Modern Screen 1957-04 Vol. 51, No. 4

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m Novak: ONE MAN IS NOT ENOUGH! APR 326 1957 The complete story of ORIS DAY'S ESCAPE ROM HELL

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APR 30.1957 Be Be ill 7 Years from now, passers-by will note their initials in the birch tree’s bark. And it looks as if this love affair would last even longer. Young as they are, both Pat and Andy have learned that unpleasant breath is a barrier to romance. When they whisper ‘sweet nothings,” you may be sure they'll stay sweet, thanks to the security that gargling with Listerine Antiseptic brings. The most common cause of bad breath is. germs . . . Listerine kills germs by millions The most common cause of bad breath by far is germs that ferment the protein. always present in the mouth. Listerine Anuseptic kills getms instantly .. . by millions. Tooth paste can’t kiil germs the way Listerine does Tooth paste can’t kill germs the way Listerine does, because no tooth paste is antiseptic. Listerine IS antiseptic. That's why Listerine stops bad breath four times better than tooth paste. Gargle Listerine full-strength, morning and night. LISTERINE the most widely used antiseptic in the world. : LISTERINE ANTISEPTIC stops bad breath 4 times better than toot e

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you can benefit from Tampax Tampax is not an occasional sanitary pto- tection. You don’t save it for your more strenuous “‘days of the month.” Certainly, Tampax® internal sanitary protection allows you complete physical comfort when you're dancing, walking, moving... when you're active in any way. But why deprive yourself of Tampax comfort during your quiet hours? Even when you’re staying closest to the home fires, the benefits of Tampax add up. Internal absorption prevents odor from Tre forming. No uneasiness. No pos- No PINS sible embarrassment. Tampax No PADS doesn’t interfere with your tub wo ODOR fame shower. Whether you're racing along or taking it slow, you'll appreciate quick, effortless insertion... easy disposal. No changing problems, either. A few Tampax slip inconspicuously into your purse. All through your time of the month, Tampax is essential to your personal fastidiousness, your good groom- ing, your very femininity. Buy your choice of Regular, Super or Junior absorbencies wherever drug prod- ucts are sold. The economy size gives an average 4-months’ supply. Run-around, home body—or happy combination of the two, you'll like Tampax. Tampax Incorpo- rated, Palmer, Mass. Invented by a doctor— now used by millions of women APRIL, 1957 AMERICA’S GREATEST MOVIE MAGAZINE modern screen WANT ELVIS ON YOUR FINGER? .....00.0.-5....cccccece--cecesensecssoesensrersnenecanemenentns szpnes = meacanctas 27 stories “WE HAD TO ELOPE” (Pat Boone). ............::-:c:0c:scssictesecsensrieetccaate by Ed Deblasio 28 JUNE ALLYSON’S PRIVATE LIFE... ae Seo i era 30 HOW’S YOUR SENSE OF HUMOR? (Debbie Reynolds ).................. by Jane Wilkie 34 “THE TYPES OF GIRLS I CAN’T STAND” (Tony Perkins) by Beverly Linet 36 CAN JEANNE CRAIN KEEP HER HUSBAND HOME? ............ _... by Dick Williams 38 IF YOU DON’T BELIEVE IN GOD, READ ABOUT PIER ANGELI'S JOY by Helen Weller 40 WHY PAUL NEWMAN LEFT HIS WIFE... os NR Sol ae Se ¢ ine 42 WHY KIM REMAINS UNSATISFIED (Kim Novak) 0.0.0.0 by Dora Albert 44 THE FIRST COMPLETE STORY OF CLINT WALKER. ............ _ by Kirtley Baskette 46 *THE STORY OF DORIS DAY'S ESCAPE FROM HELL! by Harriet Franklin 48 THE GIRL WHO JILTED ELVIS!.............. Nepean ena _.....by Ned Polsky 50 AN IMPORTANT MESSAGE TO TWO UNHAPPY PEOPLE: (Russ Tamblyn-Venetia StevensSons)iesss es : by Blanche E. Schiffman 52 THE TRUE-LIFE LOVE STORY OF CARROLL BAKER ........ by Florence Nilres 54 "I COULD HAVE BEEN A JUVENILE DELINQUENT” by Ben Cooper 56 HOW TO BE SOPHISTICATED : Gas by Dana Wynter 58 features "DO COME TO HOLLYWOOD,” SAYS DIRECTOR, MIKE CURTIZ: nee 20 CINEMA STARS OF YESTERYEAR. ........0-:ccccccscscsessscceesscneeutuenenssectcrcecesehenes een gots 21 THEY TOLD ME”’DON’T LOOK ‘INTERESTED’ AT DIANA DORS” (William Redfleld) 22 APRIL BIRTHDAYSG.. ....... ry cesta ee ga eee eer TM iy econ Se 23 JUST CALL HIM SPEEDY (Jackie CoOper) veces: cx notes eene oar seteararee Pe ies, Weare corey 24 MOTHER SHOOTS ELVIS (HIS PICTURE, THAT 1S) ee eee by Kay Wheeler 25 CURRY A LA MacMURRAY! (Fred MacMurray ) PRE he a hits sO WiIHORI StS Hibiprreecr encores Pe Arne nie fire rennin epic Bi asco sueso svt Soe ie 65 WHY MARLON BRANDO WAS ASKED TO LEAVE HIGH SCHOOL 78 "IT’S A COVER-UP,” SAYS RONALD REAGAN .........:.-:c: 1: even sees anak As) CLENN FORD SAYS, “SEX ISN'T ALWAYS WHAT YOU THINK!"..... pie (BZ “YOU WUNNERFUL, WUNNERFUL PEOPLE” Giiberace)) mace yer Neto BARBARA LANG'S MIRACLE..............0..ccccetccessecsecescneesetecnstestarcensnesmenseemaetens tnertas ses)! NO MORE CHEESECAKE (Anita Ekberg )........::00eeis 5 OR 5 A ered aioe 92 "MR. O'BRIAN, I PRESUME?” (Hugh O'Brian)... Susan Juliano 97 JACK LEMMON .. . BABY SITTER (Robert Mitchum-Jack Lemmon )............-0..- 98 departments LOUELLA PARSONS IN HOLLYWOOD 6 THELINSIDE SLORY G25. aeercre=. ee 4 TVs eds gece ete soon RR Wig Re eee ret pee Or Sato Suttese.cn. cote ANE 12 NEW MOVIEG.............0..:: Se PR Miter ore sinc 8002 14 MODERN SCREEN FASHIONS ...........000 vee 66 SNEAK PREVIEWS OF NEW THINGS FOR NOUR: 73 MODERN SCREEN BEAUTY.................- : = 74 $100 FOR YOUL..:....:.000-0.c- ese. AR re ee MN 8 Gyros ogee nA ROR 94 *Color portrait of Doris Day on the cover by John Engstead Watch for Doris in Warner Bros. Pajama Game, Paramount's Teacher's Pet and RKO’s Curtain Going Up Other photographers’ credits on page 96. ae RHYN SERLIN, story editor INA C. STEINHAUSER, associate editor BILL WEINBERGER, art editor GWENN WALTERS, fashion and beauty DAVID MYERS, editor director Saas seg ee FERNA , art di ‘or JIM HOFFMAN, managing editor ERNESTINE R. COORE, editorial assistant Nee 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 eld address label. POSTMASTER: Please send notice on Form No. 3579 to 76 Ninth Avenue, New York 11, N xy: MODERN SCREEN, Vol. 51, No. 4, April, 1957. Published monthly Office of publication at Washington and South Aves., Dunellen, N pany, Ine. 961 Fifth Canada. Subscriptions in U.S. A. and Canada $2.50 one year; $4. $3.50 a year. Entered as second class matter Se peace 18, 1930, a t Act of March 3, 1879. Copyrisht 1957 by Dell Publishing Company, Inc. Print accept no responsibility for the return of unsolicited material. Trademark Nc Warnes Ser t the post

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in‘ TEN THOUSAND BEDROOMS: He sings love-songs in romantic Rome to not one, not two, not three, but four luscious lovelies (all sisters!) and what 2 happens then makes the most enticing, exciting story ever set to music!” M-G-M presents - \\ DEAN MARTIN : in his first solo starring role in TEN THOUSAND BEDROOMS in CinemaScope and METROCOLOR co-starring ANNA MARIA ALBERGHETT| EVA BARTOK DEWEY MARTIN WALTER SLEZAK PAUL HENREID with JULES MUNSHIN - MARCEL DALIO Written by LASLO VADNAY and ART COHN, WILLIAM LUDWIG and LEONARD SPIGELGASS © New Songs: Music by NICHOLAS BRODSZKY | Lyrics by SAMMY CAHN *. Directed by RICHARD THORPE «© Produced by JOE PASTERNAK «© An M-G-M Picture | tn Tee tees

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one with That.M Here you are with that special one...and every day seems like a holiday! Aren’t you glad you look so nice, with every hair in place! You know it’s easiest to keep it that way by setting and securing it with Gayla HOLD-BoB, the all- purpose bobby pin more women prefer over all others. At first glance bobby pins may look alike, but women know that Gayla HOLD-BOoB with Flexi-Grip is the leader by superior perform- ance...holds better, has the right combination of strength and flex- ibility, and is easiest to use. Do not accept ordinary bobby pins—insist on Gayla HOLD-BOB. ©1957 GP.t Gayla ® HOLD-BOB BOBBY PINS WITH lexi-Grip GAYLORD PRODUCTS INCORPORATED 1918 Prairie Avenue, Chicago 16, Illinois ’ Gayla. HOLD-BOB BOBRY PINS G Want the real truth? Write to INSIDE STORY, Modern Screen, 10 West 33rd St., New York 1, N.Y. letters will appear in this column. 6 Q: Is it true that Liz Taylor would have been paralyzed from the waist down if she hadn’t submitted to her recent back operation ? =—HED \CHiGAGOs Libis A: That’s what her doctors maintain. @: I understand that Bing Crosby is currently on a young-girl kick. Why is this ? —L.F., SAN FRANcISscO, CAL. A: Crosby is in his fifties. He finds more amusement in young women than in women aged forty-five to fifty. @: When does Elvis Presley go into the Army? —F.D., MEMPHIS, TENN. A: This summer or fall unless Ten- nessee draft quotas are lowered. @: Is the Michael Wilding-Marie Mac- Donald affair serious or just a publicity stunt? —S.L., RicHmMonp, Va. A: Wilding claims he is genuinely fond of Marie. @: Haven’t Ingrid Bergman and her husband Rossellini separated ? —D.R., DENVER, COL. A: Only geographically. Rossellini is in India directing pictures, plans to re-join Ingrid in Europe in March. @: Isn’t Natalie Wood’s mother Chi- nese? ——17.¥i. LOUISVILEE,) Kv. A: No. Natalie’s mother was born in China of Russian parents. @: Has Janet Leigh abandoned her ca- reer now that she’s a mother? =F) Ue, STOCKTON,» CAL. A: She says definitely not. @: Didn’t Carroll Baker act in MGM pictures under a different name and who was her first husband? —F.F., N.Y.C. A: Carroll did act at MGM, under the name Carroll Kelly. Her first husband was Lew Ritter. @: Doesn’t Fred Astaire have a daugh- ter named after Ava Gardner? —K.T., BRIE, ‘PA. A: Astaire’s daughter was named Ava but not after the actress. ee a ee The most interesting Sorry, no personal replies. @: I have read several articles saying Kim Novak is the dumbest blonde in Hollywood. Is this true? — HER sCHiGAGco, nn, A: No, Kim has a good head on her shoulders. 9: Who is the newest girl in Frank Sinatra’s life? —B.D., Rawitns, Wyo. A: Joan Blackman, 17, of San Francisco. @: Whatever happened to Gary Cros- by? —M.R., PRovIDENCE, R. I. A: He’s become a disc jockey at an American Forces Network radio station in Germany. @: Where and how did Cyd Charisse ever get that name? —R.I., AMARILLO, TEXAS A: Unable to pronounce the word “Sis,” her brother used to call her “Cyd” when he was small. The Charisse comes from her first husband, Nico Charisse. Her veal name: Tula Finklea. @: Where is Joan Collins’ first husband, Maxwell Reed? Will Joan marry Arthur Loew, Jr.? o —J a. N-Y.C. A: Maxwell Reed is selling cars in Holly- wood. Joan says she doesn’t want mar- riage. @: Is James Mason disliked by the Brit- ish press? —H.R., Lonpon, ENGLAND A: Yes; newsmen there claim he is gen- erally surly. @: How can Jeanne Crain go back to Paul Brinkman when she accused him of beating her up? —E.R., BALTIMoRE, MD. A: True love knows no bounds. Q: Is the Rita Hayworth-George Jessel romance on the level? —Y.T., AKRoN, OHIO A: To Jessel only. @: Why does every actor want to be- come a singer—Jerry Lewis, Jeif Chan- dler, Tab Hunter? —J.V., Ursana, It. A: Extra cash. :

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She’s letting ¥ her hair down all the way rockin’ and rollin’ with Fred Astaire in her first big musical! al x Great Gershwin Tunes! if) “'S Wonderful” |) “Clap Yo’ Hands” | “How Long Has This Been Going On?” and 8 more—including the brilliant “Bon Jour Paris’ number that makes all Paris a stagel © Actually filmed in France— on a spree Paris will never forget! s 4 70 | i a 7 ; EMPATHY! § (Wyo) Words can’t #_,\ )4 4 | describe it—but OS Aa wait till Audrey | j if Bees demonstrates it! || 49). \ \\ A Paramount Picture VISTAVISION” amomion picture WF wnce-FmeuTT dy AYN KA VANS : te- starring = KAY THOMPSON AIJCLATR - FLEMYNG - "GERSHWIN. * xcs 2222752 ounce ” ROGER EDENS ” STANLEY OMEN “LEONARD GERSHE” TECHNIGOLOR® 22ese 5 es Si aie ’

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LOUELLA PARSONS in hollywood THE PARTY OF THE MONTH: Whether it cost $125,000 as loudly calculated, or just one third of that amount, there’s no argument that the lavish party hosted by oil millionaire Tex Feldman and his wife was one of the most elaborate ever held in any town —any time. The private room at ROMANOFF’S was com- pletely redecorated into a replica of New York's famed DELMONICO RESTAURANT at the turn of the century. The guests were invited to dress in the theme of My Fair Lady. Against the pale-green-and-silver back- ground, I can’t tell you how lovely the ladies looked in their feathers and finery and long white gloves. Hardly one male showed up in less than white-tie-and-tails. Bing Crosby really got in the mood wearing an elaborate white ruffled shirt, and was most elegant in formal tails. The Croon- er’'s date was young DELTA airline hostess Nancy Eiland, a cutie-pie from the South who had never been to a Hollywood party before and was beside herself with excitement. Who wouldn't be??? A party like this for a starter, plus Bing! Don't get excited. My guess is that this is no new romance in Bing’s life. He just seemed to enjoy showing an unsophisticated young girl the time of her life. Talk about its being an exclusive affair— Songwriter Jimmy McHugh was my escort to the party of the month. Mr. Clark Gable and his Kay asked if they could bring two out-of-town guests, and had to be told they couldn't! Because of the al- ready-crowded seating arrangements for din- ner. Clark, all done up in his Rhett Butler out- fit from Gone With The Wind, came anyway. with Kay looking like a Princess with a dia- mond tiara atop her blonde hair. Sonja Henie, ablaze with her wonderful diamonds, sat at our table with her good- looking bridegroom, industrialist Niels On- stad. He’s really charming. For a girl who seems to have everything in the world, Sonja just couldn't get over the beautiful white lace fans, sprinkled with rhinestones, which were favors for all the ladies. Gary Cooper, who wears tails better than Big Coop, was just back from Paris— where he said he nearly froze to death. You should see Gary's face when he looks at his beautiful debutante daughter, Maria, who was with him and Rocky. He fairly busts his but- tons with pride. The photographers were all over the plcce snapping pictures of Jeanne Crain and Paul Brinkman, who had just reconciled after a stormy separation—and made the kiss-and-make-up act official by attending this much-publicized party together. Jeanne flashed a new ring Paul had given her as they danced I'm delighted these every number together. Friendly Persuasion himself, Gary Cooper, arriving at Romanoff’s. louella parsons’ two are back together for the sake of their children—and themselves. Among others having a most elegant time for themselves—and I mean elegant—were the Jimmy Stewarts, Frances and Van Heflin, the Mervyn Le Roys, Buddy Adlers and all the other handsome gentle- men and ‘fair ladies.’ “Il DON’T KNOW, MAYBE IT WAS the difference in our backgrounds.” Russ Tamblyn told me in a shaky, unhappy voice as he tried to explain the surprising break-up of his marriage to teenage Venetia Steven- son. ‘Venetia has a theatrical background. My family are just—plain folks.” I couldn’t have been more surprised when the word came that these youngsters, whose Valentine Day's marriage last year received so much romantic publicity, were ending mar- ried life after a short eleven months. Usually there are rumors of trouble before an actual break-up. There had been none about Russ and Venetia. I wonder what this parting will do to all the teenagers who have written me letters saying that they used the early marriage of Russ and Venetia as a shining argument to their parents in favor of teenage marriages? My guess as to why this marriage may have gone on the rocks is Venetia’s absorption in

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GOOD NEWS her career. She’s a very ambitious girl and they are planning big things for her at WaAr- NERS after she got off to a slow start at RKO. On the other hand, Russ hasn't had a big hit since Seven Brides For Seven Brothers. But he’s young and there’s plenty of time ahead for him. All I can say is—it’s too bad this failure happened so early in both their lives. Whether they realize it now or not—it will leave a scar that will be a long time healing. THE STAR OF THE MONTH—Can- tinflas: In place of nominating a candi- date for stardom this month I’m choosing a full-fledged star, the beloved little Mexican who has long been a great, great favorite in his native country and in Europe, but who is just now capturing the hearts of the Ameri- can fans. In Around The World In 80 Days this strangely wistful and yeti cocksure little come- dian has wrapped us all around his little finger in a way no player has done since the long-ago days of Charlie Chaplin. I can tell you first hand that Cantinflas car- ries over this almost child-like appeal in private life. When he came over to my table at the dinner following the premiere of 80 Days to renew an acquaintanceship which had started several years before, he was so “ ‘Hugh O'Brian, withou Tg nh eo nee eae it was more than just a party—it was the start of a new life for two very nice people. But happiness didn’t come to everyone this month... sweet and impulsive I found myself giving him a big hug and a kiss on the cheek. The secret of his appeal is that he seems so helpless. Helpless? They say he’s just about the smartest little business man in Mexico, and got $325,000 good American dollars for the Mike Todd picture. But on and off screen, he goes right to your heart as a be- wildered little gamin. He told me, however, that he does not con- sider that he and Chaplin have the same ap- peal. “He is the Little Tramp buffeted by fate —and helpless. I, too, am a little tramp, but unexpectedly I can do something about the cruel fates—such as my bullfight scene in the picture. People pull for me and are sur- prised when I win.” Born in Mexico City on August 12th, 1911, which makes him 46, Cantinflas had no formal training in acting. He began his career in comedy when he was in grade school, play- ing the clown in school shows. In his teens he acted in a small theatre in Mexico City, where he established his reputation on the stage. But it was nothing compared to the fame he achieved after his screen debut in 1934—the same year he was married to a non-professional who is still Mrs. Cantinflas. THE QUOTE OF THE MONTH: Asked what she thought of former-boy-friend Elvis Presley’s new romance with Dottie Har- mony, Natalie Wood said, “Is it a girl, or a musical arrangement?” Oh, Natalie! 1 LOVE OLE MAESTRO Bing Cros- by’s quotes on Elvis Presley—and I hope Elvis read them. Bing, a wide-eyed Tv fan, had this to say after seeing The Pelvis on a _ TV show: “There’s no arguing he’s the hottest thing in show business right now. In our brightest days Frank Sinatra and I never sold rec- ords as fast and hot as this kid. 3ut he can’t stand still and sing the same type of song over and over and keep on as he’s going. “For one thing, he’s got to learn to talk— yes, I said talk. And stand up straight. Last time I heard him on Tv I couldn't understand half the words he was singing. ‘T've always said a big part of the secret of the success of both Rudy Vallee, in his day, and Frank Sinatra is their wonder- ful enunciation. Women, particularly, like to hear the words of a love song. Makes ‘em think they're being made love to—and that sells records. “Elvis is good-looking, but those sideburns have got to go. But the important thing is that he has to advance. He has to vary his repertoire, because I don’t care how much of a hit you are, (Continued on page 8) t his Wyatt Earp outfit, was at Tex Feldman’s too. Marisa Pavan and Jean-Pierre Aumont exchange their first New Year's kiss.

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es Our hearts are a little emptier without Bogey. you can’t go on singing ‘Hound Dog’ music forever—not if you want to stay on top.” Read this and reap, Elvis, my boy. FAREWELL TO HUMPHREY BO- GART: There'll never be another Bogey. There just isn’t another piece of material to produce such a beloved character. Brittle, caustic, showing a hard wise-crack- ing front to the world, his few intimate friends knew him as a warm, understanding, deeply loyal human being—even when it got him in trouble. I couldn't believe it when, on January 14th at three o'clock in the morning, the call came that ‘‘Bogey is dead.” The valiant fight against the ravages of cancer which victim- ized him last year had been lost. Of course I knew how ill he had been, how ill he was. But just a week previous I had called on Bogey and Betty, as he always called Lauren Bacall, at their estate in Holmby Hills at Bogey’s personal invitc:tion. Terribly thin, frail—yet his voice as strong and scornful as ever—he greeted me with a Ingrid hopes to see daughter some day. Kim’s studio doesn’t ree John Ireland! in hollywood Continued highball in his hand and fire in his eyes. “I’m going to sue that dame in New York who printed that I’m dying,” he said to me with that fierceness he loved to assume. ‘’No- body’s going to count me out while I’m still on my feet!” And yet, even as he hurled this defiance, I’m sure that he knew in his heart that his days—and his life with his loved Betty and the two children—were nearing the end. If ever it could be said of any human being that he went down fighting with banners fly- ing, let it be said with reverence of this color- ful, controversial man and actor who wrote such a vivid chapter in Hollywood history. INGRID BERGMAN’S VOICE was as clear and distinct as though she were in the same room with me when I talked to her in Paris via Trans-Atlantic phone. ‘It isn’t true that my daughter, Jenny Ann, doesn’t want to see me when I come to New York to receive the Critics’ Award for Ana- stasia,’” she told me. “We have corresponded on this subject and talked over the telephone, and arrived at the decision that this is not the right time for our first meeting in six years. “I shall be in New York just twenty-four hours—which will be crowded to the utmost, every second of it. It wouldn't be fair to either of us to attempt such an important meeting in both our lives in the fanfare of so much confusion. We shall see one another later when we can spend more time together.” I will say there’s one thing about Ingrid which I very much admire. She has never failed to give me a straight answer to a ques- tion I have asked her, and this I appreciate. KIM NOVAK’S NEW ROMANCE with John Ireland has been the talk of the town for weeks now, and as usual the boy friend she selected is not popular with her studio. One bit of gossip had it that guards were posted on Kim's Jeanne Eagels set to see that Ireland did not visit her during working hours. Seems Ireland aroused the ire of the top brass not so much because he has fallen for the lovely Miss Novak, but because he walked out on a COLUMBIA contract several years Jack Lemmon wanted the divorce so much. But has his freedom brought the happiness he was looking for? ago and sued to break it. He was warned he’d never set foot on that lot again. z On second thought, Kim can’t seem to get a boy friend in favor with her bosses. Mac Krim was very much in the doghouse at one time and there was no jumping for joy when Kim had that big crush on Frank Sinatra. Amusingly enough, Frankie and Kim are due to meet soon right on the CoLumsia lot as the co-stars of Pal Joey! ROMANTIC RAMBLINGS: That ro- mantic hurricane which seemed to be blowing up between Jack Lemmon ond Felicia Farr has slowed to a gentle breeze. Most of Jack’s romances these days seem to simmer out into nothing important. I wonder if he’s really found the happiness in his freedom that he expected when he was so insistent that Cynthia get a divorce? ... Quite a romance bloomed between Anne Baxter and Scott Brady and then chilled to the icy stage before most people even knew they were dating.... OPEN LETTER TO MIKE TODD: What do you mean, “There’s no such thing as a happy actress?” Don't you know, Mike old boy, that actresses don’t want to be happy? They’re the happiest breed in the world being unhappy—and I think that goes for your dreamgirl Liz Taylor, too. In that fabulous statement of yours from London you also added that you knew an ac- tress who was soon going to be just a happy housewife. Want to bet? Oh, I know there isn’t a girl in the world, including a glamour girl like Liz, who wouldn't be swept off her feet by all the lavish and out-of-this-world gifts you're showering on her. A $500,000 home in Beverly Hills. A yacht. A Britishmade automobile—the most expensive make in the world—equipped with a bar and a gold-plated burner that cooks. Good heavens above! Who wants to cook in a car? f But as difficult to believe as this may sound —don’t forget, my extravagant friend, that the lady of your heart is a glamorous actress —and a good one. (Continued on page 10) a Felicia Farr and Jack a: seemed to be so im- portant to each other . . . but it doesn’t look like it will last. V ed

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‘third and last marriage.” 10 LOUELLA PARSONS in hollywood Continued Life in Hollywood ... blooming romances, broken romances—and a laugh to lighten the day. I have a sneaking hunch that you yourself, Sir Mike, would not be nearly as entranced as you are with Liz if she weren't who she is! I mean, one of the darlings of the world. You've never been a boy to hide your light behind a bushel yourself, Mike. There’s noth- ing that warms your bones more easily than the white hot heat of the spotlight. I know you love Liz and want to protect her and help her get her health back. But I sug- gest, why don’t you take her ‘round the world in 80 days’ on that snazzy new yacht—and then, both of you report pronto back to Holly- wood where you belong—and get back to> your glamorous jobs! LOVELY RITA MORENO’S SAYING THAT her romance with Marlon Brando is too important in her life for public discussion. She’s been a visitor in Japan where Marlon is making Sayonara—and that sounds serious enough. Marlon’s not a boy to be bothered with a visitor he isn’t interested in... . Said Linda Darnell in confirming her ap- proaching marriage to Captain Robert Robin- son, commercial airline pilot: ‘This is my I don’t think any- one is going to argue that three isn’t enough, Linda. . The bets are solid that British Joan Col- lims, whose career is booming—I hear she’s great in Island In The Sun—and Arthur Loew, Jr., son of the movie pioneer, will be a 1957 marriage. THE LETTER BOX: Look out, Mitzi Gaynor. From BaTAwa, ONTARIO, VERA TOMAS issues the warning: ‘Mitzi has been my favorite actress. But she won't be unless she stops ignoring fan letters, not only from me—but others’ who admire her”... Beauty parlor operator CECILIA has a per- sonal message for Montgomery Clift: “7, too, have been in an awful mixed-up state of Mike Todd’s concern for his lovely Liz shows plainly in his wor mind, although I am only nineteen. But I am helping myself through work and right think- ing. Sometimes I think it is nice to know there are other people in the world working out problems that bother you.” A very nice mes- sage, Cecilia. “Why isn’t there more publicity about Rebert Taylor, his wife and baby?” asks Mrs. IpaA Drew, So. WeymoutH, Mass. The best reason is that Bob doesn’t want private- life publicity, Mrs. D.... Got a kick out of the letter from Mrs. R.W., CANADA: “I want to thank you for all the parties, premieres and weddings you have taken me to through your column in MopERN ScrEEN. Most of the time my outings consist of taking the garbage out to the back!” ... And another chuckle from DAnNy MAuRER, FOSTORIA, OHIO: “I know how you like to get the jump on a scoop—so I want you to be the first to know that Kim Novak and I are get- ting married! I’m only sixteen years old, and I haven't told Kim yet, but give me five or six years!” Even that won't be enough, Danny boy. Kim will be five or six years older, too. “Movie stars expecting babies make me mad saying they hope it will be a boy” protests Nancy Pautmer of SCHENECTADY, NEW YoRK. “Lita and Rory Calhoun say they want a boy in every interview. What if the Cal- houns have a daughter and when she gets to be older she reads about her parents wanting a son?” Most parents are usually delighted with what they get, Nancy—after the baby arrives. A most interesting letter in beautifully ex- pressed English comes from S. V. SANKARAN, Mapras, INDIA, who is a monthly reader of MopERN SCREEN and says: “My choice for the top new stars are Vera Miles and Don Murray. Are you surprised that we in India have seen these new players so soon?” I am, indeed, and thank you... . “3 E._vis FANS,” CHICAGO, composed a poem ed look—and supporting arm. oe > Put 2 anc ae? AS directed to those who pick on The Presley: You criticize in every way that Elvis likes to sing; But, if you think you aré so much better, WHY AREN'T YOU THE KING? Vivian DewrrT, of DENveR, bidsts: “If Aldo Ray is still so all-fired crazy in love with Jeff Donnell and ditto for Mary Murphy and Dale Robertson and ditto-ditio for Jack Carson and Lola Albright, why do they take up newsreel space with their separations?” You've got a point there, Vivian. ... “Are there any active Grace Kelly fan clubs left?’ Nancy NEUMAN, WINNETKA, ILL., wants to know. Well, are there? Speak up in this department if there are... . Anna McGinnis, Fort WortH, TEXAs, asks: “Since when did it become correct for people not married to one another to travel together openly around this country and out of it?” Meaning anybody in particular, Anna? That’s all for this month. See you soon. v Comedian Cantinflas was Liz’ host in Mexico. Moni 4

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Attention Quiz-Show contestants. Sponsors want you to win. More about Como, John Daly, Audrey Hepburn-Mel Ferrer in this month’s. TV TALK You'd think, seeing as how Audrey Hep- burn and Mel Ferrer have spent most of their married life abroad, that most of their pos- sessions would be European-made. Not at all. Before they came back to the states to do Mayerling for NBC, Audrey decided to buy a car for Mel. But she didn’t get an MG or a Jaguar or a Mercedes-Benz or any of the foreign numbers that the Hollywood stars buy in California. Audrey, in Europe with the European cars whizzing around her, bought a made-in-America Ford Thunderbird, a white one. And even when she’s in Italy, where the chic shoes come from, she writes friends in New York to send her Capezios. They’re -her favorite informal shoe, and she’s had dozens of pairs, nearly all of them in pastel shades. Especially pink. Audrey is mad _ for pink shoes . . . Ralph Story looks very dif- ferent in person from the emcee you see on The $64,000 Challenge. He’s much taller than you’d think, and he looks almost craggy. His hair is jet black and—surprise—he has thick black horn rims on his glasses which he wears all the time when he’s not on television . . . Shirl Conway, one of the three female stars on the Sid Caesar Show, couldn’t be happier. She absolutely loves working for Sid. With Janet Blair and Pat Carroll sharing the feminine spotlight with her, she doesn’t have to work nearly as hard as she did in Broad- way’s Plain And Fancy—or as hard as she would if she were the only girl on the Tv premises. And the financial return is greater. Shirl’s got it coming and going: she’s used some of her tv loot to become a landlady, buying a beautiful brownstone on New York’s elegant East Side; and she’s completely re- done her own apartment, the second-floor one in her four floors of revenue-producing apartments . . . A warning: don’t ever think for a moment that the producers of quiz shows want the contestants to miss so that the sponsor will be saved some money. There are good hefty reasons why they want them to walk off with much moola. In the first place, quiz shows are cheap, even when the sponsor has to fork over a $99,000 check. Don’t forget, none of the shows hand out $990,000 every week; and some programs pass without any contestant getting a penny. Sec- ondly, and more important, the audience iden- tifies itself with the contestants. If they miss questions and never get much of a prize, the 12 audience gets a feeling of resentment against Shirl Conway is a very happy girl these days. She loves working on the Sid Caesar Show!! that ‘mean show’ that won’t give any money away. And the feeling of resentment carries over to the sponsor. Needless to say, no spon- sor wants to be hated! So next time you’re holding your breath hoping someone wins $64,000 or a college education or whatever, remember that the sponsor is holding his breath too—and just, as hard as you are... Speaking of Ty quizzes, there’s a little point about What’s My Line? that should be cleared up. Many weeks, you know, there’s a mys- tery guest who comes on right at the end, and John Daly will pointedly tell the panel that there’s only one minute or three min- utes left before the close of the program. Well, he’s not telling them to hurry up and guess the occupation; he’s begging them not to get it before one minute’s up or before three minutes are up! If the panel gets that last contestant in twenty or forty seconds, John’s going to have to ad lib for the rest of the show! There aren’t any more guests in the wings waiting to go on, and the game will have to stop long before the show goes off! . . . Jimmy Cagney certainly has a good reason to be mad at his old friend Robert Montgomery. Montgomery talked Cagney into buying a farm near his up in New York State. Then, right after Cagney and his wife and two children moved in, Montgomery sold his place. He was so em- barrassed that he couldn’t get up the nerve to tell Cagney for a long time politars very strange that Perry Como can’t dance worth a hoot. He has a marvelous sense of rhythm of course, no one who has heard him sing one phrase could doubt it, and his ex- cellent golf game proves he has terrific co- ordination. There is hardly a man now alive with rhythm and coordination who can’t dance. But Como can’t. You figure it out; no one else can. One thing Como can do is be thoughtful. A friend of his recently ad- mired a hat that a relative of Perry’s was wearing. Perry asked the relative to give the friend the hat—Perry would have, if it had been his—but the relative said mo. It was a new hat; it was an expensive hat; he liked it; he wanted to keep it; anyway it was his. Perry said no more, but a few days later the friend got a package in the mail. Inside was not one hat, but two. From Perry, of course. And just to really top off the in- cident, the-relative changed his mind and sent his hat too! Incidentally, do you know what one little adjective. John Daly tells What’s My Line panel mem- bers how many minutes the show has left. Perry does right after each show? He heads for his home at Sands Point and listens to a tape recording of the program he’s just finished. His wife, Roselle, tapes each and every show for him. NBC, needless to say, hLinescopes each one and Perry could wait a day or two and see himself as well as hear himself. But he can’t wait; he has to hear it right away. Perry’s house, by the way, is not the easiest to find in Sands Point, and the Comos have a friend who has more trou- ble than anyone else navigating around the North Shore of Long Island. He finally learned, after some nights of driving down dead-end roads, to find his way to the local police station. So now he goes inside, tells the cops he’s lost, the cops call the Como house to be sure he’s a friend, Roselle says yes, and a policeman is detailed to lead the way! . . . Cyril Ritchard is another one of those men who whip out their combs in public when they think no one is looking and run them through their hair Even when Shelley Winters is out on a formal date with the love of her life, Anthony Franciosa, she doesn’t look dressed up. She may have on a cocktail dress with her full-length mink over it, but her hair is always tumbling around every which may Mildred Dunnock doesn’t get dressed up when she goes depart- ment-store shopping. She believes in com- fort, and during one of the cold spells this past winter she proved it. She put on a heavy wool coat and added a three-cornered striped stole over it; then she tied a wool kerchiei around her head, put on flat-heeled shoes that covered up her ankles, and ventured forth to buy .. . Wally Cox has always professed to hate Hollywood, but he was very happy out there last season. Even though Hiram Halliday was a flop, he was living quietly and making a lot of money and his wife was having a baby. No man has ever looked forward to fatherhood as eagerly as Wally Nancy Berg gets compliments every day on how beautiful she is. And she is—not a flaw on her face, except one intriguing sca on the side of her nose. But the compliment she cherishes the most came when a drame critic called her voice husky. Nancy, whose voice used to be a little aasal and high, ha: spent years taking speech and singing lessons so that she could talk in a lower register All the years, and dollars, paid off in thai

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TUNE IN- the NEW MOVIES ‘drama’s |i fine! watch MODERN ROMANCES TV SHOW weekdays on NBC-TV read | HUNGRY 4 mow on sale everywhere ‘ 2 : “ a WORTH FOR MUSIC AND DANCE SEEING Funny Face THIS aN Ried Saga Of Satchmo FOR LAUGHS Top Secret Affair The Little Hut FOR SHIVERS Nightfall FOR SUSPENSE Gun For A Coward wee Bb Photographer Fred Astaire and fashion editor Kay Thompson use a bookstore Audrey Hepburn works in to photograph model Dovima. MSs nee oe Se er iS: | Fred’s sure Audrey will make a good model; persuades her to model for the magazine. FUNNY FACE Hepburn magic m Take Fred Astaire, mix him with Audrey Hepburn, cast them both into Paris where the air has always been like wine and you have an intoxicating movie. Sheer charm, sheer fairytale. Fred’s a famous fashion photographer; Kay Thompson is the crisp editor of Quality, a famous high-fashion magazine, and Audrey is a salesgirl in a Greenwich Village bookshop which Fred, Kay and staff invade for an afternoon of shoot- ing. It happens that they’re looking for the Quality Girl, something like the fashion model of the year, whom they’ll photograph in all sorts of clothes in Paris. Fred takes a look at Audrey and thinks he’s found her. Kay doesn’t think so. Audrey certainly doesn’t think so. She has nothing but contempt for Fred’s meeting Audrey is the start of many adventures. WERO P 7 | SSS Audrey does some fancy dancing on Paris Left Bank, becomes a model and finds love fashion models; she is an intellectual, interested i: empathetic waves. Besides, she doesn’t think she’ pretty. Next stop, Paris, where Audrey emerges— according to couturier Richard Fleming—from he: cocoon not as a butterfly but as a bird of Paradise The only reason she emerges at all is because she wa always dying to go to Paris and sit at the feet of : certain renowned professor. This is where the cafe and other interiors of the Left Bank come in ani Audrey indulges in a free style dance, and Fred doe a wonderful duet—in goatee and guitar—with Kay There are other songs and dances while Audrey hunt down that professor. When she does meet him h treats her like a woman instead of a disciple. And sh takes time to pose against hazy, golden background and to fall in love. VistaVision—Para. (Continued on page 16

