hobby with me and I pick them up in every coun- try I visit. They cover my home-mani- cured hands, for I do my nails myself. When I travel I care for my clothes my- self as I won’t trust any hotel to press my hemlines. This I have learned after many years of practice. My summer clothes come from Loper, just a few, for he will not allow me to buy such expensive cot- tons. He sends me into the stores to buy the pretty mass-manufactured dresses he would have to charge me a mint for. Thus alongside of my hundred dollar frocks | hang some fifteen and twenty dollar cot- tons which are smart and effective. Good accessories dress these up enormously and I wear them everywhere in hot weather. I love color and go wild in it each summer. My wardrobe is selected not for chic but | for becomingness and photogenic quali- ties. I let the non-professionals be the chic ones, I just want to be looked at for my- self. That is what I am selling, and to | blazes with high fashion. I leave the A-look to Mr. Dior. I just want the “O’Hara Look.” My tastes have changed in the twelve | years that I have reached stardom, it would be silly to say they haven’t. I am not the same girl as before. I earn a good salary, have business and social obliga- tions I did not have before and travel in a circle of people of equal incomes. I still love the toilet water scents I used to buy, but do adore the Arpege, Mitusko and other expensive prefumes I can now afford. These are only simple comparisons, but | they mean twelve years of hard work and | lots of fun and I’m still loving it. END

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THE GREATEST TALENT SEARCH OF THE CENTURY! Wi ae# $ T f 7 | Cc = | eee Never before has the demand for new talent been so great among Hollywood studios and TV networks —in all age groups—because of the greater features planned for television and the screen. To meet this demand, Lady Ellen joins with Modern Screen Magazine and Maureen O’Hara in a nationwide tal- ent search to give a deserving girl — chosen from the neighborhoods of America —a chance for the career of * A trip to Hollywood and a 500 dollar wardrobe! %& A 2-year scholarship at Pasadena Playhouse! Or your choice of a two-year scholarship at any U. S. Liberal Arts College! %& Screen test reviews by famous Hollywood studios! her dreams! % The guest of screen star Maureen O’Hara! ALL YOURS AS THE Cady Flow PRINCESS WINNER OF MODERN SCREEN SEARCH FOR TALENT! AS THE LADY ELLEN PRINCESS, you will be received on your arrival in Hollywood by Screen Star Maureen O’Hara ... visit her Bel-Air home .. . be escorted on.a tour through the motion picture studios ... be clothed with a magnificent 500 dol- lar wardrobe... and visit the thrilling glamour spots with all expenses paid. YOU WILL BE PRESENTED with a two-year scholarship at famed Pasadena Play- house College of Theatre Arts, with all tuition, room and board furnished. Eleanor Parker, Robert Young, Mala Powers, Victor Mature and Marilyn _ Maxwell are but a few of the stars who got their start at Pasadena Playhouse, the nation’s leading showcase. YOUR SCREEN TESTS upon graduation will be reviewed by MGM, 20th Century-Fox, Warner Bros., RKO, Paramount, Colum- bia and Universal Studios. IT’S EASY...IT/S FUN...JOIN THE SEARCH FOR THE LADY ELLEN PRINCESS. SHE CAN BE YOU! Do you love the stage, movies, television? Does your fancy ride the wings of adven- ture? Do you have talent of any type? If you can answer yes to these questions, then you may be discovered in this search for talent. HERE’S ALL YOU DO: tell us your “greatest wish” in a letter written as if to a friend in your own way. Literary quality will not count. Just begin your letter, “My Greatest Wish is...’ and complete your letter in 50 words or less. Then purchase a 25 cent card* of LADY ELLEN Pin Curl Clips or Klippies at your neighbor- hood variety, drug, or department store, beauty shop or food market. This card becomes your nomination ballot, so be sure to write your name and address on the back of the card and mail it together with your letter to: LADY ELLEN PRINCESS, LOS ANGELES 51, CALIFORNIA. ASK YOUR FRIENDS and relatives to nomi- nate you, too. With each nomination bal- lot submitted, you may send in another letter about your “greatest wish”. (If you are nominating a deserving girl whom you know, simply print her name and address on the Lady Ellen merchan- dise card and write your greatest wish for her. Mail the ballot and letter to the above address.) All girls and women of all ages may be nominated. *Be sure to read complete information and rules printed on every card. Ten $500 Wardrobes The Lady Ellen Princess and each of her Maids of Honor, chosen from each of the nine U. S. Census Regions, and Canada, will receive 500-dollar wardrobes Free! fad ellen, Don’t be a slave to old hair-setting habits that leave your hair frizzy or kinky, or with split ends. Next time, use Lady Ellen pin curl clips. Nine out of ten beauticians use and recom- mend Lady Ellen. 85

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CRAWFORD’S Sa Dept. 111, 8015 Wornall, Kansas City 14,Mo. | iy shirley jones (Continued from page 47) with his eyes, that he loved her and was proud of her. The man who was Shirley’s official escort touched her elbow. She didn’t notice. Her eyes were blurred with tears as they an- swered Jack’s. Then the crowd moved forward and she lost him. “Shirley,” her escort said, “wake up, honey. Time to go in.” Shirley Jones nodded. The police made an aisle for her as she walked to her seat. Jack Cassidy It was the theatre that brought Shirley Jones and Jack Cassidy together, even making sure that they saw each other many times before they met. For the stage door of the Majestic Theatre, where Shir- ley had a part in Me And Juliet two years ago, faced the stage door of the Imperial, where Jack Cassidy sang the lead in Wish You Were Here. Next door to the Imperial was a little theatrical hang- out where the kids from both casts snatched a beer and sandwich before head- ing home after the show. Shirley went there often, sometimes with a bunch of friends, sometimes with her best friend Sari Price, who was also in the cast. Oc- easionally they joined the crowd from the Imperial. And sometimes, not often, Jack Cassidy was there. When he was, Shirley noticed him. All the girls noticed him. As leading men go, he’s not the best- looking nor the best dressed. But Jack Cassidy has charm, the kind of charm that makes an audience wake up when he walks onto a stage—and makes a girl turn her head in a restaurant and ask, “Who’s that boy in the corner?” There were plenty of people to tell Shirley who Jack Cassidy was. Not only because he was playing a lead, but be- cause Jack and his private life were the favorite topics of backstage gossip around Wish You Were Here. You see, Jack Cas- sidy was, and is, a married man. But it was the most precarious mar- rlage anyone backstage had ever seen— and for theatre people, that’s saying a lot. “I used to be afraid to ask Jack how Eleanor was,” one of his friends confided, “because I never knew if they were on or off that week.” Jack himself didn’t talk about it. The only indication anyone had of his status was whether or not Jack mentioned his home life. When he did, it was to say something good, and that meant something good must have happened. Christmas time in 754 he was ecstatic over their new house in Rutherford and the wonderful neighbors and what a great time his kid had had. He beamed when he talked about David, three-and-a-half years old then. So the kids said, “Won- derful!” and scurried back to the dress- ing rooms to report that Jack and Ellie were doing ok now—maybe it would really jell. Or if not this time, next time... . But a week later Jack would be backstage, the sparkle gone, slouched silently into a chair. On such occasions he would even take one of the chorus girls over to Patsy’s for a beer, and the next night she would report, “Jack’s low.” Then the murmurs would start: What a shame it was that they should find things so rough now, just when Jack finally had it made—and after knocking around the chorus for near- ly ten years before getting a break. How Ellie couldn’t really be blamed either— remember how she used to work when Jack couldn't get a job? And little David —such a cute kid. What a shame... . In January, 1955, it was all over. Jack and Eleanor separated legally and talked about getting a divorce. Hieanor was against it; her religion forbade divorce. But by the end of. the month she capitu- lated. “We'll make arrangements when you get back,” she told. Jack when she brought little David to say goodbye. For Jack had just received word that he was to play the lead in Oklahoma! when the State Department sent the show to Europe. Shirley At the same time, Shirley Jones was packing up to leave Hollywood and join the Oklahoma! troupe. She did so with- out any particular regret. Making the movie version of Oklahoma! had been wonderful and exciting and the break she’d worked for all her young life—but there was nothing to keep her in Holly- wood. She’d had a nice apartment there, but except for the times when her mother or Sari had shared it with her, it had been a lonely place. She’d dated a lot and the columnists had made a big fuss about a “romance” with Johnny Anderson, but if no one else knew, Shirley and Johnny knew it was just for laughs. A nice boy, Johnny, sweet, always willing to go places and do things—but love? Uh-uh. Shirley didn’t mind. that. A long time ago—way back five years before, when she was sixteen, she’d been in love. In puppy-love, if you like. The publicity people made a fuss about it, but they didn’t know the whole stery. How she’d gone with the boy for a year, worshiping him for his athletic letters, his good looks, his quick wit—and then discovered that she had given her heart, not to a young man, but to a little boy, childishly irresponsible, wanting to be mothered and protected from a host of imaginary misadventures and misunderstandings. “I wanted every- thing at once,” she told a friend, sad- eyed after her disillusionment. “It’s strange, isn’t it, that I made a mistake like that about one of the most important things that could ever happen to me? But one thing I know—never will it happen again.” So now, if love wanted to wait a while, Shirley was willing. Pleased, even. Life was good, her career taking shape beyond even her most ambitious dreams. It was a confident, happy girl who walked into the first day of rehearsals for the over- seas Oklahoma! troupe and said, “Pleased to meet you,” to Jack Cassidy. How love happens Does anyone have to explain how love happens? It can come any time. It can come under the hot lights of a rehearsal hall to two people singing a duet: “Don’t throw bouquets at me, don’t please my folks too much...” It can come over a cup of coffee, gulped down in a cafeteria during a ten-minute break. It can come to a pair of exhausted performers whose nerves are at the breaking point, snapping crossly at each other and then suddenly— smiling. Still, love can be a dangerous thing. Neither of them wanted to admit it. Not to others, not to themselves. “I’m eight years older than she is,” Jack told him- self. “I'm married. I’m a father.” “T feel this way,” Shirley informed her perpetually smiling reflection, “because I’m young and I’m an actress, and I’m go- ing to Europe.” When they had coffee to- gether, Shirley dragged Sari along. When Jack took her to her hotel after rehear- sals he dropped her in the lobby, shook her gloved hand and ran for the door, re- fusing to feel that anything was missing. And yet, by the time they boarded their plane for France, the rest of the cast knew all about it. Their hearts were showing. “We knew before they did. You know their duet?” one of the chorines remarked. “Tt goes: “Don’t sigh and gaze at me, Your sighs are so like mine; Your eyes mustn't glow like mine, People will say we’re in love.’ If they wanted to play it cool they

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should have taken some of that advice.” But it was too late for advice. If love can grow in a Broadway theatre, what chance is there to kill it in Paris? Shirley and Jack gave up trying. The rest of the cast got together after the show to explore, but Shirley and Jack never joined them. Somehow they man- aged to see Napoleon’s tomb and the Tuilleries, but no one in the troupe knew when, for they saw them by themselves. The Sadra Khan, Aly’s younger brother, saw the show and bombarded Shirley with phone calls. Finally, for the sake of good diplomatic relations, she consented to go to the Parisien Ball with him. For weeks thereafter her dressing room was smoth- ered in his flowers, his messages piled up on her desk, but she never saw him again. Not one of the other international young men got even one date. Shirley was taken. But the irony was that the happier her times with Jack became, the more won- derfully close they felt, the more anguish their love brought them. Letters from Eleanor told Jack that she had reconsid- ered giving him a divorce, that she didn’t think she could do it. How, after loving so, could they ever part? How, under the circumstances, could they ever be together? We have to give it up It preyed upon Shirley until the misery became greater than the joy. Finally, phys- ically ill, she left the cast with a promise to rejoin them on their next stop, in Rome. There were three days when there would be no show; she and Sari took off for the Italian riviera. Jack disappeared as well. No one in the cast ever knew if he joined the girls at the beach because when they got to Rome there was no time to ask. Shirley received a telegram saying that she was to olay the lead in Carousel— and to come home right away. This time she packed with a burdened heart. To have Carousel -before Oklahoma! even opened —surely that proved she was no one-shot, that she had done a good job. But to leave Jack in’ Europe—that was hard. Not only because she would miss him, but because she knew, as he did, that this time apart should be used—must be used—to try to forget each other. It wasn’t that Shirley would have to wait for Jack. It was that their future simply didn’t exist. With that to think about, she came home. Her apartment was lonelier than ever. She and Jack had promised to try to forget— yet she waited for his letters with a long- ing that frightened her. And she couldn’t talk about it to anyone. Not to anyone. So Shirley found herself living a lie. She went out with Johnny again. And again. She dated others. She told column- ists, for the first time evading their ques- tions, “Love, real love, is very nice, I’m sure. But it will take me a long time to fall in love again. A long, long time.” And went on to say that when she married, of course she would give up her career if she had to. And all the time her heart said, “I'd give up anything, everything— but how can we ever marry?” é And to the biggest night she’d ever had, the Oklahoma! premiére, she took not a date, not even faithful Johnny, but her new roommate, Barbara Ruick. And she waited for Jack to come home. On August 13 Carousel went on loca- tion in Boothbay, Maine. On August 13 Shirley arrived in the east and there Jack met her as soon as his troupe returned. Supposedly, they only met to say good- bye. But Jack couldn’t stay away and Shirley couldn’t tell him to. When they knew for sure that it was impossible to separate, they talked themselves into be- lieving that things might work out if only they waited a little. Eleanor might change her mind again. A miracle might happen. “What's the use of wonderin’.” Shirley SEE THIS MIRACLE HAPPEN TO YOU IN 20 SECONDS suddenly you seem to have grown an entirely new and flawless skin! So subtly does LANOLIN PLUS Liquid Make-Up banish those “things” in your face you don’t want seen . . . no one even suspects make-up. Little blemishes, dark patches, skin imperfections are covered beautifully without masking. And because only this remarkable make-up offers skin-softening, exclusive- formula LANOLIN PLUS Liquid .. . it goes on more evenly, makes skin softer and smoother, helps correct dryness too. You'll look a million times better . . . when you choose one of the 6 exquisite shades of LANOLIN PLUS Liguid Make-Up that makes you a happier woman in seconds. At cosmetic counters everywhere. $1 plus tax. LANOLIN PLUS “POWDER PLUS” Pressed Powder in a Beautiful Compact Use it over LANOLIN PLUS Liquid Make-Up for a charming mat finish or touch-up. Or as a complete make-up in itself. Shades harmonize perfectly with LANOLIN PLUS Liquid Make-Up and other types of make-up. $1.25 plus tax. IT’S THE PLUS IN Lots THAT MAKES THE DIFFERENCE 87

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D-5 - CHICAGO 44, ILL. sang in this picture, “If the endin’ will be sad? ... You're his girl and he’s your fella—that’s all there is to that!” And they tried to believe it was true. The end of make-believe If they could no longer pretend to them- selves that they were not in love, at least they could try to keep it from the rest of the world. If Jack’s wife knew that he was thinking of remarrying, it might make it even more difficult for him to get a di- vorce. The studio, learning that Shirley was dating a married man, was horrified. And her friends lectured her constantly. “You're so young, honey. You haven't been around, the way Jack has. He’s used to real Broadway-type people. You're home-folks.” “We get along. We're in love.” “You'll never be able to marry. There’s no future for you. You can’t go on this way forever. And if you did marry, do you realize you’d have a step-child and all the problems that means? You have to think of everything.” But the thinking was too much. No matter how she looked at it, it was bad. She couldn’t have Jack, she couldn’t bring herself to give him up. There was only one thing to do if she was to have peace of mind. Shirley shut her eyes to every- thing except to Jack. She saw nothing else. As soon as Carousel was completed, Shirley gave up her Hollywood apartment and rented one in New York’s West 60’s, a quiet, unfashionable residential area. She and Jack went to shows, walked in the park. No one recognized them. “I came east to be near my parents,” she told people. “And to study voice.” Oklahoma! settled down to a steady run in Manhattan. Daily, more and more people found out who Shirley Jones was. Occasionally a kid stopped Shirley for an autograph and she would drop Jack’s hand to sign the book. Then people began to stare after her in the street. Photographers snapped her picture. They recognized Jack as well. They began to be mentioned in the gossip columns. People put two and two together. “Her parents are in Pennsylvania. So why is she in New York if she’s supposed to be near them?” “What’s the matter with the voice coaches in Hollywood?” “Whe did you say she was with yesterday?” So they were careful. When Jack opened at the Versailles Shirley showed up night- ly to hear him—but she brought Barbara Ruick along. Night after night the two sat together, listening. After the last show, Jack took them both home. He tried to look as though he were equally interested in both girls. He talked more to Barbara than he did to Shirley. But when his eyes met Shirley’s, a five-year-old would have guessed. Their hearts were showing again. He and Barbara recorded an album of duets, and it was with Barbara that Shir- ley showed up to listen to the sessions— but the pathetic deception fooled no one. When he sang the love lyrics, it wasn’t Barbara at whom Jack looked. And that is why, before Carousel opened, Shirley