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16 se ee! DESIGNING WOMAN s big-city love story = Slick, luxurious, easy on the ear and eye is Design- ing Woman—a love story in the Saturday Evening Post tradition, which is a nice enough tradition when it stars Gregory Peck and Lauren Bacall. He met her when he was drunk in California. He was a writer and had just won a bet; she was a girl who looked swell in a bathing suit. Married and back in New York, he’s still a sportswriter but she is not just a girl; she is practically a captain of industry. Any- way, she designs clothes, makes a fortune at it and owns an apartment swanky enough for Prince Rainier. Gregory leaves his hole in the wall and tries to adjust to Park Avenue. It’s not only him, it’s all his friends —including editor Sam Levene and punch-drunk Mike Shaughnessy—who can’t fit in, and it’s not only Lauren but all her friends—including choreographer Jack Cole and a lot of artily neurotic folks-—who can’t mix with Gregory’s friends. Then there’s his ex-girl, tv singer Dolores Gray, who fully expected to marry the guy before he took off for California; and there’s Lauren’s ex-beau, producer Tom Helmore, who is still underfoot. Greg can stand the former competition, but Lauren can’t. Jealousy mounts like mad when Gregory says he has to leave town for three weeks. He has to leave because his life’s in danger due to articles he’s sports- writing exposing a racketeer in the fight game. Lauren is convinced he hasn’t gone further than Dolores’ apartment. Then, she finds him in Dolores’ apartment. There’s some funny dialogue, some very amusing situations and, as I said before, a comforting air of luxury enveloping all. CinemaScope—MGM SAGA OF SATCHMO Armstrong blows that horn a If you’ve never been exposed to the charm—musical CS Te ey [i aT ol Pes Raney Ri a PE ye Cy —short for satchel mouth—you’ve got a wonderful treat in store for you. This is a movie without any plot at all, produced by Edward R: Murrow. It follows Satchmo and his band on a tour through Europe and to the Gold Coast of Africa. Satchmo’s on the trumpet, Edmund Hall on the clarinet, Barrett Deems on the drums, Billy Kyle on the piano and Arvell Shaw and Jack Lesberg alternate on the bass. Mostly it’s Satch- mo’s movie. Such is his pull on the public that 100,000 people come down to see him off when he leaves Af- rica. You'll hear wonderful music, you'll also meet a wonderful man whose genius lies in his devotion to jazz and in an incorruptible sense of himself.—U.A. NIGHTFALL chills and a chase = Aldo Ray seems like a pleasant fellow, but some- thing’s wrong. Tell you what it Two maniacs—one hysterically sadistic and one quietly sadistic—are out to-get him. And if they don’t get him, the police will— for murder and for divesting a bank of $300,000. Aldo did not do it. What Aldo did was go on a hunting trip in Wyoming with friend Frank Albertson. Along came these two thugs. The car they were in dove off an embankment and the good doctor went to their rescue. For his pains, he got a bullet in the back. Aldo was left for dead and the bankroll was left be- hind in the confusion. On the very night that Aldo picks up model Anne Bancroft in a restaurant, the two criminals (Brian Keith and Rudy Bond) pick him up. Where’s the money, they say, threatening to crush him under a derrick plunger. Let me tell you, a derrick plunger is worse than old-fashioned finger- nail pulling and besides, Rudy loves the sound of hu- man agony. Not only is Aldo in trouble, but Anne is in trouble for ever having spoken to him. The money, by the buried somewhere in the snow of Wyoming, but who’ll believe that? If you want to have your blood curdled this is as good a way as any. With James Gregory.—Col. doctor way, is TOP SECRET AFFAIR the power of a woman @ Dottie Peale (Susan Hayward) is the dynamo be- hind News World Magazine: and anvone who cro her is crazy. This is what the U. §S. Senate learns when it decides to appoint Major General Melville Goodwin (Kirk Douglas) as chairman of the Joint Atomic International Commission instead of the man Dottie wanted. J will do a cover story on Goodwi Dottie purringly tells the Army, and the Arm ciously delivers him to her Long Island ma There, via tape recorder, photographer Michael Fox and some tricky excursions on the town Dottie gathers a story that will topple Goodwin like a duckpin. Too bad, too, because he is so far above reproach it isn’t even human. One night of necking and Dottie’s will- ing to burn up the evidence, but.in the morning Good- win doesn’t propose and Dottie starts the presses roll ing. But between the time he doesn’t propose and the time the magazine hits the stands Goodwin's decided to propo It all comes out in the wash of the Senate Committee investigating him. Cast includes Jim Backus.— Warners THE LITTLE HUT Ava on a tropical island m= It seems incredible that a man can be married tc Ava Gardner and hardly notice it. Only Sir Philiy Ashlow (Stewart Granger), who is incredible all by himself, could accomplish that. He is wealthy, hand some, a big, busy wheel in the government and a terri ble husband. Henry Brittingham-Brett (David Niven is a small wheel in the government who is anxious t rotate around Aya. But Henry Brittingham-Brett 1 a very hard man to take seriously. Compared to Sin Philip he seems like someone’s maiden aunt. Thx Ashlows have a sea-going yacht and they go to sea on it with Henry and a dozen friends. One night, during dessert, the yacht capsizes. The Ashlows, Britting ham-Brett and Nelson (a German shepherd) fin: themselves all alone together on a tropical island Nothing daunted, Sir Philip merrily builds huts weaves clothes, carves eating utensils, captures food Brittingham-Brett moons about, keeping his distanc from Nelson. Finally, he decides to assert himself This he does by asserting his love for Ava and de manding that the law of the jungle—whatever that i —be put into effect re her. As usual, Niven’s comed) is delightful. Eastman Color—MGM GUN FOR A COWARD how to become a man out West m= Presumably, the coward is Jeffrey Hunter. So yo| see how everything depends on one’s point of viev From where I sat, Jeffrey looked like the only goc man in the movie. But no. Once, when he was seve | years old his father was cornered by a rattlesnake ar Jeff has shrunk from rattlesnakes ever since. In fac he doesn’t like any shape or form of violence. His h tle brother (Dean Stockwell) is always thirsting ft thrills and defending his honor from attack, real imagined. His older brother (Fred MacMurray) ru the ‘ranch in a sober, silent, manly manner. And h mother (Josephine Stockwell) is always beggi hi to go to St. Louis (Continued on page Li

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PERIODIC PAIN It’s downright foolish to suffer in silence every month. Let Midol’s 3-way action bring you complete relief from functional menstrual distress. Just take a Midol tablet with a glass of water. . . that’s all. Midol relieves cramps, eases headache and chases the “‘blues.” “WHAT WOMEN WANT TO KNOW” a 24-page book explaining menstruation is yours, FREE. Write Dept: F-47, : Box 280 New York 18, N. Y. (Sent in plain wrappe movie previews (Continued from page 16) with her. Everybody thinks Jeff is a coward but they’re all too manly to admit it until the cattle drive to Abilene breaks everybody’s reserve. Some night rustlers stampede the herd. Jeff gives one order to the ranchhands, Dean gives a contrary order and all those silly men listen to him. Brother Fred holds Jeff re- sponsible for Dean’s speedy death. Only way Jeff can win respect is by knocking the tar out of Fred, which he does, to the delight of all, including Fred. Now that Jeff belongs, he’s even entitled to Fred’s long- standing girl friend, Janice Rule. CinemaScope—U-I THE BIG LAND early days in Kansas = Big as the land may be, wherever you look there’s a man named Brog in a black cowboy suit. He’s either just killed someone or is about to. He’s there when Alan Ladd and friends drive up some cattle from Texas to Missouri. Ladd’s been promising his pals ten bucks a head but all Brog offers is a dollar and a half and a bullet for anyone who says it’s no bargain. Ladd takes the money. His friends figure they’ve finally seen the day he turned yellow and don’t want to speak to him no more. Nobody wants to speak to him because he’s wearing a Confederate army coat in the quietly arrogant southern way of Rebels after the War, but he gets an overnight reservation in a stable. His straw- mate is Edmond O’Brien. Put a flame to O’Brien’s lips and the whole stable would burn down, to give you an idea how much liquor is in that man. In the next few homrs Ladd saves O’Brien from a hanging and begins his regeneration. Scratch that alcoholic and you find an architect; follow that architect to Kansas and you meet his sister (Virginia Mayo) who is en- gaged to a railroad executive. Put it all together and you have Ladd and O’Brien building a town to which the railroad will extend and from which Texas cattle- men will sell their steer at ten dollars a head. If it weren't for Brog (Anthony Caruso) standing in the way of progress. Not bad for a Western. Warner- color—Warners MISTER CORY Tony Curtis makes good @ He’s a poor boy from Chicago, is Tony Curtis, so he falls in love with a rich girl (Martha Hyer) who has silver blonde hair and a mink coat and’ careless ways. Tony has careless ways, too. He’s only a busboy at this exclusive country club—everytime Martha walks into the dining room he hides under a tray—but that doesn’t stop him from sneaking onto the golf course like a guest and into a poker game run by Charles Bickford. Bickford acts rich but he’s not classy; he’s a professional gambler. The game is the ruin of Tony. He’d planned to make a pile and run off to New York with Martha. Instead, he loses his shirt and is exposed to her as a dishwasher. Her nose crinkles in disgust. But she’s got a sister, Kathy Grant, who’d take Tony. rough red hands and all, if he’d have her... Las Vegas and offers a partnership. Then a real big crook makes a deal with both of them to open a swank gambling house in Chicago. With what delight and apprehension does Tony mail a formal invitation to Martha. With what elegance does she appear on the arm of a poor schmo (William Reynolds) who gave her a diamond ring. Seems that Tony—Mister Cory, sir—is now acceptable to the upper class. Up- stairs he has a suite of rooms to which Martha comes and goes. Makes William awfully mad; you know how stuffy those aristocrats are. He gets very drunk and tells Tony he isn’t good enough for Martha; Tony gets very angry and proposes to Martha; Martha gets very upSet because he isn’t good enough for her. It’s all a very sad lesson for our boy who worked so hard for so long to get nowhere. But there’s still Martha’s sister who’s been whiling her years away on the ten- nis courts, looking for a partner.—U-L RECOMMENDED FILMS NOW PLAYING AROUND THE WORLD IN 80 DAYS: David Niven bets that he can go around the world in eighty days and proceeds to do so with his valet, Cantinflas. They have many exciting adventures, which include rescuing Indian Princess Shirley MacLaine, a battle with the Indians in America, and an exciting bull- fight in Spain. Filmed in Todd-AO process, this movie has fifty stars, is two hours and fifty-five min- utes long and is a grand, unique extravaganza. LUST FOR LIFE (MGM): Here is the life story of the great artist, Vincent Van Gogh, whose need to paint was exceeded only by his need for love. Kirk Douglas gives a vivid portrayal of an eccentric, tor- tured personality, supported by Anthony Quinn and Pamela Brown. GIANT (Warner Bros.): This film sprawls over that quarter of a century when cattle gave way to oil, and traces the profound changes this wrought on the lives of Rock Hudson, his wife Elizabeth Taylor, his sister Mercedes McCambridge and James Dean. This movie is based on Edna Ferber’s best-seller and also stars Dennis Hopper, Carroll Baker, Sal Mineo, Chill Wills and Jane Withers. THE TEN COMMANDMENTS (Para.): The film traces the life of Moses from the time of his birth through his forty years of wandering in the Wilder- ness to his leave-taking from his people, who enter the promised land without him. Charlton Heston gives a fine performance as Moses, the son of Jews who was brought up by an Egyptian princess. Among the cast are Yvonne De Carlo, Anne Baxter, Nina Foch, Yul Brynner, Edward G. Robinson, John Derek, Debra Paget, Sir Cedric Hardwicke, Vincent Price, Eduard Franz. Directed by Cecil B. DeMille. ANASTASIA (20th-Fox): Ingrid Bergman plays Anastasia, and Yul Brynner plays Bounine—the man who is trying to prove to Russian Empress Helen Hayes that Ingrid is the young Grand Duchess. Rumor has it that Anastasia may not have died in the mass assassination of the Royal family in 1918. BATTLE HYMN (U-I): Based on the true story of Colonel Dean Hess, this is a movie to touch your heart. Dean Hess (Rock Hudson) was a minister who left the pulpit to become a fighter pilot in World War II. When the Korean War comes around he feels he must leave the pulpit again. In Korea he is struck by the children, the pitiful, appealing waifs who must wander without parents, shelter or even food. By his efforts a now-famous airlift was established. BABY DOLL (Warners) : Baby Doll (Carroll Baker) is the infantile wife of Archie Lee (Karl Malden). They live in an empty, crumbling mansion; she sleeps in a crib and torments her generally inadequate hus- band by her refusal to be a real wife until her twen- tieth birthday. Then along comes Silva Vacarro (Eli Wallach). THE IRON PETTICOAT (MGM): Once it was Ninotchka with Greta Garbo; now it’s Katharine Hep- burn romping through this comedy with careless, cap- tivating charm. She plays one of the Soviet’s top women flyers and heroines. Bob Hope is handed the pleasant, but seemingly impossible, job of breaking down her politics. THE HAPPY ROAD (MGM): The Happy Road is produced, directed and starred in by Gene Kelly. He plays a high-pressure American businessman in Paris —his wife is dead—who’s sent his boy to an expensive school in Switzerland. Not to get rid of him, just to give him all the advantages. When Bobby runs away from school, Gene is understandably upset, especially since he has to leave his business to find him. And French divorcée Barbara Laage is upset because her daughter (Brigitte Fossey) is apparently with Bobby. Bobby and Brigitte get to Paris, and on their own. Their parents get to Paris all right, too, In fact, _

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CINEMA STARS OF YESTERYEAR @ Take a back seat. you rock ‘n’ roll addicts, you Tony Curtis and Marilyn Monroe enthusiasts.- This is strictly for Mom and Pop. Bebe and Ben were well established in Hollywood and their popularity sky- rocketing when they met. A short time later—June 14. 1930—they married. Mary Pickford’s lace handkerchief was the something borrowed, something blue when twenty-seven years ago Ben Lyon was married to Bebe Daniels. Matron of honor was our own Louella Parsons. who's still very much around Hollywood dispensing chit-chat in print and on radio and TV. One of the ushers was Howard Hughes. discoverer of the captivating charms of Jane Russell and Gina Lollobrigida. Witnessing the ceremony was Cecil B. de Mille. whose latest production is The Ten Commandments. Rudolph Valentino. the most dashing lover in the history of the theatre. watched through close-slit eyes. Also present was Gloria Swanson. who made such a terrific comeback in Sunset Boulevard. Who was this romantic bride and groom whose names were on the lips of motion picture fans the world over? Star of dozens of films. Ben Lyon found lasting fame aiter starring in Howard Hughes's film classic Hell’s Angels. His co-star was Jean Harlow. Conyent-bred. Texas-bérn Bebe Dan- iels first trod theatrical boards at the tender age of four as the Duke of York in Richard III. Years later, she became Harold Lloyd’s leading lady. Her great- est success. however. was opposite Val- entino in Monsieur Beaucaire. Then six years after they married, the Lyons decided to-take a vacation and ap- pear abroad. They embarked for Eng- land. Their contracts called for one week’s engagement in Dublin. and a two- week stay at the Lonpon Pattapium. Somehow that stay extended to twenty years. Except for visits to the U.S— on one of those occasions. Bebe was fea- tured on This Is Your Life—they’ve lived in an attractive period house in London. Twenty years is a long, long time. But people over forty praraen them. Mom | EE a ee Now...new, deeper cleansing for a new kind of radiance Jergens Deep Cleanser Fox Jergens Deep Cleanser searches deeper for clogging dirt and make-up First, there's the feeling of instant luxury flowing from your fingertips to your face. Reaching deep oedcep)- deep = ay rsongently =i but so insistently. Then suddenly...deep, beauty-clogging grime and stubborn make-up are gone. Your face feels as if it had a new kind of clear, clean, almost sparkling radiance. And it does. Reasons: there are 4 times as many cleansi sing ingredients in new Jergens Deep Cleanser as in traditional cleansing creams. And each is a recognized skin softener as well. Do you wonder that Jergens Deep Cleanser was preferred 2 to 1 in a recent hidden-name test among hundreds of women? Try it. You Jove it, too... or double your money back. Just 39¢ and 69e plus tax.

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—Lovely, Larger, —Lasting in Value REGISTERED DIAMOND WRINGS + k Choose Starfire —the ring of star-like brilliance and beauty—with lovely, larger diamonds of lasting value. Truly the diamond ring created for you. Engagement Ring $400 - Wedding Ring 150 OA Engagement Ring $250 Also'49.50 to’1000 Wedding Ririg 12.50 aS, *Engagement Ring $150 Wedding Ring 79,50 Lasting in value because \ the Starfire Certificate per- manently registers your ring and insures the dia- monds against loss for one year .. . allows exchange for Starfire of greater value. Look for the name Starfire in the ring. Exquisite styles from $99.50 to $5,000. All rings available in either nac- ural or white gold. Prices in- clude Federal Tax. Rings enlarged to show details. A Product of A. H. Pond Co., Inc. Also Producers of Keepsake Diamond Rings Starfire Diamond Rings Syracuse 2, New York MS 4-57 Please send free booklet "Heading for a Wedding” featuring accepted customs of the engagement and wedding, Also ‘/Wed- ding and Honeymoon Photo Album” gift offer and name of my nearest Starfire Jeweler. ADDRESS CITY. STATE DIANA DORS”’ @ When William Redfield found that he was going to be in ] Married A Woman, with Diana Dors and George Gobel, he faced the situation with mixed emotions. About Miss Dors, that is. The tall, lanky, red-blond twenty-nine-year-old veteran of some 3,000 radio shows and practically every big Tv dramatic show who had made such a sizable impression as an army chaplain in The Proud And Profane wasn’t exactly worrying about his part. What bothered him was how he was going to keep his mind on it, since his scenes were practically all with Miss Dors, big as life, right there opposite him in front of the camera. He was certain it was going to take much effort. He explains, earnestly intelligent blue eyes bulging a bit, “I had met her earlier, in New York at a press conference. She made her entrance in a white gown, coming down the stairway in the SHERRY NETHERLAND. There were two hundred or so press people there—and they applauded. Is that customary?” The answer is, no, it isn’t customary. The sexational British blonde, who’s own husband has described her as “the greatest sexpot” just seems to affect people that way, even press people, who are only human. And impressionable Billy Redfield was no holdout. He kept remembering how she looked in “that white dress, how she came walking down that stairway, and how everyone, but everyone, applauded at her appearance.” Then, in Hollywood, before the picture started, director Hal Kanter called him over and handed him a photograph—of Diana Dors in a bathing suit. There wasn’t much bathing suit, but lots of Miss Dors. Billy Redfield’s Adam’s apple developed a case of gulping paroxysms. “Uh, huh,” said Kanter. “Listen,” he directed, “take this still home with you. And keep looking at it until it seems ordinary to you. For your part in the picture, you’re not supposed to look in- terested.” William obediently did as directed. But after some four weeks of playing vis- a-vis with Miss Dors, his original reaction is still the same. “Interested?” he says, plaintively. “I haven’t been able to breathe ever since I knew the part in the movie was mine!” But according to her co-player. this is not at all the result of anything Diana Dors provokes deliberately. “Actually,” he explains, “she’s very easy to work with—and the fastest study I ever met. One day she had two pages of dialogue, and she hadn’t even seen it. She asked me to her dressing room to rehearse it. She kept apologizing for bothering me (bothering me?). It was a telephone scene, which is pretty tough because there’s actually nobody on the other end of the line. You know, on the screen she’s talking to me, but actually she’s talking to herself. I didn’t have to do my part—they were to intercut it later. She kept at it till she had it just right and all the dialogue in her mind.” Mr. Redfield is a young man of strong attitudes in all directions, aside from Diana Dors. Like, he suddenly has a definite attitude about matrimony. Seems to have a short fuse, there, because he allows definitely, “I am beginning to feel trappable.” Enlarging on the subject, he admits, “I am tired of running away. It’s nice, maybe, to have a new model, but when you trade in girls like used cars, it doesn’t lead anywhere. At first it was a lot of fun but not anymore. Now, it’s very tiring.” We wouldn’t bet on it, but could the film title J Married A Woman and the woman herself, Diana Dors, have had anything to do with this suddenly very different attitude? Watch for Diana Dors and William Redfield soon to be seen in RKO’s film I Married A Woman. Watch for Diana who will also be in RKO’s movie The

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APRIL BIRTHDAYS Tf your birthday falls in April your birthstone is a diamond and your flower is a sweetpea. You're also sharing it with many stars. Abril 1 — Debbie Reynolds Jane Powell April 2 — Rita Gam April 3 — Marlon Brando Doris Day Jan Sterling April 5 — Gale Storm Gregory Peck Abril 11 — Paul Douglas April 12 — Ann Miller April 13 — Howard Keel April 15 — Elizabeth Montgomery April 17 — William Holden April 13 — Barbara Hale April 19 — Jayne Mansfield April 290 — Nina Foch April 23 — Janet Blair Shirley Temple April 24 — Tony Perkins Shirley MacLaine April 29 — Jeanmaire Tom Ewell Bette Davis me Spencer Tracy April 5 April 5 “a sa ees Jane Withers Anthony Quinn April 12 April 21 Van Johnson , = April 25 April 30 If you want to send your favorite stars a birthday card, write to them in care of their studio. If you're not certain which studio they are with, write the stars c/o ScrEEN Actors GuiILp, 7046 Holly- wood Blvd., Hollywood, California. Garten ~ DRESS ~ that almost. = destroyed | = their love! What was ‘the secret of the girl in the _ TATTERED DRESS and why did a whole town Ain 6 keop it hidden? _CinemaScopé A UNIVERSAL-INTERNATIONAL PICTURE STARRING JEFF CHANDLER - JEANNE CRAIN JACK CARSON - GAIL RUSSELL _ ELAINE STEWART es > with GEORGE TOBIAS - EDWARD ANDREWS - PHILIP REED. __ DIRECTED BY JACK ARNOLD - - wairten sy GEORGE. ZUCKERMAN “PRODUCED BY ALBERT ZUGSMITH SEE IT SOON FOR AN EXCITING NICHT ONT AT YOUR MAVIE THEATRE oss

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Now in new modern handy-grip bottle surer than ordinary douches... Try gentler, milder “Lysol” brand disinfectant—now in it’s handsome handy-grip bottle, so much nicer on your bathroom shelf! Just a teaspoonful of “Lysol” added to the douche water spreads into folds and crevices with a thorough antiseptic cleans- ing action — de- odorizing as it cleanses! How fresh- all-over you'll feel—so sure of your- self, so sure you’re completely clean and nice. 10¢ OFF! Limited Time Only! Look for special introductory package in stores. (Write for medically-approved methods of douching, sent in plain envelope. Send name and address to ‘‘Lysol,’”’ Bloomfield, N. J., Dept. DM-574.) BRAND DISINFECTANT VES gE hain ey AL) Pale Pepe Peele cone” BP ev ch Ds AT BET 9 Pos St JUST CALL HIM SPEEDY! In the top photo, Jackie Cooper and his co-driver get set for the start. And it’s a happy Jackie who poses in his Austin-Healey after the win. But no race is complete without the re-hash, so here’s our winner showing his pit- man just how he got around that curve—safely. B Jackie Cooper is good enough with the drum-sticks to play with a top band; he’s an expert swimmer, and one of the best trout fishermen ever seen in Oregon’s Rogue River country. But his keenest hobby is sports car racing. And just to show you how serious he is about it, he’s collected twenty-seven trophies in the United States and Europe and has finished hundreds of races without a scratch on his 170-pound body or a dent in. the 2500-pound Austin-Healey. “My top speed was 142.636 miles an hour,” Jack recalls. “That was in 1953. I’ve come pretty close to that speed a number of times, but I’m beginning to think [ll never break it. The car can probably do more, but I know my own speed limit. “T never drive what a sports car enthusiast calls ‘the hairy edge’-—that might break my neck or somebody else’s. Another safety factor riding for me is my dis- belief in fatalism. I simply don’t go for the idea that when your number’s up, that’s it. In my opinion, fast driving calls for an absolute belief that control of your safety is in your own hands, not in the so-called lap of the gods.” Perhaps you’ve noticed that Cooper has quite a scar on his left cheek. He got that at work, but not in his spare-time job as a test driver for the Austin Company. One afternoon when he was appearing in the Broadway production King Of Hearts the play’s press agent fast-talked Jackie into making a personal appearance in the show window of a big department store. Quite a crowd collected for autographs— somebody pushed—and Jack tumbled through the plate glass window! ; Back out of the hospital the next day, with ten stitches, Cooper told the press agent to forget any more such publicity stunts. “Don’t let a thing like that bother you,” the p.a. advised. “Man, with things like that you got to be fatalistic!” Z

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MOTHER SHOOTS ELVIS (his picture, that is) @ My mother is a well-known Dallas art- ist. and I persuaded her several months ago to paint a portrait of Elvis for our Na- tional Elvis Presley Fan Club to present to him when he came to Dallas. When the man in charge of the press party said it was time to present the portrait, everyone gathered around. I doubt that Elvis has ever had his portrait painted before. He looked as if he couldn’t quite figure out what it was. “Did someone draw it?” he asked. “My mother painted it.’ I answered. Still he looked at the picture. Suddenly I said “You don't like it!” He seemed to return to earth, and almost panic stricken said. “Oh. I do! I do. I love it. I love it!” I think he would have died if he thought I believed he didn’t like it. My mother naturally wanted a picture of Elvis and her painting of him. but was slow getting her camera loaded with film. Suddenly one of the policemen around Elvis said. “Alright. that’s all the pictures!” Mother started to walk away, but Elvis came back and stood between me and the portrait and said “Alright Mama. take a picture.” Mother flipped. While we were posing I asked him who had made the fancy leather case for his guitar. He gave me the name of a firm in Memphis. I said, “That’s not romantic enough. Elvis!” ‘Well. o.k..” he joked, “my uncie made it.” The party ended with the sudden announcement. “Come on Elvis, it’s time to go” and the policemen closed in behind him as they rushed him away through the dark tunnels of the building. But even though Elvis was gone, I still had his portrait to look at—and the pic- ture of us that Elvis helped my mother shoot! Kay Wheeler. President National Elvis Presley Fan Club Elvis is in 20th Century-Fox’s Love Me Tender. and will soon be seen in Hal Wallis’ Paramount release Running Wild. S New! Clearasil Medication STARVES PIMPLES SKIN-COLORED.. . hides pimples while it works At last! Science discovers a new-type medication especially for pimples, that really works. In skin specialists’ tests on 202 patients, 9 out of every 10 cases were completely cleared up or definitely improved while using CLEARASIL. CLEARASIL WORKS FAST TO MAKE PIMPLES DISAPPEAR ]. PENETRATES PIMPLES... keratolytic action softens and dissolves affected skin tissue, lets medication penetrate down into any infected area. 2. ISOLATES PIMPLES .. . anti- septic action of this new-type medication stops growth of bacteria that can cause and spread pimples. 3. “STARVES’ PIMPLES... CLEARASIL’S famous dry-up action ‘starves’ pimples be- cause it helps to remove the oils that pimples ‘feed’ on. Largest-Selling Pimple Medication in America (including Canada) Skin-colored cLEaRasiL hides pimples as it works, ends embarrassment instantly. Greaseless, stainless, pleasant to leave on day and night for uninterrupted medication. Skin creams can ‘feed’ pimples Clearasil ‘starves’ them Oil in pores helps pimples grow and thrive. So oily skin creams can actually ‘feed’ pimples. Only an oil-absorbing medication ..CLEARASIL, helps dry up this oil, ‘starves’ pimples. ‘FLOATS OUT’ BLACKHEADS: CLEARASIL’S penetrating medical action softens and loosens blackheads from underneath, so they “float out’ with normal washing. So why suffer the misery of pimples or blackheads! cLEAR- ASIL is guaranteed to work for you, as in doctors’ tests, or money back. Only 69¢ at all drug counters (economy size 98¢). SPECIAL OFFER: Send name, address and 15¢ in coin or stamps for generous trial size to Eastco Y. Offer Inc., Box 12PG. White Plains. N. expires May 15, 1957. Cle ara asil SENE PIMPLES ca

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= 2 5 Pay inon| > ” z caer) SoA eS neal ad He x 5 S Unretouched photo of the hands of Mrs. Michyl Veach, St. Louis, Mo. Only right hand was given Jergens care. PROOF: A few drops stop “detergent hands” In a scientific test*, over 450 women soaked both hands in detergents 3 times a day. In several days, left hands not treated with Jergens Lotion became coarse and red. But right hands, treated with Jergens, stayed soft and lovely. No other lotion similarly tested kept hands so soft and smooth. Jer- gens Lotion stops all chapping and dryness. It doesn’t “glove” hands with sticky film... it penetrates to help replace natural mois- ture lost to wind and weather, indoor and outdoor chores. Only 15¢ to $1. “Notice to doctors and dermatologists — for summary of test write The Andrew Jergens Co., Cincinnati, Ohio.

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@ There’s a boy who has captured your hearts, a tall boy with a shock of black hair, a love-me-tender smile, and a way of singing that makes people feel alive. Sure we're talking about Elvis! Well, whenever a blazing personality hits, we at MopERN SCREEN start getting letters about it. At first, the letters just said please give us something to remember him by—like a snazzy color photo of Elvis in the magazine. But after we created the Jimmy Dean Memorial Medallion, and you sent in for the remembrance of Jimmy in such tremendous quantities that even we were surprised—your letters started asking us to design a Medallion of Elvis. We wanted to please you, to give you what you wanted—but somehow we just couldn’t do it. The Medallion had been for Jimmy, and Jimmy only . . . something of him that we could all hold on to through the years that he should have been here with us. We just couldn’t do it. And we thought that was that. But the other day a famous jeweler came to see me and he had with him just about the neatest ring that we’ve come across in a long time. The Elvis Presley Ring! LVIS ON YOUR FINGER? es This was it! Here was something that you could have with you always, wear on your finger and look at whenever you got the urge. But it was more than having Elvis with you morning, noon and night. It was a darned attractive piece of jewelry! Adjustable to fit any finger, 18-carat gold plate that’s guaranteed never to tarnish, an unusual groove design, and—best of all: a life-like, four-color picture of Elvis sealed in clear lucite and magnified— and it makes his face just seem to jump out at you. Right now MopERN ScrEEN is handling the ring exclusively, through the mails. It will be available some time in the future at some stores, but right now, $1 and the filled- in coupon gets you Elvis—on your finger, twenty-four hours a day! Live a little, Yack ts EDITOR Tear on dotted line MODERN SCREEN, Department P Mam ee ed a eS a 10 West 33 Street, New York, N. Y. lwant...... Elvis Presley photoring(s) BNO ee ee ee ee tO (how many) {$i each, check or money order oniy Cig ee Zone..... thie... _ please)

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by ED DEBLASIO Pat Boone and Shirley Foley “We had to Elope” m@ Pat held her hand, tight. “What're you crying for, Shirley?” he asked. He wiped the tears from her cheeks with his handkerchief, gently, one by one. “What're you crying for?” Shirley tried to talk. “My daddy . . .” she started to say. But then she could say no more. She—pretty, red- headed Shirley Foley, the lively always-bubbling queen of Nashville, Tennessee’s Lipscomp CoLLEGE— could say no more, and he—Pat Boone, the happy-go-lucky always-smiling guy and one of the most contented, well-liked people around—could do no more than hold her hand and wait for her to stop crying and tell him what was wrong. He waited for a few minutes. The crying didn’t stop. He looked around the crowded, noisy ice cream parlor, the out-of-their-neighborhood place where nobody knew them, where they’d been meeting accidentally-on-purpose in that back booth for the past few months. “Let's get out of here,” he said. “Let's go someplace where we can talk.” It was a beautiful night out—a cool, clear night with thousands of stars in the sky and a big smiling Tennessee moon directly overhead. - They walked for a few blocks, Pat Boone and his girl. They didn’t say anything. They just held hands and walked. And then suddenly Shirley wiped the tears from her face and turned to Pat and said, “My daddy's got an offer to take a singing job up in Springfield, Pat. I think he’s going to take it and we're going to have to go away.” “Springfield?” Pat asked, softly. “The Springfield in Missouri,” Shirley said, “and that’s I-don’t-know-how-many miles away and I-don’t-know- how-many hours just by train and I'll never see you again, Pat, I'll never see you again.’ Pat grabbed her. Right there in the middle of the street he grabbed her and he whispered, “Tomorrow, Shirley. Tomorrow, you and I—you know what we're going to do? We're getting married tomorrow, Shirley. All these years . . . all these people telling us that we've got to test our love, that we’ve got to wait, that we're too young... all these years and all these people are going to disappear behind us tomorrow, Shirley, because we're getting married, we're getting married.” Pat held her close now, very close. And as he did Shirley closed her eyes and suddenly all those years Pat had just talked about and all those people and all those cries of “Too young . . . Too Young!” rushed to her head and she smiled through her tears now and she remembered that time, that first time nearly four years earlier, when they’d first seen each other and when they'd first known that eventually this night would come. : It was a Monday in January, 1949, the first day of the second semester of the school year. Lunch hour was just about over and Pat was standing outside (Continued on page 01) | =

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6:31 AM June Allyson drinking ... coffee... It was dark and quiet. But Mr. Richard Powell, husband, had to get up early to get to work, and Mr. Powell gets up noisily. So minute by minute from dawn to 6:31 A.M. finds Mrs. Richard Powell drinking her first dusk, here’s how cup of coffee for the day. June spends a¥ Ss her time June looking in mirror... It was light and quiet—finally. The children have been awakened, and shooed off to school. So June takes a solid two minutes to skip a powder puff across her nose. 9:58 AM Settles crisis on sun-porch... June explains to secretary that first task is to straighten out schedule. June just can’t say no, so she and Dick are expected for dinner at four places. 9:09 AM Picks up phone (ah-ha!) ... First report of the day goes to Mrs. Edgar Bergen. June and Frances Bergen discuss life in general for twenty-seven minutes. Discussion under- stood to take place daily: close friends.

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11:14 AM TO NOON All kinds of interesting things ... June says that Dick asked her to find something in his pockets. So she can’t resist going through all his pockets! Then to her den to make out menus... and finally a fast lunch. 1:00 PM Walks, but not alone... June shows her Mother, @ recently arrived from New Fa York to settle permanently * in Los Angeles, around some of the fifty-six acres that the Powells call home. 2:00 PM ? Calms her nerves : 3 : at studio... June needed the few ph eS : minutes of relaxation. She had just had a terrifying fifteen minutes in her pink Thunderbird—listening to a day-time serial. B at June’s private life

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2:17 PM Gets tapped on nose... By UNIVERSAL-IN- TERNATIONAL make- 3:02 PM Snapped in hot clinch... Oh. Only re-shooting a scene for Inieriude, which 4:20 PM Arm-in-arm. walking into the sunset... Time for a romp.. And son Ricky g ivice on horses, ers So out the =F the immediate leap-1 nd how to 4:59 PM Home in the nick ef time ... To receive a mys- terious package. Her | it was just delivered. Heck, it’s only those shoes A pad ment store the Those are the facts, the secret facts about how June Allyson spends her days. The rest of the twenty-four 5 hours? Well, husband Richard came home just about now, and June wouldn’t share life-with-Richard not even with a very quiet little picture-snapper. We have it on good authority though that June and Richard spent a quiet quarter-hour together before Dick went off to chat with the children while June dressed for the evening. Then they drove over to some friends for dinner and round-table talk. Home by eleven, lights out, and to bed—cradled by the memory ry of another June day, like any other, surrounded by her home, her work, her family—and love. Watch for June soon in U-I’s Interlude and My Man Godfrey.