told a friend, “I want so much to have Jack with me that night. It would make me—truly happy. But we don’t know what to do...” And that is why she attended on the arm of a studio-appointed escort, a nice young man whose job it is to take the stars around—and wept on her happiest night. Heartbreak is a terrible thing, especially for the very young. Shirley and Jack can not be blamed for postponing it as long as possible. Yet these two, still praying fer their miracle, know that the time will come when the decision must be made— and kept. May they make it wisely. END debbie and eddie (Continued from page 66) in sleep and a maximum awake—a night-life schedule. Well, Debbie isn’t even getting her eight hours nowadays. She is matching Eddie now. And, amazing to her, her capacity to do more with less sleep has increased with- in weeks to the point where she can keep up with him without any fatigue. A week after their marriage they were in Kansas City where Eddie gave a bene- fit performance. At 1 am. they were entertaining some of his friends in his hotel suite, knowing that they would have to stay up until 3 am. to catch a train to Los Angeles. At ten minutes after one Debbie got up and had to make her ex- cuses to those present. “I love you all,” she said, “but I am falling asleep on my feet.” And she went to bed in the adjoining bedroom. When next she awakened she was in Los Angeles. She had slept through all the business of being pulled to her feet, driven to the airport, and the flight. Yet not long afterwards she went through a twenty-four-hour day practically with- out a yawn. At six o’clock in the morning she was up for an early studio call. At six in the evening she was having dinner with Eddie at home. At eight-forty that night they were watching the theatre debut of an old dancing friend of Debbie’s, Leon Tyler, at the Huntington Hartford Theatre, and between then and early morning they had caught the performances of Marge and Gower Champion at the Cocoanut Grove, and Peggy King at the Mocambo. On the problem of sleep, one of the ways Debbie is making up for the lack of it is by developing the power to doze off any time—and practically instantly. She was telling Eddie about it only the other evening and insisted she could fall asleep in ten seconds time. ! He was skeptical and they decided to have a test. Eddie checked his watch, gave her the “Go” signal, and Debbie, who was sitting in an armchair, leaned her head back: and closed her eyes. At the tenth second her head slid a bit to one side and Eddie was sure she was acting. He shook her gently and after a bit she opened her eyes and the look of sleep in them was unmistakable, he swears. “Oh, life with Eddie is hectie all right,” Debbie says. “But it’s exciting and we have lots of time to slow down in the years to come. I'll manage to live through it, and I sure love it.” Incidentally, on the big night out they didn’t go alone but were part of a group of sixteen people, all the rest of them old | friends of Debbie’s whom Eddie had in- | sisted she invite because she hadn’t had a chance to see them since their wedding. Debbie uses her head If Eddie is thoughtful Debbie is not only understanding but uses her head with the prescience all wives must when it | comes to handling both the marriage and | the family situations coming from it. When Eddie’s mother was due to make a trip west to see them Debbie did some think- ing and planning about arranging the exact date. She consulted her studio sched- ule to make sure she would be free not only to attend her duties as a hostess, but | to be able to arrange events and jaunts for the visitors and accompany them. Eddie was talking about her acting with some associates of his television program | one day and suddenly interrupted himself to interject, “But the real secret of Deb- | bie’s acting is that she is interesting when | 1”? she isn’t acting!

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Incidentally, when Debbie appeared on Eddie’s Tv program, her contribution was such that he uttered a new version of his “It?s nice to have a woman around the house” line. That night it was, “It’s sure nice to have a woman around a television station.” Though Debbie was born in a border town in Texas, El Paso, and Eddie was a child of the brick and concrete fastness of Philadelphia, their views on many aspects of life are surprisingly the same. As Eddie once pointed out, the parents of neither of them was rich and one of the things they have in common is a long list of advan- tages neither of them enjoyed as children. This may be why it tickles Eddie to see Debbie with luxuries that, as he very well knows, she could only yearn for when she was a youngster. And that may be why it pleases Debbie to dish up “extras” of any- thing she can for him. When Debbie first located their house for instance and phoned Eddie in New York to describe it she felt he would have a perfect right to stall off a decision to rent it until he came west to see it. But all Eddie said was if she liked it he would. And he did. On the other hand, if anything Debbie wants is okay with Eddie, anything Eddie wants is not only okay with her—she in- sists on getting it for him. When Eddie, home after a night broadcast, starts re- frigerator-wards to get himself a sand- wich Debbie won’t have it. She has to cook up a midnight snack .. . and that’s the custom now. The menu is usually mid- get hamburgers, salad with French dress- ing and, of course, cokes. Up to a month after they rented the house these midnight snacks were all the cooking Debbie had a chance to do for Eddie. But she was busting to do more and by the end of January had dished up more than one dinner, giving their cook a night off. From getting used to Coca-Cola for breakfast, to not being overwhelmed by Junior, Eddie’s big boxer, who always . jumps all over her in his glee when she comes home, Debbie is thinking in terms of “We” all the time. In fact, that she is one half of a partnership is soon evident when one listens -to her talk. Always a rapid, articulate talker, Debbie has slowed down enough to permit consideration for the fact that she is “talking for two.” | Eddie and Debbie will never forget one of the first nights they had a chance to relax and enjoy their home together. They sat at first before the enormous fireplace 0, O in the living room and threw logs on the flames; first Eddie, then Debbie, in be- tween toasting themselves and listening to the crackling. But after a while Eddie got up and studied the fire in a puzzled manner. There seemed to be more crack- g S ling than flames. Then he walked about the room uneasily, eventually stepping . outside through the French windows. Im- so soft, | mediately he yelled back at Debbie: “The house is on fire!” so carefree, It was on the roof. Vines growing too close to the chimney were ablaze. Fddie SOC avely Casy kept yelling and pointing up to the fire { for the benefit of anyone close who might | - Just Set it, Wet it, Forget it— And at want to do somerning about it. The closest you’ve got a CASUAL, with all { person was Debbie herself. In something : 1 like seven seconds flat she was protecting : the joy and carefree beauty of D her beloved home, even if it was just soft, natural-looking curls. To- ; rented! She had found a fire extinguisher, night, give yourself a CASUAL ‘ upended it, and was spraying the flames, . holding it much like a machine-gunner i firing from the hip. Eddie, in his excite- i ment, kept coaching her and pointing out with Ct burning areas he thought needed dousing. wee, He even climbed the side of the house to —just wave your hair in your favorite style—no resetting CASUAL Pin-Curl Permanent Wave $§50 fh check results. In minutes the fire was out. PLUS TAX n\l) Well, the Fishers still sit before their if fireplace. And they are going to continue : be sitting. But no more overbig fires that an | can get out of control. A nice steady © THE GILLETTE CO. blaze is the best, they have decided. END

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Thompson’s, Loganville 22, Wisconsin. MAKE MONEY CLIPPING ITEMS from your Newspaper! Write, NEWSCRAFT, CW-983-E. Main, Columbus 5, Ohio. GUARANTEED PAY HOMEWORK! Everything Supplied. NO Sell- ing. PHILIP’S, Box 294-C, Randolph, Massachusetts. Sew Baby Shoes at home. No canvassing. $40.00 WEEKLY possible. Write: Tiny-Tot, Gallipolis 1, Ohio. CORNS? GET QUICK RELIEF FROM PAIN~AND MORE NOW GET RID OF THECORN-FAST New BLUE-JAY Plastic Corn Plasters with wonder drug Phenylium® relieve pain almost instantly—help loosen the corn so you can lift it out. Now plastic— fit like your skin. Regular or Ladies size. Callus plasters, too. liz taylor (Continued from page 39) giving your ‘suggestion’ the careful consideration it deserves. It is my considered opinion that all you’re asking is that we print a pack of lies. Now, I assume you offered this to Smear before sending it to me. Was it too filthy even for them, or not filthy enough? Hither way, I find it insulting that you thought for a moment that MopERN SCREEN would be interested. Your suggestion is rejected, and I sincerely hope it continues to be rejected wherever you try to sell it.” I signed it Charles D. Saxon. I could have signed it simply Modern Screen, because to all of us who put it out each month this magazine is a person, too. And the whole bunch of us happen to have a great deal of respect and love for the stars we work so closely with and write about. And especially Liz and Mike. They mean a lot to us because, besides being nice, friendly people, they represent a way of living that is decent and good. So I did what I could. But, I feel strongly that what you can do, you the readers, is much more important and effective. First of all you can learn to know a lie when you see one. Suppose you read