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by Jane Wilkie HOW’S YOUR SENSE OF HUMOR? Read this story of Debbie’s reactions to trouble and embarrassment. Then answer truthfully: Could you laugh like she did? B All told, it was a pretty terrible morning. In the living room of the little house where Debbie Reynolds’ parents live. the phone shrilled at the unlikely hour of seven a.m. “Must be Eddie.” she thought. stirring sleepily in bed. He had gone to Las Vegas on a business trip for the week end, and was to have returned at two that morning. A gruesome hour for homecoming. but the only way he could squeeze in all his appointments. She had wanted to stay at home, to be there when he arrived. but he had insisted that she go to her mother’s house. “You'll be better off with the folks,” he had said. After all, she was expecting the baby, and he didn’t like the thought of her staying alone. Debbie had looked at him impishly. “All right. ’'11 mind you. This time.” He was probably calling now to say hello, but what a time to do it! She swung her feet out of bed and groped her wavy to the phone, reaching it a second later than her mother. “Mrs. Fisher?” It was a strange voice. “This is the fire department. I’m sorry to tell you your house is on fire.” Debbie heard her mother say, “Yes?” It was all she could think of to say. The voice went on. “We have it pretty well under control, except for the master bedroom. That’s the only room that’s flaming badly.” Eddie! Debbie suddenly remembered. If he’d arrived home on schedule he’d be in that bedroom now. “Is my husband there?” The question was hardly more than a whisper. “JT don’t know, ma’am. We haven’t been able to get in there.” “Tl be right over,” said Debbie. She turned to her mother. “Come on—we had better get right over! The house is on fire! And—and—Eddie—maybe—" They were halfway out the door. coats slung over their shoulders. when Debbie remembered Jim Mahoney. He’d gone on the trip with Eddie. was to come back with him. If Jim was at his home. that meant Eddie was home for sure! But maybe— She tore back to the phone. and dialed the number. “Hello?” Jim’s voice cracked with sleep. Her heart bounced to the soles of her feet like a rubber (Continued on page 95) it ‘ ;

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by Beverly Linet "Now take Elaine Aiken. She's forever calling to see if I'm home on ay the nights I say I am. IT usually can't stand that sort of thing, put from her I take it, because..." SSIES Se a _— f® Tony Perkins goes into detail about: "THE TYPES OF GIRLS I CAN'T STAND" @ His first woman problem came to Tony Perkins when he was fourteen years old, and in prep school. There was a pretty little girl who kept phoning him, On a week end at home he approached his mother. “Do you think girls should call up boys, instead of waiting for the boys to call them?” “No,” his mother said, straight-faced. “No I don’t think so.” Tony shook his head tragically. “Girls sure are bold.” Today, a grown-up Perkins has modified this opinion. He’s charmed by a bit of boldness. That’s not the only thing that charms Tony. In fact, he has such a long list of likes —and dislikes—that you could say here’s an expert. Could be. yes, sir, could be. . . Anyway, here it is—Tony’s Tip Sheet. If a girl calls up to say hello he think’s it’s swell, providing he knows the girl. If a girl calls to invite him to a party or a premiére, that makes him feel popular and well-loved too. What he dislikes are the ladies who phone angling for dates but who won’t come out and say so. And the kind whose phone calls indicate a possessiveness that Tony could do without— you know what he means . . . (Continued on page 89)

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can Jeanne Crain keep her husband home? New Year’s Eve, and Jeanne and Paul decided their happiness 38 was with each other. But only a few short | months before, Paul’s lady-fair was the dark-eyed Laurette Luez. by DICK WILLIAMS m@ One sunny day not long ago, a convertible came whizzing down Roxbury Drive in Beverly Hills and swooped into the driveway of a sprawling pink home. The handsome young man at the wheel leaped out, scooped up three or four suits hanging over the seat and hurried to the front door. But before he got there, the door opened and a trim-figured, dark- haired girl with a lilt in her step rushed out to meet him. They kissed tenderly and she murmured, “Hello. Welcome home.” The man was Paul Brinkman; the girl was his almost-ex-wife Jeanne Crain—and the bright occasion was Reconciliation Day. It was a day for which Paul had been working for months. It was a day which Jeanne, frankly, had never expected to see, despite her love for him, her secret hope that somehow their personal problems might be resolved. Despite all the bitterness that had gone before. It was less than a year after their perfect marriage had blown up in an explosive quarrel over an exposé magazine’s lurid account of Paul's alleged extra-marital capers. Less than a year, and the Brinkmans kissed and made up. But can it last? Can there be hope of permanent happiness for a couple who have split as violently as Jeanne and Paul did? What about Paul's roving eye, his dinner-for-two dates in quiet out-of-the-way places, his come-on-up-for-a-drink-Jeanne’s-in-Laguna invitations? Can Jeanne Crain keep her husband home now— any more than she could a year ago? The Brinkmans have a devout hope that their marriage can be saved. They admit that their four small children, whose happiness mean so much to them, and their Catholic religion which frowns on, divorce, have played a strong part in their reunion. But it’s more than that. Jeanne and Paul are still in love. Despite everything that has happened, they have never fallen completely out of love. From the beginning, even when things looked blackest, one of their closest friends argued that “No matter what they say, those two love each other. They'll go back together sooner or later!” But some of their other friends were less optimistic. “Sure the children and their religion are a strong pull,” argued one. “But Jeanne has a lot of bad memories to overcome, And the (Continued on page 82) REET Se alt Ae TP eR Red Tn NN EY LL eee

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lf YOU D@iey ELIEVE IN GOD, read about Pier Angelis joy m “I couldn't sleep. It was Christmas, and I was alone. I was restless, a little depressed. I missed Vic terribly. I was sitting on the edge of the bed, feeling so blue, when suddenly the phone rings.” It was Vic Damone, calling his wife Pier Angeli. “ ‘How are you, darling,’ he asks me from three thousand miles away. I feel so relieved. I ask him, ‘How did you know I was missing you at this moment?’ And Vic said, ‘I have not been able to sleep, thinking of you.’ The telephone calls between Vic and Pier occur in strange places and strange times . . . a farmhouse in France where Pier is making a picture, on the stage of the Cocoanut Grove in Los Angeles on Vic’s opening night . . . on their first anniversary, Christmas Eve, the night Pier was rushed to the hospital too late to save their expected child. As Vic's voice caressed her, held her, enveloped her with his love, Pier whispered “Thank you, God, for all I have. I have so much more than most women.” Not many girls would consider themselves so lucky if they were in Pier’s place. If, for instance, you could see your husband only a few months out of the year; if you never knew when your work would separate you for month after month from your husband and your baby; if you spent night after night alone at home waiting for the telephone to bring only your husband's voice to you .. . would you consider yourself the happiest wife in the world? And if you had spent months of pain and fear in a hospital to have your first baby, and had lost the second without your husband by your side, would you consider yourself the luckiest of women? Pier does. Her eyes light up and her face breaks into a sparkling smile as she considers what life has offered her. “Such joy as we have,” she says, “it is unbelievable. We tell ourselves, Vic and I, all the time, ‘How good God has been to us.’” It is their heart-felt faith in God’s will, no matter what has happened, that has been the bulwark of Pier’s and Vic’s marriage. “Everything,” says Pier, “everything happens for the best. This we know from our experience. Something that seems like a disaster may turn into a blessing if you believe it is all part of God’s plan. God has not given us the spirit of fear, but the power of faith.” When Pier married Vic, many who knew the problems they would have to face were frightened for them. What kind of a marriage could it be, when two people would be separated from each other more often than they could be together? Vic is primarily a night-club singer and recording artist, and his work takes him on tours all over the country. Pier, because of her European background, is an actress very much in demand for pictures made abroad. Some of her friends thought pityingly of the great loneliness Pier would feel when Vic was away from her. They remembered how Pier had always lived at home with her mother before she was married because, as she would explain, “I hate to come home to a house alone.” How would she feel coming home to a lonely house now, when she wore a wedding ring on her finger? “I’m not afraid of separations,” Pier told Vic. “I wouldn't want you to give up your work,” said Vic. “Acting is part of you.” Recently, sitting in the soft blue den of her colonial house high on a hill in Bel-Air, Pier said, “Though Vic and I have had more separations than most people, we have also had more honeymoons. Each reunion has been like a honeymoon for us. There is never dullness for us.” (Continued on page 97) ” by HELEN WELLER 40

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WAY PAUL The other woman 42

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The wife For three years we've known the story of Paul Newman’s secret ine For three years we refrained from printing it because we hoped things would become right again with Paul and his wife, Jackie. But now that there’s no hope left—we feel we have to answer the hundreds of letters we have received asking— NEWMAN LEFT HIS WIFE @ Last October the Paul Newmans announced they were separating. Six years of marriage and three children had been pitted against one terrible truth, the truth that love had died: Jackie and Paul still shared a house, but their hearts had become strangers. So they quit. They said good-by to each other and Jackie was left in the house on Long Island with Scott, Susan, Stephanie and the bitter knowledge that dreams are not forever. Paul fled to Hollywood to discuss The Jazz Age—the Helen Morgan story—and reporters thronged to both places, hoping for interviews which would clear up various whys and wherefores. No soap. And no interviews. Neither Paul nor Jackie would talk, and their silence paved the way for endless speculation. People who are quick to leap at conclusions found ready answers. The Newmans were just another young couple thrown off balance by sudden fame, money, success in Hollywood. It’s a good story. There’s only one thing wrong with it. It isn’t true. The Newmans’ problems began long before Paul ever set foot in Hollywood. The trouble began the day he first looked into the eyes of a girl named Joanne Woodward. He met her on what must have been the most exciting day of his life. There he was, only five months out of YALE DRAMA SCHOOL, and he’d got himself a job in the Broadway play Picnic; and there she was, fresh from the NEIGHBORHOOD PLAYHOUSE and television, and she’d got herself a job in the same Broadway play. And from the grins on their two faces you'd have thought they were the stars, not a couple of understudies. She was all big green eyes, a mop of blonde hair, a plain way of saying what she thought, and something about her killed him. Maybe, he thought later, it was the youngness you feel in young actresses when they’re so shiny and full of hope. His wife had been just such a young actress. They’d met in Woodstock, Illinois, in 1949; he'd been cast opposite her in John Loves Mary in a repertory company, and after a while they were calling (Continued on page 87 )

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neither Frank —

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1S enough for her by DORA ALBERT why Kim remains _ unsatisfied - @ It isn’t at all unusual for the girl with the lavender personality to get three phone calls from three fascinating men in the space of a few hours in the evening. For instance . . . the phone rings . . . and a liquid voice, enough to make most hearts skip a beat, says, “What does it mean—this going steady? Will you please explain to me what it means?” Mario Bandini was on the phone. He was calling Kim Novak, calling from thousands of miles away, from Italy. He was very upset. Mario felt he had reason to be upset. His friends had shown him a photograph of beautiful Kim Novak, the girl he calls “my little angel,” and the little angel was looking up at Mac Krim. The caption read, Kim Novak and Mac Krim are going steady. And Mario’s friends had said to him, “How can you still be so interested in this girl, when she is going steady with someone else?” “Mario was afraid,” admitted Kim, “that I might be married to Mac Krim. I had told him about Mac, but the phrase ‘going steady’ confused him. When I assured him I wasn’t married, he felt a lot less upset.” Five minutes after this call ended, the phone in Kim’s new lavender apartment rang again. This time it was Frank Sinatra. “Kim,” said the voice famous the world over for love songs, “I’ve recorded a new song especially for you. avs called 23 ee 2 ”—Kim won't share the name of the song with anyone— “Whenever you hear me sing it from now on,” Frank said, - “you'll know I’m singing it to you and you alone.” _Frank hung up, but the phone rang again. This time it was Mac Krim calling. “Kimeee darling,” he said—he spells her name with three e’s—“how’ve you been, and how have your rehearsals for the Jednne Eagels picture been going?” “T don’t know,” said Kim. “I’ve been acting real crazy. Every once in a while I get so wrapped up in the part I forget I’m me. I feel like saying to people, ‘How dare you interrupt a great actress like me, Jeanne Eagels?’ ” “You'll get over it,” Mac laughed. “But remember, I love the girl I used — to know as Marilyn. I wouldn't love you the way I do, Kimee, if I didn’t find Marilyn hiding in the girl the world knows as Kim.” Her name has been coupled so often with these (Continued on page 86 )

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PRESENTING 3 The first complete story of Clint Walker His poverty — stricken childhood, his years on the bum, his rocky : romance with Verna, his big break, etc... i ] i isi a

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BY KIRTLEY BASKETTE m@ In the Mississippi River town of Alton, Illinois, a gangling kid named Sonny Walker used to bust out of his house like a wild Indian whenever he saw a rainbow arching the sky. Churning his big bare feet like pistons, he’d gallop breathless, sometimes two or three miles, chasing a pot of gold—only to see the magic colors fade and vanish. “Durn!” he’d swear then. “Missed it again. But,” he always gritted, “I'll catch it next time for sure.” Sonny, who could have doubled for Huck Finn, never let loose of that crazy conviction— even when his hands grew to the size of hams, his shoulders spread like the spans of a bridge and whiskers spiked his rocky jaw. It sent him sailing the seven seas and on restless trips over most of the U.S.A. It plunged him in and out of a hundred different jobs in almost as many places. And usually it kept him hungry and stony broke. Then about five years ago he sat cramped over the wheel of an ancient Model-A Ford | at a fork in a Texas highway. Behind him was another hope that proved a wash-out—cattle ranching. Beside him was his pretty young wife, and in the back seat slept their year-old daughter. In his jeans he had just fifteen dollars and twelve cents. But the familiar yen for adventure and new places shot through him as he gazed down the road stretching out toward Florida. “I’ve never been- to Florida,” he said. His wife looked around at the baby. “I’ve got a sister i in California,” she argued. “That's something.” The big guy grinned, gave her a kiss and turned the wheels West.. It was the best move he ever made. Because as a result, today Sonny (Continued on page 70)

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™ One afternoon, Doris Day left her studio dressing room and started walking over to the set. - Then the pain hit her. It hit her like the shock of an unexpected breaker in an angry sea and she was drowning with it. Her heart was a hammer and she couldn't catch her breath and she was drowning in a sea of pain... She had just taken the first step down the road to a hell that she was to live in for almost two years. A hell of fear . . . the kind of fear that twists your gut. Then, as suddenly as it had come, the pain was gone. She drew a shuddering breath, stood for a few minutes to make sure her knees wouldn't buckle with the first step—and told herself that she hadn’t felt anything at all. It hadn’t happened. Except that it came again and again, while her heart missed beats and her breath disappeared. Cancer! The word came flaming into her mind one day and she couldn't get it out. Cancer. That must be what she had. But it wasn’t cancer; it was fear. - Two years ago, Doris thought she was dying of cancer. Actually, she was suffering from fear. Oh, the pain was real enough; it hurt. But it was the fear in her mind, not cancer, that caused the pains in her body— plus the suffering she has endured in her life so far,. and the heartbreaks she has lived through. Fear... ; It was two years ago when Doris Day—movie star, wife, mother—first began being unable to catch her breath. She couldn't imagine what that was all about, so she ignored it. For one thing she was a most sincere Christian Scientist and she could not believe in illness. Besides she wasn’t ill. She just couldn’t catch her breath. She was under terrific pressure at that time, as any top star always is. Her WaRNER contract was winding up. She didn’t know (Continued on page 93) by HARRIET FRANKLIN

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by Ned Polsky ™@ One of Elvis Presley's close friends starts telling you one day, “You know . . . I don’t think I'll ever forget those hours I spent with Elvis hiding in ie shrubbery in front of Dixie’s house, waiting for her to come home—from a date with someone else. Man, we were waiting, no matter how long it took. I got so danged hungry and tired I just about died. But old Elvis . . . he jes’ eel there in the shadows, misery and pain aed sort of jealousy torturing his face. And somehow, well, you just couldnt leave him there . . . alone like that...” It's a strange story, a sad one. It explains the Elvis you don't see on stage, except ‘maybe when he’s singing “Heartbreak Hotel” — the Elvis with a far-away look staring out of train windows . . . playing a piano backstage . . . sitting alone in a hotel room with only a phonograph and some records for company. This is the Elvis Presley that few people know, the boy with the sadness in his eyes and the sullen droop on his lips. The boy who's so much older than twenty-one, who wants desperately to be alone to think . . . Dixie . Dixie Locke was a fun- -loving girl. She wasn’t quiet or shy—or overtomantic. She talked a lot and she laughed a lot, this dark tiny girl with the dimples and the captivating smile. And she found and captured and finally threw away the heart of Elvis Presley, idol of idols, dreamboat supreme. What happened to such a love? How did it start? Down in Memphis, Tennessee, in the year 1953, a boy named Elvis Aaron Presley was attending L. C. Humes Hiex ScHoot. Humes is in the older and poorer section of the city, and Elvis was just one of the kids who came to school in well-worn clothes and ‘home-made’ haircuts. It didn’t bother him. He was no different from his friends, his classmates. And it didn’t bother him when he first noticed Dixie Locke, because Dixie was way out of his class and it wasn’t even in his day-dreams that he ever thought of the Beery of “that purty little one” ever being his. But they did meet, and they clicked, and the way he felt about her was pretty wonderful. They talked a lot and they laughed a (Continued on page 84) NO JULTED ELV! He went steady with her for two years, took her to the Senior Prom, suffered miserably when she dated others. Then she gave him back his ring... 51 7

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‘by BLANCHE E. SCHIFFMAN Ud tnrdyyy jalyell Russ and Venetia — Three weeks before you announced that your marriage was "on the rocks" you gave us the story that we're printing on these pages. Now we ask you to read your story again earefully, the story of your love. Then reconsider your decision to call it quits. ug “All I remember now,” said Russ when he started talking about it, “is that we had one block-buster of a fight. I don’t remember how it got started, but I was mad, fighting mad. Around about midnight, we were both completely exhausted, but still terribly angry with each other, and we sat quietly discussing the facts. After a while there seemed just one solution: we’d have to admit our marriage was a failure, and that we couldn’t live happily with each other, and the best thing to do would be to separate. “We agreed—very coolly and dignifiedly, I must say—that since we couldn't afford two apartments until we separated I'd sleep in the den, and that we'd ignore each other as much as possible till we could make a clean break of it.” As he told the story, Russ’s eyes lit up mischievously and a grin covered his face. “Well, I made a real production out of putting the bedding on the couch in the den, and finally there was nothing left to do but put out the lights and try to get some sleep. Instead, I just lay there, thinking about Venetia in the other room. “It seemed like a century later, though it was closer to a half hour, when Venetia appeared in the doorway to ask, “What did you do with the toothpaste?’ “I didn’t say a word. Just got up, marched into the bathroom, and found it. Right where it always was! I gave it to her quietly, and then marched back to the couch. A few minutes later, she was back again with a perfectly ridiculous ques- tion, ‘Did you take the water glass?’ “Again I tramped back to the bathroom and found it for her. But by this time I'd decided that, no matter what our differences were, I was not going to sleep in the den. “Venetia made it easy. “Want to come in and visit me?’ she asked, and her face had that quiet, afraid look of a little girl who doesn’t know whether she'll be accepted or hurt, but who's decided to take the chance anyway. We rushed into each other’s arms, and I picked her up as tenderly as I had the day I’d carried her over the threshold of our home after the honeymoon. By morning, we’d forgotten what in the world had started it off. “But the wonderful thing about a marriage,” added Rusty, “is that when you stop to think about the things that happened—as I am now, remembering our first year together—you don’t remember the banging doors, or the harsh words, or what they were about. What you do remember is the (Continued on page 80)

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SSS EE EERE 5 Sa: TE Carroll and Jack, so in Iove. by FLORENCE NILRES - her parents’ marriage (Continued on page 76) @ Alone ... the one word that clouded so many years of Carroll Baker's life . . . Carroll was born in Johnstown, Pennsylvania twenty-two years ago. Her father was a traveling salesman and kept the family going at a rather —~ fast clip for a child. “By the time I was old enough to have my first beau—he was three—I already learned about the heartbreak of separation,” Carroll laughs. “I _ don’t remember much about him, but mother tells me I threw a fit when I found out that I was the only one who was moving—that all the neigh- borhood children weren’t coming with me!” When Carroll was six, they moved to West Virginia. “I was eight when we shifted to the North .. . and I found that a southern brogue was just something to get rid of if I didn’t want my classmates making fun of me.” Then Newark, New Jersey—for six months. And back to Pennsylvania. In Pennsylvania it looked as if Carroll could settle down for a while, to make friends .. . and have a chance for a normal childhood. But there was just one fly in the ointment:

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j <— m It wasn’t that I was a fiend type. As a matter of fact, when I look back on my boyhood 3 I see myself as a walking symbol of the YMCA—such an angel that it’s a wonder # : I lived through it. At home in Beechhurst on Long Island, it wasn’t too bad. The guys = \ in my class understood, or tried to understand, that I was in a Broadway play called Life $ With Father. It wasn’t easy for kids in the third grade to figure out why, but at least they + realized my hair was red for a reason, and they knew my family and they were always welcome in our home. But no kid wanders around the streets of New York with longish bright red hair that’s obviously — dyed, in junior Brooks Brothers suits, and escapes the evil eye and tongue of the flintier guys who consider that they are leading a more normal life. Add to that the fact that I was an actor—they’d catch me breezing out of stage doors—and I was a game target for name calling that would curl your hair. More than once I was tempted to join a " rat pack, just to prove I could be as rowdy as the rest of them. And knowing New York like I got to know it, and (Continued on page 91)

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SOPHISTICATED = 8 how to be by Dana Wynter ™ I’m here to preach sophistication for teen- age girls, a nice kind of sophistication. In England, where I grew up, girls dressed very, very youthfully and wore no make-up at all until they were seventeen or so—I'll get to make-up. later—but in America that needn't be so. An American young lady can look as grown-up as she likes, provided she does so in a nice way. And I think I may have a few helpful suggestions. First of all, and most important, a teen- ager can wear sheaths! Nothing is more sophisticated than a straight-line dress: all the top models and most really well-dressed women prefer them for all but the dressiest occasions. They are neat and simple, and you can wear a sheath almost anywhere—shop- ping, to dinner, even out dancing. Any time youre not sure (Continued on page 60) eI

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how to be sophisticated (Continued from page 58) where you're going, it’s the perfect solution. They don’t wrinkle the way a full skirt does, because there’s less to them. And you don’t take up two seats in the movies or on the bus as you do wearing a dozen crinolines and petticoats! : The one problem with a sheath is that you must be fairly slim to wear one well. Many teenagers have trouble with weight, of course. I did. I was always putting on pounds! Naturally, that prevents you from wearing a perfectly straight dress. I recommend diet and sports—everyone does—but while you're waiting for the pounds to disappear, you don’t have to be stuck with dirndles and flounces that pretend to hide your posterior and actu- ally only make you look worse. The an- swer is to look for a dress that is straight in the front, with some fullness in the back. They’re making a great many of these today, and not only are they good for camouflage but they allow you to walk more freely than a perfectly straight sheath would. One word of warning: look for a print or a solid-color in your sheath—or even a stripe if it isn’t too dramatic. Not a black ome, please, or a slinky one in satin or crepe until you are in your twenties. A pastel-colored sheath will make you look twice as sophis- ticated as any of your friends in full skirts, without allowing their mothers to raise an eyebrow. Buy a basic dress Most girls don’t have a lot of money to spend on clothes, but a girl can be very well dressed on a small budget. If she’s careful. For instance, bargains are all very well, but so many people buy things they don’t want or need just because they’ve been marked down. I’ve done it myself. Now I walk past every bargain table with my eyes shut. I pay a little more for what I buy, but I get what I want. The one thing a girl should spend a little on is a basic dress. I have a long- sleeved turtle-neck black wool dress that I wouldn’t be without for anything in the world. It doesn’t have to be a black out- fit. Navy blue does nicely. Arthur Orloff and his wife took starlet Vikki Dougan to Ah Fong's for dinner the other night, and when they ordered, asked her, "How would you like your rice?” The starlet replied, "Thrown at me.” Sidney Skolsky in the New York Post Incidentally, this business of a flower or a scarf to brighten up one basic dress is so important. They make such stunning accessories these days, and there is so much you can do with them. Don't go bareheaded About the most unusual thing a girl can do these days,is wear a hat. Why, I don’t know. So few young women wear them now, and almost no girls. Perhaps it is because they do muss up your hair. I can’t deny that I wear my hair for my hats—and still, when I take a hat off, I have to comb my hair again. But the wind can have that effect, too, you know, so that’s no excuse for always going bare- headed. And there is nothing in the world more flattering than a hat, framing a girl’s face in flowers or cloth, bringing out the color of her eyes or her hair, or pointing out the interesting angles of her face. I have a private theory that the reason most girls won’t wear hats is that they’ve had bad experiences. They've bought hats that looked simply stunning in the store; when they walked outside they caught a glimpse of themselves in a store window—and looked so top-heavy and ridi- culous! Well, there’s a very simple solu- tion to that—never buy a hat sitting down! Put the hat on, and no matter what the saleslady says, insist you want to see it in a full-length mirror. Then you'll be able to buy one that looks well when you’re walking in the street! For myself, I like huge, dramatic hats. I’m tall—5’7” in stockings—so I can wear them. Short girls, and young girls, should stay away from big hats. You don’t have to stick to a cloche, necessarily, though they are very pretty. But if you choose a hat with a brim, it should be fairly small. There’s no reason why it has to be utterly plain, though—since you'll be wearing a imple, straight-line dress you can cer- tainly have some flowers or color in your hat. And there’s nothing that makes a woman feel more feminine than buying a hat—unless it’s wearing it. Sophistication—a full time job As Iong as we're getting sophisticated, let’s do it twenty-four hours a day. I don’t like girls in trousers. A woman should check her appearance from every possible angle—like standing up to buy a hat—and no woman can possibly teil how she really looks walking down a street in slacks! Furthermore, if you are just sitting around the house, or even doing housework or homework—it is just as simple to slip into a little dress as a pair of jeans. Then you’re feminine as well as comfortable. When it comes to shorts, that’s a different story. Shorts are cool—which slacks are not—and give you more freedom than either slacks or skirts. But don’t buy them carelessly. Get a chic length and a good fit that will take care of any problems you may have on thighs or hips. A few years ago, I would certainly have said that you should wear only flats with shorts, but now I think heels are permissable. I have found that since I wear heels most of the time, and I like really high, thin ones, a change has taken place in my feet. Flat shoes are uncomfortable for me now. And of course, heels make your ankle look slimmer and your leg look better. Finally make-up. I go through phases myself. Right now I’m wearing a rather dark rose lipstick, but I’m just pulling out of a period in which I wore a lipstick as light as my first one—a pale natural shade. In this day of bright red mouths, you’d be amazed how striking this is. Sometimes I change lipsticks with my clothes, matching them. I own about five lipsticks, I suppose. I don’t think Ameri- can girls need keep their faces scrubbed and shiny until. they are seventeen, as English girls do. The touch of lipstick and the dash of powder on a shiny nose—that we didn’t start using until we were seven- teen—is perfectly appropriate here several years earlier. But when you start using more elaborate make-up, go lightly. And above all, don’t set your eyes and mouth at war with each other for attention. Don’t neglect either, but underplay one so that the other becomes your most impor- tant feature. And that’s the secret of sophistication. Just as with the simple dress and the bright hat, let the eye fall mostly on one striking point. That way you'll always make a smart impression—as a_ bright young woman who knows how to dress and look her age. END Watch for Dana in the 20th Century-Fox film The Sun Also Rises, and in MGM’s Something Of Value. CURRY A LA MacMURRAY! m Besides being one of Hollywood’s top stars, Fred MacMurray is—along with his best friend John Wayne—owner of an exclusive Acapulco hotel; and when- ever Fred has time off from movie- making he and wife June Haver do their fishing in sunny Mexico. One afternoon, when they were load- ed down with their catch, a guest spotted them and jokingly said to John Wayne, “Well, here comes our dinner!” “Want to bet?” laughed Duke. “You’re in for a surprise.” He was. The truth is, while Fred loves fishing, he just doesn’t go for fish. So that evening the guests were served— chicken. And what chicken! Some call it Fred-Fried Fowl. Others say its name is Curry @ la MacMurray. One puzzled guest blurted out, “I know it’s chicken. But what kind? The dressing is so rich!” “It should be,” chuckled Duke, “it has a half pound of butter in it. But what else did the chef put in?” ( “Nutmeg?” “No—Chinese soy sauce!” It’s the third ingredient, though, that’s the real mystery. Fred, like any: amateur chef, doesn’t like to give out his secret, but he confessed. It’s honey! | Fred mixes the soy. the butter and the | honey in equal proportions. Then he literally soaks the chicken in this sauce. | Everybody who has visited his Acapulco, hotel says that Fred’s chicken is the best: thing in Mexico. | Everybody, that is, except John Wayne. “Chicken with honey? Fred may like it, but me—I’m strictly a steak and potato man!” Watch for John in U.A.’s Legend Ot The Lost and RKO’s I Married A Woman. He’s currently in MGM’s The Wings Of Eagles. a

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eck = =>: 4 we had to elope (Continued from page 29) the Lirscoms Hien cafeteria with a buddy of his, a baskeiball teammate. He’d heard earlier that day that Shirley Foley, the daughter of one of his idols, famous western and hillbilly singer Red Foley, was iransfer- ing to Lipscoms from a school across town and he’d been curious io have somebody point her out. Now his buddy had pointed her out during lunch hour. Pat had looked, Sulped what he was eating and asked if he could meet her. “She can’t sing like her pa,” his buddy said as they stood there, waiting: “I hope her voice is a little bit higher than Red’s.” Pat said as he scanned the hundreds of faces of the other kids who came streaming out of the lunch room. “You're sure you know her, now?” he asked his pal, his eyes darting from one face to another. “I mean, you know her well enough to give me an introduction?” His pal nodded. He was about to say something when he spotted a pretty girl with long red hair and called oui, “Shirley, here Shirley, there’s a fellow here I want you to meet. His name’s Pat Boone.” Who's got a fever? The girl stopped and looked over at Pat. “Hi,” she said, smiling. “I'm so glad to meet you. Ive heard you sing around town and I like your voice so much and, well, I'm so glad to meet you.” Pat smiled back and shrugged. He opened his mouth as if to say something, but he blushed instead. He turned to his buddy. “See you, Pat,” his buddy said, winking, and he rushed off. Pat turned back to the pretty girl with the long red hair. “I . . . I didn’t think you’d know who I was,” he said. “Well, you're pretty much of a celebrity around these parts,” Shirley said. She looked into Pat’s eyes and he looked into hers. “Tell me,” Shirley said, finally— inni a line she enjoys teasing Pat about to this day, “is there something wrong with you? I mean, your face is kind of flushed. Do you have a fever or something?” “Shirley,” Pat said, very quickly, bring- ing his hand up to his face as if to wipe away some of the red, “would you think it rude of me if I asked you for a date?” Shirley shook her head. “I'd think it very nice,” she said. “Even if I made it for tomorrow night?” Pat asked, still rubbing. “Td think it very nice,” Shirley said again and—as shell admit to Pat now— beginning to feel her own face get red. Pat's vow Pat picked her up at seven o'clock that night, the night of one of the heaviest snowfalls Nashville has ever seen. He met her mother and father, asked very formally for their permission to take their daughter sledding with a group of his friends, and they left on their first date. Tt was a wonderful evening from start to finish and when it was over Pat took Shirley home and stood holding her hand at the door. He wanted to kiss her good- night, but he didn’t. A little while earlier, he’d broken up with the second girl he’d ever gone steady with and he’d vowed to himself at the time that he’d never kiss another girl again, no matter how much he wanted to, till he knew that this was really the girl for him. And so he stood there now, knowing Shirley for only a few hours really and liking her very much and wanting to kiss her but remembering his vow and, even though it was hard, sticking to it. , ones _- “Good night,” he said when it had got too cold just to stand there holding hands and looking at one another. “I had a real nice time tonight.” “So did I.” Shirley said. Pat let go her hand, opened the door for her, watched her take a step inside and started to walk away. He'd got to the steps at the end of the porch when he turned. “Shirley,” he asked, “you doing anything Saturday night?” “Td been thinking about maybe going to the movies,” Shirley said. “Will you come with me?” “Yes,” Shirley said. “Yes... .” For the next nine months, Pat and Shirley went to the movies together every Saturday night—with a few Tuesday and Thursday and Friday night dates stuck in here and there. Once in a while he asked her to come to the big white frame house where the Boones have lived ever since moving up to Nashville from Jack- sonville, Florida where Pat was born— and just sit and talk with the folks and his kid brother, Nicky, and his kid sisters, Margie and Judy. “We called him Pat shortly after he was born,” Mrs. Boone told Shirley once, “because his daddy and I were counting on a girl and we had it all planned we were going to call her Patricia. Actually, we started out by giving him the name Charles Eugene. But a few weeks later one of us said ‘Pat’ and it’s been that ever since.” Edwin Lester, head of the Los An- geles Light Civic Opera Co., was staying at the Warwick Hotel in N. Y. So was Frank Loesser, the songwriter, who was here for the premiére of Gays And Dolls. Lester and Loesser had been getting phone calls intended for the other. Lester finally met with Loesser and urged that they do something about the mix-up. “You, a famous songwriter and music publisher,” he began, “and I, a producer, shouldn't be wasting our valuable time with ..." “Never mind all that," Loesser interrupted, ooeecee my laundry?" conard Lyons tn the Nez Yor= Post Getting to know Pat “When Pat was about seven,” his father told Shirley, “we had a cow named Rose- mary. I told Pat that Rosemary was his responsibility. Well, he didn’t like the cow much, but he sure liked her products. I remember he used to tell everybody at school that he had to get home to milk the cow. But he always found something else to do. There was no telling what time poor Rosemary got milked. There was no telling how much of that milk he’d drink, either. Two quarts at one sitting once.” “How about William Green Hill?” sister Margie chimed in. She turned to Shirley. “William Green Hill was one of two goats daddy gave the boys one Christ- : Mi : mas Minerva was the other. Miss Minerva wasn’t much bother, as I recall. But William Green Hill was always getting those horns of his stuck in the fence and it was always Pat’s job to go get them pulled out. We didn’t keep the goats long.” “Nor Black Magic, the pig,” said sister Judy. “Pat and Nicky were the ones who had to feed him. That was the same time we had all the cats, about twenty-one of them. Remember Toby, Pat—the persian with the white mustache? He was your favorite. He was much neater than Black Magic. Especially at feeding time.” “One summer dad had some logs in the back yard,” Nicky told Shirley another time. “He said he was going to build a fence with them, but he never did. So Pat and I took them and made log houses. We criss-crossed them, and really did some fancy building. One of them even had two stories in it. We never did spend the night in them, though. We couldn’t figure out a way to keep the wind from coming through the cracks and somehow our beds felt a lot warmer than sleeping out there.” Perry Como... a favorite “Pat used to love to sit and listen to the radio,’ Mrs. Boone said once. “Even before he started to school, he used to harmonize with the singers. We encour- aged him to sing, but he never had any special training when he was in elementary school ... . Who were his favorites? Well, I'd say Perry Como was one. And your own daddy was another, Shirley. And once, I'll never forget it, Pat was asked to sing at a movie house on a Saturday afternoon and the announcer said, ‘We will now hear a rendition of “Single Saddle” by that young Bing Crosby, Pat Boone.’ I think that tickled him the most.” “He’s a good religious boy, Pat is,” his dad told Shirley once. “His mama started taking him to the Church of Christ when he was six weeks old. When he was grow- ing up, he attended Sunday school, church, Sunday night services and usually prayer meeting on Wednesday. I guess he still attends them, all but Sunday school.” “When he was two-and-a-half years old,” his mother said once, “his daddy bought him a tricycle, a beautiful red and white one. Well, one day ne was blithely riding the bike down the sidewalk when something happened and it veered over into the street. A neighbor woman happened to be out there at the moment. Later she told me that as the bike went into the street a big school bus came speeding around the corner. The bus headed straight for Pat, she said. She stood pan- icky for a split second and then with some unknown strength she ran and pulled Pat off the bike. Another second later and the bike was crushed under the bus wheels ... I often thank God for the time He took that special watch over my little boy. And I think that He’s glad that my boy has such a special love for Him.” Yes, there was very litile that Shirley Foley didn’t know about Pat after those first nine wonderful months together— months that happened to be leading up to the two most dramatic moments of Shirley’s life. The first moment came suddenly, cruelly. It was the death of Shirley’s mother. The second moment came about a month later. It was Pat’s declaration of love. As Pat himself tells it: “We'd known each other for such a long time. We'd been through so much together. But we'd never said anything personal, anything about us ... Then one night we were alone together. I remember we were sitting there in Shirley’s house, holding hands, not saying anything, just holding hands. Finally, I couldn’t stand it any more. I leaned over and I kissed Shirley. And as I kissed her—the first time Id kissed her in the ten months I'd known her—I knew that I was in love with her and that she was in love with me and that some day we were going to be husband and wife. Just that simple, I knew it” As it turned out, things weren’t just that simple. Their thoughts to themselves On the surface they might have looked that way. Sure, Pat and Shirley dated more than ever now. Most of the dates con- sisted of baby-sitting for the children of Hugh Cherry, Pat’s friend and a ty master- 61.