that on the Zarak Khan location at Tetuan, Spanish Moroc- co, Mike spent a lot of his time with Anita Ekberg, and that Victor Mature there- upon spent a lot of his time consoling Liz. Now just suppose you even believed Liz and Mike were that kind of people. Put yourself in the same goldfish bow! that they live in. Would you go tent-hopping in Tetuan under the eyes of the whole company? Not if you had all your marbles, you wouldn’t. You put the story down as a lie. Want the truth? In Spanish Morocco, on the Zarak Khan location it rained nearly the whole three weeks that Liz was visiting there. The natives in Tetuan sensed at once that Mike and Liz were man and wife. As one of them later ex- plained, “Mr. and Mrs. Wilding make love all the time with their eyes.” “A funny thing about Mr. Wilding,” explained the hotel clerk. “He insisted that Mrs. Wilding stay in the hotel and rest. I mean sleep all during the day and then at night, though he had worked, they would go through the Casbah. A most solicitous husband.” Or you read that Liz came home for the Christmas holidays leaving Mike behind in London—and that this meant the crack- up was at hand. But if you were Liz, and your man had to work to do, wouldn't you come home to help your kids trim the tree and be with them at Christmas? You bet your life you would. You put this one down as another lie. Or you read that Liz entered St. John’s Hospital—and that this must mean she’d grieved herself sick over the death of Jimmy Dean, her co-star in Giant. How much did he mean to her? Certainly he meant something to her. When she learned of his death Liz broke down and wept. She wept decent, great- hearted tears for the sensitive, talented boy, the respected friend, who had been cut down in the morning of his prime. Well, didn’t you ever have a friend of the opposite sex who was just a friend .. . no more? Would you have wept for him? So, you recognize another lie that the filth-peddlers twisted out of a fine truth. Or you read a sneering report that it was really Mike’s misbehavior that landed Liz, sick with jealousy, in the hospital. Think before you believe. These people aren’t monsters; they’re human beings like you and me. Liz has been dogged, as you know, by hepatitis, a broken leg, sci- atica and migraine headaches. Not by jealousy. The fact is that Dr. John Davis put Liz in St. John’s for X-rays and other tests and found a ruptured dise in her neck, probably the result of a water-skiing injury several years ago. And Mike? While the gossips claimed he was bringing chorus girls home(!) Mike was actually spending every spare hour in the hospital with Liz. He saw to it that she got everything she wanted, every care she needed. The day after the doctors shot her neck with cortisone, he waited breathlessly to find out if cortisone were the answer. “I just can’t stand for Liz to be in pain,” he said. “And I won’t phone or disturb her before she phones me. I want her to get all the rest she can.” “I’ve never seen such a devoted husband,” Liz’ doctor said. “This guy makes it bad for the rest of us!” One more lie will nail down my point. At Santa Anita race track Liz ran into her ex-husband Nicky Hilton. Furthermore, she saw the races with him—and she kissed him! Damning, huh? Next day the gossips had her leaving Mike to re-marry ee But what really happened was this: Mike Wilding was in London finishing Zarak Khan and worrying about and talking to Liz on the trans-Atlantic phone. She said she wasn’t feeling too well, and Mike suggested that she try and get out and have a little fun until he returned, which would be as soon as possible. A few days later in Hollywood, Bob Wagner phoned Liz Taylor. Bob is an old family friend. “How’s about driving out to Santa Anita with me and the Thunderbird?” Bob asked Liz. “I'll bet it’s been a long time since you’ve been at the track.” The idea appealed to Liz, so she and Wagner drove to the Turf Club. And there in the dining room whom should Liz run into? Nicky Hilton. At least 10,000 persons saw Liz Taylor and Nicky Hilton together at Santa Anita. Ever the charming, boyish, appealing inveterate gambler, Nicky was in rare form that Saturday. He gave Liz a winning ticket in one race, bought her a $100 ticket in another, bought two $10 tickets for her children in a third. “Honestly, Nicky!” Liz exclaimed at these outbursts of extravagance. “You're insane! Really mad! I guess that’s why I married you in the first place . . . and could never stay married to you.” And with that she threw her arms around smiling Nicky and pecked him on the cheek. So that’s how you learn to know a lie when you see one. Once you learn to spot the lie-monger at work, what else can you do? You can avoid him alto- gether: Don’t even expose yourself to the filth he’s trying to spread! Don’t buy his trash. Stay clean away. There’s no other way to shut him up! If I sound mad, well and good. Be- cause I am mad. I’m mad because Liz and her man are our friends. Because they’re good, decent people. Because I value too much the goodness and decency that they stand for, and live by, to see it spattered with mud—as long as you and I are around to do something about it! Sincerely, CHartes D. SAXON Editor P.S. Something else you can do. If you're on our side—won’t you write Liz today? If any friend ever did, she needs your moral support and will be grateful for it. Address your note to her at Modern Screen, 261 Fifth Avenue. N.Y. Il for- ward it to her—as a present of real value for Mother’s Day, 1956—C:S. END

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_why terry kept it a secret! (Continued from page 63) have to know? We'll slip away to Las Vegas and be mar- ried secretly. I know a Judge Henderson down there who’ll do it and say nothing to anyone.” “But what about afterwards? I don’t want to have to sneak around, seeing you -on the sly. You don’t know what it’s like in Hollywood—” “But I do know what it’s like in my part of the world. Just leave it up to me.” ‘T've got a couple of months between pictures,” Terry said thoughtfully ... And so they were married. Then began the curious modern Odyssey of Mr. and Mrs. Eugene C. McGrath, dur- ing which, traveling together but under separate names (she was sometimes Helen Koford, sometimes Helen Luella Davis), they went to Panama City, to New York, to Venezuela, to Havana, to Miami and points in between. The suppressed story . It looked like Gene had set out to prove to Terry that you can do just about as you like, live your life on your own terms, if you’re smart enough and, perhaps, rich enough. Certainly he covered their tracks well. Even considering the monumental tolerance of a worldly-wise press, which in such matters, when de- cently asked, is inclined to let people have their bit of fun, it must have cost him a lot. The fact that the American press did not come right out and item the fact that ac- tress Terry Moore was trotting around the western hemisphere in the company of | Eugene McGrath, sharing his suites and every moment of his time, was not because the press was unaware. The reports came seeping in to Hollywood, New York, Miami—sometimes a day or ‘two late, to be sure, but all adding up to |the same story. A few columnists, whose business it is to | hint, hinted like mad. But to the credit of | one and all, Terry got the break of her life. *“Let her alone,’ was the consensus. “Give |her a chance. Maybe it’s love .. .” It’s hard to guess just how long Terry ‘and Gene would have gone on their merry ‘way, leaving a trail of raised eyebrows over half the world, had they not decided to relax for a few days in Miami’s Isle de ‘Capri, a plush hotel on the raucous 79th ‘Street Causeway that ties Miami to Miami ‘Beach. True to form, McGrath contacted the manager, an amiable gent named Daly, and requested that during their stay he ¢all off his press agent and protect them from local reporters. Then for three or four days they night- clubbed, swam, went water skiing and even horseback riding. |The case of the headiess body Now read closely, kiddies, and I will ‘tell you how such an operation as the (McGraths’ secret marriage becomes, over- might, public property. Because of a pic- ture, the body was dropped; because of tthe body, a writer said, “Hey, isn’t—doesn’t that belong to Terry Moore?” And there you are. It went like this: Terry and Gene drove out to Miami’s international Airport to catch a plane one late afternoon in mid-February. A re- porter for the Miami Daily News, Herb ‘Kelly, was on hand. He recognized Terry, sitting alone behind a pair of dark glasses, at a table. Went up to talk to her. Of course Herb knew that Terry and Gene had been staying at the Isle de Smart girls never go outdoors without it... And what a lot of smart girls there must be —for SPRAY NET outsells all other sprays combined! Some girls are satisfied with just any old kind of hair spray. But smart girls pick Helene Curtis SPRAY NET! For nothing sets such long-lasting pin curls, nothing holds your hairsosmoothly in place as SPRAY NET. Dampness won't. wilt your wave. Breezes won’t bother your curls. Yet SPRAY NET can’t dry your hair. Never leaves it sticky. Is really invisible. Be a smart girl, use SPRAY NET. THREE SIZES: New 69¢ size, Large $1.25, Giant $1.89, ali plus tax Smart girls never set pin curls without it... There are two SPRAY NET formulas: F Set your pincurlsasyoualways The longest-lasting curls that SO RERASO ET iat acter, do. Then spray. And in that ever brushed out toa silky soft- misty swoosh: more body, ness. Last for days and days— bounce, spring to your curls. and then another day! 91 . |\Capri for four or five days. He and other i |4ocal reporters had respected their privacy. - \\But Terry was en route now, and fair ¢ |Zame. for gentle control... REGULAR, for elaborate styles, - harder-to-manage hair.