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of-ceremonies who had put Pat on one of his shows; of sitting together at Shirley’s piano and harmonizing; of rehearsing ser- mons Pat would give at church services every Wednesday night. Sure, everybody thought it was a real cute sign of puppy love when Pat broke his nose playing basketball one afternoon—as a kid he’d had a broken elbow, collarbone and wrist, all from sports accidents—and Shirley would come running to his side every possible moment during those next un- comfortable weeks . . . and how she’d cry at the mention of her poor suffering Pat. Sure, lots of the kids giggled the night Pat won the big local Discovery of the Year award and he turned, right after the announcement, and ran to grab Shirley in front of all those people and hugged and hugged her. Deep down it was love, strong love— and this a few people, important people in Pat and Shirley’s lives, found it hard to take seriously. For the next year or so, Pat and Shirley managed to keep their true thoughts about one another to themselves. Then, a little bit at a time, hints began to fall from them—hints like how nice it would be to get married, how nice it would be to have a little house, how nice it would be to have four or five children some day. "In time,” they were told At first, Pat’s folks and Shirley’s father did their best to humor the couple along. They tsked-tsked any mention of marriage with big parental smiles and all sorts of nice soothing bits of advice. “In due time,” Pat’s mother told him once when he mentioned the possibility of marrying Shirley some day. “In due time.” “You talk like there’s no tomorrow, Shirley,” her father told her once when she mentioned the possibility of marrying Pat some day. “There are years ahead for getting married years and years.” Pat and Shirley waited one more year, and then a little over that. Things had happened in that time, too, to make the prospect of marriage seem more and more a possibility. For one thing, of course, they’d grown older—they were both seventeen now. For another, they’d both been graduated from high school and were in college—Shirley studying nurse’s training, Pat majoring in English. For still another, Pat’s popularity as a singer was really beginning to zoom. “Although he was doing most of his singing for free,” a Nashville friend re- members, “there wasn’t a_ social or religious club in town that didn’t ask him to any occasion they had. And although he wasn't getting paid for it, he did have his own radio show on Saturday morn- ings. This was also at just about the time he was invited to go to New York by Ted Mack to appear on his tv contest show. There was no question about it; Pat was really beginning to come into his own as an entertainment personality.” Yes, Pat and Shirley had waited and waited. And things had got better and better for them. Except for one big thing, that is: their parents’ consent. The opposite effect Pat tells what happened next this way: “When it was known just how serious Shirley and I were about each other and about getting married, my folks objected in no uncertain terms—and Shirley’s daddy felt fairly much the same about it. Their complaint was that we were too young. They said it would be fine for us to get married . . . some day. After college, maybe, they said. But no, not now. “At one point they suggested that we WiiN Alabama, Athens—Jaffee’s Dept. Store Alabama, Bay Minette—S. Kahalley Store Alabama, Bessemer—Sokol's Dept. Store Alabama, Dothan—The Leader Alabama, Gadsden—Hellywood Shop Alabama, Jasper—Kay's Alabama, Marian—Wilbourne Bros. Alabama, Tuscumbio—The Grand Leader Arizona, Kingman—Alex's Toggery Arkansas, Batesville—Skinner Shoe Store Arkansas, Blytheville—Zellner's Slipper Shop Arkansas, Harrison—Cooper Shoe Store D. C., Washington—Shoe Lane, Inc. 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Store Missouri, Dexter—Friedman’s Missouri, Kansas City—Henry’s Shoe Box Missouri, Kansas City—Palace Clothing Co. Missouri, Kansas City—Mortons Shoe Store Missouri, New Madrid—Shainberg’s Store, Inc. Missouri, Piedmont—Childress Shoe Store Missouri, St. Lovis—Famous-Barr Missouri, St. Lovis—Proper Shoe Store Nebraska, Falls City—E. & S. Bootery Nebraska, Nebraska City—E. & S. Shoe Store New Jersey, Camden—Open House Shoe Store New Jersey, Lakewood—Central Shoe Store New Jersey, Palisades Park—Ely Shoe Shop New York, Bronx—Park Hill Shoes New York, Cedarhurst—Haydan's New York, Hudson—Siegal & Sons New York, Lynbrook—Harry's Shoes New York, Newburgh—Massell’s Bootery New York, Newburgh—Chas. Smith New York, New York City—Har-Ed Shoes North Carolina, Asheboro—Baker's Shoe Store North Dakota, Fargo—Hall-Allen Shoe Company North Dakota, Grand Forks—The Bootery North Dakota, Minot—Anderson’s D & S Bootery North Dakota, Valley City—Stevens Shoe Store Ohio, Akron—The Hower Dept. Store Ohio, Galion—J. & H. Shoe Store Ohio, Lorain—Januzzi's Shoe Store Ohio, Martins Ferry—Dupke Shoe Store Ohio, McConnellsville—Stifflers Store Ohio, Perrysburg—Cordrey’s Shoe Store Ohio, Port Clinton—Nissens Shoe Store Ohio, Shaker Heights—Mir-Lee Shoes Ohio, Shelby—Duff's Shoe Store Ohio, Toledo—Cordrey's Shoe Store Ohio, Troy—Davids Shoe Store Ohio, Yan Wert—Van Wert Bootery Ohio, Xenia—Sol's Store Pennsylvania, Clearfield—McClure's Boot Shop Pennsylvania, DuBois—Con Allen Pennsylvania, Emporium—Charles W. Lawson Pennsylvania, Hanover—Strine'’s Shoes Pennsylvania, Hazelton—Leader Store Pennsylvania, Jeannette—Karl's Shoe Store Pennsylvania, Johnstown—Leonard's Shoes Pennsylvania, New Castle—Dunn’s Shoes Pennsylvania, Philadelphia—R. Morton Dunoff Pennsylvania, Philadelphia—Jacob Goldstein Pennsylvania, Philadelphia—Rosner Bros. Pennsylvania, Philadelphia—Russells Shoe Salon Pennsylvania, Philadelphia—Sid David Shoes Pennsylvania, Pittston—Sally’s Shoes Pennsylvania, Sayre—Sharping, Inc. Pennsylvania, Shamokin—The Bootery Pennsylvania, Turtle Creek—S. & S. Shoes Pennsylvania, Uniontown—Metzler's Dept. Store Pennsylvania, Warren—Valone’s Shoes Pennsylvania, West Chester—Harry Olin Pennsylvania, Williamsport—James Shoes South Dakota, Lemmon—Snyders Dept. Store Tennessee, Bristol—H. P. King Co. Tennessee, Cookeville—Woodbine D. G. Co. Tennessee, Harriman—Edwards Shoe Store Texas, Brenham—Marsh Dept. Store Texas, El Paso—Popular Dry Goods Co. Texas, Laredo—Scooti Shoe Store Texas, Plainview—Dargan's West Virginia, Fairmont—Golden Bros. West Virginia, Grafton—Pettrey Bros., Inc. West Virginia, New Martinsville—J.F, Loehr & Son Wisconsin, Beloit—Ben Packs Shoe Mart Wisconsin, Clintonville—Schauder & Schauder Wisconsin, Eau Claire—Catlin Shoe Store, Inc. Wisconsin, La Crosse—Arenz Shoe Company Wisconsin, Lancaster—Weber Shoe Store Wisconsin, Marshfield—Town & Country Shoe Mart Wisconsin, Monroe—Kundert's Shoe Store Wisconsin, Platteville—Deweys Shoe Store Wisconsin, Prairie Du Chein—Kozelka Shoe Store Wisconsin, Rhinelander—Danner's Shoe Store Wisconsin, Rice Lake—Rolf Swenddal Wisconsin, Two Rivers—Schroeder Bros. Wisconsin, Waupaca—Quality Shoe Store Wisconsin, Wisconsin Rapids—Gleves Shoe Store stop dating for a while. I know what they : i is 3. Me fisured—that S| (Continued on page 64) TOBER-SAIFER SHOE MANUFACTURING CC. 1204 Washington Ave. St. Lowis 3, Mo. iis et ia iat aa i 62 . {Fas =

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Contest limited to the continental United States and ms possessions ARE YOU MISS SCHOLARSHIP OR $1000 GOVERNMENT “E” BOND Plu —2 all-expense paid trips —ONE TO ST. LOUIS—ONE TO CHICAGO — WHO IS SHE? Miss Jolene is a fashion-conscious girl—no age limit—she may be either single or married, she has an eager interest in what Is new, she is aware of what is going on in the world around her, she knows what she likes and why she likes it, she wears Jolene Shoes. She might be YOU! Six separate weekly contests starting March 3, 1957... enter as many times as you wish. Each weekly first prize winner receives the exciting and fashion-right new Jolene Spring Shoe Wardrobe as shown on this page! The 50 next best entries each week each receives one pair of shoes chosen from the be utiful Jolene Shoe Wardrobe for Spring. One of the six weekly first prize winners will be awarded the grand prize —a $1000 scholarship or $1000 Government ‘‘E” Bond plus 2 all-expense paid trips for two, one to St. Louis and one to Chicago. THE WINNER -— it can be you! — will be Miss Jolene of 1957... visit St. Louis April 28 through May 1... stay at the famous Hilton Statler --- act as official hostess at the Tober-Saifer sample rooms during the St. Louis Shoe Show... confer on shoe styling ideas... see the sights in St. Louis. Then comes a visit to Chicago October 27 through 31 for the National Shoe Show... a stay at the Conrad Hilton... dining and dancing at the Edgewater Beach... sightseeing in the Loop—2 wonderful trips full of excitement and fun! JOLENE « HOLLYWOOD-INSPIRED SHOES the first of 6 weekly contests starts March 3,1957. Prizes every week Here is the new JOLENE SPRING SHOE WARDROBE... two pairs of Jolene dress shoes, one pair of Jolene casuals, one pair of Jolene flats, one pair of Jolene Hilltoppers . . . a fashion-bright new group that is so smart you'll find it easy to write a winning entry! “For entry blank and complete details see your nearest Jolene dealer. TOBER-SAIFER SHOE MANUFACTURING COMPANY + 1204 Washington Ave. « St. Louis 3, Mo. A COMPLETE JOLENE SHOE WARDROBE GIVEN AWAY EACH WEEK FOR 6 WEEKS —.

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_ 64 we had to elope (Continued from page 62) grow out of love and gradually get to forget one another. “It ended up having just the opposite effect. We didn’t make actual dates. But it happened over and over again that we would find ourselves meeting here and there, meeting accidentally-on-purpose, meeting on what amounted to the sly. “This went on for a while. Then one night Shirley and I were sitting in an ice cream parlor in a part of town where not too many people knew us and Shirley started to cry and she told me that her daddy was planning to take a permanent singing job in Springfield, Missouri, that this was really going to be the final break between the two of us. “J proposed to Shirley right there on the spot. I told her we’d been forced into eloping and that’s just what we were i Arthur Godfrey insists he received this fan letter from a lady: “I do everything in the house while lis- tening to the radio. J! burn the toast while listening to The John- son Family; | wash dishes with Don McNeill . . . and | mop the floor with Arthur Godfrey!" Paul Denis i going to have to do. She asked me if I didn’t think I should tell our folks. I told her I knew I couldn’t tell mine, that they wouldn’t understand. She said she’d feel a lot better if we told her daddy, that she knew how much he liked me, how much he wanted her to be happy, that he would probably understand. “T took her back home and had a talk with her father. At first he didn’t say anything. But then he looked at the two of us and he smiled and this man Id loved so much as a kid just from listening to him on the radio, I loved now as the man who was consenting to my marrying the only girl in the world I would ever want to call my own. The elopement “The next morning, a Saturday, I got up and packed some shirts and underwear into a valise. The folks didn’t see me leave the house. I got into the car and drove over to Shirley’s and picked her up. “The wedding ceremony was short, very short. As soon as it was over, we went to the church and took part in the prayer meeting. The church, by the way, sent us our second wedding present—a pair of silver candelabra. My pal and high school principal, Mack Craig, and his wife gave us our first present—a leather-bound copy of the New Testament, engraved Mr. and Mrs. Pat Boone. “Anyway, we stayed at the prayer meet- ing for a few hours and then we faced the hardest part of all, calling my folks. We put it off for a little while. We stopped at a restaurant to eat. We drove around. We parked and sat and held hands and talked. We did just about anything we could not to get near a phone. But eventually I -knew we'd have to. So we called. “I spoke to my daddy first. He didn’t say much. Then I asked to speak to my mom. I could tell as soon as I told her that she was shocked by the news. She managed to say that she liked Shirley fine. But I could tell that she was shocked. “And the next night when Shirley and I came back from the one-night honey- moon we had, I could see that my mom was shocked. Looking back, I can sort of understand her feeling. After all, I was young and there was a chance that Shirley and I were making a big mistake. And I was the oldest child in the family and the first to leave the family nest. “But I’d taken the step, I’d taken the girl I loved so much to be my wife, and I felt that there was nothing that anyone could do about it. I was married and now I’d prove that Id done the right thing. A paying job! “The following day was a Monday and both Shirley and I went back to our classes. After school, I took a ride down to the radio station where I’'d been doing that free radio show on Saturday morn- ings. I asked the owner of the show if there was anyway that I could start earn- ing some money now that I was married. I nearly fell over when he shook my hand and told me that I could have a job as a part-time announcer—at $60 a week. “To Shirley and me this was the best possible news in the world. We thought that when my folks heard it they would figure we were off to a better-than-aver- age start. We figured they’d break down and tell us all was forgiven. “But, well, it just didn’t turn out that way. They still seemed hurt, and it made it very hard for me and Shirley. “So after a few months I told Shirley that I thought it might be best all around if we got out of Nashville for a while. That’s when we moved to Denton, Texas, and when our lives—despite all the time we’d known each other—really began.” They had chosen the small Texas city because Pat wanted to continue his studies at CuurcH oF Curist University there. The Boones didn’t know anybody in Den- ton when they drove into town that first day. But this didn’t stop them from being, as they wrote to a friend shortly after they arrived, “the happiest couple in this whole big world of ours.” Four days after they arrived Shirley, a gleam in her eye, prepared a big steak for dinner. “But, honey. . . .” he said when he sat down at the table. He looked confused. He looked up at Shirley as if to say look, I like steak, but it costs a lot and there are lots of things that cost less and do you remember Saturday night how we thought twice about spending half a dollar on a movie and... . “Pat,” Shirley said. “Pat . . . you’ve got to eat that and get strong because—you’re going to be a father.” “But, honey. . . .” Pat started to say again. Then, suddenly, he jumped up from his chair. “Honey!” The expensive steak barely got touched that night. A call from Godfrey A few days later, Pat landed an after- school job. That morning he’d gone to a radio station in nearby Fort Worth for an audition and was turned down. “They told me I didn’t sing loud enough.” Then he went over to a Tv station in Dallas. He sang three numbers and was signed on the spot—for $44.50 a week. “I guess they assumed I could do little else being a boy from Nashville,” Pat says, “so they signed me to sing hillbilly songs on a barn-dance program. Funny thing was the sponsor was a local dairy and no- body can ever say that Shirley and I didn’t go to town on all that free cottage cheese they used to send over.” By the time Pat and Shirley’s first baby, Cheryl Lee, arrived things were really looking up for the young couple. Pat was called up to New York for another ap- pearance on the Ted Mack show; he eventually won. Then Arthur Godfrey called him up to ask him to make an ap- pearance on the Talent Scouts. And then Randy Wood, owner of Dor Recorps, signed up Pat to make his first record, the very record and asked him to New York, on a permanent basis. Pat had a long talk with Shirley that night. He had a hunch what New York would mean to him at this stage of the game—lots of appearances on the Godfrey shows, lots of records because the Dor people had begun clamoring for him at this time too, and lots and lots of money. “But I’ve got school to finish,” he told Shirley that night. “More than anything I want to finish school . . . And the church meetings; I want to keep going to church and preaching when I can and thanking God when I can.” Sometime that night, Pat decided to take the chance. After talking it over some more with Shirley he figured that he could finish his studies by enrolling in CoLUMBIA Untversity, which he’s attending right now and where he’s affectionately known as the millionaire senior, that he could find a CuurcH oF Curist where he could continue attending prayer meetings and doing a little preaching and that maybe he and Shirley could even find a little house somewhere outside of New York. “We've got a wonderful little house in Leonia, New Jersey,” Pat says now. “We're country people at heart and this is just the place for us. It’s got a garden and trees and you’d barely know you were so close to such a hectic place as New York.” The rest, as amyone who’s ever turned on a Tv set knows, is history. Within a year, Pat had zoomed from $44.50 a week and all the cottage cheese he could eat to well over $1,000 a week—an amount which could easily have been tripled, one of his managers says, if he hadn’t been so darn earnest about continuing his studies at college and staying home lots of nights just! to get his homework done. In the course of that year, Pat appeared on the Godfrey shows countless times, taped a batch of hit records and—study-time permitting— made personal appearances at some of the swankiest night clubs in the country. In the course of that year, too, Shirley Boone gave birth to their second daugh- ter—“a doll named Linda Lee,” says Pat. Sickness strikes Their third daughter, Deborah Ann, was born with the usual happy fanfare. But a few months later—and just a few months ago—Shirley started feeling a little sick. ieee ee EE Bridey Murphy was sold to the movies, according to Bernie Hart, who says it was filmed by 18th Century-Fox. ... Earl Wilson in the New York Post — Just a pain here and there at first, anc then much more serious trouble. Pat called in a doctor. The doctor ex- amined Shirley, then called for an am- bulance and rushed her to a hospital. The next twenty-four hours were tor. ture for Pat. He kept phoning the docto, to know how Shirley was, to know wh) he wasn’t allowed to visit her. 1 “We're not certain now,” the doctor said. He tried to keep the darkness from hi voice, but he didn’t succeed very well, “We'll let you know when we're sure. “But how serious is it, Doctor?” Pa pleaded. “We'll let you know as soon as wer sure,” the doctor repeated. Pat had planned to attend a praye meeting of the Cuurcs or Curist that nigh! A friend of his persuaded him to go, a) ae |

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way. “I'll come with you, if you want,” his friend said. “My wife can stay and | take care of your children.” His friend tells about what happened | at the prayer meeting that night. “When we arrived, somebody suggested to Pat that he preach. He looked as if he were in a daze, but he said yes anyway. I'll never forget it, how he stood up and how very quietly he began to talk to the fifty or. sixty people there. Pouring his heart out to Shirley “I remember how he talked a little about religion in general. ‘We shouldn’t think in terms of the uncertain future,’ he said, but of good works on earth here and now. In that way we can build up treasures in deaven. Treasures on earth are too fre- quently pitfalls of the devil.’ “And then he started to talk about | shirley. He didn’t say anything about her 9eing in the hospital at that moment, about he docters being worried about her and 10t knowing exactly what was wrong with er. He talked instead as if she were itting just a little ways from him and he ind she were alone in that church and he (a) Judy Garland (b) Jayne Mansfield (c) Gale Storm (d) Terry Moore See Page 84 for the answer. ist happened to be pouring out his heart > her. He talked about the happiness she | ad brought him. “He told again how grateful he was to od for providing him with such a won- erful wife.” Pat had a few tears in his eyes as they ft the church. He and his friend went ack to Pais house, neither of them alking during the drive. And as soon as they got in the house 1e phone rang. Pat picked up the re- | siver. It was the doctor, calling from the ospital Pat whispered something and ung up. He turned to his friend, smiling. “Shirley’s going to be all right,” he said. Then like a ball of fire he grabbed his oat, reached into a vase and took out a ngle flower, and rushed out of the house > his wife, the pretty girl with the long red air; the girl they’d said he was too young > love and to marry, the young girl who ‘aS woman enough to know—“‘we had > elope!” END Watch for Pat, who will soon be in his rst film Bernadine for 20th Century-Foz. And a very special “you” in Hi-Appeal! It’s the bra with the daring satin lattice top . . . created solely to make you feel your most desirable self at date-time. Its workaday aspects? A lovely lift, elastic side inserts for complete comfort. See Hi-Appeal, try it today — and you'll always ask for __.- Exquisite Form bras. A,B,C cups, in white or black nylon lace, satin lattice... style 208 (illus.) $3.50 White embroidered cotton, satin laitice... style 202, $2. 50 SMARTLY PACKAGED =DRESS BY SAMUEL WINSTON At Your Favorite Store, or Write to Dent. 416-4 Eenniestse Fann MSAPPEA!

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modern screen fashions Shirley selects high-heeled shoes for Spring—a group from Jolene that will not only serve you now but also take you well into Summer—even on your vacation, too. All are about $9 to $11. 1. The ever popular springolator pump, called St. Moritz, it comes in black, gray and white straw, also beige ombre straw. 2. A basic classic pump for every shoe wardrobe. Calf, linen, patent, suede, and silk. Fashion colors, also black. 3. Backless high-heeled shoe, draped leather vamp. Calf, kid, suede, and patent. Fashion colors, also black. 4. Madelene—a feminine name for the popular sling-back pump. Shown in patent, also champagne, gray and white Ripple Cloth. 5. The Loop—the name of the black calf pump, with metal trim, Shirley wears above. Also in flax, blonde, and red. aetna gee kb GO ~ SPRING SHOPPING WITH SHIRLEY JONES All photos by Roger Prigent wn Bes p a

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@ What more fun than shopping for your clothes, shoes and accessories with a movie star! Stars are career girls, too, and so their selections and purchases are not only glamorous but also practical as they must be ready to travel at a moment’s notice—on picture locations, for personal appearances—and to vacation spots when time allows. Modern Screen asked Shirley Jones, bride of Jack Cassidy, and beautiful 20th star, to plan a spring shopping tour as a guide for you for your new clothes. At the right: Shirley wears a basic flan- nel dressmaker suit by Joselli. Beige in color, slim in silhouette—it is just right for travel and all daytime town occasions. Shirley suggests you wear the skirt with contrast sweaters and scarves as an extra costume change. She accents it with Jolene’s calf pumps from her Jolene shoe wardrobe shown below. Her handsome luggage is Samsonite’s Ultralite Medallion, of course. Shirley’s great carry-all calf handbag is from Rolfs. Pigskin Launder Leather gloves—Superb. Pearl and gold earrings— Trifari; Fashion Circle nylons in a heavenly skin tone color—Parisian Nude —Holeproof; and a-gay confetti dotted tumbrella from Henryson. Far left: Shirley wears Joselli’s piqué trimmed silk tweed suit for casual occasions. Here she teams it with a masterpiece of a handbag— all leather and hand tooled—with an adjustable strap. By Clifton. Shirley adds white cotton Hansen gloves and Vogue’s new Fresh Water pearl earrings.

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{-M ----------------! Wil G----------------- Your shoe wardrobe should include several casual styles. Shirley suggests these Huskies. They are priced from $3.99 to $5.99. 1. Shirley wears Tango, a leather model with accent trim. Black, white, Bark blonde. Black suede. 2. Los Vegas, a foam cushion wedgie of stretchable braid, cork wedge. Black, white or Bark blonde. 3. Yale, lustrous textured leather with unique vamp trim, foam sole. Red, gray, cream puff or Caramel. 4. Merengue, a shoe popular as its Dancetime name with a demure colonial buckle. Patent or black, white, Bark blonde or blue leather. 5. Yosemite, a snug-fit shoe, foam sole, metallic braid trim. Black, red, wheat. @ Shirley feels a gal’s Spring shopping spree should include clothes that head right into Summer as well as for town and travel out- fits. At the left, Shirley wears Cabana’s white piqué go-on-a-date dress and calls it perfect to wear with the new Dancetime Huskies which she chooses in all white. Her accessories: Fresh Water pearls (Vogue), shorties (Hansen), Fashion Circle nylons (Holeproof). The Dance- time Huskies shoe collection was inspired by Fred Astaire, in Paramount’s Funny Face, and hb nationally famous dance studios. At the right, Shirley shows you accessories that she feels a gal really needs to properly accent and glamorize h clothes. A large black patent handbag—shining note for suits, cottons and sports clothes (Rolfs Parisian Nude seamless nylons—buy a quantity in one becoming shade and you will save as you can always match up pairs (Holeproof); Ne Rain Dears, the truly clear plastic rainboots you'll love more than ever to protect every styl in your shoe wardrobe. Shirley holds one, see close-up at far right; an umbrella—Shirley sugges it in white (Henryson); Jewelry is just a Sprin time must. Try pearls or pearls with gold as Shirley does. Try Duchess multiple strand ones —the new Fresh Water pearls by Vogue—a _ precious gold and pearl set by Trifari. Your glo wardrobe must be just as complete as your shoe collection. Choose cottons from Kayser— or Hansen, new Launder Leather whites from Daniel Hayes or Superb. The wee all-in-one whi pocket purse by Rolfs carries everything. Th news about the dress Shirley is wearing—it is by the famous Mr. John, maker of the famous hats t stars wear, who now designs dresses, too. It is of white silk sprinkled with roses. Buy the Sprir time selections Shirley has and you'll be a best dressed gal—even in Hollywood.

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New Rain Dears are a smooth ankle and foot hugging truly clea plastic rainboot. They are one-piec 100% fully molded—no seams to com apart and they have a proven safe, long wearing tread. Fashion Fit for high heels (illustrated above) ; Form Fit for medium heels; Universal Fit for low heels down to flat. All models, $2.00 each. More fashions on page 71 + ; - an “- pt Te. 2 eee ee ee o ~. - Su” SS et SC TE ce

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70 the first complete story of clint walker (Continued from page 47) Walker has the steadiest, best paying job of his life. He’s Clint Walker. WarNnER BROTHERS’ ace TV star. If you’re one of the millions who watch him every other Tuesday night you know Clint better as Cheyenne. On the Tv screen Cheyenne’s a lonesome drifter, ' playing it straight and playing it hard, aiming to handle himself right and do some good as he goes along. No man was ever cast more perfectly. That’s big Clint Walker himself. Physically, Walker’s a giant—six feet six, 235 pounds, and all muscle. But in another way he’s even more of an oddity: Clint’s a big star who’s never made a movie! In almost three years he’s starred regularly in feature films for TV, but never in one for the movie-houses. What’s more, he’s shot them bang-bang- bang in a row with just one week’s vaca- tion. As a result Clint knows hardly anyone in Hollywood except the people he works with. He doesn’t get invited to fancy parties and would only get lost on Sunset Strip. Frankly, that’s the way he likes it. But it’s no wonder Clint Walker still finds it hard to believe that he’s anything special. For instance—coming up for air one week last spring, Clint made a quick swing around the country on a personal appearance tour. One day he walked into a Washington, D. C., park for a stroll and a look at the cherry blossoms. A crowd collected and the cops came running up. “We'd better beat it,” Clint told a com- panion. “We'll get in trouble.” The cops, of course, were there to protect Clint! Even in Hollywood at the Giant pre- miere a while back, he got baffling squeals and applause from the fans when he strode up. ‘“Who’s that for?” Clint asked his wife Verna. “Rock Hudson?” “No,” she told him. “You!” “Look at him,"" said mom From his childhood on, Clint was an oversized oddball. Maybe it was because the blood in his veins was as mixed up as a cocktail. His mother, Gladys Swanda, came from Austria, but his dad, Arnold Walker, was English, Irish and Indian, from pioneer sawmill people in Oregon. When Clint was born, on May 30, 1927, his dad wanted to name him Mickey after his own prize-ring idol, Mickey Walker. “Mickey sounds like a mouse,” his mother Jack Benny claims his violin has a simple story: "My great-grand- father gave it to my grandfather, my grandfather gave it to my father, my father sold it to me." Earl Wilson tn the New York Post said. “Look at him!” So he got Norman Eugene, but usually Sonny or Eugi around the house. Later on, in the fac- tories, Big Foot was his nick-name; Clint shuffles size 16’s around. Boots, that is— he doesn’t own a pair of shoes. Sonny Walker was a twin, but you’d never have guessed it. His double-entry sis, Lucille Neoma, was about everything he wasn’t. A girl, for one thing, but also home-loving, and good in school. People took to her naturally. Just as naturally they let Clint alone. One day, when they were only babies, their mother sat them down in the front yard and went back to her house work. A rabid collie charged crazily into the yard frothing at the jaws with neighbors racing after, yelling “Mad Dog!” They snatched Neoma to safety. “But nobody paid any attention to me,” says Clint. “Not even the dog. He just ran around me in circles till somebody shot him.” It didn’t bother Clint though that no- body paid attention to him. But some things did hurt the young Clint. Like the time he was in an elementary school art class with Neoma. He came up with a knockout painting that made the teacher gasp. But the next minute she was bawling him out. “Your sister did this for you,” she accused. “Don’t you try that again!” The only small burst of glory that Clint remembers was the time he made a life-sized soldier out of tin cans in a wartime scrap drive and won a $25 War Bond. But that was ’way on up the line when he was in Atton HicH ScHOooL. “Most of the time I just sat at my desk staring through the window thinking about what was outside,” confesses Clint. Never without a job There was plenty outside for an ad- venturous kid. The big Mississippi River rolled alongside town, and you could yank out fat catfish and swim—if the six- foot alligator gars, one of the Mississippi’s more vicious fish, didn’t chew off your arm. There were Indian caves to explore in the limestone bluffs and ‘pirate’ islands where you could paddle on a plank raft or in a leaky skiff. And freights to hop on the C&A tracks. Sonny Walker had a distant eye and an itching foot. He heard that you could get to China by digging straight down, so he promptly grabbed an axe and tried it—only to hack up his toes. All this took place around Alton, Illi- nois, which was mostly Clint’s boyhood home, although nearby Hartford and Wood River took turns too. His laborer dad moved twenty-odd times, Clint reck- ons—wherever there was a job in that area of steel mills, glass factories and oil re- fineries. During the depression pickings were lean. Clint can remember the day the furniture men carted out the first furni- ture they’d ever bought, to leave their flat as empty as a barn. He was only seven, but Sonny resourcefully rustled some orange crates and hammered to- gether a bed for himself. He couldn’t afford a suit, not until he was four- teen. But he was never without a job. He was only six when he started ped- dling door-to-door the aprons and pot- holders his mother sewed. Later, he set pins at a bowling alley, delivered Wesr- ERN Union telegrams and groceries, cad- died and bell-hopped in a riverfront ho- tel. When things were slow he’d go junk hunting—digging around ’town for bottles and scrap to sell; or raid the railroad tracks for coal. Best of all was when a carnival came to town and he could peg tents with a sledge hammer or set side- show booths, and soak up carnie folk- talk of far-away places. A social outcast By the time he got to high school, Son- ny Walker was doing man’s work in the steel foundries every afternoon, from four o’clock often till midnight. His big frame mushroomed into muscle. He could lick about any guy in town and often did. But socially he was an outcast. He never belonged to a school club, the Scouts or anything. Although he could have taken on half a football team, he never played the game, or basketball ei- ther—or any team sport. He didn’t have time. He skipped school dances, too. “I was self conscious,” Clint recalls. “I never seemed to fit in with the crowd. I wanted to belong but somehow I couldn’t. Finally I just gave up.” He quit high school his second year. The closest ambition big Sonny Walker ever had to a career in show business was pro-wrestling, but his dad talked him out of that. For a while he thought he might go for the Forest Ranger service, but his schooling was too slim. He was fifteen when he busted off from home the first time, down to St. Louis on the prowl. But he lost the bus-boy job he found in a ho- tel when they couldn’t find a white jacket big enough to fit him! So back he went to Alton, stacking 1,000-pound bales of straw at a glass factory. At night he knocked around getting into mischief with another dare-devil chum, Dick Linnacher. Lenny Kent claims at the Copa, “Elvis Presley's record, ‘Heart- break Hotel,’ is so big that Conrad Hilton bought it.” Earl Wilson in the New York Post One night Clint and Dick cut up con- siderably in Btiock’s. Ice Cream PARLOR and the owner started to call the law. But a pretty brown-haired waitress talked her boss out of it. Her name was Verna Gar- bel and Norman Eugene Walker never managed to forget her. It was about this time that Clint started getting anxious for a look at the world. He got it. It would take a swimming bloodhound to follow Clint’s trail during the next ten years. But it’s worth a try, if only to prove a conviction Clint still holds —that a rolling stone may not gather much moss but it can sure land a jackpot. Clint started rolling at seventeen, down the Mississippi aboard a river boat that went from New Orleans up to Chicago. He worked as an oiler and there weren't any complaints, except from Clint himself. He already boasted a torso like Tarzan’s| and a jaw that seemed chipped out of granite. But that was the trouble. A) giant like himself couldn’t stand to sweat! in cramped engine rooms for long. Be- sides, the draft was coming up for him in a year and he knew what a flop he’d al- ways been at trying to live by rules and regulations. “I figured I'd be a lot more help in the war to everybody, including me,” says Clint, “if I could move around more free and easy.” So with his pal, Dick, he joined the Merchant Marines, asking for duty as a deckhand. They sent him to Catalina Is-| land for training, then started to ship him out as a mess man. That was the end of that. Clint quit. “Why,” he explains, “imagine me in a kitchen! Id have just broke all those dishes and suffocated in the steam!” | As it was, he almost conked out from: hunger and cold hitch-hiking back to Al- ton. But after his mom revived him with] a few square meals Clint was off again! That draft was still breathing down his neck and he aimed to get his salt-water papers before his Greetings. He finally made it North in a boxcar to Chicago and, just under the wire before his eighteenth birthday, hit the lakefront docks. “I walked on a ship and the mate) seemed to like me,’ remembers Clint. “So I said a prayer. That ni I was eating.” He earned his chow. Clint loaded car- goes of coal and iron ore, and on the short lake runs, was unloading them again: In between he had thirty-two hatches to cover and uncover, as the weather shifted, with two tarpaulins apiece, each a good, one (Continued on page

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< Aor a Roger Prigent COLOR T0 YOUR SPRING BRAS @ Pretty bras and lingerie complete that well-dressed feeling. This season choose color as well as white. Above, Maidenform’s Chansonette bra now for the first time available in pink (in your favorite store by March 25th). The cups are stitched for that beautiful rounded look, the front has a new “spoke” design to further round and accentuate. Pink broadcloth. $2.00. Also available in white broadcloth at the same price. By Maidenform. Below, a red embroidered nylon sheer bra, that is now Lanolized for extra comfort. This new Ringlet bra has single needle stitched cups—for a fuller look—and a Lastex center insert and panel. Spring colors—pink, yellow, blue—as well as black, beige, or white. $2.00. By Lovable. Just as fresh as Spring—the season’s popular fragrances. New Primitif by Max Factor, Coty’s L’Aimant, Lancome’s Magie, Dorothy Gray’s Turquoise, Bourjois’ Roman Holiday, Arpege by Lanvin. For that favorite guy of yours—Kings Men Thistle and Plaid. The season’s new fun game, Jotto, 2 Hollywood favorite is shown in the foreground.

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72 the story of clint walker (Continued from page 70) hundred pounds. If he looked idle the mate sent him over the side to paint. Once, teetering on a roped plank, the boss told him, “I don’t care what happens to you, but if you slip, don’t come back aboard without that paintbrush!” Just then the ship rolled and the plank turned over. “I locked my legs around it and swung back and forth for a spell bumping my nose on the water,” grins Clint. “But when I climbed up again I had that paintbrush!” He earned his papers after a few months and when he quit the mate told him, “You’re a good man. You can work for me any time.” But Clint wanted to work for Uncle Sam now that he had something to offer. So he hitched out to Seattle and signed on with the Army Transport Service. First trip he went North, up around Alaska and the frigid Aleutians, and for the next two years he sailed almost everywhere you can name hauling troops, war gear, oil, wheat and what have you on about every kind of tub. He hit North Africa and South Africa, South Europe and North Europe; he saw icebergs and tropi- cal palms—and girls. Cave-man style “But I kept out of mischief,” Clint grins. There was a reason, that pretty ice cream parlor girl in Alton. They’d had some dates before he left town and he wrote Verna love letters wherever he went. Not too many came back, and you couldn’t blame Verna. A guy with an itch in his foot isn’t what you’d normally tag hus- band material. But poor Clint— “I suf- fered,” he says. By the war’s end, he couldn’t stand the suspense, so he hitch-hiked to Verna to settle things. They got settled, all right. Verna said, “No, you’re not ready to mar- ry—and I’m not sure I am either.” But a man like Clint Walker doesn’t fold up from one punch like that. He trailed Verna, and the: misery got critical. “T was working sheet metal sixty feet above a concrete floor,” recollects Clint. “T got to thinking about Verna and walked straight off a beam right out into the air. I grabbed a pipe in time, but it gave me the shakes. I figured that girl had to mar- ry me right away to save my life!” He tried to explain this to Verna but she wouldn’t listen. “We’re gonna take a walk and talk this over,” said the desper- ate lover, “if I have to drag you.” Which is. just what he had to do. A little girl spied the cave-man stuff and screamed, “Mama—look at that mean man!” That made Clint and Verna howl. They were married September 5, 1948, although Clint was an hour late at the church trying to get his Model-A revved up for a honey- moon. Then he put his trip money in an envelope and got so flustered he gave it all to the preacher and didn’t dare ask for it back. On the way, the jalopy lost both bumpers, the generator burned out, three tires blew and they had to borrow $100 for the wedding trip. But the Walkers have no kicks about the honeymoon. The traveling Walkers Afterwards, with a baby on the way, Clint tried to settle down in Alton, sell- ing insurance. But it didn’t work. “You see,” drawls Clint, “back home people like us live out a pretty dull pat- tern. They get a job, get married, raise a family and hope in maybe twenty years to own a little house. I was only twenty- one but I figured on faster action.” This time Verna figured with him, al- though from a strictly feminine slant. “When you love a man,” she says, “you'll go anywhere with him—and it’s home.” Next home for the Walkers was Texas, where a sailor buddy of Clint’s offered to cut him in on a ranch his dad owned. They rolled in the Model-A to Browns- wood, with the motor warming milk for their six-month-old daughter, Valerie. But a drought promptly wrecked the ranch dream. Clint hammered houses to- gether for a while, and prospected for silver until he went broke. That’s when the Model-A paused briefly at that fate- ful fork in the road—then rattled off to- ward California. When you start toting up the jobs Clint Walker’s had in his short life you need an adding machine. The guy’s still got enough union cards—carpenter’s, painter’s, metal worker’s, seaman’s, laborer’s, steeplejack’s —and of course now a Tv actor’s—to fill out a deck. Ask him how many different things he’s done and he can’t tell you— ‘Maybe a hundred or more,” is his best guess. But the one he found in Long Beach, California, you’d say, was the least likely of all to make him the idol of millions or land him on easy street. He became a cop. Pretty soon he heard about Las Vegas, the fabulous gambling town where, peo- ple told him, anything could happen and pay-checks were high. He put a down payment on a housetrailer and took off. The Walkers parked their trailer on three acres of homestead land in the des- ert and Clint barely had time to swear in as a deputy sheriff before they had him patrolling the casino at the famous Sanps Leigh Snowden, who walked across the stage on a Jack Benny TV show and got famous (and a movie con- tract), did it all over again for Keenan Wynn's USO show at Altus Air Force Base in Oklahoma. “Ten of the fliers took off immediately," Keenan told me, “without their planes." Sidney Skolsky in the New York Post Horet. That was the beginning of the road to Hollywood. Van Johnson forced his hand. Head- lining at the Sanps for two weeks, Van, a friendly sort, got to admire Clint. One night he introduced him to an agent named Henry Willson. Henry’s specialty is digging for diamonds in the rough for the movies—Rock Hudson, for instance, Rory Calhoun, Tab Hunter, Bob Wagner. He gave Clint a sales talk on Hollywood. That night Clint told Verna, “Maybe we ought to go down there and try our luck.” Verna had been Mrs. Walker long enough to know that when her man got an idea, it was moving time. She packed the trail- er and they took off. She found a car-hop job at a drive-in, and Clint prospected Hollywood. A whole show or nothing When you’ve never acted in your life, you’ve got to start somewhere. And pay to learn. Clint slaved with some drama coaches Henry Willson suggested. The go- ing was expensive—$15 a lesson. Also mortifying: “I felt silly,” confesses Clint. “It took a spell before I was sure I wasn’t making a dam’ fool of myself.” After he got the hang of it a little he hit the studios, trying to break in on bits. “Bits?” they all laughed. “You really think any star’s going to let you in a scene? Why, you’d crowd them out of the picture! A moose like you has to be the whole show or nothing!” They were dead right. When Clint fi- nally connected as Cheyenne he was the whole show. But for a long time he was nothing. Ib fact, the only movie on Clint Walker’ record is in DeMille’s Ten Command- ments. His muscles got him a job as Phar- aoh Yul Brynner’s bodyguard, $500 fo: two weeks work—and some acting lesson: sneaked in on the side at PARAMOUNT. But that doesn’t keep a family ied. L the Valley, where the Walkers had moved Verna took a waitress’ job at the Ra Dott nightclub and Clint signed on a WARNERS as a gate cop. Then Henry Willson got him a trainee’ contract and a few weeks later Clin shuffled over to Stage 5 to test, along witl half the cowboy actors in Hollywood, fo a Tv western. The western was Cheyenne Next day in a projection room, Jacl Warner stopped the reel when Clint’ massive hulk loomed up. “Who’s that? he asked, and they told him. “That’s ou boy,” he said. That was three years ago come nex May, and by now Clint Walker has mor or less settled into the unbelievable worl where his luck led him. “Longest job I ever had” It hasn’t been all apple pie for Clin of course. When you shoot tv full-hou features, crammed with stunts and_bon bruising battles, you’re earning you dough. Clint has often worked from eigh o’clock one morning until 1:30 the nex “T.ongest job I ever had in my life so far, allows Clint. “And the hardest.” He’s settled in a little pink ranch house on an acre of land in the San Fer nando Valley. After he finished the pair job with Verna, he set up a workshop i the garage and started making his ow furniture. The first item was a king sized bed, no luxury with Clint! So far he hasn’t seen the inside of Hollywood night club and isn’t aiming t look—Clint doesn’t smoke or drink an he’d just collect doctors’ bills dancing o Verna’s feet. His hobby is polishing stone that he picks up in the desert. When h gets a chance to relax it’s by piling Vern and six-year-old Valerie, along with h Geiger counter, into his Chevvy and tak ing off prospecting. They’ve got stuck i the sand a few times miles from nowher and Verna had visions of winding up pile of bleached bones. But each tir Clint simply lifted the heap and tossed up on solid ground! Samson and the health food How Clint can work such Samsons— keep alive, for that matter—on the foddi he eats is the biggest mystery. Vert shops in a Foods-For-Health market ar stacks her cupboards with jars of nui raisins and dried fruits. The whole Walk: family lives on a natural-food diet. Som: times Clint works all day on a bunch bananas and a sack full of raisins. “ the rough days we had a pretty punk die he explains. “We figured now’s the ti to catch up on the right vitamins.” other way he catches up is studying pow of mind, positive thinking and faith boo —including the Bible. Why? ; “A lot of people in this world w something better’n what they’ve go! drawls Clint Walker. “But they havei faith enough in themselves to go hunt f it. I try to live by the Ten Comman ments. But at the same time, if I learned anything bumming around tt! world, it’s that life’s a gamble. “The only thing,’ he adds reflectivel, “is that when you gamble you've got i know when to stop.” Which is Walker’s way of saying that there end to that rainbow he’s hase ae figures at last he’s found it. Clint is in the Cheyenne series. sented by Warner Bros. for ABC-TV pie <b, a

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modern screen exclusives 1. Popular perfume fragrance, Houbigant’s Quelques Fleurs, now comes in hand lotion, body powder, spray mist and the Eau de Toilette is also now newly gift packaged. ine Ba ueat oy = 2- Dorothy Gray’s new lotion called Outline. It will help to clarify and tll = refine the pores of your skin—and, = to reduce fatty tissues as well. iS) Packaged for normal or oily skins. Look for these exciting new items at your favorite stores. preview of new things for you hotos by Roger Prigent 3. Your glasses will come home if you lose them if you use this padded eye glass case with the golden tab that pulls out-to re- veal your identification—name, address, city, state and phone. By Rolis. 4- Beads are the season’s jewelry news and beads make cotton gloves news, too. Left, white chalk beads on shortie; right, pearls trail dainty design. By Hansen. Vogue jewelry. 5- One of your favorite sun tanning preparations, Tartan Suntan Lotion, will now come to you in a cream— packaged in a soft plastic tube— and called, Tartan Suntan Cream. S- Campana has two new surprises! Magic Touch cream make-up in a brand new mirror case. Solitair make-up that now contains Vita-Lite—an exclusive ingredient to benefit skin all during wearing time. 7. Rolf’s new Boodle Bag carry-all with zippered pocket and holder for identification. Comes in white, red or lovely pastels. Also close-up of new Water pearls by Vogue, see pg. 69. 8- Premier Muguet—the new Lily of the Valley perfume imported from France to be introduced March 15th by Bourjois. Illustrated are the package and bottle of matching cologne. —<— % ia

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modern screen beauty @ Every girl dreams excitedly and tenderly of her first baby—the fulfillment, the love, the ribbons and bows. But sometimes, and much too often, lurks the fear! The threat that having baby may steal the bloom of freshness and youth from mother’s face and figure. Such fears may have been realized in grandmother’s time, but today’s wonder medical advice and care coupled with the almost miraculous beauty, dental and hair products assure every girl that she can have her baby— or babies—and beauty, too. Movie star mothers have been a great glamour boon to the morale of other mothers. The stars work—and hard—right up to the last weeks, have their babies and soon return to the studios looking just as trim and beautiful—if not more so— in but a short number of weeks. We have chatted with all of Hollywood’s mothers of the last couple of years—Jan Sterling, Janet Leigh, Julie Adams, Debbie Reynolds, Gale Storm, Olivia (Continued on page 75) Rouer Prigent a :: Tin Sterling, Mrs. Paul Douglas, poses exclusively for M. S. with her fifteen-month-old son, Adams Douglas. Jan’s peignoiy by Vanity Fair.

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| can have a baby | keep your beauty tinued jrom page 74) De Havilland, Simmons, Ann Blyth, Shirley Mc- e, Corinne Calvet. All agreed hav- baby was the most wonderful expe- “2—was no problem to beauty, body 2reer—and that every girl should look ard to this great event with an aiti- of happiness and fearlessness. e famous obstetrician, Dr. Alan Gutt- ver, assures girls that childbirth is al- painless today with the improved iods of delivery and agrees with the that it should be looked forward to happy time with no threat to activity, e or beauty. Jan Sterling had her son, ns Douglas, by natural birth which feels Is a thrilling and wonderful way ive baby, MopEeRN ScrEEN asked Jan to with Adams for our illustration of article on baby and beauty. We ed to show you not only what a ping and beautiful boy Adams is but how vibrant, trim and beautiful his er, Mrs. Paul Douglas, is. Jan poses une MS. in bathing suits—don’t miss : exclusive photos—you can really see sleek and slim Jan is. 1 feels that having baby and keeping beauty are true go-togethers. She ined it this way in an exclusive in- ew with Mopern Screen. When a girl pecting she must necessarily turn full sht and planning on herself, her h and her beauty. st of all an expectant mother receives counsel and attention of her physician guides her diet, exercise and rest. y girl knows that face and figure ty have their beginnings in a bal- anced diet, regular exercise and scheduled rest. In pregnancy these fundamentals are accomplished automatically and almost without knowing it an easy-do routine is established that will persist throughout life and be a wonderful beauty investment. Secondly, Jan feels that every girl who is expecting wants to stay beautiful but because of old-fashioned talk fears in her heart that she will not carry through the nine-month period looking as lovely as she did before. Some girls even feel that they will never be beautiful again. Jan dispels all these fears, explaining that the rest periods of pregnancy give a girl more time than she will ever have again to take care of and study herself—her beauty. She will have time to thoroughly cleanse and soothe her face with her chosen beauty preparations—she will even have time to try many new preparations she has never used before. She will take all of this time and interest because her beauty is now so personal to her. She will study her face and try new make-up methods and preparations to accent her best fea- tures, giving particular attention to her _ eyes and lips. Naturally, one can’t be slim and preg- nant—but a girl can curtail her diet and not put on too much weight. When baby arrives, slimming down will be no trick at all if prescribed exercises are faithfully followed. A top executive of one of the leading manufacturers of baby products feels that the most important discovery made by a recent research program conducted among expectant mothers is that although every girl looks forward to the birth of her baby the average expectant mother feels dowdy, self-conscious and lacks the enthusiasm to partake in social and career activities. All aims are now being directed toward changing this mental attitude to oF No muss or fuss—no time to apply (with fingertips, in seconds) — and no look of the “siren” (how many sirens change diapers? ). But beauty, yes! For this lightly-lovely make-up hides blemishes, smooths color tone and glorifies complexion. And more, : it protects the skin as you wear it, lubricates with its creamy F richness, ends need for elaborate bedtinie creamings. Here’s the casually beautiful, effortlessly-lovely look that goes with being modern. Magic Touch (such a perfect name) at all variety stores and better drug stores—6 shades, 45¢ or $1.00. Made for people like you! . . . by Campana. ee fs wr BUSY GALS WHO CAN'T TAKE HOURS TO MAKE UP . Who has time these days for elaborate facial care? The people ® who write the articles seem never to have needed to keep a house, husband, and baby happy all at the same time! That’s why young marrieds find Magic Touch make-up so wonderfully-ideal, show every mother-to-be how she can become glamorous, active and happy dur- ing this very important period in her life. Mr. Richard Willis, TV beauty authority, | also joined in on our chat about having baby and keeping your beauty, too. His particular make-up counsel is to accen- tuate the eye make-up and the lip make- up—wear a rich vibrant red lipstick color. Of course, he agrees on lots and lots of skin care and make-up study to keep every expectant mother as beautiful as ever. His notes on hair: Brush it a lot, keep it well shampooed, styled and groomed. Choose a becoming hair style. Glamorize it with combs, clips, flowers and bows. As usual, be sure and give yourself your home perms whenever you need one. It is more necessary than ever to keep your hair beautifully curled during your ex- pectant months if you want to always look your lovely best. Dispel any doubts that an expectant mother should omit her home perms during pregnancy. This is a false rumor. We checked with one of the largest manufacturers of home ‘perms to verify this. In fact, the more than usual idle hours during pregnancy allows more time for you to study your hair—decide on the right type of home perm for your kind of hair. You will look back to realize that the period of pregnancy was a treasure of a time when you could give whole atten- tion to you! In your extra moments, plan baby’s cos- metic cabinet, too. Fill it with precious baby preparations—oils, creams, lotions and powders. The manufacturers have perfected these preparations especially for baby’s every need because baby’s skin, like mother’s, needs the same fine care. Heed the advice of Hollywood stars and expectant mothers authorities—you will have baby and your beauty, too. END £

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peltiswjust. thaty... the true-life love story of carroll baker (Continued from page 54) was ripping apart at the seams. “It’s funny,” Carroll remembers, “grown- ups never think that young children know anything. I remember one time, I came home from school at three in the afternoon and Dad was home. I asked him if he was sick. “No, honey,’ he said. “I asked him if anything was the matter at the office. “No, honey.’ “Ts Mom sick?’ I couldn’t figure out why he was home so early. “No, honey,’ he answered again, in that same voice that just sounded so tired. “(Then what’s the matter, I cried, ‘What is it?’ “And then Mom and Dad both started talking at once, asking me how school was going . . . and trying so darned hard to sound perfectly natural with each other. “But I knew something was wrong be- cause they’d talk to each other, and never look at each other’s face. I knew inside that they didn’t love each other anymore.” After that, life changed. “My father used to make such a fuss over the marks I'd get. And now he’d just look at my report card and say quietly, ‘That’s very nice, Carroll.’ Coming home wasn’t fun any more, not in that quiet house where no one seemed to laugh anymore.” So Carroll started spending more and more time in school, more and more time at the studio where she was taking dancing lessons. The reason why “TI went out for anything that would mean hours of rehearsal—in school; any- thing that would keep me out of the house.” The first thing Carroll did was atdition for a part in the school’play. She didn’t get it. So she tried out for the school operetta and got the dancing lead, and then was chosen drum majorette. “That was loads of fun,” Carroll remem- bers, “rehearsing with the boys in the band, learning to twirl the baton, standing up there at football games and feeling more and more excited every time I lead the kids into a victory cheer. “One time I got so carried away that without thinking, or even being aware of what I was doing, I led the band up and down the hills of Greensburg. You should have seen those boys puffing, especially the ‘one carrying the tuba.” Then all at once the laughter is wiped away and the pixie face is somber and sad as she suddenly remembers what started that dazed walk ...a few words she heard one of the fellows say when they were lining up in position . . . words she wasn’t supposed to hear. “Don’t misunderstand. It wasn’t that I was getting even, or anything like that. . I guess I was running from what I had heard. I don’t think I heard a note that the band played. And the business of twirling the baton—I don’t even remember holding it, much less doing all the fancy tricks with it. “All I kept hearing was that one sen- tence, over and over, did you hear—Car- roll’s mom and dad are getting divorced?” And all of a sudden she was drowning in the whole thing. No need to ask “It’s funny,” Carroll says wistfully, “you can know something and live with it a long time, and do everything you can think of to try to blot it from your mind. I had known for years that my parents 76 weren’t getting along, and I knew a couple of kids in school whose parents weren’t together, but when it happened to me—- and remember, I was a big girl; I was sixteen—but it was like the bottom falling out of everything. It didn’t seem possible that such a thing could happen... and I couldn’t imagine how I’d get along without both of them to come to with my worries and my problems and my questions. I felt so alone.” = When the long walk with the band was over, Carroll ran home, still in her major- ette costume, still holding the long stick with the gold ball at the tip of it. Maybe . .. maybe it wasn’t true! She’d ask her mother. Maybe that boy didn’t know what he was talking about, even though his father was a lawyer and a friend of Carroll’s father . . . maybe, may- be, maybe. She didn’t have to ask her mother. There were a couple of suit-cases almost blocking the hall door-way, and the look on their faces—they were just sitting there, waiting—told her it was true. “Carroll,” her mother began as Carroll stood there, not quite believing it yet, not quite believing the words she heard or the evidence of packed suitcases, and two peo- ple who looked so miserably unhappy. “Honey,” her father interrupted, “it’s not that I don’t love you or that I’m not going to miss you. You know that, don’t you?” A male movie star, who is working in a film abroad, became unhappy about delays and started to pack to go home. He received a thou- sand word cable from the studio head, urging him to stay. The en- tire cable, except the last brief paragraph, was a touching, gentle appeal to his sense of fairness, gratitude and loyalty to the studio that had made him a star. But the last brief paragraph was the con- vincer: "Besides, if you quit, we'll sue you for two million dollars.” Leonard Lyons: in the New York Post And all Carroll kept thinking was then stay, stay Daddy; don’t leave me. As if he heard her silent cry, her father continued, “It’s that your Mother and I feel that we will all be happier just seeing each other as friends.” But I don’t want friends, Carroll’s thoughts raced, I want my family, like it used to be. I want you, Daddy, to show my . report cards to. Like it used to be. I don’t want to write to you about things. I want to TELL you about everything. Her father’s voice droned on, and every once in a while her mother said something, and all that Carroll was hearing was her own voice—please, please, please... ... Carroll stayed in Greensburg with her grandmother until the end of the term, and then joined her mother who had gone down to Florida to live. It was in Florida that her ‘career’ got its start. The dancing act “T enrolled in St. PETERSBURG JUNIOR CoLLEGE—and barely had time to finish the first term. Mother was heart-broken, but I just didn’t have time for both school and dancing, and I knew what I wanted. I wanted to go right on being so busy that I didn’t have time to think about what a family should be.” ’ The career business started quite acci- dentally. The Frorma Citrus GRowErS As- SOCIATION was having its convention. Some- body mentioned to somebody who told and feel sorry for herself RISERS oC GAIN RAS heater ae 2 a = a , somebody else that there was a kid wh was real good in the dancing departmen’ Carroll got a call, and was sensational. Florida is a town that has many a con vention. “And it seems I danced at all c them! Then they began to pay me, an that was nice.” For a couple of years, Carroll burned u the countryside with her act. She we doing so well that she figured it was tim to get to the big-time and settle down t fame and fortune. So she came to Broadway—and was o on the worst couple of months of he career. “It’s one thing to want to do somethin: and know it’s going to be tough,” she’ tell you, “like when I decided to switc careers and study acting seriously. “But when you think you're a real ho shot and have had no trouble getting book ings ... and suddenly find yourself star, ing to death—that’s another story! Ar New York was cold!” Then a lot of things happened at onc Marriage and unhappiness Carroll tried out for a couple of dancit spots on Tv .. . and was turned down. sweet guy she had been dating asked h to marry him, and she didn’t turn hi down. “It wasn’t just that I was lonely and bit frightened by the bigness of Ne York,” Carroll remembers, “I guess thought that at last I had found someo: to belong to, someone who would alwa be there.” His name was Lew Ritter, and he was sweet guy, a lot older than Carroll a kind of a father to her. Maybe she w looking for her own father, the father w. had left her. “T guess I was just too young,” Carr says. “I thought it was the kind of feeli that makes you want to be with somebo all your life. I didn’t know then how really is when you find the man wh right for you.” But one day she stood in a court roo this girl with the long, loose-flowing hz the large eyes that seemed to mirror 1 tragedy of too many unhappinesses—a the face that looked so much too young. be there in front of a judge to hear 1 solemn words divorce granted. And so this child of divorced pare: found herself a divorced woman. She was Carroll Baker again. She was Mrs. Lew Ritter any more. All the drea were down the drain and she was Cari Baker again. Living it over again “Tt’s funny, I stood there and felt t: I was living something over again. %: know, like when you walk into a room « you could swear that you’ve been ir before, that you’d know just where | rug is stained and the spot where sor? body spilled some coffee? That’s hoy felt. Like I’d lived through it all bef “Then it suddenly hit me, why . .’ had lived through it before, -only I been the kid that two people had tried to hurt by sticking together, until t couldn’t stick together any more. q “Then I knew how much I must h: hurt my Mother and Father. There the been, knocking themselves out till I sixteen—and they couldn’t try anym And I had made it even tougher, thinl only of what their divorce was doins me, not once stopping to think how happy they were over the thing.” In those months of depression when first really knew what her parents been feeling, Carroll decided she hac find more to keep her busy, busy so she wouldn’t just sit around and mo}

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She had to find something to throw her- lf into so that she’d stop remembering at life again was nothing but loneliness. She decided to study acting, seriously. aybe because she remembered the little arroll who used to play-act standing on chair in front of the medicine cabinet. ie decision led to Jack And that decision brought her so much ore than something to kill the long hours _. it also gave her the kind of love that e didn’t know existed, the kind that akes your heart hit the top of a sky- raper, the kind that makes you know ere really are clouds to float on. His name is Jack Garfein. Carroll had been in New York long iough to know some of the ropes, so she lew that the thing to do if she wanted learn the brand of acting that appealed her was to try out for the Actors StupI0. What she didn’t know was that she was so trying out for husband-to-be Jack. She took a bus that would let her out on e busy street in Manhattan’s forties, alked over to the white brick building | at had once been a church, and found rself in a room no larger than her own ing room. There were pictures on the alls, old prints of European actors whose mes were once familiar to the theatre blics of the world. A man was sitting at a small table, unding away at a typewriter. A man th black wavy hair “and just about the Robert Q. Lewis, the comedian; Ralph Bellamy, the actor, and Helen Tamiris, the choreographer, found themselves sitting next to each other at a screening of old Charlie Chaplin movies at the Museum of Modern Art. After the showing, Lewis said, “That Chaplin is the greatest comedian!"' Bellamy sighed, “Chaplin is the greatest actor of them all!" And Miss Tam- iris confided, “Chaplin is really and basically a dancer, and a great one.” : : Paul Denis test eyes I’ve ever seen. Do you know lat I mean? Not the kind,” Carroll ighs, “that you think you can get lost . .. the kind that you feel you can find urself in.” df course it was Jack. Jack was doing unteer work for the Stup1o while study- ; his own job of theatre directing. He k one look at Carroll, but if you think s is going to be that kind of romance wre mistaken. Jack took one look at Carroll, told her at she needed to know about getting an en to study at the Srupio—and that S$ that. began at an automat ‘Sure Jack and I saw each other—at the gb10. It took him a month to get around asking me out—and then only because was hungry. He asked me if I'd like to join him for andwich at the automat!” 3ut one lunch led to another, and the t thing they knew, it started to be al- st every evening that they were seeing -h other. I knew I was in love with Jack. I guess known it even before that first time went out to lunch. Jack used to be und the Stunio a lot, and the first thing new, I was there a lot too. I could have died at home, too, you know!” Sut suddenly it was exciting to go ne place. A particular place. And sud- _the days weren’t long any more, ee a in 6-way NOTA SEAM SHOWS! for the smoothest look you’ve ever shown! You'll love this fabulous “‘Seam-Free”’ Convertible! With or without straps it gives you a lovely lift plus the smoothest, slickest line under all your figure-hugging clothes. Cotton. White, pink, blue, black. Only by Lovable, only *2.50. IT COSTS SO LITTLE TO LOOK LOVABLE THE LOVABLE BRASSIERE CO., 180 Madison Ave., N.Y. 16. Also sold throughout CANADA Quick, Safe relief with ’ 9 lotion Sel) 1888" f 69c Also quickly relieves adult TOOTHACHE, GUM IRRITATION, etc. 4 Photos of Elvis Presley PLUS: 2 Photos of PAT BOONE - PLUS: 2 Photos of SAL MINEO All genuine, silk finish Photographs PLUS: FREE Bonus Coupons with every order. Send Only 25c for Everything STAR STUDIOS, Dept. 408 i Box 46222, Hollywood 46, Calif. GIRL FROM TENNESSEE WINS 2-YEAR SCHOLARSHIP AT PASADENA PLAYHOUSE The Lady Ellen Princess of 1956, Beverly Faye Robinson, 19 year old receptionist from Nashville, Tennessee, will study for two years on a full dramatic scholarship at the famous Pasadena Playhouse. Beverly won the Lady Ellen Search for Talent, sponsored by the Kay- nar Company of Los Angeles, manufacturers of Lady Ellen Pin Curl Clips and Klippies. She also won a $500 wardrobe and a trip to Hol- lywood as the guest of screen star Maureen O'Hara. Nine Maids of Honor won $500 wardrobes each in the Search for Talent Contest. They are Ellinor Gerrish, Middletown, Conn.; Anne M. Perillo, Brooklyn, N.Y.; LeAnn Brown, Toledo, Ohio; Susanne Rockvam, Minneapolis, Minn.; Eleanor Yeager, Jacksonville, Fla.; Amira Salinas, Laredo, Texas; Sharon Tracy, Ogden, Utah; Becky Haynes, LaGrande, Ore.; and Bev- erly Ross, Toronto, Canada. Now the Search for the Lady Ellen Princess of 1957 is underway! The 1957 Princess will live like a movie star'for two weeks in Holly- wood... date a handsome screen star (chosen from Hollywood's most eligible bachelors) win a $500 wardrobe and an optional screen test at a major studio. Complete rules may be found on the back of the 25c¢ Lady Ellen Pin Curl Clip Card on sale at variety, drug, food and department stores and beauty shops throughout the United States and Canada. draw me! TRY FOR A $375°° ART COURSE PRIZE: A complete art course —free train- ing for a career in commercial art—plus a drawing outfit and art textbooks. You’re trained by professional artists on staff of world’s largest home study art school. Enter contest! : Draw girl's head 5 inches high. Use pencil. Drawings for March 1957 contest must be received by March 31. None returned. Winner notified. Amateurs only. Our students not eligible. Mail with name, age, address, to: ART INSTRUCTION, INC., STUDIO 2697 500 South 4th Street, Minneapolis 15, Minnesota _ 77 Ss y!

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WHY MARLON BRANDO WAS ASKED TO LEAVE HIGH SCHOOL @ Don’t worry if your kid brother isn’t doing very well in behavior in high school. Maybe he’s another Marlon Brando in the making! When Marlon entered LipertyviLtLe Hicu, his ambition was to become an arch- aeologist. However, Libertyville had little to offer in such courses, and Brando arranged his own special assignments. One afternoon he and his school pal went to the nearby creek, instead, and worked until six o’clock on archaeology —diving for interesting stone specimens from the creek bed! Brando’s fractured French was bad enough but his marks in algebra and geometry paid off the ancient Hindus for inventing the concept of zero in our numbers. While the rest of the class was busy one day. trying to find the value of X, Marlon wondered about the value of an embalming fluid he had invented. As any budding archaeologist should do, young Bud took a great interest in the old Egyptians. Their secret process for permanently embalming bodies was a challenge Bud had to meet. He brought along to school that day his own mixture of lighter fluid, hair tonic, auto polish. and a touch of kerosene—intending to try it out on some dead beetles. But when the algebra answer proved so elusive. Bud’s mind wandered to his new formula. Unpocketing it, he saturated his handkerchief and traced an interesting word on the classroom wall right next to him. Sure enough, the liquid was invisible. Next question: would it burn? It did!—with quite a flaming swoosh—and the algebra class was over for the day. Unfortunately, instead of tracing out an Egyptian heiroglyphic Marlon had written a simple Anglo-Saxon word that expressed his sheer boredom with mathe- matics. However, the principal let him finish out the day and arranged a talk about better discipline with his father. Bud’s next class was French—and of course the entire room was still buzzing about the handwriting on the wall. Mrs. Culbertson, the French teacher, finally stood up at her desk, poised herself forward slightly—so that to young Marlon she looked something like a waitress at a counter—and shouted “Order! Order!” Responding impulsively to his first impression. as he still does today, Brando immediately shouted back, “TWO BEERS, MAISIE!” Next day he was out of LisertyvitLE HicH, on his way to SHATTUCK MILITARY Acapemy. There they put him in a regiment—but no one has ever succeeded in regimenting Marlon Brando. Marlon can currently be seen in MGM’s Teahouse Of The August Moon. Watch for him soon in Warner Bros.’ Sayonara. because there was something—some one— to look forward to the next day. So day after day, they’d meet for lunch. And gradually the young kids fell in love. “Not that it was easy, mind you. Jack is an angel, but sensitive! I remember the time that he picked me up for dinner. In his hand he had a single red rose. Ii was really quite lovely, and I thanked him for it. And for an hour he’s so talkative that I began to think maybe it’s all a dream and I’m really sitting there by myself. “What's the matter, Jack?’ I asked him. “ Nothing.’ ““Something’s the matter; now what is it?’ I asked. “ ‘Nothing,’ “‘Isn’t the play going well?’ ““Ves,’ he answered. Like I said, he’s being real talkative. ““Tyon’t you feel well?’ ““Fine.’ “Did I do something?’ “ee ‘No > ““Then what’s the matter, Jack?’ “ ‘Nothing.’ Paha ETE Galore con tlie PAAR EE ES aC ee kG ey Bee or give up easily. But after a while [ ran out of questions to ask, so I just shut up. I don’t want you to think I’m exaggerating, but three hours later—well, maybe I am exaggerating, but not by much!—suddenly Jack turned to me and said, ‘Don’t you care?’ ““Care about what?’ I ask him. ““The rose,’ Jack answers. Of course,’ I say, ‘I told you how lovely I think it is.’ ““But, don’t you care?’ “And then he finally came out with it. And explained that giving a girl a single red rose is like telling her I love you. “Of course, I didn’t know that. And even after I told him I hadn’t known, and how thrilled I was to have him say it to me that way—with a flower—I’m not so sure that he gave up feeling hurt that I didn’t care!” ae Dreams for the future Anyway, that’s what life was like with these two—romantic gestures between the hours and hours of talk about the theatre, Sap duomlasse) -anmdeodiractne anda nptine ond theatre, and plays. And reading plays gether and visiting friends, other yo actors or directors. Z “Like practically every other actor actress or director you're likely to talk Carroll points out, “we were broke weekly pay check wasn’t the routine so it was cheaper to eat in than out. L ner at my place got to be almost rout “And even that wasn’t so easy to m age! Jack and I got to the point where didn’t even think twice about what were going to eat—nine times out of it was that inexnensive answer to a hur prayer, Kraft Cheese Dinner! “But we still like cheese—now and th: And after the dishes were done and t had a couple of quiet hours they did v every young counle in love will do—t dreamed of the future. Then things started happening fast Carroll was signed for a fat role i TV production that resulted in a Hollywood nibbles. And surprisingly, a girl who had had a tough struggle to anywhere in New York, Carroll tuz down all the offers. For by this time Carroll was head « heels in love with Jack. “Tt took Jack six months to propose, another six before we decided enough enough of un-wedded loneliness.” And so they were married. Carroll wore a dress that she made } self, desperately sewing up the hem—as heard the first wedding guests begir arrive. “That was about the only time I was grateful to my Grandmother making me learn how to sew. I don’t k: what I’d have gotten married in otl wise!” But Jack gave her a look that showex couldn’t have cared less about what was wearing, just so long as she standing there beside him to hear words of God that joined them toge forever. And so they were married, and the who had been rootless all her life had strongest kind of roots imaginable . . ' ast. Happiness thrown her way Then Carroll was offered a role in G: Jack could go with her to Hollywood Carroll accepted. And things started 1! ing up for the young director, too, with directing of End As A Man. Carroll and Jack have moved from t one-room fourth-floor walk-up_ to apartment that’s big enough for Car Jack and their Christmas present, | Blanche. Their new apartment started pretty bare, with just the bed-couch f their first place—‘it was the first thing ever bought’—and the linoleum for | baby’s room and a prop gun which . used once to scare a good perform: out of an actor. Today, it’s lovely furnished—with about the three hap)’ people imaginable. And that’s the story of this girl with long loose-flowing hair, the large eyes seem to mirror the tragedy of too n unhappinesses—and the face that look much too young to know the kinc heartbreaking loneliness that only a c of divorced parents knows, and that a divorced woman understands. Ca} Baker had to live through being child of divorce and divorced woman, fore fate, Kismet, or call it what you decided it was time to throw a little ha ness her way. Carroll can currently be seen in Wa Bros. Baby Doll, and George Stevens + duction of Giant, a Warner release. Y also be seeing her soon in U.A¥s Devil’s Discinle. =

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IT’S A COVER-UP”’ ays Ronald Reagan “Sure I’ve seen them—the young rls and the young men who've just come movie stars. Sure they’re con- ited, some of them. But for the ma- rity, the air of nity is just a ver-up. Mostly, ey re shaking in eir boots!” This was Ron- d Reagan talk- g. And, as one 10’s been coping th the problems fame for more an fifteen years, is a guy who knows whereof he eaks. “Fame is a difficult thing to adjust psychologically,” he added. “One y you're anonymous. The next you're ing stared at, talked about, written out, and asked for your autograph. “The question that plagues almost eryone in that position is: how should u behave? “Most actors and actresses get used it. But some are always uncomfort- le about it, especially if they’re shy. “T recall an incident that made this rticularly clear to me. “T was standing nearby when two snaged girls recognized James Mason a hotel. One of them dared the other speak to him. Finally, she got up the rve and she said, ‘Aren’t you James ason?? He admitted he was—and rriedly excused himself and left. “Both girls thought he was vain and de. So I went over to them and said: o you know why he left? Because you ghtened the poor man half to death, eaking to him out of the blue like at. James is the nicest guy in the ld. But he’s extremely sensitive and y- He’s the kind who sits in corners patties.’ : “I don’t know whether they believed », but it was the truth. “I remember when Lana Turner first came famous. There was a big party r her. A few weeks before, she’d been <id in high school. And now here she is, the honored guest among all kinds important people she’d never seen be- re—except on the screen. “She was the picture of glamour. And cool as can be. She walked by a mous producer, winked, and whis- red, “How’m I doing?’ “You see, underneath that gown, her ees were shaking. So,” says Ronnie, [ a star seems to give you a cold shoul- r, don’t write it off as rudeness— cause chances are they’re more afraid you than you are of them!” Ronald Reagan will soon be seen in lumbia’s Hellcats Of The Navy. hey fora woman... Beautiful eyes are your most important feature, so bring out all their hidden loveliness with Maybelline, the safe, § natural-looking eye make-up preferred by women of good fe taste the world over. Maybelline makes every woman’s eyes beautiful. How very beautiful, you’ll never know until you try Maybelline Mascara, Solid or Cream Form... $1.25 Maybelline Automatic Eyebrow Pencil, 79¢, Twin Refills 39¢ Maybelline Iridescent Eye Shadow Stick, $1 For complete eye beauty, use Maybelline Professional Eyelash Curler, $1.00, and Precision Tweezers, 29¢ Maybelline Nothing ’Does So 1 NOTHING does so much Ee YAR) HIGHER IN CANADA If you are the talented author AUTHORS: of an unpublished manuscript, EL] let us help gain the recognition AG you deserve. We will publish TALENT your BOOK—we will edit, design, print, promote, advertise and sell it! Good royalties. GOING TO ; Write for FREE copy of How To Publish Your Book COMET PRESS BOOKS, Dept. DM4 200 Varick St., N. Y. 14 WASTE? FREE! Large Studio Portraits Of Any @ of These Favorite 2% ~$X Movie, Radio, TV, and Recording STARS!! * Tab Hunter * Sal Mineo * Elizabeth Taylor * Rusty Tamblyn * Marlon Brando’ —* Eddie Fisher * James Dean * Grace Kelly * George Nader * Rock Hudson * Natalie Wood * Doris Day * Tony Curtis * Guy Madison * Audie Murphy = * Marilyn Monroe * Pat Boone * Elvis Presley * Rory Calhoun % Roy Rogers ® Richard Egan * Robert Wagner = ® Kim Novak * McGuire Sisters * Bill Campbell * Hugh O'Brian * Debbie Reynolds * Jeff Chandler * TheresaBrewer * John Derek * Perry Como * John Wayne NEW_RELEASES! FREE Catalog, {PLUS} listing over * Tim Considine 1000 Stars? * Clint Walker Just send us the names of * Pat Wayne your favorite stars. Be sure to enclose 10c for postage and handling of EACH photo that you order Limit 10 to a customer. j ini STUDIO PHOTOS » Box 36631 BM 1. Largest dames Deon FanClub Dept. 136, Hollywood 36, California MM 2. The new Pat Boone Fan Club * Paul Newman * Ben Cooper * Jeff Hunter After2 to3 | ie : Before months of r BS using treatment ’Bye-Line Want to Banish Wrinkles? "Bye-Line Skin serum can help you do it— also crepy throat! Yes, it’s really true. *Bye-Line must make you look 2 to 10 years younger in 10 days, or YOUR MONEY BACK, Not a peel, mask or tem- porary cover-up, but a genuine youth restorer, This is no false promise. ’Bye- line is absolutely safe, even for super- sensitive skin. Simple, speedy, pleasant, and non-greasy oil treatment, Not sold in stores. Send exactly $1.12 for trial size, air mail in plain wrapper to: Age-Less Cosmetics, Inc., Dept, 20, 54 Albion St., San Francisco, California