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One day, Terry did give an interview —her first in six months—to a four- teen-year-old Miami Beach High School - journalism student named Margie Battles. Margie, sunning in a nearby cabana at the hotel, had recognized Terry and asked Daly to arrange an interview for her school paper. “Sure,” Terry told Daly—and Daly’s hastily summoned publicity agent, Ed Jaffe. “Tll talk to the kid. But how do I explain McGrath?” “Tf she asks, say he’s trying to sell you an insurance policy.” “Great!” Terry said. But Gene, a short while later, killed the idea. “It’s terrible,” he said. “Say I’m ‘han- dling business ventures of yours in South America.’ It sounds better.” Terry met her match in Mr. Kelly. This veteran reporter was not a high school freshman goggle-eyed over a _ teen-age delight. He said simply, “My dear Miss Moore, I’m old enough to be your father. Now, then...” For the next hour and a half Terry (later joined by Gene, once he’d returned from a business talk with the president of Guest Airlines) worked out what they felt would be a sensible release for the local Miami press. Terry said that she was vexed at reports that she had a heavy romance going on and that she and Gene had been hiding out in Havana, Panama City, Miami and other points. She refuted the Turkish publicity, even doing a pose in the same position to prove that her skirts had been modestly ar- ranged. She denied that there’d ever been anything serious between her and Dick Fincher (Gloria DeHaven’s fiancé), John- nie Ray, Robert Wagner, Larry Burns, Nick Savano, Bing Crosby or Robert Taylor. As for McGrath: “He is my financial advisor.” Any chance she would marry him? “I won’t say that. If we ever did marry, you would say I was a liar and Terry is not a liar.” She then said she was leaving for New York. Kelly went back to the office and wrote his story accordingly. A few moments later a clerk for Pan American Airlines told Terry that in order to be readmitted into Panama she must provide a photo or two for the cus- toms clearance slip. She fished a photo- graph out of her purse and gave it to him. He razored the head out of the picture and dropped what was left in a waste basket, from which a writer with a large bump of curiosity shortly rescued it. _Instead of flying to New York, Terry flew to Panama with her husband that evening. Oddly enough, although she had always managed to get by with her maiden name, Helen Koford, this time she wrote herself in as Helen Luella Davis, using the name of her ex-husband. Well, bear with us. We are nearly at the end of this fantastic tale and of the puzzle it presents. It was on February 6th that Terry, Gene and the newspaper reporter sat to- gether at the airport. The next day his story appeared. That afternoon the inquisitive writer, holding in his hand a photo from which a face had been razored, said casually, “But she flew to Panama with him. No, not New York. Panama.” A famous New York columnist was in Miami that day, on his way to Cuba. By evening his story had hit the special wires. And the next afternoon, Terry’s mother announced the marriage. She had to. All over the Hemisphere, from Panama to Caracas to Havana to Miami to New York to Las Vegas, hotel managers and publicity men and reporters breathed a sigh of relief and vowed, “Never again.” If ever you need proof, Terry, that those of us who write about and photograph you are on your side, this story is it. We waited as long as we could. And Honey—we knew all the time. END rusty takes a wife (Continued from page 53) into Speed’s car. “Ask me,” he challenged, “if I’ve for- gotten anything.” “Not me. I’m convinced.” Speed stepped on the gas. “I’m one best man who doesn’t have anything to do but deliver the body.” He slid his car into the stream of traffic on Sunset Boulevard, headed oceanward, whistling the wedding march. “Yipes!” Russ yelled. - Speed jammed on the brakes. the matter?” “The rings—the rings,” Russ bellowed. “T had ’em right here.” “Sure, sure you did,” Speed assured him. “But tell Papa, when’s the last time you remember seeing them?” “Well,” Russ puzzled, scratching his well-combed hair furiously, “I was stand- ing in front of the mirror, tying my tie. I remembered that I’d put the rings in my handkerchief pocket.” “So naturally, that being a safe place, you took them out.” “Yeah. I figured I might pull out the handkerchief and they might fall out— roll under the bed maybe. That’s it! That’s ntl “Under the bed?” “No, you dope. I put them on top of the bed, so when I put my coat on... .” “Okay.” Speed turned his car around. “So we go back.” “You sure that’ll give us enough time?” “Naturally. You allowed six minutes to change a flat tire. We'll use up the six minutes on the-rings and we won’t have a flat.” “What's Meantime, at the home of director Robert Stevenson, the day’s leading lady, bride-to-be Venetia, was making a brave attempt at being calm. The wedding gown, which had been so carefully planned so there’d be plenty of time, had turned plans into a last minute rush. Venetia was trying it on for the last time now, carefully arranging the bows at its high straight neckline. The dress was of pure silk peau de soie, French blue in color, the material having been sent especially from New York to the shop of Chris, on the Sunset Strip, arriving so late that Venetia had to spend two hours the day | before the wedding on a final fitting. Material for the gloves, of the same fabric and color as the dress, had been missing. They were finished just in the nick of time, and then only because Chris and his staff had worked from midnight until dawn. Now Venetia put on her little hat with | | its brim of forget-me-nots in blue and X violet shades. Then came the veil of nylon net, which was waist length and dyed to match her gown. She picked up her wed-}; ding bouquet of small orchids and lily-of- the-valley, stepped back and viewed her-| self critically in the full-length mirror be-}”’ hind the door in her bedroom. Venetia is one of those fortunate creatures who, if she were any more beautiful, would be}- unbelievable. Yet, she frowned at the bride-to-be staring back at her, said, half| 2 it’s the best I can do.” “Pm to herself, “Well, Then she called out to her dad, ready!” Outside the Stevenson home there wait- ed a long, sleek, black Cadillac limousine.! The driver was Ernest T. (Lymie) f Fe at

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Searcliff, a twenty-year veteran of the MGM iransportation department. He’d met Rusty during the shooting of Seven Brides For Seven Brothers, later driven for him on location in South Dakota for The Last Hunt. Long before the press and public wakened to the fact that Russ Tam- blyn was a certain star bet, Lymie had boosted his stock with every producer on the lot until their ears rang. And Lymie had insisted that his wedding present from him would be his personal services on their wedding day. As Venetia climbed into the car, Lymie, holding the door, growled, his voice husky with sentiment, “You are the most beautiful bride I’ve seen since the day I was married.” Then, with Mr. and Mrs. Bob Stevenson ' as added passengers, Lymie headed the car toward Portuguese Bend. (Venetia’s own mother, her parents having been divorced, had gone on ahead. But the bride’s mother | and father have remained good friends.) As the big limousine glided through the ' rolling hills of Palos Verdes, Venetia said ‘ happily, “Just one more mile—ten minutes more and I'll be a married woman.” “Shucks, girl,” her dad chided, “you || mneedn’t be so darned happy about leaving || home.” Venetia gave him a kiss on the cheek. “Quiet, young man,” she exclaimed, “don’t ' be a bad loser.” Then, as the car turned ' into the parking lot of the striking Cliff- | side church, she cried out, “There’s Russ ‘ getting out of his car. He mustn’t see me!” She didn’t have to worry. Russ saw the familiar limousine, turned and hurried | toward the church entrance to avoid the | bad luck of seeing his bride in her wed- | ding gown before the ceremony. | “It’s too bad,” Venetia’s father remarked “that it had to be so foggy today. I was hoping there’d be a lot of sunshine.” | “Oh, don’t worry,’ Venetia replied, “the | sun will shine. You'll see.” | It did, too, for the sky began to brighten | just as the organ began to murmur the lovely refrain of Schubert’s “Ave Maria.” Then, the rays of sunlight began to filter |, through the sky, illuminating the church in the way that has caused boatmen off- shore in the Pacific to refer to it as “the candle of God.” ‘Here comes the bride At this moment the wedding march be- gan. And the eyes of the few invited guests, all but one or two being members of the ._ Immediate families (Debbie and Eddie ' Fisher were the only two invited star ‘|, guests, but they had to be in San Fran- I cisco), turned to watch the bride’s en- || trance. A moment later, Russ and Vene- || tia stood before the Reverend Kenneth | William Knox, a minister of the Church ’|, of the New Jerusalem. His resonant, dis- ,| tinct voice began: “Dearly beloved . . .” lI Venetia’s head was bowed. Russ’ eyes || were riveted on her face. He saw one big i|I tear course down her cheek. Gently, he placed a finger under her chin and raised a} her head so that their eyes met. Reverend ‘| | Knox continued the marriage ceremony /instructions. “...to enjoy the blessed- ald ness of this estate, it is necessary that 1. those who enter into it should be delivered “from self love, and become established in ‘| supreme love to the Lord and in mutual ilove to each other. ...Russ Tamblyn, )wilt thou have this woman to be thy wed- || ded wife, to live together after the ordi- jMance of the Lord in the holy estate of te matrimony? Wilt thou love her, comfort thee: honor and keep her in sickness and /n health; and keep thee only unto her, 0 | 50 long as ye shall both live?” in|" “T will,” Russ responded with quiet em- ,|)ohasis. In less than five minutes the dou- it) ble ring ceremony with its inspiring pray- ter at conclusion was over. The bride and i) zr00om hurried down the aisle to face the i =