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__ 80 happy. Russ is an important message to two unhappy people (Continued from page 53) way your wife has candles and flowers on the table and dreamy music on the record-player wait- ing for you when you get home, to let you know she feels romantic. ... The time you both decided you wanted some ice cream at two o’clock in the morning and slipped some slacks over your pajamas to drive out to a roadside place to get some, and what fun you had hiding the secret from the car-hop. ... And the time your wife wore herself out making a huge party for the family on Christmas day, and how wonderful it felt to be home, surrounded by those you love, with the one you love most of all in all the world right at your side. . . . And sometimes, you remember when your wife couldn’t find the tooth- paste or the water glass.” That’s the way Russ talked just a couple of weeks ago.... Russ Tamblyn and Venetia Stevenson planned to celebrate their first wedding anniversary on St. Valentine’s Day: they’d dine at Venetia’s favorite restaurant, and finish the evening off with a champagne party ... for the two of them at home. Venetia's motto Just as they’d start to unwrap the gifts, Venetia planned, she’d disappear into the den. A minute later she’d come back with a hammer and a set of picture hooks. Russ would see the huge and_ lovely portrait of Venetia he’d been wanting, look at her standing there with the ham- mer in her hand, and grin. “TI learned a lesson last Christmas,” she would say, “and decided the best motto in the world is Be Prepared.” Remembering Christmas Eve, when they’d waited for the stroke of twelve to unwrap their presents, Venetia started to laugh. For Russ’s gift to Venetia had been a handsome silver tea set—and out they’d gone at midnight to find some tea so Venetia could launch Russ’s gift. They thought they’d run out of gasoline before they’d run out of determination, until one of them spotted the open-all-night deli- catessen. “A package of tea and some butter cookies,” Russ had said to a startled clerk. And home they rushed to inaugu- rate their tea set. So Venetia planned to be ready, and then they’d set about hanging the picture in the den, then sit down, arms around each other, and watch some tv. Watching tele- vision with a champagne glass in hand may not be the most exciting way in the world to celebrate a first anniversary— but to Russ and Venetia it would be. It was enough to be home, to be happy, to be completely lost in each other. So that’s how they’ planned it. What he learned the first year “We’ve learned a lot about ourselves, about marriage, and about each other in this first year,” Russ said a few weeks ago. “Tt’s helped us both grow up,” added Venetia, and Russ continued, elaborating on that thought, “You know that song, “We Come From Two Different Worlds?’ Well that could apply to us. In the begin- ning, at least.” ; Russ comes from a closely-knit, happy family. Venetia’s parents, English direc- tor Robert Stevenson and actress Anna Lee, were divorced when she was a child. Russ is a man with close family ties; Venetia’s been on her own since she was sixteen. Russ is outgoing; Venetia’s quiet and self-contained. Russ is happy-go- lucky; Venetia’s a bit of a worry-wart. Russ is presents-happy; Venetia is budget- -oUNT ne Coa S Venetia just tolerates them. Russ has a rollicking sense of humor; Venetia is a serious little thing. Russ was twenty-one and Venetia was seventeen when they married a little over a year ago. It’s a young marriage as marriages go. But maybe it’s just that youth, with its flexibility and desire-to- grow, that made the marriage—for a while ... For instance, Rusty used to have a thing about the kitchen being strictly a woman’s place. At dinner time, he’d go into the living room and watch Tv or read the paper till dinner was ready. And then he’d disappear back in the living room. again when they finished eating. That’s the way things used to be at his own home, where his mother managed everything. Then one evening he noticed that Venetia seemed tired, and the dishes piled in the sink looked sky-high. Venetia looked so young and lovely and swamped that he found: himself offering to dry the dishes. “That did it,” he said. “Now I don’t think twice about offering to help. Maybe when Venetia is my mother’s age and has as much experience running a home, she’ll have a system too. But mean- time, I like helping. Maybe part of it is that she’s appreciative of anything I do.” What she learned And Venetia used to have a thing about budgets. Right after Christmas they sat down with a notebook and paper, and Christopher Morley's story, Lin- coln's Doctor's Dog, was being adapted for TV at the Hal Roach studios. Morley wrote this story when he was starving. A publisher advised him that the surest way to get a story accepted was to make it (1) a story about Lincoln, or (2) about a dog or (3) about a doctor. Morley took no chances. Leonard Lyons in the New York Post Venetia’s verdict was, “No more extrava- gances for a long, long time. No more presents!” And even. though Rusty’s birthday was December 30th, they decided not to celebrate; they'd save money. Promptly on December 30th, not even a week after Venetia won her round, sure enough Venetia turned up with a birth- day gift for Russ—a handsome gold brace- let with his name engraved on one side and I love you on the other. “There are times when you don’t have to stick to the letter of the law on budgets,” said Venetia with a smile and a toss of her blonde head. “Rusty taught me that.” Because it’s those little pleasure-giving things that make a marriage. For example: Rusty’s a man of simple tastes. He used to like nothing but ham- burgers and hot dogs. “Every time I cooked dinner,’ Venetia smiled, “it was hamburgers or hot dogs. Then I tried a little ingenuity. I explained that meat loaf is one form of hamburger. And then I tried other variations. Until finally I got pretty far from the hamburger and the hot dog! I’m proud to say that Russ will eat anything now. But then,” she continued with a smile and a sidelong glance at Russ, “I’ve learned to appreciate hamburgers too!” Just as you are Other times, it’s the big and important things that make two people living to- gether know they have a marriage. Rusty told about the time he first got to know © and to understand his wife, and to know Law g ~ alates 4s 9. x ns 2a Mas ¢ that he knew it. point the way. He had taken Venetia to a friend’s hous for dinner. Rusty was his usual bubblin self, but Venetia became strangely quie and withdrawn. “If Venetia likes th people she’s with,” Rusty explained, “she’ warm and charming and outgoing. Bu that evening she withdrew into hersel: She walked over to a corner of the roor and sat down alone. When I asked her t join in with us, I got a quiet, ‘I like : sitting here.’ And things didn’t get an better at dinner. Venetia made it clea that she wanted to be with me and onl me—and I felt that we ought to socializ with the host and with the other guest: Her behavior embarrassed me. “The next day I phoned my friend t apologize for Venetia. I was surprise when he invited me to stop by. And as tounded when he lit into me! “He told me that Venetia has a rigi to be an individual, and that she had h: respect because she’s quiet and lady-lik acts the way she feels. He said, ‘Som people will understand Venetia’s indi viduality, and some people won’t. But th people who don’t understand her, wel they're not judging her as a _ person- they’re judging a social form.’ “His explanation made me feel ashame of the way Id felt about Venetia. wanted to go right down home and apolec gize to her for trying to apologize fc her. I think it made me realize that 1 really love someone, you have to acce} her and appreciate her, just as she is- and to care about what she thinks moi than you care about what anyone else i the world does.” ; It took an outsider t Just being married—not enough It was Venetia’s intuitive understandir of her husband’s nature that helped kee the marriage on an even keel too—fc a while, at the beginning. When Ru: wasn’t working, things started to get a li tle out of hand. It wasn’t a matter of mone Russ had a couple of big hit pictures his credit, and he had just come into couple of bonds that had been put awe for him from his childhood earnings. B; Russ wasn’t working on anything curre7 and as everyone in Hollywood knows tl big thing in an actor’s life is not Wh have you done lately? but What are yc doing now?” For a while Russ’ answer was, Ju being married. And in the beginning, th was enough. But Venetia knew the stra of idleness was beginning to take its to. Inactivity may be part of every acto! life, but Rusty hated it. 3 So one afternoon she sat down at quietly thought. She had to get his mi away from the what’ll-I-do-all-day-t day situation. When Rusty came hon they talked over the solution she’d cor up with and then signed up for drama le sons, and lessons in painting, pastels a) clay. The idea worked like a_ char. Russ stopped worrying about when t next job would come -along—and wh he landed a job dancing on Tv, everythi fell into place again. But sometimes understanding each oth hasn’t been that simple or that natur It’s been something they had to gro’ in the dark for and reach for—and lea with slow despair. "It sounded so silly" “We get angry in completely differe| ways, Venetia and I,” Russ explained. explode. Boom. Boom. Boom. And th I’m ready to forget the whole thing. Nh Venetia. She gets very quiet and e and aloof, and you know she’s goi through a long slow burn. After a whiy she starts hitting you over th we

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acts. Fact. Fact. Fact. I have a bad 1emory, and can’t answer her. So what used to do was to walk out and slam the oor. That was all wrong. “Finally I tried to have a little more of sense of humor about the whole thing. me of our favorite bits used to be her You never tell me that you love me ny more.’ Now that’s so silly that I used > blow. And when I’m mad, I can’t for 1e life of me remember the time, or the lace, or the date I said it last. “But the last time this came up, I found 1e perfect solution. When she said ‘You on’t say I love you any more,’ I shouted love you, I'm mad about you, I adore ou!’ Then I waited a couple of seconds, yoked at my watch and said—‘There, I said five seconds ago. The whole thing yunded so silly that we couldn’t help ughing, and that ended that argument.” And Venetia said, “I think we’re begin- ing to rub off on one another. I’m try- ig to develop the kind of sense of humor lat Rusty has. I know it’s saved.us from couple of serious arguments. Usually 1ough, I have a terror of screaming like fishwife, and so I don’t say anything.” That was what Russ and Venetia said a w weeks ago. They said, “Things weren’t sy at the beginning. It took a near- isis during the first few months of our arriage to teach us how to handle our- Ives and how to handle each other.” “T think there must be different kinds ' love,” Russ said, “I know mine has langed. ought I knew what it meant to be madly love. I thought it was the excite- ent I felt whenever Venetia stepped into room. Now I know it’s more than that. hese days, I can just look at her while ie’s doing the dishes—with me helping, itch!—and I get a tremendous feeling of 2longing and of sharing. ; “Marriage has helped us both grow 9, and it’s been fun growing up together. eve lived, loved, and learned enough is year to make a tremendous difference the rest of our lives.” Venetia listened lemnly, and nodded in agreement. You're absolutely right, darling.” hich shall it be? Yes, that’s what you two said to us ist a couple of weeks ago, Russ and enetia, just a couple of weeks ago when yu were happy and looking forward to yur first anniversary and thinking how yu’d made a big start towards learning live together in the way your love for ich other made you want to live. That’s the ending of the story you had ith each other then. But on January 18, such a short time fore that first anniversary the two of u had planned together, the newspapers rried a different story. Russ Tamblyn d Venetia Stevenson announced they id separated, read the report. And your udio, Russ, said the decision was made ith mutual regret. There was one other thing to the an- uncement; the papers quoted you two | saying, “Maybe we can work out our Remember that first big quarrel, that ded when you rushed into each other’s ms? And remember what you said out it, Russ ... how wonderful it felt be home, with the one you love most all in all the world... ; Which ending is it going to be for uu two. . .-. the happy ending, the one uu two really want? Or the sad ending ... END Venetia Stevenson will soon be seen RKO’s The Girl Most Likely. Russ can ently be seen in the Allied Artist film foung Guns oe Before we were married, I° New 3-in-1 Basecoat- Lacquer-Sealer Formula Now Dura-Gloss wears longer, yet is far easier to apply No nail polish tested, regardless of price, wears so long, yet is so easy to apply as new 3-in-1 Dura-Gloss, with its sensational, chip-resistant Flex-Film formula that bonds itself to your nails for super adherence. Here’s super covering quality, too, that flows on bubble- free, to brush without streaking. Here is a 3-in-1 basecoat-lacquer- sealer that’s super-resistant to chip, crack, scuff and peel. Here’s glow-with-glamour gloss, in 21 jewel colors, Regular or Iridescent, in 15¢ and 29¢ sizes, plus tax. dura-gloss Sd FASHION TONE Exclusive Color Cap Shade Selector lets you compare nail for nail. ©AR. WINARICK, INC., NEW YORK GET YOUR POLIO SHOTS THIS SPRING... noPLAY SAFE THIS SUMMER

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82 we . can jeanne crain keep her husband home? (Continued from page 38) very fact that she is so religious can make it twice as hard for her to forgive Paul’s playing around—and his knocking her around! It can’t be wiped out, just like that. Even if Jeanne wants to forget it!” So how come? Well, for one thing, Paul was on a strong campaign to win Jeanne back. It was a slow job, but he persisted . . . and she didn’t resist too strongly. A few weeks before they reconciled, Jeanne confided to a friend, “I’ve gotten more red roses from Paul this month than in the last five years of our marriage. If Paul wants to date me and court me a little, it?s all right with me! I tried so hard,” she added, “to think my problems out. It didn’t do any good. I was just about going out of my mind trying to decide what would be the best thing. Now, I’m just going to let things happen as they may. Perhaps fate will take over.” Since her divorce last August, Jeanne has been unhappy, as few Hollywood stars have ever been over the bust-up of a marriage. She lost weight; she couldn’t sleep; she came perilously close to a com- plete nervous breakdown. At first she tried to kid herself and those around her. The lawyers were making out the papers; she was finishing work on The Tattered Dress at UNIVERSAL- INTERNATIONAL; life was about as miserable as it could get; and Jeanne was making quotes like, “Now that it’s over and fin- ished, I feel like I’m starting life over again. Life is suddenly very exciting.” She knew it wasn't so Nonsense! And no one knew it better than Jeanne herself. Life was far from exciting for her. It had become hollow and meaningless and inwardly she was ripping herself apart wondering how much of it might have been her fault, looking for— and afraid to find—the things in herself that might have triggered Paul’s actions. Had she failed him? How... how... After The Tattered Dress was finished, Jeanne went cross country on a publicity tour. She drove herself—hard—and she came back to Hollywood tired and sick. Within days she was in St. Jonn’s HospitTaL in Santa Monica, for what was officially described as nervous exhaustion. “A more correct diagnosis would be a broken heart,” said one bitter friend, bitter towards Paul for the misery he had created. “What was he looking for, any- way? ... That he couldn’t find right in his own wife!” Then another picture came along, co- starring with Frank Sinatra. She took it. She wanted to be busy. “After the picture is over I’m going to do some of the things I’ve never had time to do before. I'll travel .. . Id like to take up painting in Paris ... Tm going to sign up for courses in astronomy and sculpture at UCLA.” But living wasn’t much fun for Jeanne without Paul. "Can Daddy come home?" Because of the children, Jeanne and Paul never stopped seeing each other en- tirely. He’d come around to the Beverly Hills house for Sunday brunch. Or they’d take the children out for dinner. And Paul, Jr., Michael, Timothy and Jeanine, hopping up and down would beg, “Can’t Daddy come home this time?” The coffee got cold and the ice cream melted while Jeanne’s and Paul’s eyes locked, both ashamed of what had happened. And Paul would start to say, “Honey, couldn’t . .” And her heart would break a little more with yearning, with wanting. Jeanne justified these dinners—to her friends, to herself—by saying, “For the sake of the children, I think it’s best for us to be friendly.” And in a little while, Paul and Jeanne and the children would be having dinner again, and Paul would look at Jeanne, and beg with his eyes... But every couple of weeks Jeanne would read another item about him dating some pretty young thing. And the hope would go out of her again, and her heart would flip again—with pain. Until suddenly the items stopped, and Paul was always out stag. He wanted Jeanne back, and he stopped dating even though now he was free. On the sidelines, there were powerful forces pulling in opposite directions. Jeanne’s mother and younger sister, who had never wanted her to marry Brinkman in the first place, talked only about his escapades, his violent jealousy, his “spong- ing” off Jeanne for most of their married life. It’s always been an unfortunate in-law relationship. On the other hand, Jeanne’s priest didn’t feel that way at all. Neither did Recon- ciliation Judge Lewis Drucker, who had talked to Jeanne and Paul several times before the decree was granted. And time was working its healing magic .. . when suddenly there were new headlines which could have’ smashed the whole thing. A warrant was out for Paul’s arrest; the police were looking for him. He’d gotten in a fight with wealthy manufacturer Homer Rhoads, a man who had entered the picture earlier as a pos- sible threat to Paul’s hopes for a reconciliation. Paul claimed that Rhoads, in the process “SEX isn’t always what you think” Rita Hayworth anc Gene Tierney are two of the leading ladies that Glenn found sexy—for most unusual reasons! @ Glenn Ford, who’s pitched fancy woo at almost every top glamour star in the busi: ness—for the cameras, of course—has his own ideas about what constitutes glamour-ga sex appeal. “The sexiest quality,” he says, “never stands out on the screen!” To make it plain, Glenn adds, “A man who holds a beautiful woman in his arms sees her from a different perspective than if he were watching her from the back row of a movie theater.” To begin with—what’s sexiest about Rita Hayworth, with whom Glenn teamed twic« after making the memorable Gilda? He answers that easily. “The eyes! Rita’s eye: promise excitement, mystery, adventure—believe it or not!” It may be news to fellow who’ve watched Rita’s gams, or other assets, on the screen. But as far as Glenn’s con cerned, the eyes have it. Then he recalls making The Return Of October with Terr Moore—when he couldn’t take his eyes off her hands! “Those hands,” he claims “are sexy and feminine—yet strong and capable. They're hands that can rein a high spirited horse or soothe a man’s brow. That’s really sexy versatility!” It took him a while to figure out Gene Tierney, when they did The Secret O Convict Lake—but Glenn finally got it. “It’s the walk,” he says. “She walks, and al you can think of is following her. She’s got the original come-hither sway.” And Janet Leigh, claims Glenn, “has the world’s cutest nose. It’s her most captivat ing feature—especially when she wrinkles it.” | Another leading lady is Rhonda Fleming. For her he chooses “The fascinating lin’ of her neck. It’s best noticed from a side view, and can only be described as trul swan-like. If I were an artist I’d paint Rhonda’s neck—and with great affection.” Bette Davis, who has some physical features that are a great delight to night clu mimics, appealed to Glenn for a reason overlooked by most of her imitators. “He mouth,” he recalls, from romancing her in A Stolen Life, “is fascinating. In contras. to her famous drive and energy, her full mouth is expressive and relaxed.” | And what about the glamour girl in Glenn’s own life—Eleanor Powell? Could shi give her version of the Glenn appeal that doesn’t show on screen? i Eleanor sighs, “I can’t do that; because Glenn’s a different person with every part h plays. I can hardly wait to read his next script—so I'll know what kind of a man am married to!” -Glenn’s currently in MGM’s Teahouse Of The August Moon. Watch for him 1 Columbia’s 3:10 To Yuma. ~s A

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xf divorcing his own wife, was pestering Jeanne for dates. Paul went to Rhoads’ Hollywood apartment to tell him to lay ff, and within minutes fists were flying. Rhoads accused Paul of assaulting him, and the police went looking for Brinkman. The next night, according to Paul, Rhoads salled Jeanne’s home and threatened to cil] Brinkman. ; “That’s when Jeanne got so nervous about the whole thing that she left the Ihone off the hook,” Paul said. “Rhoads nust be crazy if he thinks he’s going to narry Jeanne.” But Rhoads publicly announced that he was getting a divorce to marry Jeanne. She promptly told reporters that he wasn’t marrying him or anybody se. jomething special Up until this time, Jeanne and Paul had 1ot appeared together in public except or their occasional Sunday dinners with he children. Then something happened. Nhat it was, exactly, probably even Jeanne ouldn’t say. But Paul invited her to a New Year’s eve party hosted by their ‘ood friends the Tex Feldmans, and she iccepted. “Tt should be fun,” Paul assured her. It’s a costume party with a My Fair Lady heme. The girls are all supposed to wear owns of the 1906 period.” New Year’s eve .. . that’s something pecial .. . just a year ago they had cele- rated their tenth wedding anniversary vith the Feldmans, on the same night— Jecember 31. Yes, she said, she’d love.to go. The night of the party, Jeanne and Paul aused quite a stir as they walked in ogether. When they posed for pictures, the ameramen asked, “May we say this is a econciliation?” Jeanne and Paul smiled. “Definitely!” Jeanne didn’t wear her wedding ring, ut she did have a stunning sparkler on er finger, a king-size aquamarine flanked yy diamonds. Yes, it was from Paul, an leventh-anniversary present. Jeanne looked radiant—and her old ‘ivacious self. And Paul’s attentiveness aid, plainer than any words, how precious he was to him. They acted like a pair of and-holding newlyweds and theirs was gay table that evening. How long since hey had danced together? How lonely the ong year had been! Neither Jeanne nor Paul has said much bout the reconciliation. “Yd rather wait a while before I talk bout it,” Jeanne says cautiously. “There’s been too much conversation vith reporters in the past,’ Paul. com- lains. “That’s been one of our troubles. think we'll do better if we keep our ersonal lives out of the headlines.” “They've both learned a lesson,” a riend of Paul’s says. “Remember, neither f them was completely blameless. Paul ook the brunt of it, because of his vio- ence. But Jeanne wasn’t entirely in the lear! A lot will depend on whether or not ‘aul learns to curb his hot temper. It’s lways gotten him into trouble.” And while movie fans and gossip col- imnists cross country and back argued ro and con on whether Jeanne and Paul hould have tried it again—Mr. and Mrs. ‘aul Brinkman quietly packed their bags nd made their reservations for a second loneymoon, a second stab at happiness, nm the sun-washed sands of Hawaii. But—can it last? Can Jeanne Crain keep her husband iome? END Jeanne will soon be seen in U-I’s The ered Dress and Paramount’s The Joker s Wild. * / we es sth It’s the right moment, everything is perfect... Does your smile say, “Kiss me?” Tent OR RFUND ay gad * Guaranteed b Good Housekeeping ir a ye 40 y @ y y LAS aovenrseo WE DENTIST Some teeth are naturally Hard-to-Bryten! Iodent No. 2 is made and guaranteed by a Dentist especially for such Hard-to-Bryten teeth. It contains a scientific amount of supergraded polishing agents to safely remove the clinging film of food stains and smoke smudges which other toothpastes do not remove. 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the girl who jilted elvis Announcing... (Continued from page 51) lot, and those who double-dated with them say- that to see her and Elvis together was to really envy them. One minute they were laugh- ing and in utter hysterics over something Anthony ‘clever’ one of them had said—they were Boucher always trying to outquip one another, and author, editor and everything seemed funny—and in the Biles critic, recognized middle of a great big joke, in the middle consisting of the greatest mystery as America’s foremost of a coke, if their eyes suddenly met and classics ever written! Some have mystery authority. held, the laughter would stop . . . and, never before appeared in paperback Humphrey well, you es ae bee they kissed. . others have long been out of Bogart nape like intruding where you didn’t print... but each title in this special pcademy Award: ; By the time Elvis was graduating from series is a recognized classic of sus- ib can seed od high school there wasn’t any question pense and detection, unanimously mystery successes as about who was going to the prom with The Maltese Falcon. him. Because Dixie was already wearing chosen by an outstanding and tal- his school sinks And adeeeaeneneee | ented board of judges: Louis | a girl doesn’t wear your ring just because Untermeyer | youre dating; you give your class ring to poet, biographer. the girl who’s going to be your wife. essayist, anthologist Elvis graduated and got a job at the and mystery fan. | Crown ELectric Company, and during hol- | iday seasons Dixie worked at GoLpsmITH’s | department store. So one of the first | things Elvis did with his spending money | was save it up and buy an old beat-up | Lincoln—so that he could drive Dixie home from work. He was always there, waiting for her. They were going steady and some day they’d get married and life was wild fun —and quiet happiness. Until Elvis made his hit record. THE BRIDE WORE BLACK by Cornell Woolrich of th “Out of the ordinary, highly emo- He never chanaee Dell tional and suspenseful, with a sur- But this isn’t the stery of a boy whoifor- wal : : 5 got all about his hometown sweetheart as se prise finish that turns somersaults in Vfystery Library : : soon as success hit him. Even today, amazing fashion’—The Saturday down in Memphis those who know Elvis Review will tell you, “You just don’t love very often like Elvis loved that Dixie.” Elvis made his hit record “Good Rockin’® Tonight” and he hired a manager. He ; hit the personal appearance tours into eal Louisiana and East Texas. Then Elvis bought his first Cadillac, a used pink and black one, and he was the happiest kid in the world. To be in love, and have a hot record, and a Caddy all at the same time! Dixie was with him when the car burned up. And the people who know Elvis and Dixie will tell you, ‘““No wonder it got all burned up—with Elvis and Dixie in it. They were so wrapped uo in each other that the car was almost completely on fire, and passing cars were honkin’ and trying to warn them. But they were so wrapped up in each other they kept right on riding. They almost lost their lives in that accident.” Elvis still says, “No other car will ever be as precious to me as that one.” Be- LAURA cause Dixie rode in it? And hasn’t ridden by Vera Caspary in the newer ones? TRIAL BY FURY by Craig Rice 4 victims, each murdered by a differ- ent method. A town wild with fear as the killer plots his 5th murder. “Triumphantly rowdy and dextrous- ly plotted”—Time Laura was unique. Alive, she had been loved by all who knew her: dead, her fascination pierced even WHO IS SHE? the hard shell of the toughest cop in tome (see page 65) Believe, it or not, it’s Jayne Watch for other Dell Great Mys- Mansfield! This picture of | tery Library titles to be released Jayne taking a bow in cos- . tume was snapped when ‘ she played the lady-in-wait- ever pocket-sized books are sold. ing in Shakespeare’s Much throughout the year. On sale wher- Ado About Nothing at the UNIVERSITY OF TEXAS.

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Elvis Presley and Dixie Locke went to- gether and were considered engaged by il their friends—for over two years— vhen success came. But Dixie was still in high school, and here were lots of school activities—and ilvis was always away on tour. Dixie loved him, but she was fun-loving. This was the very thing that had en- leared her to Elvis, Dixie reasoned to her- elf, so he shouldn’t mind if she dated ther boys while he was away. : ‘he stories drift back While he was on tour, and then back n Memphis, the stories started to drift in o Elvis. At first he couldn’t believe those tories. Because he did mind. He minded rery much. So he asked around and checked and watched, and when he finally knew for ure, he went to her. What they said to each other no one but ilvis and Dixie know. Except for two hings. Elvis told a friend of his, “When he offered me back the ring ... that’s vhen I died .. .” And Dixie’s closest friend vill tell you that Elvis took the ring, put t on his own finger, turned to walk away md said, “All right, Dixie. Pll take the ing. But Pll never love another girl again RCVEE se Maybe Dixie wanted to make up, maybe he knew that Elvis was more important o her—so much more important!—than my casual date. But by then Elvis was ooking at her from her ty screen; and naybe she was afraid that he’d think it vas only because he was a big star. a And maybe Elvis figured that she was the me who had rejected him—so it was her lace to tell him if she wanted him back. The big news about Elvis started to be is dates with girls. “Girls he took out vhile he was on tour, girls he brought 1ome to visit his parents, girls to ride with im in his Cadillacs and his motorcycle. The people in Memphis who know Elvis say it’s his way of burning up the torch he’s carrying, and they'll tell you there’s no doubt about it, he’s sure as shootin’ carryinv a torch for that Dizie. Because whenever he hit Memphis, he’d always ask about Dixie, and who she was dating, and how she looked. That was how it was ... month after month. Until one time when Elvis hit Memphis, and ran into somebody who knew Dixie, and asked how she was. And the girl sitting over a hamburger in the Griprron, Elvis’ favorite restaurant in downtown Memphis, looked out of the plate-glass window because she couldn’t stand the way Elvis’ face just sort of col- lapsed when she said, “Why, Elvis, didn’t you know? Dixie got married last week.” So down in Memphis now there’s a girl named Mrs. Benny Mulberry who once loved and was loved by Elvis Presley. “And he still loves her" And Elvis’ mother shakes her head with sorrow for her son and says, “That Dixie Locke is the only girl that Elvis ever | talked of marrying, and he still loves her.” | And the mother of one of the girls Elvis has been seeing sort of often, worried about her own daughter’s heart, says quietly, “He'd go a-runnin——even now—if that Dixie Locke so much as crooked her finger at him.” And Elvis? Well, when they ask him— the reporters and the fan magazine writ- ers—if he’s ever been in love, Elvis always answers the same way, “Yes. I’ve been in love. Once. But I guess that’s all over now.” Yes, perhaps someday it will be all over for Elvis. Perhaps . . . END Elvis can be seen in the 20th Century- Fox film Love Me Tender. Watch for him soon in Hal Wallis’ Paramount Running Wild. “YOU WUNNERFUL, WUNNERFUL PEOPLE”’ a Ji will be some time before the in- abitants of London forget the arrival f£ Liberace in their. until then. reason- bly quiet city. He had the biggest eception and impact on London since ‘harlie Chaplin arrived in 1921. Several thousand fans greeted their dol with banners We Want Liberace. “o put everybody in the right mood the tation loudspeakers played his record- ngs. “Theyre all wunnerful, just wun- erful,” Liberace grinned. and squeezed \is mother’s hand. When I found myself standing beside lim, I said. “Mr. Liberace—” show piano in all sorts of places. And always I'd go home feeling so unnecessary. That couldn't last of course. “Please.” he said. “Call me-Lee. All my friends call me Lee.” Me: Isnt your first name Wladziu? Lee: Ah, you’ve been checking on me. Me: You've aroused interest here with your colorful wardrobe Mr. er—Lee. 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i yw 86 Schneider, my dramatic coach, and told why kim remains unsatisfied (Continued from page 45) three—and she sees others too—that you can’t help won- dering: which is it—Mac, Mario or Frank? Is she in love with any of them? Why doesn’t she marry one? What have these men meant to her? What qualities in them appealed to her? And what have they done for her? So far ’most everyone has only guessed at the answers, and so far only Kim herself really knew, Now you have them, too, ’cause here they are, right from the angel’s mouth: “IT admire Frank Sinatra,” she said: “I am fascinated by Mario. And I love Mac Krim. Remember, I’ve known him the longest—for three years. “However, three years ago, I was much more ready to marry and settle down. Now, something’ new has entered my life and I’m not ready for marriage. Maybe I have some more growing up to do. “Since I can’t find everything I want in one man, I go out with several men—not only Mac, Mario and Frank, but others, too. Since no one man seems to have everything I want in a man, I’m perfectly willing to see several men. Each man I go with fulfills a different need in me.” What men mean to Kim The truth is that men have given Kim Novak the inner emotional security she sought in vain as a child. Her test for her movie contract included a monologue in which she told what she wanted out of life: to love and be loved. “The words were just the way I feel,” Kim said later. In her childhood Kim had never felt completely accepted. Because she wore her hair in blond braids and most of the children in her neighborhood had perma- nents already; because her clothes were hand-stitched by her old-fashioned grand- mother instead of being bought at stores, Kim looked and felt different. And the mocking laughter of the other children always rang in her ears. “Mac,” said Kim, “has had a great deal to do with helping me be happy. “It is so nice to have someone who likes you, not just because of how you look, or because you are a star—but be- cause it’s you. “I like to be casual and informal, and he’s that type of man. I don’t like to pre- pare for dates, but to do things on im- pulse. “Where I used to feel left out as a child, and disliked for being different, Mac made me feel that I could be myself with him—and that he liked me that way. He made me feel accepted at a nice, cas- ual level. ‘ Honest Mac “And he is so honest with me. “When I’d been on tour, I’d found that most people aren’t like that. There are many who are willing to say, ‘Everything’s fine, when it isn’t, and they know it. “But it’s so comfortable to ask Mac if he likes something and get a_ straight out-and-out no. And if he says yes, I know he means yes—not maybe and not no, but I don’t know how to say it. “Like when I was placed under contract, I asked him one night, ‘Do you think I’ll ever be able to amount to anything in this business?’ ““No, I don’t,’ he said. “My heart sank. He went on: ‘You just=haven’t what it takes to be a success in show business. You are too shy, too quiet.” Mac owns several theatres, and he knows, I figured. i ay, J. went back to Benno him what Mac had said. I was pretty blue. “Though it’s good to have someone like Mac honest enough to knock down your - opinion of yourself when he believes he’s right, it’s also good to have someone who will help build you up. Benno reassured me. He said that he was sure I had what it takes to become an actress. To prove a point “Of course, I’m glad Mac was wrong. But that isn’t the point. He accepted me don't miss two territic features— louella parsons’ story of bogey’s courage and ingrid bergman: | am not ashamed!— in the may modern screen on sale april 9, with lovely marilyn monroe on the cover as a woman he was happy to be with; he helped build up my faith in myself as a woman. Even though he thought I’d never amount to anything as an actress, that honesty was good for me. I tried harder to prove a point. “Mac and I have a wonderful relation- ship. He’s the only man who has known me as Marilyn Novak, before I became a movie star, and who also knows me as Kim. Other men know only part of my personality. “And he’s the only one to whom I can say, ‘I’ve got five minutes. Won’t you please come by and talk to me? Then I must dash home.’ “Or if we have a date and I’ve got to stand him up, I can say, ‘I’ve got to study my script tonight,’ and he’ll be very un- derstanding. “And it isn’t that he’s the kind of per- son on whose shoulder I can ery, the kind I know will always stand by no matter what happens. “I don’t think a girl should ever think of any man she goes with as being old reliable. You have to try to please a man, and if you think of him as being steadfast no matter what you do, you might not make an effort to please him. I wouldn’t like anyone who was just old reliable. Who wants an old-dog-tray type of character? Not me. To me Mac stands for love, for companionship, for honesty.” Then you ask her what Frank’s fasci- nation is. “IT like to go out with several different kinds of men. My feeling toward Frank is eager eee ter een entree ree He’s seen so interesting to be with mostly one of admiration. much that it’s him, and with his friends. They’re bright, alert and sharp, just as he is.” Knowing Frank Sinatra, you know his reputation with women, so the thought comes that maybe it’s because he’s hard to get that makes him so wanted. Does Kim find it intriguing that he’s hard to hold? The faintest gleam of yellow comes into Kim’s eyes. They’re fascinating eyes. Most of the time they look hazel. But they change color frequently. When Kim is happy, her eyes are soft green; when she’s angry, they’re a blazing yellow. Kim answered, “I don’t think that the fact that any man is hard to hold is in- triguing!” So you ask her the next question; isn’t Kim in love with Sinatra? “No,” she said. Hasn’t she been in love with or infatu- ated with him? “No.” A close friend of Kim’s, asked about all the gossip items that had told how madly infatuated Kim supposedly was, said “Those stories make me sick. For some reason, many of the columnists wanted to believe that Kim was infatuated with Frank, instead of the other way ‘round!” Is Kim jealous of Sinatra? As for the Frank Sinatra jazz, it’s hard to know the truth. Several months ago, when Frank was entertaining in Las Vegas, some of Kim’s close friends thought she might be flip- ping her lid over him when she flew out to see him on a couple of week ends. But this is Kim’s explanation: “My mother wanted to see Las Vegas, and I thought it would be more fun for her to see it from the inside out, rather than as an outsider looking in. When could there have been a better time to take her and give her an inside look at en- tertainment in Las Vegas, than when someone I knew was entertaining there? She loved it! I flew to Vegas the second- time because one of my best friends and her husband were going.” But what about all those stories of Kim’s! jealousy, like the time she’s supposed to’ have blown a gasket when she thought Frank had taken her back to her hotel! early because he had a later date with- someone else? “Ridiculous!” answers Kim. “It’s all untrue. That's why I don’t read such stories. One night at Las Vegas, I was very tired. So at midnight I said, ‘I’m sorry I can’t stay for the late show, Frank. Please walk me back to where I am staying. So he did; but he had to return, to rejoin his friends. That didn’t bother me. Why should it? | “As for being jealous of other women —what nonsense! . Altogether, Frank and. I have had only five dates. “Nor was Frank sore at me for asking him to take me back to my room early. When he’s with a girl, Frank is very sen- sitive to the way she feels. He is also a very attentive, very tender person.” But Kim is candid about Frank, and she doesn’t put him on a pedestal. Maybe it’s because she and Frank are somewhat alike temperamentally. “We both have so many ups and downs | in our moods that I can appreciate the fact that he is quick-tempered—but quick to laugh and get over it. I recognize these traits in him because I have them myself. I’m too quick—too quick to get angry, quick to laugh, quick to cry.” And Mario? “Ah, Mario! He is so colorful. I was first introduced to him at a party as Count Mario. Later, he told me, ‘By tt as