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Easy tuition payments. Trial plan. Write today. CHICAGO SCHOOL OF NURSING Dept. 235, 25 East Jackson Blvd., Chicago 4, III. iene: send free booklet and 16 sample lesson pages. ame. Oity State : Age cameramen waiting outside. Russ dutifully and joyfully kissed his bride six times for the benefit of the press until one of them said, “That’s all, kids.” “The heck it is,” Russ retorted. “I’ve kissed her enough for you—now I’m going to kiss her for myself!” He did, thoroughly. Only a select few attended the cham- pagne-pouring at the home of Mr. and Mrs. Stevenson. There were Venetia’s lovely mother, former actress Anna Lee, who is now Mrs. George Stafford of San Francis- co; the bride’s brother, Hugh, eleven, and sister Caroline, fourteen; the popular ac- tors’ agents, Milton Garfield, and Dick Clayton. Russ’ guests included his two ushers and longtime friends, Fred Fraley and Bob Six, with whom he went to school in North Hollywood. (His brother, Warren, a missionary in Germany, couldn't be present, but he’d sent them their first wed- ding present, a striking, intricately carved cuckoo clock.) Then there were Russ’ mom and dad, his Grandma and Grandpa Triplett, his Aunt Ruth and Uncle Irving. Also present at the cutting of the wedding cake, but without benefit of champagne, was his cousin, Karen, age thirteen. The high spot of the reception came when Dick Clayton proposed a toast to the bridegroom, and announced that he had a special wedding present for the bride. “Ladies and gentlemen” he said, “here’s to the bride—may she be the brightest star at RKO!” Everyone whooped at the news, for ten days before, after long discussions between Russ and Venetia, it was decided that she should give in to the pressure and have a career of her own. “I guess I’m largely responsible,” Dick ex- plained, “because I know how terrifically busy Russ is now that his work demands so much of his time. Venetia would be spending many long hours alone in their apartment, because she isn’t a gadabout. Because Russ has to be here, there and everywhere, they couldn’t set up normal housekeeping. They are devoted to each other, and both being clean cut kids with their feet on the ground, a career for Venetia is going to add to their mutual in- terests, rather than detract.” "You're the boss!" At times like this the family can remi- nisce for hours, but the bride and groom want to look forward, not backward, so early in the afternoon Russ whispered to Lymie, “Do you think anyone would mind if we sort of sneaked out?” “Of course not, lad,” Lymie responded. “Besides, you're the complete boss, now.” So Lymie loaded them into the limou- sine and they went for a long ride around Hollywood, through the hills. Venetia and Russ began to build their own memories. “Remember that day last week,” Russ said, “when we were being interviewed about our plans. How I sat at one table and you sat at another against the same wall, with your back toward me. The poor interview- ers. They thought we’d had a fight!” Venetia remembered, too. “Better not forget to leave the key for Speed to get into our apartment so things can be delivered.” “Gee, yes, I almost forgot. You know, I don’t think anyone believed me when I said all the furniture we had was that king-sized bed of yours, our do-it-yourself coffee table, the television set and the MopErn Screen Silver Cup.” “Oh, we have more than that,” Venetia chided. “How could you forget about the wall-to-wall carpets?” The rest of their conversation is privi- leged talk of the sort that takes place be- tween two people just married and deeply in love, except for that priceless moment when Russ called out to Lymie, who was trying to drive with his ears closed. “Hey, pop, we’ve got to ge past my apartment. I’ve forgotten my overcoat!” New LOTION Shampoo Made at home... FRESH as you need it! 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Dutifully, Lymie headed for Russ’ for- mer abode. Once there they discovered | that Russ had also forgotten his keys. They “went tc look for the landlord and never found him. Finally a friendly neighbor | volunteered to let them call for a lock- , smith, who arrived an hour later to pick ' the lock and let Russ in for his coat. He | emerged, grinning. “Remind me, sweet- _ heart, never to forget anything again.” | She promised, but Russ no longer had a mental appetite for the trivial things of life. Lymie drove them to the Bel-Air Ho- | tel where the studio had reserved the _ bridal suite as a wedding present. | Next morning at 5:30 a.m., the telephone _ rang softly several times before Russ, deep ' in sleep, clutched at it. “Good morning, | Mr. Tamblyn,” a charming feminine voice said, “you left a call for five-thirty.” | “J did?” Russ asked. | “Yes, Mr. Tamblyn. Shall I call you again in ten minutes?” “No thanks.” Russ was half awake now, | and so was Venetia. They both looked at the warmth of the still faintly glowing fireplace and Venetia gazed with a bride’s adoration at her new husband. She smiled | gently as he rumpled his hair; scratching his head in a half stupor. “My darling husband,” she murmured, “there’s something I want to tell you.” “Yeah, honey?” “There’s no business like show business | —let’s get up.” Honeymoon At Clover Field airport in Santa Monica the temperature was forty-two degrees when Mr. and Mrs. Tamblyn arrived, again | in the sleek black limousine with Lymie at the wheel. Ralph Couser, long time friend of Bob Taylor’s, had pulled the twin engine Beechcraft out of its hangar before dawn and had checked it thoroughly. He opened the door to the Cadillac to greet |the huddled newlyweds. “Congratulations and good morning,” he ‘said. “How about a little breakfast?” “Wonderful,” Venetia exclaimed. “You \know, I always wondered what sort of a ‘wedding breakfast I’d have. Whether it ) would be on the beach in Honolulu or on a tray at the Waldorf-Astoria. But now I ‘know, and it couldn’t be nicer.” Russ eased himself to the floor of the back seat, as Ralph brought the breakfast —a thermos of coffee and two doughnuts. Stewart Granger showed up in a taxicab, looking a little grim. “I expect,” he announced, “that my disposition will tise from lousy to grouchy by the time were somewhere over New Mexico.” “How about a shot with the bride and groom?” photographer Beerman asked. “Maybe you’d better give her a kiss.” “Nothing doing,” Granger _ retorted. “This junket is all for these two wonderful kids. I'm not a scene stealer—I’m just along for the ride.” Moments later, Granger and Mr. and Mrs. T. were aboard the plane. Pilot Cou- ser consulted the map of the route to ‘Sioux City, where they were to attend the premiere of The Last Hunt. ,|, .Clammy and cold down here, but up- g\(Stairs nothing but sunlight.” «|: The honeymoon air special roared down the runway. 