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Personally, how- way, I am not a count.’ ever, I think he is more glamorous than any count. A man doesn’t necessarily have to do anything to earn a title—he may just inherit it. But Mario is an engi- neer, and one of the hardest working men I have ever known and he comes from a very wealthy family so he could be a plevboy if he wanted to.” There are some who think that Kim really doesn’t care much for Mario. If she did, she wouldn’t tell him to postpone his visit to this country until April just because she is busy preparing for the Jeanne Eagels story. Was this a polite brush-off for Mario? First Jeanne Eagels, then Kim and Frank making Pal Joey together in March. And then on the heels of that—Mario. “April should be very interesting,” said Kim, and her eyes turned green. But she obviously wasn’t thinking of Frank at this moment—just of Mario. She has a song she shares with Mario too, an Italian song called “Carezzami’— and it means Caress Me. Mario’s appeal for Kim lies in his ro- mantic nature, “which proves my pink light theory,” Kim laughs. Kim has changed all the white bulbs in her apartment for lights with a soft pink glow. Obviously, she believes that if you look at things from the rosy point of view, theyll appear more charming, more romantic. “To Mario,” she said, “everything is just rosy. He expresses himself in a flowery and pretty way, but he seems to mean what he says.” He likes to choose gifts that will cause Kim’s eyes to change color—and turn the soft green that means she’s pleased. There was one gift he was very eager to give her, but could never find. Early in their friendship, he learned that Kim wanted to take back the figure of an angel with her to America. “We looked everywhere,” said Kim, “including a place on the Left Bank in Paris that had all kinds of figurines. Of all the angels in this world, I couldn’t find one with the certain quality I was looking for. “Mario says when he comes in the Spring, he will try to bring me a purple angel, or else some other angel that will be just right. Having been with me through hundreds of stores, he knows that just any old angel won’t do. When Mario comes, I’m sure he’ll bring the right one. I can’t describe it, but I'll know it when I see it.” A world full of men “Maybe,” she added, “that’s the trouble with me and men. I’m looking for an angel, and there aren’t any. “Tm an idealist,” continued Kim thoughtfully. “Perhaps that’s one of the reasons I put off marriage. When I marry, I wouldn’t want to be disappointed or disappointing. “I don’t think I’m looking for a perfect man. But it’s not just making up my mind about Mac, or Frank, or Mario. It’s having to decide about these three and a whole world of men who haven’t come into my life yet! And whom I hope to meet some day.” In the meantime, she has Mac, a won- derful companion, who has given her confidence in her ability to interest a very fine, particular man; Sinatra, tender, com- passionate, hot-tempered, playing the field, but always intellectually and tem- peramentally exciting, and Mario, the poetic romanticist from Italy. Is it possible to find all this fulfillment in one man? Or should a girl settle for the man who most nearly fulfills her needs, accepting the fact that she can get along without the other traits? Before Kim marries, she may, as she herself admits, have to learn to dream less and grow up more. Just a little bit more. END Kim Novak will soon be seen in Colum- bias Jeanne Eagels and Pal Joey. why paul newman left his wife (Continued from page 43) the thing Paul loves Jackie, and marriage was the only possible answer. In 1951, Scott was born. Jackie forgot any dreams of theatrical glory, and con- centrated on making a home for her men. Sure, Paul probably thought, studying Joanne Woodward, she’s Jackie, four years ago. She's cute. Naturally, the two became buddies. Once rehearsals were under way, Paul got promoted from understudy to a real part, but he and Joanne were still the ‘kids’ in the cast; they still shared the wonderment of a first show. Before its Broadway opening a play generally goes on the road for a few weeks, for an out-of-town tryout. And a funny thing happens to people in a show, on the road. They grow into a kind of family. They spend so many hours together every day, rehearsing, working, worrying. They eat their meals together. At night, in strange towns, in sirenge bars and coffee joints, they cling to each other. When Picnic took to the road, its people became part of that magic, private world. How many nights Paul and Joanne must have sat up talking the problems of career versus marriage, the state of the nation, life, the theatre. How unimportant they must have thought those talks were, then. Paul’s wife was expecting her second child, and he and Joanne were honorable people, and love doesn’t sneak up and _could-do-it! strike without any warning. Or does it? No time to worry In any case, there wasn’t time to worry. There was work, work, work, and, finally, opening night in New York. February 19th, and the chips were down. Throw away all the clippings that say how great you were in Salt Lake City; this is the big one, the one that counts. It was fine. Picnic was a smash. Paul a smash. And in the middle of the crush, the congratulations, the telegrams, there was a quick kiss from the blonde un- derstudy, a laugh, and an I-knew-you- And why did his heart skip a beat, when he knew she’d have said as much to anybody? Forget it, you figure he told himself. Youre a man, not a boy. You’ve got a wife you love, and a life, and you don’t jeopardize those things. He thought of the way Jackie’d been all for him, no matter what he’d wanted. Soon after they married, Paul’s father had died, and Paul had had to go home to Cleveland to take over the sporting goods store his family owned. A year of that, and he was frantic. “I want to act,” he’d said, and Jackie’d said okay. She didn’t remind him that security was sweet; she didn’t say actors cheat their families a hundred different ways. So on to the Yate Drama ScHoo., and then to New York, and television jobs, and Picnic. Jackie rooted from the sidelines, and had the hot meals ready whenever he happened to get home. If she wasn’t as much a part of his life as she’d once been, | -MITCHUM COMPANY. Dept. MS- Special New Tablet Relieves Monthly Cramps for 3 out of 4 in Tests! oft i Amazing new formula developed especially for female distress gives greater relief than aspirin! If you dread those “difficult days’’ each month, listen! Science has developed a special new tablet to relieve pain, cramps, and tense feelings of monthly periods! 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that’s the price you pay when your hus- band wears grease-paint. In the summer of 1953, Susan was born. Paul spent long afternoons with Jackie and the babies. Then at night he’d go to the theatre, and in a hallway between dressing-rooms he’d bump into her unexpectedly . .. the one with the large green eyes. It’s possible they were glad, Joanne and Paul, when Picnic was over. Fourteen months of friendship and closeness and bad jokes, and sudden, stricken looks. If they put a name to what was between them, if they called it love, that’s still their secret. Paul went to Hollywood to make The Silver Chalice for Warner BROTHERS. Jackie wavered between going with him and staying behind, finally chose staying. “The kids are too small to uproot.” May- be she was wise, maybe she was foolish. For Joanne Woodward turned up in Hollywood a few days after Paul arrived there. She was on a business-vacation. They were two strangers in an often unfriendly town. What’s more natural than that they should see one another? First it was just on his days off, and then it was for dinners, soon it was every evening. Say that they stole what didn’t belong to them, but don’t assume they were happy over it. Perhaps they promised themselves this little time together, and then an end. Jackie wouldn’t be hurt, because Jackie wouldn’t know. Nobody would know. The anonymous two Back then it was easy for them to wan- der, anonymous, across the town. Strangely, a Hollywood columnist was the first person to get curious about Joanne. One night Sidney Skolsky spotted a friend of his sitting at a table with Paul and Joanne. Skolsky walked over, and was introduced. He didn’t know Joanne and Paul were together, and he found him- self thinking Joanne was rather unusual. He made several conversational overtures; she let his words just lie there—which seldom happens when _ starlets meet reporters. Skolsky’s interest was piqued. As he was leaving, he turned back. “You know,” he said, “if you combed your hair and put on some make-up and decent clothes, you’d be a pretty girl—” An alarming total of coincidences Skolsky, unsuspicious of any relation- ship between Paul and Joanne, went serenely on his way. But another reporter was beginning to put six and four together and come up with an alarming total: Coincidence piled on coincidence. The reporter brooded a while, then took action. He phoned Warner Brotuers. Was Paul Newman divorced? No, Paul New- man was not divorced; he was still very very married; his wife had simply chosen to remain in New York while he made the movie. The reporter felt like a louse. After all, the couple had been in Picnic togeth- er, they were pals, the whole business was coincidence. Except that when Paul flew back to New York, Joanne flew back to New York. And when Paul reappeared on the Sunset Strip, there was Joanne, beside him. Since you can’t do all that coast-to- coast traveling without a bit of cash in your pockets, Joanne was by now con- centrating on her own career. She’d never been movie crazy, it’s true. She’d have taken a fat part in a picture, of course, but the thought of a stock contract ap- palled her. Who wanted to be tied down for a little money and a lot of years? Still, her agent got her to test at Fox, he88 and she finally signed a deal which pleased her. But it began to look as though her luck had hit just about the time Paul’s ran out. The rushes on The Silver Chalice were far from inspiring. You don’t have to knock the picture, or Paul either. They simply weren’t suited to each other. His sex appeal was buried under the robes of a mealy-mouthed nobleman. He couldn’t bear to watch himself on the screen; he wanted to run. There’s misery and there’s misery. Paul needed to get away from Hollywood, back to the stage. He must also have needed to clear up his private life. Because you can’t work when you’re being torn apart inside, and he had a suspicion that his confused emotions were affecting his acting. They meant good-by Anyhow, he and Joanne said good-by, and this time they meant it. The one thing that now seems sure is the honesty of Paul’s intention. He meant to come home to Jackie, and make his marriage work. A lot of innocent people weren’t going to be punished because he, Paul, had been romantically mixed up. Well, the Newmans did try, and they tried hard—Jackie as much as Paul. He got a job in a Broadway show called The Desperate Hours, and while he was in re- hearsal Jackie told him they were going to have their third baby. The Desperate Hours opened on Febru- ary 10th, 1955, and ran for seven months. Paul played a villain, and got rave no- tices. His daughter Stephanie was born. The Desperate Hours closed, and Paul went back to California to do a television version of Our Town. While he was out there, he snagged the lead in a movie Henny Youngman lamented: "One year we gave Grace Kelly an Os- car, next year we deported her." Earl Wilson in the New York Post called The Rack. It was summer by then. And Joanne was in Hollywood that sum- mer. A brand-new Joanne, one that Sidney Skolsky would have beamed over, so dressy was she, so carefully made-up, so beautifully coiffed. She was in Holly- wood doing a picture all the time Paul was in Hollywood making The Rack, but they didn’t see each other. You don’t like to make a guy out a hero just because he’s faithful to his wife and family, but sometimes idealism is easier written about than practiced. Give Joanne and Paul some credit for that summer, when you're toting up scores. It must have been awful for them to avoid one another, but they did it. Joanne was occasionally seen with a New York actor named Bob Quarry, but she was never seen with him more than just now and then... "Where's Jackie?" they asked Paul worked days, studied evenings, looked a little strained, but tried to give straight answers when reporters asked straight questions. Somebody wanted to know why Jackie and the kids weren’t in California with him, and Paul said it was because kids needed roots. “You can’t keep shuffling them around all the time, much as you miss them when you're away—” Paul and Joanne returned to New York about the same time, but not together. Then Paul, borrowed from Warners by MGM, turned around and went straight back to Hollywood for Somebody Up There Likes Me. The picture was great, but Paul’s peace of mind wasn’t. Right before its release, he disappeared. MGM, anxious to snag “3 Of Eve. — him tor some publicity, called his home. Jackie said she didn’t know where he was. A few weeks later, he showed up in New York. He did a few television shows, kept turning down scripts WaRNERS’ sub- mitted to him. The parts he was playing on television were indifferent ones, a cou- ple were even bad, but he didn’t seem to notice. A psychiatrist might have called it self-destructive, and a_ psychiatrist might have been right. Because Newman didn’t appear to care much what hap- pened to him. The final proof of this came one night last July when he drove his brand-new very expensive sports car into a fire hy- drant. Since the car could still run, he tore off again, leaving the hydrant over- turned and pouring water. He was finally arrested for going through a red light, and taken to jail. His conduct was anything but a shining example to the youth of the nation. He screamed about reporters and pho- tographers hanging around; the newspa- permen were there covering a kidnapping, and hadn’t any idea Paul was Paul. He screamed about how he’d played Rocky Graziano, struck threatening poses—and insisted that his cell door mustn’t be locked because “I have claustrophobia”— which is a deadly fear of being in closed rooms or narrow spaces. Somehow the picture didn’t shape up as that of a clean-limbed American boy having fun on a night out. The picture was of a deeply disturbed guy running away from himself, and yelling so he wouldn’t be able to hear himself think, so he wouldn’t have time to notice how dark it was getting. In the Newman house, it had got very dark indeed. Jackie’s a proud girl. Offer her half a loaf, and she’s not so sure it’s better than none. She’s also a compas- sionate girl. Miserable for herself and her children, she must have been equally unhappy for Paul. The price of happiness At any rate, the Newmans separated quietly last October. As a last gift, Jackie Newman returned to her husband his peace of mind. December found both Paul and Joanne Woodward in Hollywood. She was doing | a Climax television show; he was deep in conferences over The Jazz Age. In the middle of December, Paul gave his first Hollywood party. The guest list was carried in some of the columns—Tony | Rita Moreno, . and Joanne. Perkins, Dennis Hopper . . There it was. Virginia Leigh, | For the first time, there it was in the © public prints. Their names linked. Paul came back to New York to spend Christmas with his children, and Joanne came back to close up her New York ' apartment. New Year’s Eve, Paul and Joanne were together. You wonder what went through their minds, as they toasted in 1957. For © four years they must have looked forward to such a night, secretly, if not openly. Yet, having finally bought their happiness, - they must have trembled at the price. If Paul and Jackie divorce, if Paul and | Joanne marry, what then? Can love erase guilt, and blot out pain? . Can you look so | deep into wide green eyes that you're able to forget three children, children who their daddy isn’t coming | wonder why home? END Paul Newman can currently be seen in | MGM’s The Rack. Watch for him Warner Bros.’ The Jazz Age. Joanne Woodward will soon be seen the 20th Century-Fox film Three Fai 3 i gs y . " im 3 fend) oe a

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the types of girls | can’t stand ‘Continued from page 36) “There’s the cid who has to know every move you nake. I saw a lot of one particular girl nnd then one night I had a business ap- ointment and couldn’t keep a date. Said ‘d see her the following night. The fol- owing night I walked through her front loor and she attacked me. With whom vad I been? For how long? What did I lo? Why did I do it? I shut up like a ‘lam. “Another time the same thing happened, ut with a very different kind of girl. Vhen I picked her up, she was her isual sweet self. Never asked a question. sy the end of the evening, I was boring er with the details of the night before. enjoyed telling her about it. I’d prob- bly have done the same with the first irl if she hadn’t used force. Most fellows sel that way; the girl they go back to is ne one that doesn’t press. “The possessive girl is generally the girl vith telephone-itis. Tell her you’re going 2 stay home and work of an evening, and he keeps ringing up just to check. If ou happen to be out, she talks to your nswering service, but never leaves her ame. If you happen to be in, and pick p the phone yourself, you say hello, ello into silence, then you hear a click. here's always one exception “Of course,” says Tony, cheerfully, there are always circumstances when a sllow lets a thing like that go. Now take laine Aiken. She’s forever calling to see I’m home on the nights I say I am. generally can’t stand that sort of thing, ut from her, I take it. She’s got so many ther wonderful traits, I can’t really get iad or stay mad at her for more than uirty seconds.” ; (Tony’s apt to get wound up on the sub- ect of Elaine, and stray off the subject - women ‘he’s known and loathed.) “Elaine’s a very unceremonious person,” > says. “If we get to a premiére and an’t find a parking lot closer than six locks from the theatre, that’s okay with er. She'll walk the six blocks in high sels, or if it’s warm, she’s just as apt ) take off her shoes and hike along that ay. Shell stand in a lobby and do rty-five interviews if she’s asked to. he adjusts. Shell go to a_ basketball ame as contentedly as to the premiére of he Ten Commandments. She’s got a mse of humor. If she didn’t have, you ouldn’t catch me telling the story of her 1ecking-up habits.” So much for Elaine, and back to the mnoxious ways of some other fair ladies. ie window shopper Say you're having fun together. Laughs, id hand-holding, and isn’t it great to be nung. Then she starts looking in the initure windows, and every jewelry ore that displays a wedding ring gets long look from her gentle eyes. What’s 1 her mind? Marriage. One of Tony’s rls didn’t stop with looks; she put her ise into words. “How about it?” she said, id he wanted to die right there, feeling abarrassed and trapped. “Tm not ready, I’m too young, I haven’t »%t enough money—” All the reasons were true, which made em no less painful. From that day for- ard, the romance was doomed, the shtness had gone out of it. “I felt the ype going around my neck.” When the relationship finally fell apart, left Tony with a conviction. “The ore a fellow thinks he’s being pressed to marriage, the more he wants to run 5 ERR. oe ie ee ee other Way, even if marriage was in | raieeae a Ay ae the back of his mind for some future day.” You don’t have to know a guy a year and a half to give him a bad time, Tony warns, and recalls a few first dates that were sizable pains in his neck. When Perkins first arrived in Holly- wood to make Friendly Persuasion, he wasn’t acquainted with a lot of girls. On one of his first visits to the studio, he spied a cute brunette who worked in the secretarial department and asked her to have dinner one night. She accepted. They went to a fine restaurant. They went to the Huntincton Hartrorp THEATRE and saw Anastasia. So far so good. Then Tony put the lady in his car, and started driving toward her house. She was appalled. “Aren’t we going to stop somewhere for a drink?” “I don’t drink,” Tony said mildly, “but I'd love to buy you one. It’s just that I have to get to bed around midnight. I’ve got to be up at seven for tests and—don’t _ laugh—I’m supposed to look seventeen.” She wasn’t about to laugh. She wasn’t even about to be pleasant. “I know why you're not taking me anywhere. You’re bored with me, you didn’t have a good time—” “It’s because of the picture,” he insisted desperately, “really it’s because of that.” Tony thinks if you tell a girl you have to be home early, the girl should be gracious about it. Nine chances out of ten, you do have to get up at dawn, and if, in the tenth instance, you’re ac- tually bored, what good does it do the lady to know about it? Lately, Tony’s been solving the problem by dating the girl he’s working with. Then there's Dr. Freud's helper Next on Tony’s list of pesky females is the girl who’s an amateur psycho- analyst. “She’s read somewhere that all actors like to be analyzed, and instead of judging the guy as an individual, she feels it’s her duty to be Dr. Freud for the evening.” He remembers one girl who was pas- sionate to expose his unconscious. “You know why you’re making pic- tures, of course,” she said. “It’s because you need fame to make up for an un- happy childhood.” “Tm really not making up for any- thing,” he said. “I’m making movies be- cause I like acting, and it’s my business and a good business. And I was a very happy child!” “Ha!” sneered the young lady, pro- ceeding to deliver a talk on psychology. That was another one Perkins never saw again. And then there are the girls who think nothing of dishing out advice, “And I mean c-o-n-t-i-n-u-o-u-s-l-y,” says Tony. There was such a girl not long ago. Tony’d phoned and asked for a date “a week from Saturday. I’d love to see you before, but I’m knee-deep in studying for Fear Strikes Out.” The sympathetic sort On the other end of the wire: silence, indicating deep sympathy. Then: “Fine, for a week from Saturday. But—” An- other pause. “Tony, you’re working too hard. You’re doing too many pictures, you don’t relax enough—” At the end of the conversation, Perkins was thoroughly depressed. He hung up feeling like maybe it wasn’t worth it to go out at all. Maybe it wasn’t worth it to work. Maybe nothing was worth any- thing. He kept the date, and “It was as though for the PERMANENT DARKENER (2),.'%. FOR LASHES AND BROWS ACTS INSTANTLY: Anacin goes to work instantly. 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she’d made a record of what she’d said on the phone.” More worry over him, more concern about his health and wel- fare. Plus the fact that she never shut up. Which, incidentally, is another Perkins peeve. “A girl should try to understand a guy’s mood. If he feels quiet, she should keep the conversation on a quiet level. If he feels wordy, she should let him get the words off his chest. Not that she should shut up like a sphinx, but a girl should know -when she should talk and when she should listen—” Switching from talk of solo dating to the problems of dating at parties, we find Tony’s got a few party battle scars he’s willing to talk about too. He begins these with the sad tale of the Clinging Vine. 100% attention “When J go to a party,” he says, “there are professional obligations to adjust to and handle as well as friends you want to chat with for a minute. It’s pretty tough to be with a girl who can’t leave you for a minute. “Tf you’re trapped with a clinging vine at a party, you can be hip deep in conversa- tion with Cecil B. De Mille, and she'll BARBARA LANG’S MIRACLE @ Three years ago she was told by her doctors that she would probably never walk again. The word probably was used perhaps to soften the blow, to leave in the prospect of a miracle’ Because the beautiful young blonde girl still tug at your arm—‘Tony, get me a sandwich, she’ll plead, as though she had two broken arms and a_ sprained ankle. “Since she wants 100% attention at all times, you might just as well have spent the evening alone together and not come to the party at all. A girl should under- stand that sometimes her date has to and wants to talk to other people,” Perk- ins declares, “and she should know what to do with herself, and not get into a tantrum if the guy is having a word or two with another girl, or forgets to pass her the watercress every four minutes. After all, if a fellow thought enough of her to ask her out in the first place, she doesn’t have to worry that he’ll forget to take her home.” Almost as much of a drag as the Cling- ing Vine is the Social Climber. Tony once met a lively college girl who claimed she wanted to be a teacher. She seemed refreshing to him: she couldn’t have cared less about big names in the picture busi- ness. “I even hesitated about asking her to this industry-type party because I felt she might be bored, but when I mentioned it, she said she’d like to go anyhow.” lying so helpless in Los ANcGELEs County HospitaL was so definitely past medical help, the doctors felt they must tell her the truth. Today, that beautiful blonde is playing an important part in MGM’s House Of Numbers. She’s Barbara Lang, newest glamour girl at the Culver City Studio, and she has what girls dream about all over the world: her name on a movie contract. For Barbara, too, it’s a dream come true. She had always dreamed of being an actress when she grew up. Other little girls might have had tea parties for their dolls; Barbara played theatre. Then, just out of EAcLE Rock HicuH ScHoot, the future was opening up at last. But the beginning of the dream, that summer, seemed to be the end, also. Bar- bara contracted polio. There are varying types of infantile paralysis; Barbara’s was hopeless. The verdict was that she would never walk again. At first, Barbara tells you, she was in a state of shock. She couldn’t believe it was really happening to her. Then she began to think, in the long hours in that bed. What was it the doctors had said? If you walk again—it will be a miracle. It was then that Barbara Lang remembered God. and her faith in His help. She’d always been religious. She says, “In church, I used to believe that I was talking to God.” Barbara asked for a Bible, her symbol that she’d walk again. In a month, she was able to sit up. Not too long after that, she took her first steps. The road back was not easy but Barbara, it might be said, held on by her spiritual teeth. A year ago, her faith in a miracle was justified. She started her career, singing in’ clubs in the San Francisco area. A talent scout was impressed with what she did to the audience, as well as the way she looked. After that came tv and the lead in the Death Valley series. Then director David Friedkin and producer Morton Fine were to do their first production at MGM, Capital Offense. They wanted a new face for the picture, and when they spotted Barbara on tv they knew they had found the girl. Here was more than a pretty face; it was a face with an intriguing depth, an unusual quality. Barbara got the part. But after a reading, and tests, the studio decided she was worth an even bigger and better one—in House Of Numbers. There is no medical explanation for Barbara Lang’s recovery. Barbara’s own, in her humble gratefulness to God, is that she held fast to her faith in a miracle. And, behind that sexy facade is a spiritual quality that would not be there—if a pretty girl had not been told, three years ago, that she would never walk again. Watch for Barbara in MGM’s House Of Numbers. Thinking back, he roars with laughter at his own innocence. “Bored? She didn’t have time. Five minutes after we got there, she was making eyes at the big- gest producer in the room. Minutes later, she was telling an agent how she ‘just might be interested’ in a movie career!” This was the opportunity It began to dawn on Tony that the kid was an opportunist, and this party was the opportunity she’d been waiting for. At the close of the evening, Tony ush- ered the lady out, and he did it sullenly. “T even gave her a few dirty looks.” She wasn’t dumb enough to pretend-she didn’t understand, but she passed the whole thing off blithely. “I didn’t think you’d mind,” she said. “I won’t do it again.” “Tt embarrassed me,” he told a friend later. “I felt as if everybody knew she was using me to get into a situation where she could promote herself.” Tony vows he doesn’t care what a girl is, as long as she doesn’t lie about it. “If this girl had told me she was interested in acting, I’d have done anything I could to help her. It was the underhanded way she did it that got me down.” And that wasn’t the first time. Girls, according to Tony, are always pretending to be who they just are not. For in- stance, you meet a girl at a party. She pretends to be sophisticated, cool. You take her out, and she’s naive, nervous. You don’t mind that. What you mind is that she tried to hide her real self. Cha-cha-cha and Van Gogh Take the case of the exotic creature in the low-cut tease-dress. That was what she was wearing the first time Tony saw her. And she was raving on about that Latin dance sensation the cha-cha-cha. “T asked her out,’ he says, “suggested Crro’s and she said she’d simply adore it. They played the cha-cha-cha. I stood up, she sat there. She couldn’t dance the cha-cha-cha. I waited for a waltz. She couldn’t do the waltz either. In fact she couldn’t dance. In fact she really hated night-clubs. Well, I’m not mad for them myself. I thought she’d like ’em. If she’d been honest, I could have planned some- thing more up her alley and mine.” That was bad enough, but another girl topped her. .Tony was at a gathering of some friends, and he was discussing art, which is one of his major enthusiasms. A girl he’d never seen before edged up and joined in the conversation. “I adore art. May I listen?” What could be more flattering to a man? She listened as though it were her life’s work, and every so often, she’d stick in a modest two cents’ worth. “You’re so right, I agree,” she’d say to Tony’s side of an argument about Van Gogh. “T fell into the trap,” he says. into it.” He asked the lady out for the following Sunday afternoon, with a great song in his heart. “I thought I’d surprise her— they were having a special Van Gogh shew at the museum. When we got there she didn’t know a Van Gogh from Whis- tler’s Mother. If I’d showed her an etch- ing of Mickey Mouse and said _ the immortal Vincent had done it, she’d have smiled. I felt like hitting her on the head with a copy of Lust For Life. I felt| like bouncing her down the front steps of the museum like a basketball. She was bored to death—and both of us had a lousy time. We could have done some- thing else that both of us enjoy!” “I dived The whole world knows Then there’s a kind of girl Tony calls the mother-confessor with the big mouth. “Tf you’re quiet,” he says, “she knows

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—— a, that you’ve got something on your mind. “Don’t tell me, she says, ‘Unless you want to.’ “Good. You don’t tell her. Five minutes later, plaintively, comes: ‘You can tell me. Ill understand—and Ill never say a word to anyone.’ “You consider this, while she perfects her argument. ‘In fact, if you must tell someone, tell me. You'll feel better to get it off your chest—’ “Finally you tell her. Only her. Next week, the item is all over town, and your best friends are calling up complaining. ‘What's this I hear about you from some- body who heard it from somebody who heard it from somebody—’ ” Perkins’ advice to girls who want to Keep fellas. “If a guy confides, keep his confidence!” There are various types of problem dates that Tony himself has never run into (he knocks wood as he says so) but his friends have warned him, and he throws in the following categories just to wind things up. These girls can frighten a guy away fast: Is this you? @ Gold-digging Gertie: She drags young actors to the most expensive restau- rants, orders the gold plate special, leaves most of the food on the plate because she thinks that chic. Poor date lives on coffee for the rest of the week. @ MHard-drinking Hattie: She takes more liquor than she can handle, and the guy has to carry her home, after she’s made a public spectacle. Then she won- ders why he never calls her up again. @ Painted Paula: She uses make-up as if there’s no tomorrow. “I find it dis- concerting to stare into beads of mascara,” Tony says. “A girl who’s natural is far more beautiful to me.” @ Promiscuous Peggy: “The available type automatically makes herself unat- tractive to men,’ Tony believes. “And not only to the so-called nice guys. Even the not-so-nice boys have no use for such a woman after the first couple of dates. If you go out and make yourself free, the guy just isn’t interested. It’s sad, but it’s human nature.” Which isn’t to imply, Tony adds hastily, that he’s got any use for those girls who fake complete unapproachability. If a girl wants to go out with you, yet plays hard to get, it’s time wasted. And a girl who really likes you, yet won’t give you a goodnight kiss, starts you wondering what’s the matter with you. Well, there it is. Some pretty good tips about how not to act with men. If you want tips about how to act with men (or, at least, how to act with Tony Perkins), ask Norma Moore or Elaine Aiken or Maria Cooper. These are the girls Tony currently adores, though mar- Tiage to any of them is not on his mind. Used to be he didn’t have the money, and he wasn’t old enough. Now? “Frankly,” he says, “I don’t have the time.” END Tony will soon be seen in Paramount’s Fear Strikes Out. Watch for him also in Paramount's The Tin Star and The Lonely Man. He'll be in Columbia’s The Sea Wall. _——————————— I could have been a delinquent —_———— (Continued from page 57) knowing the kids who turn into hoods like I got to know them, it wouldn’t have been tough to become one of them. But let me tell you about it like it hap- pened to me. For instance. . . One kid in school, about four years old- er than I, had a nasty habit of sidling up to me and drawling “Eeeehhh, Bennn- eee!” He was more than a head taller than I and I wasn’t about to tackle him. But there were other kids, too. We'd go, My own gang and me, to the local movie theatre—a building fondly known as The Itch because it had no screens and used to be attacked by swarms of mos- quitoes in battle formation. There I'd bump into strangers my own size who were itching, figuratively as well as liter- ally, for a fight. It wasn’t just my hair; I guess it was also because my name was in the papers so often. Kids can be pretty cruel, and they’d taunt and taunt until ’'d put up my dukes. I'm not a fighter by nature—never was. But my father settled it for me with a hunk of wisdom in the shape of a punch- ing bag. “Fighting isn’t worth it,” he told me. “Even if you win, you can lose.” And many, many times I came home seething, took off my coat and knocked it out on that punching bag, trying to prove to myself I was as tough as the bullies— and at the same time getting rid of a lot of steam. It's tougher to walk away At first I fought back, but soon I began to see my father’s point. These kids didn’t care if they carried home a black eye, but with me it meant that I had to put on the greasepaint a little thicker that night, and sidle on stage so that the audience _couldn’t see my shiner. As an actor, I | i to protect my face. Friends in school . Sh rn nthe is ce used to ask me, “Ben, why do you want to be an actor? Look at all the trouble it makes for you.” I ought to clear up the point right now that acting was important enough to me so that all this was worth it. Some kids are pushed into violin or piano lessons by their parents and hate every minute of it. Me, I wanted to be an actor, and I felt sorry for other kids because they didn’t have a goal in life like me. My parents let me go ahead with the work because it made me happy, but they were never theatrical parents. Anyway, soon I learned to walk away from a fight, and believe me that takes more guts than fighting. You leave your- self wide open to being called yellow, but I could see that if I fought one kid I'd have to fight every boy on Long Island. When I was eleven I left Life With Father, and then began long years of radio and television work. I used to have run- ning parts in radio serials, and I averaged about ten shows a week. This meant I had to spend every day in New York City. My mother went over with me at first, delivering me from one network to another. The Beechhurst delinquent But by the time I was thirteen she figured I could go it on my own, and this left all of Manhattan wide open to me, with three or four hours of nothing to do. In between shows I’d roam the streets until I knew every lamp post in the city. I used to go into the penny arcade at 5lst and Broadway to while away the time, and from there I walked away from at least a dozen fights. Of course there was an occasional exception —one show I did, you couldn’t see me for the greasepaint. I had to cover the shiner! At home during this period I was en- joying a little delinquency of my own. ‘Corns, Cailouse AZ Lift Right Out! - NERVE-DEEp =~ >< — RELIEF! =f. No waiting for re- lief when you use Dr. - Scholl’s Zino-pads! They speedily end painful shoe friction, lift pres- ] sure on Corns, Callouses, Bunions, Sore Toes . . . ease new or tight shoes . . . stop corns, callouses, blis- ters before they can develop! 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After an evening in the movies and a stop at the Green Lantern for my fav- orite concoction, banana and black rasp- berry ice cream with chocolate syrup, marshmallow syrup, whipped cream and cherry, my pals and I would walk the long mile home and break every street light on the way. With snowballs or stones; it didn’t matter. Those unprotected dinky light bulbs were too much of a temptation. We may have made_ the street maintenance department a_ little sore, but we figured we were providing an ideal Lovers’ Lane for all of Beechhurst. But things were a little different in the city! There the tough guys are really tough. At fourteen, I was working at a studio up around 109th and Lexington. It’s a rough neighborhood. Proud of the scars It was swarming with guys in leather jackets and dark looks. I’d come out of the studio at night and walk toward the subway, and all of a sudden out of no- where there’d be two or three guys walk- ing alongside of me. Sometimes they talked among themselves, keeping in perfect step with me. And sometimes they didn’t say a word. That was worse. Those kids have a natural feeling for the horror of the unspoken threat, and they played it for all it was worth. And sud- denly I didn’t feel tough any more. Be- cause no matter how tough you are, if that’s the way you want to play, there’s always somebody around who’s just a little bit tougher. And if you start tangling it up, you’re going to have to take all comers. I don’t think I was a coward. I knew they carried knives and I thought it would be a dandy idea if I carried one. My ‘father stuck to his point though. “If you whip out a knife too,” he told me, “they’re going to want to find out if NO MORE CHEESECAKE you can also fight with that knife.” This sounded reasonable, and besides I had to remember that those kids are proud of sears they carry, while I still had to keep my face clean if I was going to earn my living. At noon I used to eat at a lunch counter in the neighborhood that was patronized by the toughest kids of the area. I was told not to, by paternal-type producers of the shows, but somehow these kids held a fascination for me. There was something dramatic and intensely exciting about the way they lived—I thought. I used to sit there hunched over my hamburger, hoping I was hunching like they were, but I must have looked pretty silly. They used to hunch and munch and give me the eye, and I felt I was sitting on a powder keg instead of a lunch counter. But I couldn’t resist it. : One day, when I’d had a morning re- hearsal for a show about a young punk in trouble with the law, I was still think- ing about my lines while eating lunch. In the script I was supposed to say to a juvenile authority, “Look, I’m not trying to tell you a story, mister. This is the truth.” Having heard these guys talk, I knew the line didn’t sound right, so one day at lunch I pumped up some courage and asked them about it. Accepted by the crowd “Ts that the way you'd say it?” I asked. They didn’t hear me because they were holding their sides and falling off the stools. When they recovered they looked at me in abject pity. “Man,” said one of them, “that ain’t the way you'd say it.” He guffawed again and then told me the thing to say would be, “Man, I’m not tryin’ to cop a plea.” “What?” I asked brightly. And they had to explain it to me. @ “I don’t mind sharing some of my wife with the world, but certainly not all of my wife,” says Tony Steel, husband of Swedish-born Anita Ekberg. And that may be the reason for it all. But whether or not it is, Anita comes out with a real positive statement. “No more cheesecake.” The world’s number one pin-up queen has drawn the line. “No more cheese- cake,” voluptuous Anita declares. “I’ve had enough. In fact, more than enough!” The reason Anita went in for cheesecake art, she says, is because it was the only way she could make Hollywood producers aware of her existence. “For years,” she claims, “I tried the old-fashioned methods, knocking on doors, getting introductions, meeting casting directors. None of it helped. I couldn’t get a break. I figured the only way I could crash Hollywood would be cheesecake. “Cheesecake did the trick, and I’m terribly grateful to it. But now pin-ups have served their purpose. I see no sense in overdoing them. I don’t want to be labeled a pin-up cutie. I want to be labeled an actress who can act.” Can it be that the sexy Swede has changed? Chances are that husband Anthony Steel has done the trick. Ever since their marriage the pin-up queen has concentrated more and more on work, less on play. She even told studio publicity departments that she won’t pose in a bathing suit unless a bathing suit is an integral part of her role! Anita’s in Paramount’s Hollywood Or Bust. Watch for her in RKO’s Affair In 92 Portofino, U.A.’s Valerie and Columbia’s The Most Wanted Woman. Which is about when they began con- sidering me their buddy. A weird kind of buddy, to be sure, with the hat I had to wear because of my sinus trouble and the tie and the white shirt. But just the same, I’d been accepted. I should have known then it was no big deal. Their hangout was in the rotted in- terior of a condemned apartment house. Every day they told me about it and every day they tried to get me to go there with them. I couldn’t figure whether their motive was to work me over in the solitude of the building, or whether they really liked me. I felt honestly flattered that they even asked me, but just the same I wasn’t quite brave enough to ac- cept. I thought about what it would be like to be a member of the gang. Lots of them were runners for bookies or in the numbers racket, and they thought nothing of it because everybody they knew was in the same boat. I could see myself joining up, and with my man- ners and polished shoes becoming the brains of the whole outfit. But it was just daydreaming. At heart I knew too well that my conscience wasn’t cut out for such a life. In radio jobs I had met countless prison wardens and men who worked with these kids, try- ing to straighten them out. Id had it pounded and pounded into me that the crooked life just doesn’t pay. The mes- sage drove home to stay, and I never did go to the hangout. And to tell the truth, I’m not sorry I didn’t. "We like each other" There were two things that helped me resist the temptation of being a tough guy. One was my work; I was just too busy. I remember one Christmas week that I worked on sixteen shows, and over the years my parents turned down hun- dreds: of offers because they thought I was already working too hard. The other reason was my family. Aside from the love that one member of a fam- ily feels for another—just because you're all part of the family—in ours there was genuine friendship. We liked each other. My parents never broke their word; if they promised something to my sister or to me, they saw to it the promise was kept. Lucky kids grow up with a respect for their parents that won’t allow any straying from the straight and narrow. I was tempted, too, where language was concerned. In show business you hear every conceivable word, and I started off in show business when I was still eight years old. In the play Louis Calhern, who played Father, says, “Oh damn, I forgot!” Opening night my family sat in the audience and afterward took Bunny and me for a sundae, to celebrate. Reach- ing a corner I turned it by mistake, and when my father called me back I grinned and said, “Oh damn, I forgot!” Right then and there, Dad called me for it. “Tt’s fine for the father in the play, but it isn’t funny when a little boy says it.” I remember one actress who began tell- ing a joke and then, spotting me within earshot, said “Never mind. Later on Ill finish the joke.” I took my cue. “Could I go out and get a drink of water?” I said. And just before I disappeared behind the wing I winked and said, “Call me when you want me.” Maybe because I was so YMCA most of them were considerate enough to spare me a lot of things. But that doesn’t mean that there weren’t plenty of bad ex- amples that I could have followed. There were always characters in and around the theatre, and I learned early. All this may sound like kid stuff, but it’s the kind of thing that can lead to the big time—the big time in jail! A