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The next day they toured hospitals all morning and took a plane for The Twin Cities at noon. “We hope we didn’t rush you around too much,” everyone apolo- gized as they left. “We know it’s your honeymoon.” Minnesota sent up more roses, more champagne and put them on tv. With Venetia sniffing from the bouquets and Russ beaming into the cameras, the m.c. asked them, “Hope we haven’t invaded your privacy too much.” “Not at all,” said Russ. “Well,” said their host, “we'll try to leave you a little time to yourselves. What'll you do with it?” Russ stared at him. “Mister,” he said, “are you kidding?” Saturday night they arrived in New York and had all day Sunday to them- | selves. They unpacked their five suit- if I | cases, took a quick walk through the | park and spent the rest of the day making lists of the things they’d do if they got another day off. The hotel sent up roses and cham- pagne. Reporters and cameramen arrived by the score. “You poor kids,” they said. “No privacy on your honeymoon.” Russ and Venetia grinned at each other and she reached up to whisper in his ear—something she does so well that no one, however close, can hear. Russ nodded. “Look,” he said, “everyone’s been worrying so much about our honeymoon. You send up flowers, you send up cham- pagne, we get great rooms—and you leave us alone at night. Why, mister, stop worrying. We’re having a ball!” END natalie wood (Continued from page 42) a great actress, but I wasn’t thinking about that. I was thinking that the beautiful, wild-eyed, de- termined, rebellious, turbulent girl in my arms might someday become a very fine woman. She needs to learn to control the sparks that shoot off from her like they do from a firecracker on the fourth of July, and she needs to stop racing through life like a locomotive with the throttle open. She needs the seasoning that a few more years will give her, and a good healthy kick in the pants occasionally won’t do her any harm, but she is still only seventeen, and she is already generous, independent, loyal, mee and as finely tempered as a piece of steel]. When we were half-way around the park, she woke up again. “Nicky?” “Ves?” “Nicky?” “Are you warm enough?” “Uh-huh. Nicky, am I a nice person?” I teased her. “No.” “Why?” She sat up. “You’re inconsiderate, rude, conceited, spoiled and impatient.” “Oh.” She paused for a moment. “I suppose I am.” “Don’t worry about a thing,” I said. “You'll grow up.” I smiled at her. “Look! The sun’s out, and your chaperon is probably freezing to death up there with the driver. Come on, let’s have breakfast.” “IT think growing up,” she said wistfully, “is the hardest thing in the world to do.” She’s right, of course. But Natalie has done it. It’s taken her the whole year and a half since I first met her and even the few months since that New York trip, but I think her growing pains are almost over. Some things about her haven’t changed. They will never change. She will never lose the excitement that makes everybody in the room turn toward her, and she will always seem to glitter when she walks as though the sun is focusing all of its rays toward her head. But she is no longer the little rebel that I met in the casting office at Warner Brothers on the ninth day of December, 1954. Sour Sixteen She was sixteen years old, and she was the only person in the casting office when I came in. I was twenty-three years old. I was wearing a pea jacket and a pair of Navy boots. I had been out of the Navy for three weeks, and I didn’t have quite enough money to buy myself a civilian coat. I was at Warner Brothers to test for Rebel Without A Cause. Solly Baiano, the casting director, liked to go fishing, and so did I. We had had some good argu- ments over fishing while I was making Mister Roberts, and he had asked me back to test for Rebel. Natalie was looking out the window. “Hi, Beautiful,” I said, as I always say to all pretty girls. She turned around and glared at me— at least it seemed that way at the time. It didn’t take me very long to find out that this was a different kind of girl than I had ever known. The next most clois- tered life—after growing up within con- vent walls—is growing up on a studio lot. The Board of Education bends over back- wards to protect kids working in pictures from any kind of bad influence. Even to- day, although Natalie is almost eighteen, the state law requires that a chaperon and welfare worker be with her on every movie set, and on every kind of activity that stems out of her being a movie star. I never knew anyone who had a chap- eron before. And Natalie—well, I guess Natalie never knew anybody who said “Hi, Beautiful” to strange girls. I'll never forget how she looked at that first meeting. Natalie—as I found out} later—was going through a stage when she was trying to shed adolescent roles and step into the big time, grown-up stuff. She thought that the way to impress producers and casting executives with her experi- ence was to dress like a woman of thirty. But the severe black dress, the veiled hat, the sheer hose and opera pumps, in com- bination with her imp’s face, only made her look like a kid dressed up in her}, mother’s clothes. “Do you work here?” I asked. (I recog- nized her, of course. In the middle of the Pacific Ocean I had watched several old movies in which Natalie was cuddled in} , the laps of bewhiskered gentlemen. But I pretended that I had never seen her before.) “Tm testing for Rebel Without A Cause’ for Mr. Nick Ray,” she answered haught- ily. “Really? What's your name?” “Natalie Wood.” “Natalie Wood. Wood . . . Wood. I’m afraid I don’t place it,” I said apologetically! “Have you done much acting?” “A little,” she said coldly. “I’m sixteen now, but of course I didn’t get started] until I was four.” I winced. She was very pretty. And sort of cute. But, even so, I wasn’t sure},, that I wanted to know Natalie Wood any; better. She had been a movie star almost from the day she learned to walk, and had a hunch that people had been babying her and catering to her for an awfully§},,, long time. I didn’t feel like joining the. throng. j

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“Well—I hope you get the role,’ I told her. And backed away. The silent treatment She did get the role, of course. Before the picture started Natalie, Jimmy Dean, Dennis Hopper and a few others were called in to make tests. After lunch Dennis Hopper and I sprawled on the set waiting for the tests to resume. We were discussing our favorite topic—the various theories of acting, and Natalie stood by, looking as though this might be a favorite topic with her, too. We gave her the Silent Treatment. The Silent Treatment continued all day— until Natalie herself broke it, late that afternoon aS we were leaving. It had started to rain, and we ran for the car. Natalie trotted a few feet behind us. “Look,” she said, “even criminals get a second chance. Can I help it because I was a Child Star? I’m really not bad, through and through.” She looked terribly forlorn, standing there with drops of rain rolling down her face and all of the sophistication washed away. : “Better get in the car,” I said. “You don’t want to catch a cold.” “Please, then, will you give me a lift?” I smiled at her. “Sure,” I said. “Can we buy you a hamburger and a malt?” She smiled back. She was _ beautiful when she smiled. “Delighted,” she said. Laughter in Hollywood Friendship is a strange thing. Nobody can say just how or why it gets started, but ours started at that moment. I had boxed her ears, and she never tried to pull an act or impress me again. She wanted to have the world on a leash, trail- ing along behind her whenever she whistled, but her faults didn’t matter too much because she was more fun to be with than any other girl I had ever met. She had a trick of laughing so that you had to join her and the gift of expressing happiness more completely than anyone else in the world. We had fun those first few months. There was the afternoon that Kim Novak called me from New York and asked me to take a girl friend of hers to an impor- tant party that night. Natalie and Dennis were there when Kim called. I hung up the phone and looked at them. My good suit was at the cleaners; my car had broken something the day before and all it did was sit and smoke; and I wasn’t even sure I had enough money to pay all the taxi fares for the evening. © “Sorry,” Natalie said. “But it’s your problem. Come on, Dennis, we’ve got to go.” And she dragged Dennis out. Two hours later she was back. She had borrowed a tuxedo from one of Dennis’ friends. She had brought her Thunder- bird for me to use, and she had even brought along Tony Ray—son of director Nick Ray—to act as my chauffeur. He was dressed in a chauffeur’s jacket and cap that she had borrowed somewhere else. She waved goodbye to me. “See you tomorrow,” she said. But I saw her much sooner than that. When my date and I arrived at the party, Natalie, Dennis and five or six of their friends were hanging around the entrance with autograph books in their hands. They rushed up to me screaming, “There’s Nick Adams.” “Oh, I swoon for him.” “Isn’t he wonderful?” Twenty or twenty-five real autograph / hunters trailed after them, thinking that I must be someone really important. When I was surrounded with real autograph books, Natalie and Dennis stood on the edge of the crowd cheering me on. And there was my birthday. When I - 7021 Santa Monica Blvd., mG as magic as (4 ...the radiance of hair given VITA-FLUFF Shampoo care! Keep your hair always radiantly alive, beautifully controlled with VITA-FLUFF — the original cream 0 & vidual hair problems. New! viTa-FLUFF Golden Hand Cream —Silkens and Softens the Skin zn 60 Seconds shampoo. Special VITA-FLUFF Shampoos solve indi- Exclusive with professonal beauticians... sold only in beauty salons. 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went to my car that day, I found a new typewriter in the back seat. It was tied with a red ribbon, and she had written this note: “With this you can type out love, sin- cerity, loyalty and all the other things that you mean to me.” In a way we did love each other, but we were not in love. It is just that at certain times in a person’s life he needs another person to whom he can tell every- thing, a person of whom he can ask ques- tions that he can ask no one else, a person who will understand. And Natalie was facing a difficult chal- lenge. She wanted desperately to he grown-up, but she didn’t know what being grown-up meant. She didn’t want to fol- low any rules or obey any regulations. She thought that being grown-up meant being free of the rules that said she had to be chaperoned on the set and that she had to go to school a certain number of hours a day and that she had to be home by twelve o’clock and that she couldn’t do this and must do that. For a few months she spent most of her time re- belling against everything and everybody. Climax The climax came one evening when Rebel was finished. I picked her up at her house and found myself in the middle of a four-cornered argument. “Ym not going to do it. . .” Natalie was saying. “You are,” said her folks. “T'm not.” She bit her lip and slammed the door behind her. “T hate being young,” she said when we were outside. “The day that I’m eighteen I'm going to get my own apartment.” That was only the beginning of that evening. We were invited to Dennis’ house for a small party. There were six or seven other people there, and Natalie wanted to prove how really grown-up she was. “T want a cigarette,” she said. She has never smoked and she didn’t smoke that evening. But she found a ciga- rette and lit it. Then she sat on the couch with it, trying to look sophisticated and flicking the ashes aside. A few minutes later flames spurted up from the couch. “Hey. Look out,” Dennis said, pushing her aside and smothering the flames with a towel. He put the fire out, but there was a large hole in the cushion. “Look what you did,” Dennis said. “Tm sorry,’ Natalie said vaguely. “You ought to be sorry.” “Well, it isn’t really my fault. I was just sitting there and all of a—” Somebody turned on the phonograph and I swung Natalie into my arms. While we were dancing I said, “It was your fault, Natalie. You’re too careless and—” She broke in. “I don’t want to hear about it.” “You won’t listen to anything a person says lately. Someday you're going to get into trouble, leaping into things without listening.” A friend of Dennis came in with two bullfighter posters, a book about bull- fighters, and a glass of tequilla. “What’s that?” Natalie asked. “lemonade,” the boy said. “Have some.” “Natalie,” I said. “He’s just—” But she wasn’t listening again. Before I could warn her, she had impatiently picked up the “lemonade” and swallowed it. Tears trickled down her eyelashes and she stood choking and coughing in the middle of the room. I handed her a glass of water. “Now will you start listening and stop doing things so quickly?” She didn’t thank me for the advice. “Come on,’ I said. “We’d better be 98 leaving.” We drove without talking to each other. I was pretty angry at her, and she was— well, three miles from Dennis’ house, she said, “Stop the car, Nicky.” “Huh?” “Nicky, stop the car. sick.” I pulled on the brake, and she slid out the car door and wobbled across the side- walk. When she came back, she was paler than I had ever seen her. “How do you feel?” “Awful.” I put my arms around her. “You are inconsiderate, rude, spoiled and too dog- gone impatient.” “T know it,” she moaned. “Nicky, I want some water. Please get me some water.” “Where?” “There’s a Ladies’ She pointed weakly. I saw the sign. “But, Natalie. .. .” “Please.” I headed hesitantly to the Ladies’ Room. A car passed and I stood outside the door whistling and looking blankly at the stars. Then I ducked inside. I got her a cup of water and a couple of wet paper towels for her head. I brought them back to her. She drank the water too quickly. For a moment I thought she was going to be sick again. I held one of the paper towels against her forehead. “Why am I so impatient?” she asked. “Why do I want to break away from other people’s advice and why do I do every- thing so quickly as though there isn’t a second to spare?” “You're trying to grow up,” I said. “And you don’t understand what it means. It’s not being free and under no rules. It means being responsible for yourself.” We talked for a long time that night. I can’t tell you most of the things we said. They were told to me in confidence, and they are too private to write. But Natalie cried and had to use the soggy paper towels to dry her eyes, and she listened, too. I’m going to be Room over there.” Domesticated Natalie In two months now, she will be eighteen. But she will not be leaving home. “Who would take my messages and help me keep my things straight and tell me the things I still need to know?” she asks. “Tm not ready to leave home yet.” She is interested in listening to people and talking to them and learning every- thing that she can. Dennis is bunking at my house and sometimes the three of us sit around the fireplace there, reading aloud from Thomas Wolfe or Heming- way and discussing what we have read. She is considerate of other people’s opin- ions now and their feelings. She tries hard to be fair to people. For instance, if I have an early call in the morning, she will drive herself to my house instead of demanding that I pick her up and take her home. When I first met her, she didn’t even know how to turn on the stove. Last week I came over to her house with a bag full of groceries. “Tll make dinner,” she said. And she did. It was a good dinner— PHOTOGRAPHERS' CREDITS The photographs appearing in this issue are credited below, page by page: 8—NBC; 13—INP; 14—Globe, Bob Beerman; 15—Globe, Beerman, Celebrities of Hollywood Pictures; 16—-Warners, INP; 17—-Wide World, Bill Avery; 18—Globe; 19—Globe, TC-F; 20— TC-F, Beerman, Globe; 39, 43—-Peter Basch; 44—Jack Albin; 45—Paramount; 46—Jacques Lowe; 47—Rodgers & Hammerstein; 48, 49— Beerman; 50, 51—TC-F; 52—Beerman; 53— Beerman, MGM, Lowe; 54—Beerman, Lowe; 55—Bob Willoughby, Beerman; 56—Lowe; 57 —Willoughby; 58—Beerman; 59—Willoughby; 60, 61—Bert Parry; 64, 65, 66, 67—Globe. hamburgers, salad and corn on the cob— and we ate every bit of it. Then we went into the living room and started to read. When Natalie does something, she does it with a flourish. There were two clean dishes left when she was through making dinner and I shuddered at the idea of cleaning the kitchen. But while Natalie’s mother and I talked, Natalie washed the dishes herself and put everything away. She has not changed completely. She is still imperious and impatient. But I would not want her to change completely. She might lose that air of excitement that hangs around her like a cloak and makes her completely different from anyone I have ever met. Even when she burns you up, she does it with style. Two weeks ago, I was asked to perform at a benefit. I was to be a guest at supper, so I picked Natalie up at the studio when shooting was over for the day on her picture, A Cry In The Night. We arrived at the hotel at seven, found our table and had our dinner served. At 7:30 the speeches began. At 10:30 the speeches were still going. “Let’s go,” Natalie said, tugging at my sleeve. “I can’t,” I whispered. “I’ve got to per- form.” “T don’t see why.” “Natalie!” “Oh, all right.” At one o’clock the m.c. finally smiled at me. “And now we're going to have a little entertainment,” he said. Everybody was too sleepy to want to be entertained, so I made my act short. “Fine,” the m.c. said. “And now a little more entertainment.” “Oh, no,” Natalie groaned. The “little more “entertainment” was someone with a harp and a large repertory of songs. Natalie yawned across the table at me for another five minutes. Then she rested her chin on her hands, sighed mournfully, and sang—in tune with the harp—“Let us go.” “Tt’s not polite.” “I don’t care,” she trilled lightly. “My seat...is... getting ...sore...” She took her hands away from her chin and stood up. “I...am. going... now,” she sang. Unfortunately the harp player had paused for breath. Everybody in the room turned to look at us, and I followed her as quickly as I could. At the door the headwaiter stopped us. “You owe twenty dollars,” he said. “For the dinner.” “I am supposed to be a guest,’ I said. “Tm _ sorry, sir,” he said. “But you know .. .” I reached into my pocket for my wallet. Natalie grabbed the wallet out of my | hands and faced the headwaiter. She was very angry. “That’s not fair,’ she said. him he was a guest.” She pulled the check away from the headwaiter. With a grand flourish she shredded it to bits and let the piecas drift to the floor. Then she floated imperially toward the exit. I loved her very much at that ae | and | She is exasperating, aggravating maddening, but she is also the most ex- “They told citing person I have ever known. She is | as fascinating as a fancy dress ball and as indescribable as a Roman candle. And I suppose that she has got the world on her leash at that. I followed the trail of paper to the door where she was | waiting for me. I hugged her and, laugh- | ing wildly, we ran to the car. END (Natalie Wood can be seen in War- ner Brothers’ The Searchers. Nick Adams | can currently be seen in Columbia’s Picnic | and Warner Brothers’ Our Miss Brooks.)

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