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_ By the time I was sixteen I could spot a hood a mile away. They have a peculiar way of jiggling while they’re standing still. By the time I was seventeen I noticed the type who’s always checking the entrance with nervous eyes. By eighteen I knew that most hoods are a suave, manicured set, a style started by Capone. And a year later I could tab a bookie, and learned to spot a gun carried beneath a coat. Something to do I knew one guy who was a runner for a bookie, but by this time there was only one thing I admired him for—for learning a lesson. He was about to get into his car when he was approached by the cops, and without flicking an eyelash he dropped his bookie slips into the gutter. There the papers stayed while the cops frisked every inch of both Eddie and his car. Sure he wasn’t caught, but it was so close that he decided it wasn’t worth it, and I under- stand that Eddie never took another job that wasn’t on the level. Sure I feel sorry for the boys who get caught up in the underworld. Every time they got away with something, they thought they were that much smarter— until they didn’t get away. That’s where Eddie was different, and me too, I suppose. But with me it was because I had some- thing else to do. I guess that’s the secret of it, having something to do. And know- ing you’re strong enough to do it. Once Dad and I were talking about a man who had become an incurable alco- holic, and I asked him how this man ever started out to be like that. “Nobody ever starts out to be a drunk,” Dad said. I not only had my dad for advice; I could see things happening all around me. Little kids carried home-made zip guns, carved out of curtain rods, rubber bands and floating firing pins, and more than one boy had his hand blown off. Bigger kids tangled with the law and spent their youth in assorted jails, and still bigger ones, lots of actors I’ve known, ruined their careers by drinking. Having the chance to observe all this stuff, you stay away from it. I remember when some- body in show business offered me a drink when I was fifteen. “No thanks,” I said, “I don’t need it.” Maybe it was a barbed answer, but I meant it. A drink now and then is enjoyable, but I’ve never thought I needed one in order to have a good time. A lesson in how to say no Worse yet was dope. I had done several shows that centered around drug addic- tion, and knew a little bit about it—as most everybody does these days. I knew enough to recognize it one night in Holly- wood, when I was only nineteen. As a favor to a friend, I offered to drive his girl friend to a party where she was expected. The house was one of those big ones in the hills above Hollywood, and when the host asked me to come in I said I would for a few minutes. The place was jammed with people, the girls expensively - dressed, the guys wearing $300 suits, and while I didn’t think about it at the mo- ment, it was a pretty crazy party. It was so noisy and close that I stepped out on the veranda for a breath of fresh air, and lighted a cigarette. Then I heard it, next to me—the deep, rasping inhale of the marijuana smoker. - A man and a girl were out there and after a few minutes the man walked over to where I was standing. “Hey, pop, why don’t you turn on?” I held up my own cigarette. “Thanks, I have one.” “Come on, man, I'll give you a stick. I don’t want to sell it to you—I'll give it to you.” I knew this was danger valley. Id | played it so many times on radio and television. “No, thanks,” I said. “Come on, daddy,” he said. “It’s not habit forming.” “How many have you had?” I said. “Three. But one'll do it for you. I used to get this way on only one. Come on, | man, it’s crazy.” He had said it wasn’t habit forming, the poor jerk. He kept it up for five min- utes, all the while drawing deeply on his cigarette. I left the party, not because I was afraid, but because it isn’t pleasant to watch people who have begun the ruin of their lives. I was lucky, because I knew enough about it, had known for a long time that such things aren’t smart, they’re just plain suicide. I pity the kids who are drawn into bad circles and bad habits. I could have been a juvenile delinquent myself—I had every opportunity—but I turned away from it because I had a job, because of the trust my family put in me, and because we all have a certain responsibility to ourselves. I'm sure some of the hoods I’ve known regard me as a clunk. I for one am happy with the whole deal, just like it is. END Ben Cooper will soon be seen in the U.A. film, His Father’s Gun. eee doris day’s escape from hell pee ee ore TOM MCI (Continued from page 49) whether to re- sign from the only studio she had ever worked for, or if she dared to strike out on her own, with her husband Marty act- ing as her producer. She couldn’t decide about her records either. She could sing any love song into a hit, but suppose the public got tired of that? She thought of trying out rhythm numbers, blues numbers, comedy bits. But—did she dare risk changing her style? Maybe she’d flop if she did. There were night club offers and tv offers. Should she try that? Which would be best? Should she risk public appear- ances again? Yes? No? Most of all she wanted to find out about herself as a dramatic actress. She was a million-dollar smash in musicals but she wanted to get within nomination distance of an Academy Award. Or would that ruin her completely? Decisions. Decisions. | | interviews. Photographs to be posed eer Te for. Costume fittings. Her Marriage to Marty, which was a full-time job. And Terry, her son, to help grow. up—another full-time job. Recording sessions, and busi- ness conferences, and church attendance, and answering phone calls, and memoriz- ing scripts, and shooting pictures, and answering letters, and making personal appearances, and doing benefits. She thought she was taking it all in stride. Except for that business with’ her breath. So she kept on ignoring that. Until that afternoon when the pain hit. Then it was gone, and she told herself she hadn’t felt it at all. She wouldn’t bother mentioning it to anyone. Fear becomes one word It came again, and she lived with it, and tried to keep the fear from showing. For weeks she managed to conceal from Marty that she wasn’t sleeping. At the studio she’d say that she had eaten at home and at home that she had eaten at the studio—so no one would know she couldn’t keep her food down. 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ceal her weight loss. She kept telling her- self it would go away, but instead the pain became more constant, her heart- beat more irregular and her breath came in shorter and shorter gasps. Until suddenly the fear became a word: cancer. That was what a doctor would tell her. But she couldn’t go to a doctor. She couldn’t go to a hospital. She was a Christian Scientist, and she couldn’t ignore the basic teachings of her religion. Marty shared her faith. Terry went to Sunday School. She couldn’t destroy their faith, not even if it meant facing death alone. So day after day she lived alone in her own. private hell. Well, perhaps not com- pletely alone. ... The complete lack of privacy in which stars live was in Doris’ case a help. The studio, Marty, her mother, her friends, suddenly surrounded her. They got her to see a doctor. The doctor told her she did need a bit of minor surgery. But she didn’t have cancer! It was a harmless tumor, not the dreaded disease that she was so terrified of. Out of her terror she submitted to the surgery, quickly re- covered, and felt perfectly fine. For a few months. Then the pain returned. The pain and the skipping heart beats and the complete lack of breath. This second attack chilled Doris with 1. | LIKE PAT BOONE: CL] more than almost any star [1] a lot oO C] fairly well (] very little [] not at all oO Please check the space to the left of the one phrase which best answers each question: 4. | LIKE TONY PERKINS: more than almost any star fairly well (] very little (J nerve-shattering fear. In her mind she knew she wasn’t really ill—she’d finally been convinced of that—but she had all the symptoms! Again she tried to hide her terror from Marty. She told herself this was her actress’ imagination at work. But the pain, the gasping for air, that was real. Real and yet imagination. So it could only be one thing, Doris started thinking, she had crossed the ter- rible borderline. She no longer knew what was unreal, what was real. She must be mad, Doris decided. And added to her fear of cancer was the hell of fearing for her very sanity! This time she was the one who found a doctor. He wasn’t a psychiatrist. He was just a very understanding medical man. He said to her, “Get a notebook. Write down everything that comes into your head. Whatever you think of. Then read what you’ve written—and think about it. And then if your symptoms don’t stop, come back and see me. But I think that when you face life honestly, without being afraid of living, then you will be well.” A look into the past Doris felt very silly that afternoon, buying a kid’s notebook—like the ones she had had in school at Cincinnati. Sud- denly she found herself thinking of her first screen test, and she wrote about it, there in the notebook, first of all. $100 FOR YOU: Fill in the form below as soon as you've read all the stories in this issue. Then mail it to us right away because each of the following readers will get $10—the one who sends us the first questionnaire we open; the 100th; the 200th; the 400th; the 600th; the 800th; the 1000th; the 1500th; the 2000th; the 3000th. Get it? For example, if yours is the 1000th we open, what do you get? Why, $10 of course! 7. | LIKE PAUL NEWMAN: a lot oO not at all more than almost any star [) a lot fairly well [] very little () not at all She had arrived at Warners’ looking like a teenage tomboy, wearing jeans and a shirt and she let Mike Curtiz, the director, and Jack Warner, the studio head, gather the idea that she’d dressed this way to prove they couldn’t impress her. But that hadn’t been the truth. Those were the only clothes she had. She had broken down singing “Senti- mental Journey” for them. Her first hit tune, and she should have been able to get through it any time. She let Curtiz, Warner and herself think she was just nervous. But again that hadn’t been true. She had broken down because that very morning she had filed for her divorce against George Weidler, whom she adored. The Doris Day of 1955, writing in her notebook, wondered why the Doris Day testing for Romance On The High Seas couldn’t have been honest with herself. She had been honest in court. She hadn’t made any accusations against George Weidler. She loved him. All she had said, asking for her freedom, was that George had broken her heart. She hadn’t even told the judge that George had asked for the divorce. She had just said, “He left me heartbroken.” The Doris Day of 1955 thought of Mar- ty. When she had married Marty she hadn’t wanted to bother with a honey- moon. She was too sensible to bother with silly things like honeymoons. 10. | LIKE DORIS DAY: more than almost any star [j a lot fairly well [J very little () not at all (J don’t know him well enough to say {_] don’t know him well enough to say don’t know him well enough to say don’t know her well enough to say 1 READ: (7 all of his story ( part (] none ! READ: [] all of his story (] part (J none i] | IT HELD MY INTEREST: [_] super-com- IT HELD MY INTEREST: [] super-com- ! READ: [] all of her story (j part [J none HELD MY INTEREST: [J super-com- READ: [all of his story (J part [J none IT HELD MY INTEREST: [] super-com- | !T pletely [] completely [] fairly well | pletely [] completely [] fairly well | pletely [] completely [] fairly well pletely [] completely [] fairly well (very little [] not at all CJ very little [ not at all ‘| (1 very little [J not at all _] very little [) not at all 11. | LIKE ELVIS PRESLEY: 2. | LIKE JUNE ALLYSON: 5. | LIKE JEANNE CRAIN: 8. | LIKE KIM NOVAK: (J more than almost any star [] a lot [| fairly well (J very little [] not at all C1 not at all (] don’t know him well enough to say CJ more than almost any star [1] a lot ty US \ more than almost any star [J a lot fairly well [J very little (J not at all more than almost any star [J a lot 0 L fairly well [] very little fairly well [J very little [ not at all TIC (J don’t know her well enough to say “| don't know her well enough to say | [| don’t_know her well enough to say | I READ: [] all of his story (J part [J none ! READ: () all of her story (] part (] none } | READ: [all of her story (] part [| none | READ: [all of her story (J part (J none IT HELD MY INTEREST: [) super-com- IT HELD MY INTEREST: [] super-com- iT HELD MY INTEREST: [] super-com- IT HELD MY INTEREST: [] super-com- pletely [] completely [) fairly well pletely [] completely [] fairly well | pletely [] completely [] fairly well | pletely completely [J] fairly well | (J very little [ not at all (very little (] not at all DO very little (J not at all very little not at all 12. | LIKE RUSS TAMBLYN: (J more than almost any star [J a lot (| fairly well [] very little [] not at all LC] don’t know him well enough 3. | LIKE DEBBIE REYNOLDS: J more than almost any star [1] a lot fairly well (J very little (J not at all 6. | LIKE PIER ANGELI: {J more than almost any star [J a lot | LIKE CLINT WALKER: more than almost any star [] a lot to say LJ fairly well (J very little (] not at all fairly well [] very little [J not at all : [J don’t know her well enough to say | [] don’t know her well enough to say don’t know him well enough to say = | LIKE VENETIA STEVENSON: ; READ: [J all of her story CJ part [] none | TREAD: [Jall of her story (] part [J none | I READ: [J all of his story (J part [] none more than almost any star [] a lot IT HELD MY INTEREST: [] super-com- | IT HELD MY INTEREST: [] super-com- | IT HELD MY INTEREST: [| super-com- | LJ fairly well (] very little (] not at all pletely Bl completely CI] fairly well pletely [] completely (] fairly well pletely [] completely CI fairly well FREAD: Calter ECA eRe eEC nets Overy little (] not at all 1 very little (] not at all CJ very little [J not at all IT HELD MY INTEREST: (|) super-com- ee ————— pletely {] completely ([) fairly well (very little (J not at all 17. Which male and female stars do (1) (1) you want to read about? Please in- MALE FEMALE A hore tran aIneCHe Ieee aaa dicate your preference at the right (2) (2) (J fairly well ( very little [1] not at all by writing your first choice next to MALE a ee ENA LE! [1 don’t_know her well enough to say (1), your second choice next to (2) REND al al Oe) Pace ORE - : : r-com- and your third choice next to (3). (3) WACE (3) FEMALE pletely [] completely [) fairly well (very little (7 not at all 14. | LIKE BEN COOPER: (J more than almost any star [] a lot AGE eer aes NAME.......... ROU Ray ar aN eae isn rT ADDRESS.......... AS RE ave reeks ae Sec iahs aA fairly well (1 very little [Fj not at all Orn wel otc say READ: [all of his story (] pa none A RR ta eNnnat a ate ORLA AU RA AS SHA coe GLU ay ceveleloteaels terete tetnvelors welts he STATE. sta cesrie e's 5 IT HELD MY INTEREST: [] super-com- pletely [) completely [] fairly well Mail To: READER POLL DEPARTMENT, MODERN SCREEN, Box 125, MURRAY HILL STATION, NEW YORK 16, N. y, | “¥ery Nite Clot at all MODERN SCREEN POLL PRIZE WINNERS FOR JANUARY Betty Hendrickson, Marshfield, Wisconsin; Edward Knoll, Jr., Sandusky, Ohio; Barbara Jacoubian, Arlington, Massachuestts; Florence Horton, Forest Hills, New York; Mrs. Marilyn Rand, Pemberton, New Jersey; Mrs. Beverly D. Miller, Lawrence, Mas- sachusetts; Lyle Krause, Union, Illinois; Gloria Martinez, El Paso, Texas; Bonnie Huffman, Newport, Kentucky; Betty Hornyak, New York City. 15. | READ [1 all of Louella Parsons in Hollywood CL) part (J none 16. | READ (all of The Inside Story [] part () none i See ae

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But that wasn't quite the whole truth, either. The first time she had married, at seventeen, she had wanted to do every romantic thing. Too much separation He was Al Jordon. He was a trombon- ist in Jimmy Dorsey’s band. They fell in love and got married. Then, just as she was eighteen, she discovered she was going to have Terry. She took a little house back in Cincinnati and wrote Al every day, sometimes twice a day, sometimes three times. He had to be on the road. Doris was bitterly lonely. She had barely enough money to live on, and Al’s letters, arriving special delivery and usually at 3 A.M., broke up her “wretched sleep. Sick as only a lonely, pregnant girl can be, Doris reached the breaking point one night. She yanked off her wedding ring—she didn’t want it— and she threw it out the window. Only that hadn’t been true, either. She didn’t want to lose her wedding ring. She wanted what the wedding ring meant—a husband with her. The band business got worse. The sepa- rations between Al and Doris lengthened. Doris got her divorce. She didn’t ask for support of her baby, Terry. She told herself she would manage. Somehow. The somehow turned out to be singing on a Cincinnati station for an an- nouncer’s wage of $64. She hadn’t been too proud to take it. Sure, she had al- ready made “Sentimental Journey,” and sung on the Hit Parade. But she took the $64, which fed her and the baby, and when Jimmy Dorsey offered her a job it was pure heaven. And more heavenly, yet, when she met George Weidler. Some more untruths She worshipped George Weidler and felt that he was a great artist; in Hollywood he would find thousands of jobs. He didn’t. In Hollywood there was a housing shortage and Doris and George had to buy a trailer. Doris cooked. Doris cleaned, and planted flower boxes on the windows of the trailer and sang and sang. She didn’t want a career, she told herself. She just wanted to be George’s wife. Writing in her notebook, the Doris Day of 1955 realized this, too, had been one of her bits of untruth with herself and life—the untruth she had sold herself and sold George Weidler—that she didn’t want to sing any more. One day she was offered a booking at the Lirrte Cus in New York. There was no money, no work for George, no food in the trailer. George insisted that she take the job. She went. Opening night she got a tele- gram from him; he told her not to come back. He was through. The Doris Day of 1955 realized this was one of the nights she had really died. She had gone on for that first show, laughing through her tears, singing over her sobs. She got a release from the club and flew to Hollywood. But when she got to the trailer George was gone. She searched for him, days . . . weeks. And then, when she had given up, she ran into him on Hollywood Boulevard. She took one look at him, and knew there was a profound change in him. She stammered, “Can we talk somewhere?” Over a cup of coffee, he told her. He had found religion. He was at peace with himself. By every gesture he told her something else: she was still desperately in love with him, but he was completely out of love with her. She agreed to give him his freedom. She made the test for Romance On The High Seas and signed a contract with Warners. Now she could afford to have her baby with her. She could send her mother some decent money. Stardom she didn’t think about. She was too unhappy. Yet stardom had come, and that was where Marty had come in. Marty, the nice man in her agent’s office. Then Marty, the nice man she liked so much and whom Terry loved. And Marty with whom she had made such a sensible, calm marriage. The Doris Day of 1955 writing in her- notebook stopped. Was this the truth? Had she really married Marty because he was so good and her son liked him and he knew show business and he guided her career so well? She stopped. She stopped the writing for months. And made Love Me Or Leave Me. She was so busy with the picture that she forgot her gasping breath, forgot her ham- mering heart, forgot to be afraid of living. Then she was making Julie, which Marty produced, and she had a million things to do and she didn’t have time to feel any- thing really. It was while she was making Julie that she suddenly realized she had already found the road back, the path from hell to happiness, the power to live life without fear. Perhaps it was the months of examining herself and learning to understand herself each time she wrote in her notebook .. . or perhaps the sudden realization that she had nothing to be afraid of. Whatever it was, it happened in a split second. One day she was playing a love scene with Louis Jourdan. Marty was standing be- hind the camera. She had looked up and seen Marty watching her, and in his eyes there was such complete devotion. She felt her heart throb—but it had been a good throb. She had drawn her breath, and it was a good, long breath. “Wait a minute,” she said, moving out of the scene—and she had gone across and kissed Marty. “You okay?” he asked, as a husband does, not talking things too big. “Perfect!” she answered, and she knew she was! She had escaped her personal hell. From that moment on, she could face herself, actress enough to go into scenes, woman enough to love her husband, celeb- rity enough to live up to every bit of it. Life, in other words, was wonderful. END Doris Day will soon be seen in the Warner Bros. musical film Pajama Game. Watch for her also in Paramount’s Teacher’s Pet, RKO’s Curtain Going Up. po aa Seta REL ELSA Ste ee how’s your sense of humor? peed Ph CRA hha it (Continued from page 35) ball. “Jim—is Eddie home?” “Uh-uh,” yawned Jim. “He missed his plane, got tied up with business. Missed two, in fact, by the time I left. Why?” “Nothing. Nothing at all. Everything’s wonderful. Tl call you later.” She hung up and turned to her mother, relief quite evident in her face and voice. “He isn’t home—everything’s all right.” “Thank God,” said Mrs. Reynolds, and Debbie did just that. The two women raced through the California morning, Mrs. Reynolds at the wheel, to the Bev- erly Hills house. They could see the smoke from blocks away. The place was a mess. Flames were spurting out of the upstairs window, and scattered over the lawn were charred remnants of what had been their furniture—twisted bed springs, charred radio parts. Debbie thought of the den with the black leather chair she had given Eddie on their anniversary, and the hi- fi—and the scrapbooks, with all those pictures she had taken through the years. “What about the den downstairs?” she _asked a passing fireman. HERE’S HELP! Mercolized Wax Cream 7 NIGHT PLAN Lightens, Beautifies Skin WhileYouSleep Just follow the famous Mercolized Wax Cream 7 Night Plantoa whiter, smoother, lovelier skin. 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96 try “Okay, ma’am. Everything’s covered with tarps,” he said. Her mother looked at her, carefully. The baby was due within a few weeks, and this experience wasn’t the kind of thing pre- scribed by doctors. “How do you feel?” “Grateful,” said Debbie. “I have a feel- ing we were watched over, because we weren't here. As for the fire,’ she shrugged, “what is to be will be.” It wasn’t twenty-four hours before Deb- bie’s sense of humor took over. With Eddie back at her side safe and sound, who cared? When a friend asked what she’d lost in the fire, she grinned. “My girl scout uniforms and badges.” The friend chuckled, “Honestly, Debbie, don’t you ever throw anything away?” Her reaction was typical. Debbie’s never been one to pout or mourn over misfor- tune. She may be sad or angry at the moment, but later, in the telling, the story is always for laughs. SS Herb Shriner says he finally met Tallulah Bankhead. "She's a won- derful talker,"" he says. "But every time | tried to say something and opened my mouth...1 got a busy signal." Paul Denis oo __ Life has been for laughs, as far as Debbie’s concerned. When she was a kid in school she was the comedy relief for her classmates. “I cut a pretty comical figure,” she says. “Anybody who’s not quite five feet tall and weighs not quite ninety pounds, who will march down a field playing a twenty-four pound tuba— well, they’re a born clown. “IT never minded it when people laughed at me; as a matter of fact, I liked it. I think laughter is an awfully important part of life.” Always a good story So in love with laughter is Debbie that she unconsciously chooses friends for their sense of humor. She feels that people without humor must lead a dull exis- tence, and to her it is necessary to sur- round herself with people who have what she calls “the light touch.” Lita Calhoun, for instance. Debbie never phones the Calhoun home that Lita doesn’t have a funny story to tell—and most of the time it’s a joke on herself. Debbie appreciates the fact; there is nothing more dampening to the spirit than to listen to the gloomy troubles of others, and nothing that gives more of a lift than a laugh. She is the same way herself. The house can burn down, the washing machine can leak all over the laundry, and while it may be maddening at the moment, it al- ways provides a good story. Take the time she was attacked by over-zealous fans. They ripped her dress, grabbed her scarf, and one even managed to get her shoes. At the time she was shopping in Beverly Hills. So back to her car she walked—not only bedraggled, but barefooted. But that evening at home her dinner guests roared at her imitation of herself limping back to the car . . . while the well-groomed onlookers stared at her. “So maybe it was worth it all,’ Debbie laughs, “it made a good story!” “I think,” says Debbie, “that people can taik themselves into troubles. I’ve known lots of people who are chronic worriers, and they aren’t really happy unless they have something to complain about. They’re all over gloom and doom, and first thing you know they’re in bed with an ulcer or a stroke. It seems to me that if you to see the funny side of things, you'll live a 10¢ better and a lot longer. I think laughter is the best therapy in the world. When something awful happens to you, you can drive it into the ground if you want to, but if you can laugh at it, it some- how no longer seems to be so terrible. “Some people have to train themselves to look for the amusing side—others are born to it, and I think I’m one of these lucky ones.” If it's funny—enjoy it More important, she talks herself out of things. Even the wild ride from Palm Springs to the maternity ward in Los Angeles had, for Debbie, its lighter side. Not expecting the baby for another two weeks, she was totally unprepared for the premature event, and suddenly found her- self in the back seat of a car, tearing along the desert highways at ninety miles an hour. She had read about it happen- ing to other people, but took it for granted that something like that would never happen to her. Tilting around curves, she was frightened at first, and then began to giggle. “This is really a kick,” she thought to herself. “Here I am speeding through the night with my hus- band and our doctor, running all the traffic lights and Eddie looking at his watch every time he goes by a street light.” The point is, Debbie figures, if some- thing is funny you might as well enjoy it. If it isn’t funny, you'll learn something. Like when she first brought Carrie Frances home. Little Carrie contracted her first case of hiccups, and watching the small frame racked by what seemed ago- nizing spasms, Debbie was_ horrified. “She’s going to die!” she informed the nurse hysterically. “You don’t say,” said the cool figure in white. “For your information, your daughter enjoys hiccups. The rhythm puts her to sleep.” “Oh,” said Debbie. The real friends You have to learn to accept things as they come. Debbie was sixteen when she went into show business. The word had no sooner gone the rounds of the high school than some of the girls began shak- ing their heads over the new Debbie. “Haven’t you noticed how she’s changed?” they said. ‘“She’s really getting stuck- up.” Meeting them in the halls Debbie would say hello and be cut to the quick when they turned their backs on her. It seems to her now that she cried for a month straight. She’d gone happily along without a care in the world and taken it for granted that everyone liked her, and now girls she had considered her friends were refusing to speak to her. Mrs. Reynolds offered some sound ad- vice, “You’re lucky it’s happened,” she told Debbie. “Now you'll find out who your real friends are. The others you'll have to learn to take for what they are.” It was no sooner said than done. The three girls who defended Debbie and even got embroiled in heated arguments over her rumored conceit, are today Debbie’s closest friends. “When I had to learn lessons like that, they couldn’t possibly be funny, but they were worthwhile. My mother helped me see clearly in many things such as that, but I think the most important thing she did for me was give me a happy home. If you're raised in a happy family you don’t take yourself so seriously. Nobody in my family ever looked for unhappi- ness.” A girl with savoir faire Because she doesn’t take herself seri- ously, Debbie has sailed through the most embarrassing moments with a savoir faire =e? that would do credit to a statesman. When she was still in her teens she was in Mex- ico, and about to be presented to that country’s president. The line was long and the wait was tiresome, and Debbie, in company with the president's son, breathed a sigh of relief when the line had shortened to the point that there were only two couples ahead of them. An in- stant later she had the sinking sensation that something was slipping. Something was indeed; she had shortened two full petticoats under her lace skirt by the old- fashioned expedient of a large safety pin. And now the pin had come undone and both petticoats were slowly sinking to the ground. One more couple and it would be her turn to greet the president. She clutched at her left side and leaned over to whisper to her escort, “I’m losing my petticoat. Hang on.” With an aplomb far beyond his years, the young man grabbed at Debbie’s right side and held up the truant petticoats, which left Debbie one free hand with which to shake that of the president. Many a girl Debbie’s age would have considered it the worst experience of her life, but Debbie’s presence of mind saved the day. And even while it was happen- ing she was struck by the humor of the situation. Later she stood in back of the boy, using him as a shield while she re- pinned the petticoats. And she was still giggling over it! She has been pulled apart in mobs, her sweaters ripped, her hair yanked until it really hurt. But afterwards, always, Deb- bie turns the incident into a comedy and convulses people with the story of how it happened. Some things, of course, have no humor. You cannot laugh at illness or bereave- ment or death. But trust Debbie to know a funny story even about a funeral; a true story, for to Debbie truth is funnier than fiction. The deceased had been, in his younger days, a soldier, and there- fore a seven gun salute was planned at the burial service. When the first gun boomed over the cemetery the shock caused an elderly lady to faint, where- upon her young grandson yelled, “Good heavens! They shot grandma!” This con- vulsed the minister, who laughed so hard he backed into the grave and promptly broke his leg. This may sound far- fetched, but it really happened! Debbie has always remembered Red Skelton’s explanation of why he became a comedian. Says Red, “I love to see people laugh. Whether they are laughing at me or at something else, there’s nothing as heartwarming as the sound and the look of laughter.” Debbie not only agrees with him, she goes one step farther. “It’s good for oth- ers, but it’s good for you, too. It’s life’s eraser of unhappiness.” END Debbie can currently be seen in RKO’s Bundle Of Joy. Watch for her in MGM’s The Reluctant Debutante, U-I’s Tammy. PHOTOGRAPHERS’ CREDITS The photographers appearing in this issue are credited below, page by page: 6-7—Globe; 8—INP, Stork Club, Columbia; 10—Harwyn, Wide World; Bill Doll; 12—Dor- | othy Ross; 22—-RKO; 24—Allan Barnett, Rush Studios; 28—-Gary Wagner; 30-33—-Globe; 37— Globe; 38—Green and Tillish, Francis L. Orkin; 39—Bernard of Hollywood from FPG; 41— Peter Basch; 42—20th Century-Fox; 45—Peter Basch; 46—Darlene Hammond; 47—Burchman; 50—Topix; 52—Jacques Lowe; 54—Lowe, War- ner Bros.; 55—Lowe; 56—Beerman; 58—Lowe; 60—Beerman; 65—Jack’s Pictures; 78—Globe; 85—A.P.; 90—MGM; 92—Scott; 98—INP, Globe.

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| oe “MR. O’BRIAN, | PRESUME?’”’ @ One Thursday I got a telegram with the most exciting news. Hugh O’Brian was coming to New York on Saturday! And I was to meet him at the airport! I was president of the New York chap- ter of his club, and meeting Hugh would be quite an occasion, after writing to him for about five years. Finally, an hour late, the plane came in. Now the thought of missing Hugh in the crowd was uppermost in my mind, what with all the people coming down the ramp. All of a sudden ... oh no! Tt couldn't be—but it was—Hugh O’Brian dressed as Wyatt Earp: long black frock coat, brocaded vest, shiny boots, striped trousers and his famous black sombrero! And here we were afraid we would miss him. Walking up to Hugh, I extended by hand and said “Mr. O’Brian, I pre- sume?” (Now who else could it be? Dr. Livingston was still in Africa.) After in- troductions, we all walked to the main desk where Hugh could claim his luggage. What a mob scene! He caused quite a stir among the people at Idlewild, and how nice it was that so many people recognized him. The series had been on Tv only for a few weeks, and his fame had spread as Wyatt Earp. But he pre- sented such an impressive and formidable sight that nary a person came up to him for his autograph. After talking for a while we said good-by for that day. Hugh promised to call me to let n.e know about the proposed meeting for Sunday with several of our New York members. When he called that evening, my day was really complete because Hugh sounds as nice on the phone as he does on TV. He invited us to a meeting at the War- wick HorTeL, where he was staying. On Sunday we arrived in the lobby right on time, and Hugh came from a tv show he had just done—dressed as you know who. After a round of introductions, and a lot of conversation we started taking pictures. I even took movies of him, realizing an ambition from long ago. I directed Hugh in my own movie! Susan Juliano Pier Angeli’s Joy (Continued from page 40) Pier settled back against the pillows of the blue and white sofa. And even while she talked about the two things dearest to her heart, her marriage and motherhood, she still looked like a little girl—wearing no make-up but pink lipstick, and her hair pulled back simply. There is about Pier a wisdom coupled with a charming inno- cence peculiar to herself. Pier smiles happily remembering, “There was our ‘honeymoon’ in Europe... .” Pier was making The Vintage for MGM in France, living in Paris and working in the sleepy village of St. Tropez over- looking the blue Mediterranean. Originally Pier was to spend only twenty-two days in Europe, so she decided it would be better for the baby to leave him with his nurse and with her mother. The twenty-two days stretched into months: the weather turned bad in France, delaying the picture. Vic was in New York in the middle of a tv series and a night-club engagement. The days were speeding by and sud- denly it was the baby’s birthday—and Pier was still in Europe, frantic. So Vic made elaborate preparations to fly to Hollywood for his son’s birthday— and back again to New York within days. Pier stayed up all night to get a call through so that she could hear Vic’s and the baby’s voices together. Six thousand miles apart, but now Pier and Vic were together again. “And what is the baby doing?” she asked eagerly. “He’s punching a hole in the cake,” Vic said. “And what now?” “He’s putting his thumb in his mouth.” “Ah,” squealed Pier ecstatically, “how wonderful!” A honeymoon in Paris Vic flew back to New York ... and then on to Paris! He had to give up a tv show and several night-club dates, but it was time to see his Pier again. She looked more radiant than ever as she met him in a black wool dress with bright red roses, and Pier had had the dress made especially to welcome him in. It was a honeymoon, all over again. Back in her apartment at the Parisian hotel, there was a gay Welcome Home sign on the door. Red roses greeted Vic in the hall, and clouds of yellow and pink roses in the living room and bedroom. Recordings of his album “That Towering Feeling” filled the room with his voice. They sat and dined by candlelight that night, looking through the living room’s large, old-fashioned windows at magic Paris spread below. Pier believes in creating romance—in candlelight, music and flowers—so that her marriage is a perpetual honeymoon. During their ‘honeymoon’ in Paris, Pier woke up at 5:30 each morning, worked all day, returned to the hotel at 8:30 for dinner with Vic. They’d open the win- dows wide, then sit with their arms en- twined as they drank a toast in wine to their happiness. Their arms would still be ’round each other as they ate. As they walked over the rough cobble- stones of the city they agreed that it was the most beautiful place in the world. 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missed the baby terribly. But her heart- ache was partly forgotten by being to- gether with Vic. A brief reunion Then came the wonderful day when she and Vic landed at the Inglewood airport in Los Angeles, Pier’s mother and the baby waiting for them. “Will he remember me?” Pier thought uneasily. She sat stiffly on a little bench and waited, her heart beating like a trip- hammer. Out of her mother’s arms wrig- gled little Perry, rushing like a miniature hurricane into Pier’s arms. “Mama,” he said, and Pier nearly died with happiness. Even more drops were added to their cup of joy when they learned on their return that they could expect a baby brother or sister for Perry. Vic had already signed a contract for a long engagement at the WaLporr-AsTORIA in New York during December. They de- cided to travel together, Pier, Perry and Vic, so that they could have a real family Christmas. A few days before they were to leave, Pier slid into a chair weakly, feeling sud- denly ill. The doctor said, “Be a good girl, Pier, and go to bed.” “But I can’t. The trip to New York! We want to leave together.” He shook his head. “You can’t make that trip,” he said, as kindly as he could. “You'll have to stay in bed.” Vic was all for cancelling his contract and remaining with her. “No, darling,” Pier had replied, always the trouper. “You can’t call off an en- gagement and disappoint everyone. You have to go.” ‘The doctor had tried to reassure Vic. “Don’t be afraid. Ill watch her closely. You can go to New York knowing that she couldn’t be any better off if you stayed.” The heartbreaking call So, pushing down his qualms, Vic left. And then came the heartbreaking call from the doctor. Pier lay in the hospital, pale and weeping, while Vic in New York learned they had just lost the baby they were expecting. Pier hadn’t wanted Vic to know just yet. “I didn’t want to tell him,” she said. “fe was opening that night at the WaL- porF. I suffered inside but I said to myself, ‘This moment is not right to tell him. Why worry him about something he cannot do anything about?’” But her doctor put through the call and told Vic, and suddenly there was Vic’s voice piercing the desolation of the hos- pital room, carrying strength and faith to her over thousands of miles. “Pier, darling, we’ll have lots of chil- dren. Don’t cry, darling. It’s God’s will, and He alone knows the answers. Some day in the future, He’ll send us another— a boy like our Perry, or a darling girl who'll look like you.” “Just to hear each other’s voices helped us both,” said Pier. “The awful loneli- ness was gone. And Vic reminded me of something I myself believe: that we must go by God’s will, not our own. “Vic said to me that everything has a reason. All the things that happened, that seemed like tragedies at the time, have brought us closer together. It was all meant to be. Suffering has made us ap- preciate all the more what we have today.” The spirit of faith, not fear, walks with Pier. Pier is a joyous girl because faith is so much stronger in her than fear. She is not afraid. She is not afraid to stay .. 98 married, to have children—she expects to_ have more, with God’s blessing—or to be happy, even though there are many problems. No fear of loneliness When Vic is away from her, she is not afraid of loneliness. “yen when we are not together, I feel I have part of him with me, because our home is us. This is where I belong,” she adds, looking around her at the beautiful den with its glass wall overlooking the mountains and the ocean beyond. “We talk to each other every night before I go to bed, and we are together. And of course, in the baby I have a miniature Vic. Both of us—Vic and I—take things as they come. “Before we were married, we talked it over and decided we would often be separated. So this is no surprise to us, no unexpected problem. The separations that loom as such a big problem to others don’t bother us. We are never separated in spirit. “We are so close that there is almost a kind of mental telepathy between us. At Christmas time, I couldn’t sleep. I had talked to Vic earlier that night, but this JACK LEMMON . iw, B® When Bob Mitchum came home to his London apartment after a day on the Fire Down Below set, he found wife Dorothy sitting beside the telephone. To put it mildly, she looked unhappy. “We've been invited out to dinner tomorrow night,” she told him. “Fine,” said Robert. “So what’s with the long face you’re wearing?” “T’ye been on the phone all day and I can’t find a sitter for Petrine.” Robert thought that one over. Then he brightened. “I'll get one,” he offered. Seat ey ARO Cn cee “Mother Lemmon . . . who else?” in- quired her husband. “Always knew good old WARWICK PropUucTIONS put him in an apartment across the hall for some reason. Now I know what it was. Honey, we have a built-in baby sitter!” “Don’t worry about a thing,” Jack told the Mitchums the next evening, “I'll fix dinner and put Petrine to bed.” The Mitchums departed and Jack and Petrine had dinner—thanks to Petrine, who happened to remember how her mother scrambled eggs. After their meal, she climbed into her pajamas and came into the living room. “Will you read to me?” asked the cherubic four-year-old. “Sure,” said Jack. “Bring on the Columbia’s Fire Down Below. time I was restless, a little depressed. I missed him terribly, and suddenly the phone rings. It is Vic. “How are you, darling?’ he asks. I feel so relieved. “How - did you know I was missing you at this moment?’ I ask him. And Vic says, ‘I felt something was not right. I have not been able to sleep, thinking of you.’ “And when we are together. .. .” When they’re all at home, Vie gets up early, pads down the hall to Perry’s room and carries him into the bedroom where Pier is still asleep. “Wake up, mommy, here’s our son,” says Vic. Pier sits up, sleepy-eyed, and looks at both her men with the shining eyes of a ‘woman looking at her whole world. Vic plops Perry on the bed and Pier hugs the little boy. Standing off, Vie studies the picture they make and nods his head. “This,” he says, “is the way I like to see you.” Pier’s heart is ready to burst. “We are so lucky,” Vic says. “The luckiest,” adds Pier. END Watch for Pier in MGM’s The Vintage. BABY SITTER nursery rhymes.” “We forgot to pack them,” she said. After a brief discussion, they settled on Bob’s Fire Down Below script. And for the next hour, Jack played the roles of Jack Lemmon, Robert Mitchum, Rita Hayworth, and assorted other cast mem- bers. Every so often he’d glance up. “Getting sleepy?” he’d ask her. She wasn’t. Finally, Lemmon decided to stretch out on the couch. “I can’t read so well sitting up,” was the way he. put it. “Think I'll lie down.” You guessed it: hours later, when Robert and Dorothy returned from din- ner, the first sound heard when they opened the front door was “Shhhhh!” Jack Lemmon was sleeping peacefully on the couch; Petrine, wide awake, was sitting beside him. “Shhhh,” Petrine said again. “Jack’s very tired and he has to get up early to go act with you in the morning.” “Thank you, Mother Mitchum,” grinned mother’s father, as he picked her up and carted her off to bed. Bob Mitchum can currently be seen in the 20th Century-Fox film Heaven Knows, Mr. Allison. Watch for Jack Lemmon and Bob, soon to be seen in . he He er

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oe ANOTHER HAPPY pig, foe femelf They all learned to walk in Jumping-Jacks Originals... then grad- uated to “Juniors”. The older ones stepped up into Jumping-Jacks “Seniors”, and the little ladies stepped out in “Parties” Jumping-Jacks make everybody happy! Mothers . . . because of the precision fit and flexible construction. Youngsters . . . because the styles are “all the go” with Young Timers on the go. Priced according to size. $3.95 to $7.95. “P. S. For big sisters and mothers, /ook for JILLS ... Classic sports by JUMPING-JACKS.”"" Valsey-Bristol Shoe Company, Monett, Mo,

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